Keeley Electronics has introduced the RK2000 Funk Siren Delay, a pedal based on the revered Ibanez DM2000 rackmount delay, a classic from the 1980s.
If youāre a fan of Trey Anastasio, then youāre familiar with the DM2000 rackmount delay. Trey uses it to create an ambient loop called the Funk Siren. In 1983 it was called the most over-engineered delay of its time.
This unique delay, with its Hold and Mod feature, is now available in pedal form for the first time. Justin Stabler, Treyās guitar tech, asked Keeley Electronics to recreate the vintage delay because Treyās aging 40-year-old models were increasingly unreliable.
One of the defining features of Keeleyās RK2000 is its modulation section ā an effect that is so dramatic itās been likened to slamming your hands against the supply reel on a tape deck. The RK2000 Funk Siren Delay features presets, remote switching of Hold and Mod, expression pedal over any control, ping pong pitch shifted delays, and MIDI control. The RK2000 Funk Siren Delay is the first-ever pedal recreation of the legendary DM2000 rackmount unit. Designed to solve the reliability issues of 40-year-old vintage gear, this pedal delivers the exact āFunk Sirenā ambient loops made famous by Trey Anastasio.
Like every Keeley pedal, the RK2000 Funk Siren Delay is designed and manufactured in Oklahoma, USA. Engineered for the working musician and voiced for inspiration.
Inspired by the famously over-engineered 1983 rack unitānow in a dependable, gig-ready format
Developed with input from Treyās guitar tech, Justin Stabler, with additional input from Will Little (@subsynth), Max Smilen (@jedi_mind_licks), Tyler Penn (@trey99rig), Nate Adams, and Josh Maxey (@maxeyarchtops)
Signature Hold + Mod performance features for dramatic, tape-reel-style modulation
Dramatic Modulation: From subtle warble to ātape-reelā slams.
Modern Control: Full MIDI integration, presets, and expression pedal support.
Expanded Features: Remote Hold/Mod switching and pitch-shifted ping-pong delays.
Presets for instant recall
Expression pedal control over any parameter
Ping-pong, pitch-shifted delays for wide stereo motion
Full MIDI control for deep integration with your rig
The Keeley Electronics RK2000 delay carries a street price of $369. For more information visit rkfx.com.
Daredevil Pedals in collaboration with Matt Pike (High on Fire, Sleep) has released the Double Cocked fixed wah pedal. This circuit has been a mainstay in Pikeās rig and the key to his guitar solos for the last decade. Daredevil has now given it a total overhaul and proper artwork according to Pikeās own creative direction.
The circuit itself is a fixed wah with two foot switchable sweep settings, followed by a gain stack to add dirt and a lend a hefty boost for leads. A blend knob controls the mix of wah vs. gain boost to allow full control of the cocked wah overtones, ranging from subtle EQ tweakage up to fully saturated Ronson, Schenker, Slayer-esque levels.
The pedalās awesome artwork was hand drawn by Jordan Barlow, with Pike coining the name and design concept of this new beast. Each pedal is signed by Matt, numbered, and dated. These will be a regular item for Daredevil in 2026, not limited edition.
Includes Matt Pike signature picks.
True Bypass wiring and a lifetime warranty
Runs on 9V battery or external DC supply
All pedals are hand wired in Chicago by Johnny Wator @ Daredevil HQ
The Double Cocked pedal carries a street price of $179 and is available exclusively on Reverb.com. For more information visit Daredevilpedals.com
MESA/Boogie today unveils the new SubwayĀ®+ Bass DIāPreamp II, a compact, fullāfeatured followāup to its highly acclaimed firstāgeneration Subway bass preamp pedals. Consolidating the strengths of the original two preamp models into a single, streamlined unit, the Subway+ Bass DIāPreamp II adds smart refinements that give bassists all the toneāshaping tools they need to capture the sound, feel, and response that have made the Subway Series market leaders in premium bass tone. The new Subway+ Bass DIāPreamp II is now available worldwide at authorized MESA/Boogie dealers, at Gibson Garage locations, and at www.mesaboogie.com.
Building on the foundation laid by the celebrated SubwayĀ® Dā800ā¢, SubwayĀ® Dā800+, and SubwayĀ® Dā350 preamps, the new model delivers worldāclass MESA bass tone in a format that is approximately 40% smaller than previous Subway+ design. The result is a roadāready, studioāsavvy preamp thatās equally at home on a tight pedalboard, a desktop, or riding along as a microāsized gig-bag solution.
Designed for power without complexity, the Subway+ Bass DIāPreamp II features an extendedārange JāFET preamp that plays beautifully with both active and passive instruments, plus an Input Mute footswitch for silent tuning. A Deep switch adds roundness and lowāend weight, while a Bright switch lends bite and topāend sparkle. MESAās awardāwinning variable HiāPass Filter (30 Hzā150 Hz) removes headroomārobbing subāsonic content so players can precisely tune their low end to the musical style, ensemble, or venue.
Independent Gain, Boost (footswitchable with dedicated level control), and Master Volume controls unlock a wide paletteāfrom warm, rounded cleans to mix-ready drive. The Variable Voicing control sweeps the overall character from a flatter, modern response to a more vintage-inspired contour by intelligently adjusting multiple frequency regions with a single knob. For deeper sculpting, a fully active 4-band Baxandall EQ provides Ā±12 dB of Bass, Low Mid, High Mid, and Treble, with sweepable Low-Mid (150 Hzā1.8 kHz) and High-Mid (300 Hzā5 kHz) frequency controls for surgical precision.
Flexible connectivity makes the Subway+ Bass DI Preamp II a natural fit for practice, stage, and studio. Aux In and Headphone Out allow players to blend a media source with their bass for quiet, on-the-go rehearsal. The Preamp Output supports Ā¼ā (6.35 mm) TS unbalanced or Ā¼ā (6.35 mm) TRS fully balanced connections and delivers ample level to drive any pro audio power amp. A mic-level balanced XLR DI with Pre/Post EQ and Ground Lift routes iconic MESA tone directly to front-of-house, monitors, or recording interfaces with ease.
With its ideal mix of compact sizeājust 2.25ā (57 mm) H Ć 6ā (152 mm) W Ć 4.25ā (108 mm) Dālight weight, 9ā18 VDC (either polarity) power flexibility, and stellar tonal control, the Subway+ Bass DIāPreamp II is a powerful solution for silent or live practice, studio sessions, and touring. Whether feeding PA and/or backline in small to midsize venues or standing by as a trusted emergency rig, it brings unmistakable MESA authority to any bass setup.
An amp as versatile as it is powerful, with clean tones that are just as compelling as its high-gain roar.
Orangeās calling-card is, in the minds of many, a thick, coppery, and compressed high-gain roar. But for an amp that kicks this hard, the OR60 excels at translating the tonal qualities of a guitar with refinement and balance, and itās a more subtle and nuanced creature than you might expect. In this respect, itās much more like a late-'70s Marshall JMP with pre-gain than a hot-rodded Soldano or Bogner. The OR60 ably covers tones ranging from funky when clean to absolutely feral when cranked. And while the single-channel configuration suggests a narrow voice, thereās a massive range of timbres to exploreāfrom chimey to chunky to charging-rhino, and all points in between.
Literal weight aside, the 43-pound OR60 is a heavy hitter thatās not mere high-octane hype. It doesnāt just sound goodāit sounds vivid. Real. True. Three-dimensional. If it were an album mix, you might say it has terrific āimaging.ā Even at the kind of high gain settings where Orange excels, it grabs onto the essence of your favorite axe without compromising itāa quality that defines most great classic amps. The OR60 is happy doing all this loudly, and no one is going to mistake the amp for a studio-specific low-watt boutique head or a Swiss Army knife modeling unit. Even through a modest Orange PPC212V 2x12 cabinet, this tangerine titanās 60 watts of twin-6L6 power throw around the kind of sonic weight youād expect from a 50- or 100-watt half-stack. Still, it has a great clean-to-dirty range.
Orange
OR60-V3 60-watt Amplifier Head
60W, 1-channel Tube Guitar Amp Head with Power Scaling, Bright Switch, Presence and Resonance Controls, FX Loop, and Volume Footswitch
This month's Gear Radar roundup features Lollar's aggressive Monolith Humbuckers for extreme playing styles, the versatile QSC CB10 Compact Battery-Powered Loudspeaker perfect for gigging musicians and DJs, and the StewMac Valve Factory 18 Amp Kit, which makes building a classic American-inspired tube circuit safe and simple.
Lollar Pickups
Monolith Humbuckers
The new Lollar Monolith humbuckers are designed to meet the needs of modern players. The alnico 8 magnets offer aggressive attack, balanced compression, full body, and an articulate midrange that is well suited for extreme playing styles such as metal. Available for 6- and 7-string instruments with 4-conductor lead wires.
Whether you've soldered for years or have never touched a circuit in your life, StewMac's VF18 is designed to demystify the world of tube amplifiers. Step-by-step instructions walk you through the entire build safely and confidently. Inspired by classic circuits from the golden age of American tube amps!
CB10 Compact Battery-Powered LoudspeakerThe CB10 is a compact, battery-powered loudspeaker system offering unrivaled audio performance and versatility. It features a 10" LF driver, a 1" compression driver, and a 3-channel mixer for microphones, instruments, and Bluetooth streaming. Ideal for DJs, event professionals, and musicians, it offers easy plug-and-play operation and customization via the QSC Loudspeaker Control app.
