{"title":"Keeley","description":null,"products":[{"product_id":"keeley-black-glass-british-fuzz-limited-edition","title":"Keeley Black Glass British Fuzz - Limited Edition","description":"\u003cp\u003eThe \u003cstrong\u003eKeeley Black Glass British Fuzz - Limited Edition\u003c\/strong\u003e is a 100% hand-built modern compact circuit of the classic OC81 based design. It was created for the most demanding fuzz effects lovers. The Black Glass offers a wealth of tone bending vintage musical MkIII sounds with reduced noise and treble response and a modern power supply.\u003c\/p\u003e\r\n\u003cp\u003eWith controls for FUZZ, TONE, and LEVEL the Black Glass makes it easy for players to dial in very wild amounts of fuzz. Modifications to the circuit allow for an increased high frequency not heard of before as well as ultra-low noise.  Furthermore, design modifications have solved temperature problems that can affect vintage fuzz units.  Players have the needed power supply inversion so that they can use a regular 9 Volt power supply.\u003c\/p\u003e\r\n\u003cp\u003eThere are only 150 of these available world-wide, so be sure to get yours before they're gone!\u003c\/p\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eA Word From the Maker:\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003e“Our design team focused on building a MkIII style circuit with a stash of OC81D transistors that Robert Keeley had in his rare stock of electronic parts. This type of PNP Germanium pedal can be expensive, bulky, and can have variances in sound quality so our goal was clear: create a best-in-class product that combines compact versatility, repeatable musical tone, and low noise in a compact effect. 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This pedal is not for the faint of heart - it will give you some jarring and nasty whacked out fuzz and wah, making it perfect from neo-vintage rock sounds.\u003c\/p\u003e\r\n\u003cp\u003e\r\n\u003c\/p\u003e\u003chr\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eA Word from the Maker:\u003c\/strong\u003e\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003e\"The Sfocato will be the first pedal since 2008 that we have done the case in-house. We cut the cases on our CNC machine and printed the graphics with out UV LED printer. I am very, very proud of this pedal. 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You can keep it on all the time to push your amp harder, or as an occasional boost to cut through the mix.\u003c\/p\u003e\r\n\u003cp\u003eBefore other people started using Blue LED’s and non-diode clipping stages, there was the TMB and Katana…. Cascading FET stages do the tube-amp-thing like nothing else!\u003c\/p\u003e\r\n\u003cp\u003eThe Katana circuit is Robert Keeley’s first guitar effect design for Keeley Electronics. It was originally designed for Legendary Tones for the Time Machine Boost but then became an independent product under the Keeley name after the Compressor came out. Robert’s very first effect pedal design (1999) was a digitally controlled Analog Delay complete with built in digital tuner. It worked perfectly and can even be seen at the shop from time to time. Delay times could be input via a keypad to enter the amount of delay in milliseconds or by potentiometers. 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Each opto-coupler is tuned to perfection; every Keeley Neutrino is like finding a magical vintage unit with that perfect tone. It was designed to work with bass guitar and keyboards. Simply adjust the Gain to get it to trigger the way you want. Then, adjust the Peak control to set how much it “wahs.\"\u003c\/p\u003e\r\n\u003cp\u003eThe Keeley Neutrino gives you all the classic, funk, auto-wah sounds and that Jerry-In-A-Box sound. Keeley used the classic opto-coupler design for a rich and warm depth to the effect.  Envelope filter sound is an effect triggered by your pick attack or strength. The harder you pick, the harder it “wahs”! Sounds bubble up from a deep rounded warmth to a shinning brilliance. 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This type of compressor gives you precise control and very musical results. This along with a full frequency range means that this compressor is well suited for guitar, keyboards, drum machines, really, anything you can throw at it. The Keeley GC-2 Limiting Amplifier is both musical and very transparent.  Where our older compressors were based on the CA3080 or the LM13700 and are perfect for that “Compressor Effect” and is still in use by tens of thousands of players, the new Keeley GC-2 is a different style compressor, aimed at being the ultimate in low noise and transparency!  Not only can it handle astonishingly large signals, it has an incredible bandwidth of over 20 KHz.  No detail in your guitar’s tone will be lost.  The Keeley GC-2 will be a sound investment in your tone, you now have genuine rack-mount quality at your feet.\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003ch3\u003e\u003cstrong\u003eCompression and Threshold\u003c\/strong\u003e\u003c\/h3\u003e\r\n\u003cp\u003eWhen musicians use the new Keeley GC-2 they will be greeted with a sound that is more easily amplified and heard.  Using the effect as a \u003cem\u003elimiting amplifier\u003c\/em\u003e saves your speakers from clipping and distortion.  Set the Threshold to look for peaks in your signal and limit distortion from your amplifier or damage to your speakers.  Simply watch the Threshold Indicator light to see what type of playing you want to limit, it’s that easy!  Next set the Compression Ratio Control to determine how much squash you want when the signal is above Threshold.  Set Compression all of the way down for no  (1:1) compression and use the Gain control as a boost!  Set Compression all of the way up for an above-Threshold hard-knee limiter.\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003ch3\u003e\u003cstrong\u003eAttack and Release\u003c\/strong\u003e\u003c\/h3\u003e\r\n\u003cp\u003eThere is a certain figure that just sounds good as far as compression goes; and that’s 125 dB\/second.  With feed forward compressors that use this type of true-RMS detector you use a single time constant parameter.  The timing capacitor gives you attack and release times that are adaptive to your playing level or the signal input to the compressor.  Bottom line: Attack and Release times vary on program content.  Attack times are generally speaking, \u003cem\u003eabout\u003c\/em\u003e 100 times faster than release times.\u003c\/p\u003e\r\n\u003cp\u003eAttack Time: typically 15ms for 10dB, 5ms for 20dB, 3ms for 30dB\u003c\/p\u003e\r\n\u003cp\u003eRelease Time: typically 8ms for 1dB, 40ms for 5dB, 80ms for 10dB, 160ms for 20dB, 240ms for 30dB\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003ch3\u003e\u003cstrong\u003eTone Control and Blend\u003c\/strong\u003e\u003c\/h3\u003e\r\n\u003cp\u003eNone – You don’t need a tone control or a blend control on a compressor.  In fact, it’s not a good idea in our opinion.  If you want a blend control, you are undoing your compressor.  Instead, set the Threshold high and only let peaks be processed and then set the Compression Ratio to 2:1 or 4:1.  Much smarter.  Tone control?  None hear, It has tone for days for of all, and there is no need to add treble response back into the mix.  It’s ultra slick, feed-forward compression design helps maintain high-end treble response like no other design.  Lastly, Tone Controls and Blend Controls can only add noise in a compressor.  Why add noise to a compressor circuit?\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003ch3\u003eSpecifications\u003c\/h3\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eVoltage Input: 9.6V\u003c\/li\u003e\r\n\u003cli\u003eCurrent Draw: 15mA\u003c\/li\u003e\r\n\u003cli\u003eInput Impedance 1 Meg ohm\u003c\/li\u003e\r\n\u003cli\u003eOutput Impedance: 100 ohm\u003c\/li\u003e\r\n\u003cli\u003eOutput Voltage Gain: +30dB Boost\u003c\/li\u003e\r\n\u003cli\u003eBandwidth \u0026gt; 20kHz\u003c\/li\u003e\r\n\u003cli\u003eTotal Harmonic Distortion: 0.1%\u003c\/li\u003e\r\n\u003cli\u003eNoise: -95dBV\u003c\/li\u003e\r\n\u003cli\u003eThreshold Indicator: Dual LED\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Keeley","offers":[{"title":"Default Title","offer_id":44449682882663,"sku":"42316","price":199.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/keeley_gc2_d27f6bc6-f091-48ce-ac9d-1f8c7c279f86.jpg?v=1787089967"},{"product_id":"keeley-compressor-pro","title":"Keeley Compressor Pro","description":"\u003cp\u003eThe \u003cstrong\u003eKeeley Compressor Pro\u003c\/strong\u003e is a stomp-box sized compressor\/limiter that's hand made in Oklahoma, USA and engineered to be an indispensable tool to your musical endeavors.  It is in no way limited to be used with only guitar.  It has been designed to work as a studio compressor accepting any range of inputs and a frequency response and noise level matching the finest compressors made.\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003ch3\u003eGeneral Compressor Usage\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe Keeley Compressor Pro is designed to be used at home or in the studio for creating full sounding recordings of any instrument.  In live situations, the Compressor Pro can be used to achieve full sounding, polished performances as well as protect amplifiers and speakers from overload.  The Comp Pro is designed to work with any instrument from voice and guitar to keyboard, bass, or drums.  Use it when creating a podcast or YouTube videos to maintain professional performance levels.  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Controls the time before the Comp Pro releases or stops compression .\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eGain Control\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003eThis is the output level of the compressor.  It does not affect the compression controls like THRESHOLD, RATIO, ATTACK or RELEASE.  It is for make-up gain if you set for heavy compression gain reduction.  +20dB of boost is possible.\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eKnee Switch\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003eHard Knee Compression follows a hard fast rule: If THRESHOLD is met, then Compress at this RATIO.  Soft Knee is Komfort Kompression.  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To smooth changes in dynamics use the Comp Pro for low to medium compression.  Set AUTO Switch to ON.  Adjust the Compression RATIO Control to 2:1 to 4:1 for example.  Set the Gain Reduction LEDS by adjusting the THRESHOLD Control to indicate 3-9 dB of gain reduction on the 7 Segment LED Bar.  Adjust GAIN Control if needed.  Set KNEE Switch to SOFT.  Now play slow and steady chord work, list to how toggling the KNEE switch back and forth Hard\/Soft affects your tone and the attack or punch of the notes as well as the release.\u003c\/p\u003e\r\n\r\n\u003cp\u003eSUSTAIN – To add sustain to guitars or keyboards start with a higher Compression RATIO setting for example 10:1 to ∞:1,  Set THRESHOLD Control so that THRESHOLD LED turns Red for average level of your guitar or performance, the LED stays red about half the time.  You can set the KNEE Switch to HARD or SOFT, SOFT may seem more transparent.\u003c\/p\u003e\r\n\r\n\u003cp\u003eCHICKEN PICKING COMPRESSION – Set RATIO Control to 5:1 to 10:1, a quick RELEASE Time of .5s to 1s. ATTACK Time for quick attack 10-50ms and THRESHOLD Control set to give you 9-12dB of Gain Reduction\/Compression on the 7-Segment COMPRESSION LED Array.  This will typically give you compression artifacts or effects like a breathing or pumping sound.\u003c\/p\u003e\r\n\r\n\u003cp\u003eBASS BOOM AND SLAP – For a punchy bass guitar sound set the Comp Pro for a medium to high Compression RATIO (6:1 to 10:1) and adjust the THRESHOLD so that the -12dB and sometimes -20dB COMPRESSION LEDs are lit while playing.  Set KNEE to Hard mode.  That will make the bass punchy and slap a bit harder, reducing boominess.  Try Soft KNEE for a a different feel.  Set AUTO On.\u003c\/p\u003e\r\n\r\n\u003cp\u003ePREVENT DIGITAL DISTORTION – Set Keeley Compressor Pro as a Hard Limiter by turning RATIO control all of the way up to Infinity to One compression ratio.  Set KNEE for Hard. By adjusting the final Gain level to your clipping lights on the digital recorder, you can insure you won’t ruin recordings or get unwanted distortions.\u003c\/p\u003e\r\n\r\n\u003cp\u003eSPEAKER PROTECT (Concerts, Churches, Sound Systems and P.A.s) – You can use the compressor as above as a Hard Limiter.  If when playing you hear distortions from your sound reinforcement equipment you can reduce the THRESHOLD, increase RATIO, and reduce GAIN to achieve perfect results.  This is where it might be nice to use your Keeley Compressor Pro as the last effect in your signal chain as it can prevent different effects from getting too loud or being added together to drastically increase output volume.\u003c\/p\u003e","brand":"Keeley","offers":[{"title":"Default Title","offer_id":44449705525351,"sku":"47338","price":299.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/keeley_compressor_pro_4c48dbb1-3245-4037-af6a-b9dfc617ba21.jpg?v=1787090072"},{"product_id":"keeley-white-sands-luxe-drive","title":"Keeley White Sands Luxe Drive","description":"\u003cp\u003eInspired by the faintest rounding of your tone when you start to push a tube, this is Keeley’s low gain drive solution.  The Keeley White Sands pedal uses asymmetrical clipping that clips or distorts half of the guitar signal more than the other half. With this type of clipping you simulate some of the characteristics of a tube amplifier.  It’s also in the clipping stage that we keep the bass response tight by making sure bass frequencies don’t get muddy when they are distorted.  What you get is pure Rock’n’Roll with the Keeley White Sands.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe \u003cstrong\u003eWhite Sands Luxe Drive\u003c\/strong\u003e uses a different tone control network that is found in many tube drive pedals.  Fan of the Keeley Red Dirt Overdrive?  Well think of this as a low drive version with a tone control network that doesn’t boost the mid-range frequencies.  The Tone range is controlled yet very useful in dialing the high end response.  Want to dial in a transparent tone to see if the pedal can remain true to your guitar’s tone? Go ahead!  Do you want to use that neck pickup on your Les Paul or other humbucker equipped guitar but not have it turn to mush?  Don’t worry, the Luxe Drive isn’t about putting a mask on your tone, in fact it retains amazing transparency.\u003c\/p\u003e\r\n\r\n\u003cp\u003eOkay, need to kick it up a notch and hit the crowd with some dirt? Sandy Mode – drive that’s smooth, feels Really Good and has that snarl of authenticity. SANDY is what you need when you ain’t trying to be sensitive!\u003c\/p\u003e\r\n\r\n\u003cp\u003eWhy have a pedal destroy your signal?  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To do this, they took the op-amp version of the old PI and inverted one of the stages, brought out the midrange, tightened the bass and, most importantly, added a Germanium transistor output!  Yes, this is a op amp-transistor hybrid.  Don’t be miffed by op-amps in your pie folks, the germanium touch at the end makes everyone smile around the shop here. The resulting \u003cstrong\u003ePsi Fuzz\u003c\/strong\u003e provides thick sustain for creamy leads.\u003c\/p\u003e","brand":"Keeley","offers":[{"title":"Default Title","offer_id":44449707262055,"sku":"47341","price":149.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/keeley_psi_fuzz_9310135e-8379-46b7-865c-87f4a77d1ac5.jpg?v=1787090081"},{"product_id":"keeley-aurora-digital-reverb","title":"Keeley Aurora Digital Reverb","description":"\u003cp\u003eAt Keeley Electronics, the \u003cstrong\u003eAurora Reverb\u003c\/strong\u003e had to meet certain specific criteria. It had to be affordable with no compromise to audio quality. It had to be easy for guitarists to use and be inspiring. And it had to offer the essentials for tailoring your tone without a dozen knobs to learn. Now achieved, Keeley is proud to offer a true bypass, 100% dry analog path, low noise, 24 bit, high-fidelity reverb processor.\u003c\/p\u003e\r\n\r\n\u003ch3\u003eControls\u003c\/h3\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eDecay:\u003c\/strong\u003e Decay controls the amount of time it takes for the reverberated sound to disappear. Ours provides a range from a realistic, close-quarters reverberated dimension to a walk-away-and-come-back signal of complex, still-ringing musical reflections.\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eSlapback:\u003c\/strong\u003e Slapback is what we call predelay. Predelay creates distance. How soon or late you hear the first reflection is crucial to crafting the reverberated space. 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Now take the incredible tone of a blues breaker and wrap a Keeley Katana circuit around both sides of it and you have the \u003cstrong\u003eKeeley 1962\u003c\/strong\u003e.  Yeah, it’s heavy, cutting, the very definition of classic distortion tones.\u003c\/p\u003e\r\n\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\u003ch3\u003eLayers of Gain\u003c\/h3\u003e\r\n\r\n\u003cp\u003eLayering gain sounds is one of the most tried and true ways of getting a deep rich tone.  A tone that has a smoothness to it, has sustain to it.  It let’s you sing!  That’s exactly what Keeley has done here in this hybrid of circuits.  They’ve taken one of the most popular boosters out there, the Katana, and split it in half.  Using both JFETs like valves in a British amp, they create pre-amp and output tube distortions characteristics.\u003c\/p\u003e\r\n\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\u003ch3\u003eHand Built and Crafted\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThis unit is crafted from precision components and workmanship.  Even the surface mount JFET transistors are placed and soldered by hand.  A very low noise op-amp was selected for this tone-tool.  You’ve come to expect brilliance from Keeley pedals, this one delivers.  It sparkles with life and energy, but doesn’t have the noise that takes away from that clarity.  This ain’t a tube screamer!  But it sure as heck goes well with one!  Want a dual overdrive system?  Take the Keeley Red Dirt and couple it with this monster.  Flat out heavy guitar tones and then click on the Red Dirt for that mid-focused saturation…infinite sustain territory.  That kind of love comes from the guys and girls at Keeley that make it their life to create fine musical instruments.  Keeley engineered effects are tools that you can depend on and make music with.\u003c\/p\u003e","brand":"Keeley","offers":[{"title":"Default Title","offer_id":44449747206247,"sku":"49311","price":179.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/keeley_1962_british_front_d502d2c1-88c5-41a2-aa51-0a63cb5d0c51.jpg?v=1787090239"},{"product_id":"keeley-30ms-automatic-double-tracker","title":"Keeley 30ms Automatic Double Tracker","description":"\u003cp\u003eThe \u003cstrong\u003eKeeley 30ms Automatic Double Tracker\u003c\/strong\u003e is a stereo effect pedal that offers an array of studio style doubling effects used for creating thicker, fuller sounding instruments.  Also included in the effect pedal is a reverb that simulates the famous chamber in Studio Two. 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The 30ms offers altered and detuned effects like a chorus pedal might sound, only without the regularity of a LFO oscillator in Dimension Mode.  In this mode you have the ability to create up to two different voices for a stereo double tracked field. The user controls the tuning and delay for results that are stunning mono or through two amplifiers in stereo.  Abbey Mode offers something more similar to a conventional chorus in that it simulates synched tape decks running in parallel with varying tape speeds.  Stereo or mono this mode gives players a wide, lush sound without sounding like a conventional chorus pedal.  Lastly the team at Keeley created a unique Slapback Mode for rockabilly sounds. The Slapback is now a double tracked echo with the two altered voices. 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First, Keeley heavily filters the response at 1 kHz then compress the thing. Remember the concept… pack a bunch of sound in a small room and it compresses. Next they filter it again at 1 kHz! Sounds like Rock and Roll, right? Also, added are 2nd and 3rd order harmonics to this mix that simulate tape response and equipment distortions. Waves folded back on themselves. You're gonna love these curves.\u003c\/p\u003e  \u003cul\u003e \u003cli\u003eTime: 30-666ms \\m\/ \\m\/\u003c\/li\u003e \u003cli\u003eRegeneration: As Jack White says, “Three.” Up to three repeats. 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These moderate gain transistors offer the perfect fuzz tone and do not have the temperamental temperature related problems that germanium devices exhibit, while still giving you incredible tone.\u003c\/p\u003e  \u003cp\u003eThe modulation channel is where the fun really starts. The Monterey Rotary Fuzz Vibe offers an Octave effect with both the Vibe and Wah sounds. With those two sounds you can either have Octave Up, Octave Down, or No Octave.\u003c\/p\u003e  \u003cp\u003eIn the Center Position of the Octave Control you have NO octave up or down. If you turn the Octave Control up (or clockwise), you have an increasing octave up sound. As you turn the Octave Control down, you have an increasing amount of octave down sound added. Again, if you do not want an octave effect added, simply set the Octave Control to the center position.\u003c\/p\u003e  \u003cp\u003eThe Monterey Rotary Fuzz Vibe features a very rich and deep vibe sound. The “Kool Vibe” setting is perfect for getting complex phaser-like sounds. It combines phasing and tremolo at key frequencies to give you incredible depth and rhythm. Not only does it match the frequency response of a vibe, it simulates the unique pulsing of a photo-cell based effect. You can add the Octave to the “Kool Vibe” for an amazing doubling effect or for an incredibly deep synth bass type sound.\u003c\/p\u003e  \u003cp\u003eThe “Les Rotary” sound in the Monterey Fuzz Vibe is both very accurate and surprisingly new sounding. Like the original cabinet, this simulation joins both the lower drum and the upper horn into a rich, dimensional effect that generates an unmistakable chorus and tremolo soundscape. Not only is the cabinet itself simulated with very short reverberated reflections that offer a doubling effect, the Doppler Effect provides a soothing chorused sound that is clean and ethereal. The Octave Control in the Rotary cabinet simulation controls the volume of the horn or tweeter sounds. It does not produce an octave effect here. This allows you to get a very chorus-like effect with ample high-end detail when simulating a “Les Rotary” style cabinet. Set the Rate OFF for no rotation, turn the Fuzz on, and the Depth and Octave controls give you a wonderful speaker cabinet simulation. It’s fuzz with tonal control like you’ve never had before! Perfect for matching any size of power amp with the pedal’s fuzz to give you anything from dark overdrive to hard, edgy, squared fuzz!\u003c\/p\u003e  \u003cp\u003eThe “Harmonic Wah” section combines several more new sounds from Keeley in the Monterey Rotary Fuzz Vibe. It is a fixed or cocked wah sound, an auto wah, a harmonic\/tremolo wah, and even a regular foot-controlled wah when you add an expression pedal. With the Depth Control turned all of the way down\/off you are in the Wah Mode. The Wah Mode gives you control over the frequency you boost by adjusting the Rate Control. If you have an expression pedal connected, it becomes a regular Wah Pedal. Turn the Depth control up a slight amount and the Monterey becomes an Auto Wah. In the Auto Wah mode, your pick attack and strength creates an envelope filter sound. After the noon\/center position on the Depth Control, you have the new Harmonic Wah. It is like the harmonic tremolo on a brown face amp, but the frequencies are centered around a wah pedal instead. It’s ideal for players who like the rhythmic back-and-forth rocking sound of a wah pedal.\u003c\/p\u003e  \u003cp\u003eAdd any expression pedal controller to the EXP input on the back and you have control over the Rate of the “Les Rotary” and “Kool Vibe” settings. In the “Harmonic Wah” setting, it controls the frequencies.\u003c\/p\u003e  \u003cp\u003eWant more sounds? Well OK, turn the unit over and take the bottom off. There is a tiny DIP Switch that allows you to change the order of the Fuzz and Modulation effects! Yes, you can get some crazy noise by putting fuzz after modulation effects, but it works! And works well at giving you insane tones that are thick and full. Let your ears gaze at the strangeness. Alien amplitudes of gain and fuzz. Endlessly creative.\u003c\/p\u003e  \u003cp\u003eThe Monterey does not come with an expression pedal, as many players already have one they can use. Keeley does offer the M-Audio expression pedal. It works well and is very reasonable. The Monterey is not battery powered. You will need a standard 9V 100mA supply, negative tip.\u003c\/p\u003e  \u003cp\u003eThe Monterey Rotary Fuzz Vibe comes in 12 different graphic designs. Just like music which can be surprisingly rewarding, you’ll be surprised with a design. It is wonderfully random. 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The Keeley 30ms is designed to work with guitar, bass, keyboard, even vocals.\u003cbr\u003e\u003cbr\u003e“Since the early days of automatic double tracking pioneered by Ken Townsend and John Lennon at Abbey Road Studios, this technique has become the de facto way of creating recordings that sound bigger and fuller by making it sound like two guitars, or singers, or instrumentalists are playing at same time,” said chief engineer Robert Keeley.  “The Keeley 30ms Automatic Double Tracker offers musicians the ability to take these techniques with them out on the road with a wide range of tools needed for crafting unique double tracking schemes.”\u003cbr\u003e\u003cbr\u003eThe Keeley Engineering 30ms Automatic Double Tracker pedal can be used in mono with a built in “Abbey Verb” reverb control, or in stereo as the Double Tracker Pro. The 30ms offers altered and detuned effects like a chorus pedal might sound, only without the regularity of a LFO oscillator in Dimension Mode.  In this mode you have the ability to create up to two different voices for a stereo double tracked field. The user controls the tuning and delay for results that are stunning mono or through two amplifiers in stereo.  Abbey Mode offers something more similar to a conventional chorus in that it simulates synched tape decks running in parallel with varying tape speeds.  Stereo or mono this mode gives players a wide, lush sound without sounding like a conventional chorus pedal.  Lastly the team at Keeley created a unique Slapback Mode for rockabilly sounds. The Slapback is now a double tracked echo with the two altered voices. 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After more than a decade of building great guitar tone from the ground up, Keeley has crafted an overdrive that is destined to be a classic. It’s about tone and feel. The Katana Blues Drive captures the best elements of tubes with a transparency that allows your guitar’s full tonal range to shine through while at the same time delivering dynamics that are sensitive to the touch. This pedal cleans up perfectly, just roll your guitar volume back and let it shine.\u003c\/p\u003e\r\n\u003ch3\u003eGlass Tube Clarity\u003c\/h3\u003e\r\n\u003cp\u003eThe Keeley Katana Blues Drive is their most expressive and musically inspirational overdrive pedal to date. 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Yeah, it’s heavy, cutting, the very definition of classic distortion tones.\u003c\/p\u003e\r\n\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\u003ch3\u003eLayers of Gain\u003c\/h3\u003e\r\n\r\n\u003cp\u003eLayering gain sounds is one of the most tried and true ways of getting a deep rich tone.  A tone that has a smoothness to it, has sustain to it.  It let’s you sing!  That’s exactly what Keeley has done here in this hybrid of circuits.  They’ve taken one of the most popular boosters out there, the Katana, and split it in half.  Using both JFETs like valves in a British amp, they create pre-amp and output tube distortions characteristics.\u003c\/p\u003e\r\n\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\u003ch3\u003eHand Built and Crafted\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThis unit is crafted from precision components and workmanship.  Even the surface mount JFET transistors are placed and soldered by hand.  A very low noise op-amp was selected for this tone-tool.  You’ve come to expect brilliance from Keeley pedals, this one delivers.  It sparkles with life and energy, but doesn’t have the noise that takes away from that clarity.  This ain’t a tube screamer!  But it sure as heck goes well with one!  Want a dual overdrive system?  Take the Keeley Red Dirt and couple it with this monster.  Flat out heavy guitar tones and then click on the Red Dirt for that mid-focused saturation…infinite sustain territory.  That kind of love comes from the guys and girls at Keeley that make it their life to create fine musical instruments.  Keeley engineered effects are tools that you can depend on and make music with.\u003c\/p\u003e","brand":"Keeley","offers":[{"title":"Default Title","offer_id":44450014986343,"sku":"63117","price":99.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/keeley_1962_british_front_1_0e97c2c2-2236-423f-99b6-f41d7fa9acfe.jpg?v=1787091334"},{"product_id":"keeley-gc2-compressor-pedal-demo-deal","title":"Keeley GC2 Compressor Pedal (Demo Deal)","description":"\u003ch3\u003e\u003cstrong\u003ePrecision Compression\u003c\/strong\u003e\u003c\/h3\u003e\r\n\u003cp\u003eThe \u003cstrong\u003eKeeley GC-2 Limiting Amplifier Compressor\u003c\/strong\u003e provides true high-fidelity compression and limiting.\u003c\/p\u003e\r\n\u003cp\u003eThe GC-2 Limiting Amplifier Compressor is built around the exotic and extremely high fidelity THAT Corp. 4320.  Think of it as very musical studio-grade compressor in stomp box format!  It uses high performance Voltage Controlled Amplifiers, on board true-RMS detector, and ultra high performance op-amps to bring you the very best quality. This type of compressor gives you precise control and very musical results. This along with a full frequency range means that this compressor is well suited for guitar, keyboards, drum machines, really, anything you can throw at it. The Keeley GC-2 Limiting Amplifier is both musical and very transparent.  Where our older compressors were based on the CA3080 or the LM13700 and are perfect for that “Compressor Effect” and is still in use by tens of thousands of players, the new Keeley GC-2 is a different style compressor, aimed at being the ultimate in low noise and transparency!  Not only can it handle astonishingly large signals, it has an incredible bandwidth of over 20 KHz.  No detail in your guitar’s tone will be lost.  The Keeley GC-2 will be a sound investment in your tone, you now have genuine rack-mount quality at your feet.\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003ch3\u003e\u003cstrong\u003eCompression and Threshold\u003c\/strong\u003e\u003c\/h3\u003e\r\n\u003cp\u003eWhen musicians use the new Keeley GC-2 they will be greeted with a sound that is more easily amplified and heard.  Using the effect as a \u003cem\u003elimiting amplifier\u003c\/em\u003e saves your speakers from clipping and distortion.  Set the Threshold to look for peaks in your signal and limit distortion from your amplifier or damage to your speakers.  Simply watch the Threshold Indicator light to see what type of playing you want to limit, it’s that easy!  Next set the Compression Ratio Control to determine how much squash you want when the signal is above Threshold.  Set Compression all of the way down for no  (1:1) compression and use the Gain control as a boost!  Set Compression all of the way up for an above-Threshold hard-knee limiter.\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003ch3\u003e\u003cstrong\u003eAttack and Release\u003c\/strong\u003e\u003c\/h3\u003e\r\n\u003cp\u003eThere is a certain figure that just sounds good as far as compression goes; and that’s 125 dB\/second.  With feed forward compressors that use this type of true-RMS detector you use a single time constant parameter.  The timing capacitor gives you attack and release times that are adaptive to your playing level or the signal input to the compressor.  Bottom line: Attack and Release times vary on program content.  Attack times are generally speaking, \u003cem\u003eabout\u003c\/em\u003e 100 times faster than release times.\u003c\/p\u003e\r\n\u003cp\u003eAttack Time: typically 15ms for 10dB, 5ms for 20dB, 3ms for 30dB\u003c\/p\u003e\r\n\u003cp\u003eRelease Time: typically 8ms for 1dB, 40ms for 5dB, 80ms for 10dB, 160ms for 20dB, 240ms for 30dB\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003ch3\u003e\u003cstrong\u003eTone Control and Blend\u003c\/strong\u003e\u003c\/h3\u003e\r\n\u003cp\u003eNone – You don’t need a tone control or a blend control on a compressor.  In fact, it’s not a good idea in our opinion.  If you want a blend control, you are undoing your compressor.  Instead, set the Threshold high and only let peaks be processed and then set the Compression Ratio to 2:1 or 4:1.  Much smarter.  Tone control?  None hear, It has tone for days for of all, and there is no need to add treble response back into the mix.  It’s ultra slick, feed-forward compression design helps maintain high-end treble response like no other design.  Lastly, Tone Controls and Blend Controls can only add noise in a compressor.  Why add noise to a compressor circuit?\u003c\/p\u003e\r\n\u003cp\u003e \u003c\/p\u003e\r\n\u003ch3\u003eSpecifications\u003c\/h3\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eVoltage Input: 9.6V\u003c\/li\u003e\r\n\u003cli\u003eCurrent Draw: 15mA\u003c\/li\u003e\r\n\u003cli\u003eInput Impedance 1 Meg ohm\u003c\/li\u003e\r\n\u003cli\u003eOutput Impedance: 100 ohm\u003c\/li\u003e\r\n\u003cli\u003eOutput Voltage Gain: +30dB Boost\u003c\/li\u003e\r\n\u003cli\u003eBandwidth \u0026gt; 20kHz\u003c\/li\u003e\r\n\u003cli\u003eTotal Harmonic Distortion: 0.1%\u003c\/li\u003e\r\n\u003cli\u003eNoise: -95dBV\u003c\/li\u003e\r\n\u003cli\u003eThreshold Indicator: Dual LED\u003c\/li\u003e\r\n\u003c\/ul\u003e","brand":"Keeley","offers":[{"title":"Default Title","offer_id":44450026192999,"sku":"63651","price":109.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/keeley_gc2_2_51028d8c-e8e2-4f19-9a2c-5812c03c9662.jpg?v=1787091380"},{"product_id":"keeley-dyno-my-roto-tri-chorus-rotary-rotoflange","title":"Keeley Dyno My Roto Tri Chorus Rotary Rotoflange","description":"\u003cp\u003eFinally you can get those 80’s vintage rack chorus sounds that define killer chorus sounds.  This was not an easy development.  The \u003cstrong\u003eKeeley Dyno My Roto\u003c\/strong\u003e is a tough and difficult thing to accomplish in such a small package and we couldn’t leave good enough alone.  We added a Flanger and a Leslie Cabinet simulator.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe magic to the chorus sound in the Dyno My Roto is the three LFOs that give you lush modulations that truly sing out like a chorus of guitars. Most chorus pedals, in fact nearly all, are simply two voice, one straight and one modulated. This offers twice the amount of joy by modulating another voice. That significantly reducing the ability to just hear one voice being affected and smears a couple voices in an effect that is truly enjoyable to listen to.\u003c\/p\u003e\r\n\r\n\u003cp\u003eKeeley came up with a new Rotary Cabinet package that give you a Proximity Control.  The Proximity Control controls how far away you are from the spinning speaker cabinet.  This adds a depth and distance to the cabinet and is a touch like a reverb control.  It gives you that spatial expanse that can give you presence or depth in the chorus-like rotations.  Lastly, while they were spinning things, they crafted a RotoFlange sound that has a simple negative feedback control.  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Just pull out on the volume knob and stretch your imagination with overdriven tone! You can keep it on all the time to push your amp harder, or as an occasional boost to cut through the mix.\u003c\/p\u003e\r\n\u003cp\u003eBefore other people started using Blue LED’s and non-diode clipping stages, there was the TMB and Katana…. Cascading FET stages do the tube-amp-thing like nothing else!\u003c\/p\u003e\r\n\u003cp\u003eThe Katana circuit is Robert Keeley’s first guitar effect design for Keeley Electronics. It was originally designed for Legendary Tones for the Time Machine Boost but then became an independent product under the Keeley name after the Compressor came out. Robert’s very first effect pedal design (1999) was a digitally controlled Analog Delay complete with built in digital tuner. It worked perfectly and can even be seen at the shop from time to time. Delay times could be input via a keypad to enter the amount of delay in milliseconds or by potentiometers. 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