Upon first glance at the Imperial MKII, you might be intrigued by its charmingly retro appearance. Inspired by the JEN Jumbo fuzz, which is one of our personal favorite vintage fuzzes, the Imperial MKII’s four sliders, textured black paint and bold red graphics shows you can immediately tell that this pedal means business.

If a ripping, royally raucous fuzz, with impeccable manners, is what you seek in your tone conquest or whether you are chasing those soaring Gilmour-esque leads that propel you to the far side of the moon, then look no further than the Imperial MKII.

So, what is the JEN Jumbo Fuzz and what makes it so awesome? JEN Elettronica was an Italian manufacturer who made pedals for Vox, Dallas Arbiter and Sound City (among others), in addition to making equipment under their own brand. The Jumbo Fuzz was their spin on the venerable EHX Big Muff® that swapped the knobs out for sliders and added a nifty germanium noise gate. In terms of sound, the tuning of the Jumbo Fuzz lies somewhere in the Ram’s Head camp - not overly scooped or woofy, with a nice gain range - just a great sounding pedal!

While the Jumbo’s noise gate is a great feature and gives this BMP variant a unique attack with practically zero noise, vintage units vary greatly from one unit to another, with some gating too much and others not at all. Capturing the Jumbo Fuzz’s vibe and redesigning the gate was essential to our Imperial redesign. Let’s dive in…

True to the original SGFX Imperial, the MKII retains our high impedance JFET preamp, giving the low noise floor detail and definition you would expect from any SolidGoldFx pedal. Bass, guitar or synth, stick it anywhere in your effects chain and feel free to ride your volume knob for clean-up - the Imperial’s preamp will respond. While the tone stack is carried over from the original design, a new Contour slider replaces the mids switch, which changes the frequency of the high-pass filter in the tone stack. This allows you to boost or scoop your mids, with every shade in between. 

About that noise gate, this is where the Imperial MKII really shines. We’ve swapped out the Jumbo Fuzz’s germanium transistor design with silicon devices and given it an improved envelope generator, to ensure consistency and response throughout. Having fine-tuned the attack and release, not only does the noise gate allow for virtually zero noise, but it also gives the pedal a unique, sharp attack with no loss of sustain at higher fuzz settings. Align this to a nice, dry attack at low settings, and Imperial MKII will pair great with other dirt boxes too. The noise gate will even allow you to add fuzz to a hollow-body, while controlling the howl and feedback should you choose.

Finally, the Imperial MKII package is completed with dual LED indicators (one for bypass and the other indicating the gate status), top jacks, true bypass switching and, of course, our retro sliders and vintage inspired artwork.

When inspiration hits, you need the voice to proclaim it.  When you need that voice, count on the Keeley Oxblood Overdrive to be your beast of burden.

The Keeley Oxblood Overdrive is our response to everyone cloning the “Mythical Beast” pedal. We decided to build an original design. We wanted to build a new circuit that lets players blend from perfectly clean to amp-crushing roar.  We wanted that impossibly huge and focused midrange that makes any guitar–Strat, Paul, Tele–sound incredible.  We knew we could do it our way and offer you more tone.  So we designed this pedal over the course of a few days to outdo the old pedal.  I am confident we not only drew blood, we crafted a #killer.

Clean, Distortion, Fuzz — It’s All There

With the Oxblood Overdrive you roll off the Drive Control and get a perfectly clean sound; you can dial in any amount of distortion and volume to stomp an amp into pure tonal Nirvana.  The Keeley Oxblood Overdrive offers you two ways to clip and saturate your signal with overtones by selecting carefully chosen diodes. These are different than the standard Oxblood.  These diodes were chosen to give you bigger, more open amp tones without a lot of compression.

The key to the ultimate overdrive, in our opinion, is the ability to control five different parameters.

• Bass response.  The Phat Switch cuts bass response to give you that classic Screamer or that mythic, K-like midrange shelving.  The bass response, when cut, is saturated with a hint of 2nd order harmonics.  Punchy and full yet not overbearing, it cuts like a buffalo. What can I say?
• Clipping.  Sometimes there just ain’t enough gain in the world.  Well, not so with this beast. The Clipping Switch gives you the ability to sing with near infinite sustain or just stand on your amp like a chief.
• Tone Control.  You need to be able to dial in the highs perfectly or nothing else matters, right?  The highs are what make it ear candy or ice picks.  Heck, we give you the range to do whatever the heck you want to do. And that’s a two-heck sentence.
• Volume.  You have to be able to put the pedal to the metal whenever you darn well chose.  Voltage doubling in our circuit gives you just that.  Headroom for days.  Slay an amp, leave it a bloody mess.  No, you won’t blow tubes, but you will have them at the right temperature to make them glow with delight.
• Drive.  What? You want me to describe Drive?  Shoot, from “Is it ON?” cleans to searing sustain and saturation.  It pushes you.  Compels you to play.  Non-stop playing….
• Midrange.  Wait.  Didn’t I say 5?  Well, the 6th sign of a wonderful overdrive pedal is what’s under the hood.  It’s masterful creation of sultry mids.  The kind of mids singers or cellos are known for.  Throaty and powerful.  Not just a woman tone, but a manly roar.  Not congested and stuffed up.  Focused and brilliant.

Trifecta

The Keeley Oxblood Overdrive was designed by Robert Keeley and Craighton Hale with a lot of help and insight from Jack Orman.  Jack Orman has been a pioneer in the modern world of effects for 20 years.  His thoughts and ideas are incorporated by nearly every boutique builder out there.  Here is your chance to hear a brand new creation designed to outperform any of the clones.

With more and more bass players using pedals these days, its no surprise that four-stringers are looking to pedals to sweeten their tones. Sometimes, bassists must play direct, sometimes there are mix issues, and bass players are often required to keep their tone, and thus pedal selection, “tasteful” in the traditional sense. What if we told you there was a pedal that answered all of these, and that it was dead simple to dial in right out of the box? There is! We call it the Beta MKII, you just might call it “the answer.”

Out of the hazy, sand blown distance, something comes forth.  Moving slowly, moving softly, it is seen and just as quickly lost.  It echoes in the open air, a voice on the wind.  It’s a Procession.  A cavalcade making its way through the deserts of a distant planet.  The sounds of another world.  Or something along those lines.  

Tidal soundscapes and super-modulated repeat trails will lead to new inspiration with every note you play. Guitar, synthesizer or any instrument will take on new shapes and forms with the Polymoon’s massive algorithmic flow.

Deep black mud is covering his jaws, but the rising sun reveals the glancing brake draped antlers of the majestic dead stag. His massive blast of distortion will tear down even the thickest boondock wilderness and set the world on fire.

Keeley 30ms Automatic Double Tracker.  This stereo effect pedal 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.  The Keeley 30ms is designed to work with guitar, bass, keyboard, even vocals

Says Chief Engineer Robert Keeley, “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. 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.”

This is one state of the art professional power supply for effect pedals. It delivers 2.800mA of the cleanest power from its 10 isolated outlets with 9 and 12V available. Besides being one of the most powerful power supplies for effect pedals on the market it also offers some new advanced features. The adjustable outlet 10 will power pedals with non standard voltages like e.g. Tonebones at 15V, Blackstar dirt pedals at 22V, GLAB GSC-4 controller at 24V, all high current 18V pedals from Hiwatt, a few vintage EHX and many others. Due to its very high 800mA current capability at 9 or 12V you can with this single outlet power one of the big units like Line 6 M9, a VOX ToneLab or some older BOSS GT-XX Processors just to mention a few.