Keeley 'Loomer' Fuzz & Reverb Pedal

Product Information

De Hall is een erg mooi, organische, donkere hall met een heel subtiele modulatie (octave up) die ver blijft van geforceerde shimmers. Alleen mocht die voor mij nog langer duren. De hall is echt heel hol en zweverig. Uniek geluid (jaren 90). Ik heb vergeleken met de Aurora-hall, en deze is speciaal. Not every pedal needs to be super-limited edition and hand-soldered in a basement by monks. Witness the Source Audio Collider, a digital reverb and delay combination that combines their top-of-the-line Nemesis Delay and Ventris Reverb pedals. Unless you need specific patches from those pedals that aren't here, this can replace both on your board.

Granted, it's likely more complex in reality than it seems on the outside, and there's of course a financial and practical incentive to want to divide the line-up by function. A stoned, morning floaty, messed up, thrill machine is what it is. Washes of reverb in new ways you’ve not heard in a stomp box before and a fuzz that’s like a cigarette burn on your forearm. It rages. I’m happy that Keeley has chosen My Bloody Valentine as part of their ‘soundalike’ series of pedals. It makes a change from effects based on boring old blues-based guitar legends. I was one of those kids that went out and bought the album on the day it was released and went to see them live on that tour.He realised that he could make a success of his pedal designs. It’s all in the history books from there on in because the company has just grown from strength to strength. The Keeley Range Eccentric Belgian boutique builder Drolo designed the loop channel, presumably taking experience gained from their excellent Molecular Disruption Device and Stammen pedals. Ebenfalls sehr gut ist die Möglichkeit, die Reihenfolge von Fuzz und Reverb zu vertauschen, ohne dafür alles neu zu verkabeln. But other than those two standout stompboxes, Keeley have branched out into a plethora of other effects that provide a wide variety of exciting sounds. Keeley are a true boutique effects company. And fortunately they cater to all your different needs! You can buy a Keeley pedal with the knowledge that it'll be built well, last forever and sound fantastic. Robert Keeley used to be an amp repairman before getting involved in teaching analogue and digital electronics at Vatterott College in Oklahoma. This is where he methis first Keeley Electronics employees.

Ik wou in feite de Keeley Realiser (reverb deel) en dacht dat ik beter zelf voor de fuzz kon zorgen. Maar heel tevreden met de fuzz erbij (top fuzz!). Het schakelen van de fuzz voor of na de reverb is voor shoegaze music echt handig, niet constant pedalen wisselen. Reverse- This is not a true reversed reverb as it reads through a delay line at various points in the delay while increasing in volume. This is where it gets really cool. The vibrato in this mode is envelope controlled. The range runs from 0 to 50ms of time shift. Tone control is loosely based on the Jazzmaster rhythm tone control with a low pass filter centered at 156.6Hz Strum hard and it pitch bends like you are playing the trem bar on a Jazzmaster or Jaguar! Combine the two for an unreal dual-guitar player effect!Also vorweg: Das Pedal ist sicherlich sehr speziell. Der Fuzz-Teil ist intuitiv und vielseitig; für mein Empfinden ist es nicht grade der sanfteste Fuzz, den ich je gespielt habe. Der Reverb-Teil hingegen ist kein Standart-Hall. Alle drei Einstellungen bringen besondere Hall-Settings mit, die in meinem Setup einen Spring-Reverb mit ihren ausgefallenen Sounds ergänzen. The Chase Bliss Mood is a supergroup, or at least a super-collaboration of the pedal world. The MIDI controls and 'brain' of the pedal come from Chase Bliss, with their usual pattern of complex control parameters and dip switches, but its 'heart' is two weirdo pedals in one, combining looping, reverb and delay. Mijn eerste Keeley pedaal en ik ben onder de indruk. De geluiden zijn stuk voor stuk heel mooi en organisch. The Loomer is essentially a huge fuzz tone with a large wash of reverb that aims to sound like My Bloody Valentine’s epic masterpiece Loveless. The album includes many seminal sounds that guitarist Kevin Shields spent a ridiculous amount of time perfecting in the studio. He often used the Yamaha SPX90 and the Alesis Midiverb II. These were combined with fuzz and a Jazzmaster tremolo arm, which was played rhythmically in a slow, powerful manner. The subtle warble of pitch, fuzz drone and washes of reverb were balanced in such a way that it made you feel as though you were gliding through a dream. The second side is a wet channel, with reverb and delay effects courtesy of - well, also eccentric - US boutique builders Old Blood Noise Endeavors. With pedals in their line-up like the Rever, Dark Star, and Dweller, they know their way around designing exciting and unusual delay and reverb circuits.