Every gigging musician knows this showbiz nugget: End your set on a high note. If you finish with a flourish, the audience will be salivating for your next performance.
In a way, that’s how Robert Keeley has wrapped up his 4-in-1 Series of overdrive/distortion pedals. After debuting with the wonderfully provocative Noble Screamer—a mashup of the Nobels ODR-1 and Ibanez Tube Screamer—in 2023, Keeley and his team have unleashed three new pedals simultaneously for 2024.
The troika of loveable troublemakers—the Blues Disorder, Super Rodent, and Angry Orange—continues the engineering theme and playful naming convention of the Noble Screamer. Each of the new pedals offers two independent effects featuring classic overdrive/distortion circuits. The effects are carefully paired together and allow you to mix and match their respective clipping sections and tone sections. If you wish, you can use both the drive section and tone section of circuit A exactly as it appeared in the original pedal. Same with circuit B. But the fun really begins when you experiment with mashups: You can link the overdrive section from circuit A with the tone section of circuit B, and vice versa. These “hybrid” modes offer unusual and unexpected delights. Suddenly, you have four pedals in one.
Matchmaking 101: How to Pair Iconic Pedals
The three new overdrive/distortion pedals each combine a soft-clipping classic with a hard-clipping counterpart. Angry Orange matches a carefully chosen Big Muff specimen (soft clip) and Boss DS-1 (hard clip). The Blues Disorder pairs a Marshall Bluesbreaker (soft clip) with a Fulltone OCD (hard clip). And the Super Rodent combines a Boss SD-1 (soft clip) with the venerable RAT pedal (hard clip).
The enterprise was made possible by a well-established circuit template among pedal builders that has defined the genre since its inception. “The whole series is based on a simple fact: Almost all overdrive and distortion pedals are designed with the same signal flow,” says Keeley. “They have a clipping section that feeds into a tone control.” This fundamental similarity among pedals meant that they could be combined with each other in a new, intriguing fashion.
With that in mind, Keeley relished his role as matchmaker. “I wanted to pair pedals together and thought ‘Wouldn’t it be fun to pair a RAT and a Super Overdrive?’ Their sounds are so well-known: The RAT is hard-clipping and the Super Overdrive is soft-clipping, and players love to stack these two pedals. But with the hybrid mode, players can get something that they’ve never heard before.
“The next one was the Blues Disorder: I wanted to put two extremely popular pedals together. So I opted to pair the Bluesbreaker—which attracts a similar type of following as the King of Tone and Morning Glory—with an OCD, which is one of the most popular distortion pedals ever. The Blues Disorder combines two super popular pedals, but now you can explore them in a way that’s totally new and fresh.
“For the third pedal, I wanted something really heavy. I thought that it definitely had to have a Big Muff, and I realized that no one is doing a boutique version of the Boss DS-1, maybe the most popular distortion pedal of all time. The Big Muff is a soft-clipping pedal and the DS-1 is hard-clipping, so this combination fit the identity of this pedal line. Interestingly, both those pedals share a similar type of tone control—the topology and resistors are kind of similar, but they carve out a different midrange and scoop. The other pedals in this series have radically different tone controls, like the Noble Screamer, the first pedal in this series.”
The matchmaking process resulted in some devilishly delightful surprises, with each pedal’s “hybrid” mode offering new and fresh tones. “I couldn’t have predicted how these hybrid modes would sound,” says Keeley. “That was a fun part of the discovery process along the way.”
A Man with a Plan
The unveiling of three new pedals marks the culmination of an idea that began more than two years ago. “All of these pedals were designed at the same time,” Keeley notes. “I wanted to have a soft-clipping pedal paired with a hard-clipping circuit. As soon as I settled on the concept, within a couple of weeks, Craighton [Keeley’s in-house engineer, Craighton Hale] had prototypes ready for the Blues Disorder and Super Rodent. The Angry Orange followed soon thereafter. They really came together very quickly.
“It was relatively easy to design the Super Rodent, because there aren’t many large differences between the generations of RAT pedals and SD-1s. That one was almost done even before I started. But the Blues Disorder took a lot more effort. The different versions of the OCD are all over the place. Mike [Fuller] made a lot of changes from generation to generation. For this reason, the Blues Disorder does not have identical clones of the two pedals, like the Noble Screamer. For the Blues Disorder, we tried to create the best-sounding OCD we could come up with. And for the Bluesbreaker circuit, I bought $4,000 worth of King of Tones from all different eras, so that this pedal would compare favorably with the King of Tone and the JHS Morning Glory. I wanted the Blues Disorder to be a statement piece from Keeley. You’ve got the soft-clipping Bluesbreaker that so many people love, coupled with the OCD’s tone stack—which is really hot, so it’s almost like having another gain stage pushing the mids—in the hybrid mode.”
The first in the 4-in-1 series.
However, Keeley and his team opted to debut the 4-in-1 Series with the Noble Screamer. “We decided to start with the Noble Screamer for two reasons. We wanted to put that pedal under incredible scrutiny to see how well we had managed to recreate those two original circuits. And, by focusing on one pedal, we could get our manufacturing skills together to prepare for the entire line. We were making our own, newly designed case for the first time. All these pedals were designed for the old case, but when we got the capability of building our own cases, we knew that there was no way we were going to put these out in the old die-cast enclosures.”
The Name Game
The 4-in-1 Pedal Series benefits from the cheeky names for each model. Again, Keeley and his team had a plan in mind right from the get-go: “I had a few rules I tried to follow. Whenever possible, I tried to use a word from each of the individual pedals. So the Noble Screamer got its name from the Nobels ODR-1 and Tube Screamer. The Super Rodent was really easy, because it borrows from the Boss SD-1 Super Overdrive and RAT. The Blues Disorder comes from the Bluesbreaker and OCD—obsessive compulsive disorder. The fun one is Angry Orange because it doesn’t have the word ‘Muff’ in it. That one gets its name from the orange color of the DS-1. If you look up ‘orange distortion’ on Google, it immediately comes up. And the Big Muff is kind of an angry-sounding pedal, so that’s how we got the name.”
The Angry Orange presented an additional challenge: Which version of the Big Muff and DS-1 would be used? “In choosing the right Big Muff, I considered at least five or six different variants—the op-amp Muffs, the Ram’s Head, and various transistor Muffs. As I was searching for the right Muff, I came across this very interesting and rare Sovtek Russian Civil War Big Muff. It’s this blue and grey thing—Mike Matthews had the team in Russia print both sides of the enclosure. We ended up using this transistor Muff. It sounds incredible. When it came to choosing the DS-1, I started looking at the older Japanese models that I have in my collection, but then I listened to one of the Waza Craft versions and those sound great. They’re designed totally differently from the vintage DS-1s, and we thought that they sounded better than the old ones. We went in there with our analyzers and Aaron’s ears [Aaron Pierce, a key member of the Keeley design team] and we spent a ridiculous amount of time finessing the DS-1 and Muff circuits to work well with each other. That Angry Orange pedal took the most amount of work, after getting the Noble Screamer to sound exactly like the originals.”
Some Contenders That Were Left Behind
For the sake of diversity and practicality, Keeley says that several iconic pedals were never in the mix as potential candidates. “I didn’t really want to do a Timmy pedal or a Zendrive. And I couldn’t do a Distortion+ because it doesn’t have a tone control. There were two other pedals that kept coming up in forum comments, the Klon Centaur and Boss BD-2 Blues Driver. But I couldn’t use them in this series because they use dual pots in their original design. In this series I’m already using custom dual potentiometers for both volume and tone because they’re controlling two completely separate circuits. If I were going to attempt doing a Klon or BD-2, I’d have to use a triple-stack potentiometer, and I don’t know if it would’ve even fit into the pedal.”
“I would’ve loved to put the Marshall Bluesbreaker and the Boss Blues Driver in the same pedal, but the Blues Driver’s dual pot made it impossible. And an OCD and Klon would’ve made a fun combination, because they sound radically different, but I couldn’t do that since the Klon uses a dual potentiometer in its design already.”
The Keeley Team Employs the Science of Tone … and Ears
In designing and building the new series of pedals, Keeley and his team have strived to achieve a new level of consistency and sonic precision. “We’re using several Audio Precision analyzers, and they’re so cool,” Keeley enthuses. “We can measure the frequency response, the signal-to-noise ratio, and the total harmonic distortion for any of these designs. We can create a complete ‘CAT scan’ of the desired pedal and use it to dial in the sounds of our own designs. I fell in love with these things, so we use them now on the production floor to test all of our units, so our production is much more consistent.”
But even with the increased use of measurement tools, the company’s product development process boils down to the most important factor: how these pedals sound to the human ear. And this is where one member of the Keeley team plays a particularly crucial role. “Aaron Pierce is the golden ears of Keeley Electronics,” notes Keeley. “I can change one part by 10 percent, out of 70 to 100 parts, and he’ll hear it. It’s amazing, and he consistently does it day after day. So as much as I love my analyzers, I rely on Aaron’s ears—he’s a critical factor in the development of our pedals.”
Keeley gives props to Craighton Hale as another core member on the team, and his work shines on the 4-in-1 Series. “He has designed all the Keeley circuit boards since 2012. He put in a huge amount of effort in designing the smooth, quiet switching systems so that you can go into hybrid mode or change platforms without any popping or noises.”
Looking Ahead
The 4-in-1 Pedal Series marks an important new phase in the company’s evolution. In recent years, Keeley has made major investments in his Oklahoma City manufacturing facility, moving into a brand-new building in 2021 and stocking it with advanced production machinery. The 4-in-1 Series enclosures—sleek-looking, extraordinarily durable housings—are made in-house and represent one of the most notable results from Keeley’s improved production capabilities. “I feel like this is the beginning of the next generation of Keeley Electronics. Now that we have a lot of circuit-board-making capabilities and can build our own enclosures, I feel that we can make an impact in drive pedals. In recent years, we’ve focused on reverbs and delays, but now we can re-engage with overdrives.”
Guitarists have responded very positively to the new 4-in-1 Series, and Keeley says that positivity is shared by one of the most notable voices in the pedal community. “Dan Steinhardt from That Pedal Show told me that, ‘The problem with drive pedals is option paralysis.’ There are too many bells and whistles. But with these pedals, Dan said that the problem is solved by keeping the pedals in a 3-knob overdrive format. It felt so good to hear him say that.”
With that type of validation for the 4-in-1 pedal concept, Keeley gratefully acknowledges that the bold concept was worthwhile. “As an engineer I really want to make it easier to make music. I want to help make it more inspirational. So if we can find a clever way to put drive pedals together, that makes me feel really good as an engineer to be able to offer something fun and unique.”
Godin Session T-Pro Electric Guitar - Kanyon Burst with Maple Fingerboard
- Player-designed 6-string electric guitar with engaging character
- Lightweight basswood body cuts through the mix with a balanced, full-bodied sound — perfect for use in several genres and stylings
- Semi-gloss toasted maple neck keeps movement along the fretboard smooth and precise
- Maple fretboard and double-cut body style provide easy access to all 22 frets
- Black celluloid dot inlays and side markers
- Graph Tech nut and Godin custom lock tuners provide enhanced string intonation and sonic stability
- Gorgeous golden brown tortoiseshell celluloid pickguard
Could you ever tell the difference between guitars from the sound of their tonewoods alone? That question has puzzled us, too — for years. Sweetwater reached out to Breedlove Guitars to try and answer these questions by doing something that’s never been done before.
“What if we made the same guitar out of different woods? How much difference would we hear?”
The premise seemed simple enough: same guitar, same dimensions, same maker, same everything. The difference? Only the wood in the backs and sides would change from guitar to guitar. Simple — but no one has ever committed the time, expertise, and resources required to do this. Until now.
Can You Hear the Difference? Acoustic Guitar Tonewood Showcase
Let's Listen
Your initial reaction to these guitars may be like ours when we first flipped the latches and opened the cases — lots of “ooh-ing” and “ah-ing” over how beautiful the instruments are. They are truly works of art. We’ll start with a gallery of photos while treating you to sound samples for each of these exquisite guitars, played by Don Carr.
Note: We used premium microphones and preamps to record these and reveal all the nuances between them. Using high-quality speakers or headphones is the best way to listen to these.
Rosewood
A perennial favorite, offering power and definition like no other. Listen on Sweetwater.com.
Myrtlewood
A Breedlove favorite, Pacific Northwest native, and new to many players -- it may surprise you. Listen on Sweetwater.com.
How This Project Began
Thom Grant, Sweetwater’s acoustic guitar category manager, reached out to Angela Christensen at Breedlove Guitars and brought up the intriguing idea of a Tonewood Showcase series. In this project, we would build identical guitars from different tonewoods to compare the sounds of each. From the start, Angela was all in. As head wood buyer for Breedlove, she was intrigued by the properties and characters of different woods. As a company, Breedlove adores coloring outside the lines, and this group of Tonewood Showcase guitars certainly fits that model. One word that kept coming up was “unprecedented.” Nobody has ever done anything like this before. With buy-in from a premium builder like Breedlove and a dedicated luthier like Angela heading up this unique project, we began with a completely blank slate. Imagine having every option available to you: Where would you begin?
Where Do We Start?
This amazing opportunity presented us with a number of questions:
What guitar model should we use?
We decided to use the Breedlove Concert body style, the company’s most popular model.
What wood will we use for the top?
We decided that the tops would be spruce, and Angela agreed to personally select the highly figured Bearclaw Sitka spruce tops that would be used on all the guitars. And the tops are stunning! Each is hand-tuned with Breedlove’s proprietary Sound Optimization method. In this hand-voicing process, the company’s luthiers meticulously tap, listen, and shave away wood while targeting specific frequencies to make each instrument sound its best. Each instrument comes with a certificate that documents the optimization process for that specific guitar.
What tonewoods should we use for the backs and sides?
Sweetwater and Breedlove decided that these five woods — chosen for their unique looks and sounds — would be utilized for the backs and sides:
- Cocobolo
- Koa
- Rosewood
- Walnut
- Myrtlewood
If all the guitars are identical except for their backs and sides, then how will you tell them apart just by looking?
Each guitar has neck inlays, an inlaid rosette around the soundhole, and a veneer on the headstock that matches the back and side wood. The original Breedlove “B” logo appears on the headstock to visually differentiate these guitars. Note the beautiful wood binding around the body as well.
What about the necks?
All the necks are made from mahogany and have ebony fingerboards. The guitars’ neck inlays are quintessential Breedlove and match the body wood — koa inlays on the koa guitar, for example. The one exception is the neck on the myrtlewood guitar, which is maple — a pairing prized by Breedlove.
What bracing and hardware do we use?
All the guitars are identical in terms of bracing. The tuners and bridges conform to Breedlove’s high standards.
These look like limited-edition guitars. Are they?
These are NOT strictly limited-edition guitars because we can make more. We have ordered five of each with the option for building more. They are Sweetwater-exclusive instruments, however, and with the look and panache of an instrument valued at more than $10,000, each will surely be rare and highly prized but at a more reasonable cost. Sonically and visually, they compare well to guitars that cost twice as much.
Player's Perspective: Do Tonewoods Matter?
Don Carr had the unique privilege of playing these five guitars on multiple occasions. Here are his thoughts after spending time with all of them:
"Normally, when playing various guitars in a head-to-head comparison, there’s a long checklist to consider for each instrument: visual appeal, body size and shape, design and construction, action and setup, wood choices, quality vs. price, and ultimately, of course, how it sounds. This experience was not a normal comparison. In this one-of-a-kind context, the only difference I had to consider was how the guitars sounded, and as a player, how that sound felt to me and how I responded to each one.
I’ll start with the fact that all of the guitars sound incredible. This is a testament to Breedlove and Angela’s expertise and resources. Breedlove’s Concert guitar is a perfect platform because the feel is balanced, and the sonic spectrum is evenly represented. Plus, it’s just a joy to play. Breedlove has an amazing wood library, but beyond having the right woods, knowing how to choose the right pieces and pair them properly is an art. All that considered, with every other aspect of the construction of these guitars being as close to identical as possible, there are subtle differences.
As the person lucky enough to play and record all five guitars, I got a chance to spend a decent amount of time with each one. From the player’s side, the most noticeable differences are in the low end, largely because you feel the way it resonates against you. When picking a favorite, this is a factor depending on whether you like to feel the body resonate and be enveloped by the low end of the instrument. Spoiler alert: I found that the more I played them, the more difficult it was to pick a favorite. Sorry, not sorry! I honestly enjoyed every one of them, and they each have their own unique and useful sonic signature."
Conclusion
These extraordinary instruments are some of the finest, most unique acoustic guitars you may ever see, and they are only available at Sweetwater. Pick the one with the sound you like most and reach out to your Sweetwater Sales Engineer at (800) 222-4700. While we hope to make enough for everyone who wants one, there are no guarantees. We’re not sure how long they’ll be around, so don’t wait — order your favorite today!
Credits
Don Carr’s original compositions and performances are featured in this article, and Jason Peets engineered the sessions at Sweetwater Studios. We used a pair of Telefunken C12 large-diaphragm tube condenser microphones through a DW Fearn VT-2 Dual-Channel Microphone Preamp recorded directly recorded into Avid Pro Tools through Avid MTRX converters. Photography was done by Sweetwater’s own Matt Owens, and the tube lights utilized in the shoots were Chauvet Pro WELL STX 180 LED tube lights.
Dynamic duo: Andy Timmons and Robert Keeley collaborated on the versatile, spanking new Super AT MOD, from Keeley Electronics.
In the world of guitar gear, artist signature products are a time-honored tradition. When the chemistry works just right, they’re as potent and attention-grabbing as a well-struck power chord.
But if you’ve ever wondered how an artist and manufacturer actually work together on a product, the new Keeley Electronics Super AT MOD overdrive provides a striking case study in the mind-meld process.
While the new Super AT MOD looks like a classic 3-knob overdrive, the mode toggle is the pedal’s secret sauce, and the AT setting adds a particularly shimmering quality to the harmonically rich overdrive.
The versatile pedal is the latest creative partnership between ace guitarist Andy Timmons (known for his solo work and touring/recording with Danger Danger, Olivia Newton-John, Kip Winger, and many more) and Robert Keeley, a pioneer and leading presence in the realm of guitar effects.
In a collaboration spanning more than three years, Timmons and Keeley have become great friends, mutual provocateurs, and culinary kindred spirits. (More on that later.) They began working together in early 2020, when Timmons and Keeley teamed up on the wildly successful HALO dual echo pedal.“We spent more than a year-and-a-half really fine-tuning that pedal,” says Timmons. “It was a wonderful collaboration. We couldn’t have imagined how it would resonate with so many people.” Keeley adds with a laugh “I have found that my customers like what Andy’s ears like. It resonates so much with our customers that the Halo has become 25 percent of our business. Andy’s ears are really golden.”
Buoyed by the HALO collaboration, in late 2022 the creative process resumed in a new direction: a signature overdrive. In conceiving the new Super AT MOD overdrive, Timmons knew exactly what he was looking for: a flexible, highly responsive overdrive that can beef up a guitar’s tone but also offers an option to achieve high-end clarity and shimmer.
The initial inspiration for the Super AT MOD came from Timmons’ love of a classic Keeley mod for the Boss BD-2. “The modded BD-2 goes from clean to mid-gain, and it’s very responsive to touch,” Timmons notes. “But I was always reaching for this crystalline, glassy gain with just a little bite. So, with the new pedal we have two modes: a ‘phat mode’ which alludes to Robert’s original modded circuit, and then there’s the AT ‘modded modded’ side.”
Keeley Electronics Super AT Mod Overdrive - Video Demo Review with Robert Keeley and Andy Timmons
Andy Timmons and Robert Keeley talk about their collaboration for the new Super AT MOD, and Timmons displays its versatility and powerful dual-mode gain. You’ll also hear the guitarist use his other Keeley signature pedal—the HALO Dual Echo.
Sometimes Less Is More
Keeley took a different angle in designing the Super AT MOD. In contrast to his normal modus operandiof boosting certain frequencies, this pedal’s “modded modded” AT Mode is based on a subtractive method for sculpting the pedal’s tone.
“The original phat mod was designed to push up the bridge pickup of a Strat or Tele and give it a bit more girth,” Keeley explains. “But Andy pointed out that if we carve away some of the frequencies, his guitar will stand out more. Andy was approaching this from the opposite direction, playing with a pickup that’s much more akin to a humbucker, with a bigger dynamic range, so it doesn’t need that push on the low- and mid-bass.”
During the development and testing phase, Timmons relied primarily on his main guitar–his Ibanez ATZ100 signature model with three humbucking pickups–and his beloved Mesa/Boogie Lonestar 2x12 combo. But the final version of the pedal offers an expansive versatility that makes it a fine companion for just about any rig.
“I’m lucky to find these cohorts in tone. We enjoy the process and hopefully that comes through in the final product.”
That flexibility is due, in large part, to the aforementioned tone-shaping method that Timmons encouraged Keeley to employ. “To me, the subtractive approach is a great way to arrive at a better tone,” Keeley says. “You can take away some of the excess and it leaves you with something more natural. With that in mind, the AT mode changes the tone control and what it allows to pass through. It takes out some of the bass tones, so it clears up that range and makes humbuckers less bloated. We also added a little bit of sparkle—some high frequency response from letting the natural stuff go through.
“We also tried to get a more tube-like sound, with the diodes and asymmetrical clipping,” Keeley adds. “The Super AT MOD gives Andy that nice chimey top end and that tube-amp-type growl and distortion because it uses JFET transistors. They’re the closest thing we have to tubes.”Creativity and Camaraderie
The Timmons/Keeley partnership is a testament to technology—and to a friendship that blossomed during the long, sometimes grueling playing/listening sessions that punctuated the development process.
Timmons is based in McKinney, Texas, about a three-hour drive from Keeley headquarters in Oklahoma City, Oklahoma. That proximity allowed for frequent visits to the Keeley shop and made it easier for Timmons and the Keeley team to work together on the successive HALO and AT MOD prototypes. “You’ve really got to be able to be in a room together and feel what’s happening,” Timmons says. “Because we were all in the same room, we were able to go beyond what we had ever envisioned. That’s the blessing of them being just a few hours away.”
“The initial inspiration for the Super AT MOD came from Timmons’ love of a classic Keeley mod for the Boss BD-2.”
A key member of the creative team was Aaron Pierce, artist relations guru at Keeley Electronics. Pierce was deeply involved in the Timmons/Keeley collaboration right from the beginning, and he helped jump-start the process of designing the Super AT MOD.
“During the two years that we were working on the HALO,” says Pierce, “we were always talking with Andy about what he was looking for in an overdrive. So, we were working on ideas for at least a few months before getting Andy back into the process. We had learned a lot about his preferences during the HALO development.”
Timmons greatly appreciates what Pierce brought to the undertaking. “I can’t stress enough: Aaron was really the third side in the triangle. It was so important to have his ears in the room. Even if I couldn’t articulate to Robert what I was hearing, Aaron was able to do it, because he could hear it and put it into words in a way that Robert could act on. Aaron was the perfect translator between Robert’s methodology and what I was going for.”
The HALO design journey took two full years, but thankfully the AT MOD’s development was relatively brisk—perhaps three or four months, and three visits from Timmons. On each visit, Keeley would offer hospitality by cooking for the crew. Keeley is well known among his friends as a fantastic cook.
“It took more than three sessions—probably about six meals together,” Keeley says as all three burst into laughter. “The food really does stand out,” adds Timmons. “We didn’t lose any weight during the sessions.”
Ultimately, the Super AT MOD benefited greatly from the spirit of friendship and shared passion. “I was able to be really demanding because they were willing to go down the path with me,” says a grateful Timmons. “Their willingness to be open and do things differently was the key. I’m lucky to find these cohorts in tone. We enjoy the process and hopefully that comes through in the final product.”Lasting Impact for All
Just don’t call them late for supper! The Keeley creative team assembles in Oklahoma City in February 2020 (left to right): Craighton Hale, Robert Keeley, Andy Timmons, Aaron Tackett, and Aaron Pierce.
Asked if the collaboration with Timmons has opened a new approach for future designs, Keeley answers emphatically: “Most certainly. I’m going to use the subtractive process and implement that design philosophy on future pedals. That’s one of the reasons it’s so rewarding working with Andy: developing more and more chops to get nuanced sounds.”
Pierce agrees: “Working with Andy makes us better on the engineering front and the manufacturing front. Every time we collaborate with him it pushes us on our technology, and we discover things that we never would’ve found without him.”
At the end of the process—and a bunch of great meals with the Keeley team—Timmons is thrilled with the results: the Super AT MOD overdrive delivers the tone and versatility he sought. “I haven’t had a pedal feel like this before. It has such a natural thing about it. The dynamic range just coming from the fingers is incredible. It’s the delicate, mild gain that I’ve been seeking for a long time. But if I want to crank it up, it has incredibly powerful full-on gain.”
You can hear Timmons putting the pedal to great use on his brand-new series of singles under the title Bitter Suites: The Outlier Nocturne. Beginning with the first one, “Here Lies The Heart,” the ongoing solo series features Timmons’ playing in a spacious, dynamic setting, inspired by the Super AT MOD’s tonal range. “That AT mode is what I needed. Since that pedal was created, I’ve gotten the next two tracks because this was the sound I was waiting for.” Timmons attests.
To learn more about the Super AT MOD pedal and Keeley Electronics, visit robertkeeley.com.
Timmons tests a prototype of the AT MOD with one of his Ibanez ATZ100 signature model guitars and a Mesa/Boogie Lonestar 2x12 combo at Keeley headquarters in Oklahoma City.