The effects guru puts two historic pedals—the TS808 and the Nobels ODR-1—inside a single box, with a fresh circuit design that allows for four variations on their revered voices.
At first glance, Keeley Electronics’ new Noble Screamer seems like a guitarist’s dream version of a Reese’s Peanut Butter Cup. This enticing morsel tastefully pairs two classic overdrive flavors, the timeless (and ubiquitous) Ibanez TS808 Tube Screamer and the best-kept-secret Nobels ODR-1.
The two circuits lurk side-by-side beneath the Noble Screamer’s sleek hood, ready for action. But there’s more: Keeley Electronics’ founder and designer Robert Keeley provides a nifty additional twist for creating your own sonic mashups. With the Noble Screamer pedal you can link the Tube Screamer-like overdrive section—a masterpiece of soft-clipping aural bliss—with the ODR-1’s thumping sonic flavors. Or conversely, you can deploy the ODR-1’s hard-clipping drive with the Tube Screamer’s famously midrange-forward tone circuit. Voila! Suddenly you have four pedals in one.
Beyond providing some pretty darn sweet guitar tones, the Noble Screamer also embodies a few bigger and more profound themes. It shows increased emphasis on made-in-the-USA manufacturing, a trend that extends far beyond music gear. It offers additional options for buffering and true bypass as standard equipment on a guitar pedal—highly useful even for guitarists who remain stubbornly technology averse. And it aims to reinvent a key product line from an iconic company. But let’s start at the beginning…
Nailing the Right Shade of Green
“Pairing the ODR and Tube Screamer isn’t just about the green color, but it sure helped,” laughs Robert Keeley. “There is a rhyme and reason why I chose those two pedals for the Noble Screamer. I had never done any mods or anything based on the ODR-1, but the idea for the pedal came from this: Wouldn’t it be fun to combine two green pedals? And what if I could allow you to hear what makes each pedal unique, and borrow from one to the other? I was able to choose between the Tube Screamer tone control or the ODR tone control, and do the same thing with their clipping sections. So, I built both circuits in there, so people could mix-and-match and hear what makes each pedal unique.”
Keeley Electronics Noble Screamer Overdrive and Boost - Tech Demo
Keeley knew he would face heavy scrutiny in tackling the ODR-inspired circuit. Introduced in 1992, the Nobels ODR-1 has attained near-mythic status in the Nashville scene, spurred by the advocacy of session veteran Tom Bukovac. Almost singlehandedly, Bukovac—fondly known as “Uncle Larry” to his online followers—helped popularize the original ODR-1 among his Nashville friends and collaborators. And over the years, many of Nashville’s heaviest hitters have made the pedal an essential part of their arsenal.
Tom Bukovac x Keeley Electronics - Noble Screamer vs Vintage ODR-1 vs Vintage TS808
“There’s a constituency in Nashville, Brentwood, and Franklin that really loves this pedal,” Keeley notes. “They’re all friends and they’re damn near family, and this pedal works so well with their music. So, one of our goals became winning over that Nashville crowd. We carefully compared this to some great examples of 808s and ODRs—using audio analyzers, too—and then we took it to Nashville and asked veteran players to compare it to the original units.”
The Noble Screamer passed the audition. After A/B’ing it with an original ODR-1, Nashville session and stage ace Guthrie Trapp acknowledged “we’re sitting here and can hardly tell the difference. And to not have to spend $1,500 or $2,000 on a pedal…,” he added, shaking his head. And even Bukovac himself says, “They sound pretty similar. The guitar tone sounds great.”
Guthrie Trapp x Keeley Electronics - Noble Screamer vs Vintage ODR-1 vs Vintage TS808
Adding a Few Twists
Plenty of players will be hooked by the authentic sound of the Noble Screamer’s two iconic overdrives. But for many guitarists, the real fun begins when you experiment with tone/overdrive mashups, combining a Tube Screamer with an ODR tone circuit, and vice versa. “The Noble Screamer’s ODR tone control is a spectrum control,” Keeley notes, “and it moves up the bass and the treble at the same time. The Tube Screamer is a simple low-pass filter that helps create the midrange hump. They make a fun combination and they allow you to get some unique sounds.”
L.A.-based guitarist Brett Papa lauds the approach: “It’s really interesting to see how it nails both of those classic tones. But for me, the hybrid is the coolest thing about that pedal, because it really is the best of both worlds. Some pedals are so temperamental circuit-wise, but it doesn’t really matter with this pedal, because wherever your amp is at, you can dial in a great sound.”
The stompbox also offers unusual flexibility in its switching and buffering capabilities. It utilizes the buffer that Keeley perfected with his earlier Halo pedal (designed with guitarist Andy Timmons). In the Noble Screamer, the player can easily select true-bypass or buffered bypass: Simply step on the on/off switch for two seconds and it’ll toggle between the two settings.
“This pedal’s switching also makes it unique,” says Keeley. “For years I had been carrying around the quote that Bill Finnegan put on his KTR pedal, which has a switch where you can choose true bypass or buffered. He printed ‘almost always better’ on the setting when you switch on the buffer. I think it’s really valuable to have noiseless switching like the old Boss and Ibanez pedals. True bypass is great in a few cases, but the inevitability of it making a clicking sound can be a problem, so that’s why we’re offering buffered bypass, too.”
Taking Control and Upping the Ante
Beyond its sonic characteristics, the Noble Screamer underscores important investments, production advancements and design choices from a company reshaping itself and preparing for its next chapter. The Noble Screamer is the first pedal to take advantage of Keeley’s new Oklahoma City factory and its expanded production capabilities. The most visible sign is the pedal’s newly designed heavy-duty aluminum case. The streamlined, rugged enclosure is built in-house following a large investment in specialized equipment. “Making my own folded aluminum enclosure is a brand new capability,” Keeley explains. “I wanted to stop buying aluminum enclosures from China and start making my own. That way I can control the process and get exactly the type of enclosures that I want. To take full advantage of the enclosures, we also increased our capacity for circuit board manufacturing, and that was another big investment. We got another printer, powder coating booth, and oven. I doubled everything in the whole shop and invested in the future. Other manufacturers who are like-minded can do more manufacturing in the U.S. It’s pretty cool to see so much manufacturing coming back to the States.”
Keeley Factory Drone Video
Keeley chose to design a pedal that combines battle-worthy toughness and understated elegance. The Noble Screamer enclosure boasts a slightly slanted top—an homage to old-school classic pedals—but with a modern look and premium knobs. “The knobs and the subtle graphics speak really loudly on that slanted enclosure,” he says. It’s built like a tank—albeit a rather stylish one.
Was it a difficult decision to go with a standard-sized pedal when mini pedals have seen increasing popularity? Keeley is adamant. “At a time when a lot of people are cutting back on spending, I’m going against the trend and choosing to put out our boldest, most innovative ideas and give people a reason to spend their money on them,” he declares. “I think I can control the costs. The Noble Screamer is the exact same size as comparable pedals. There’s a definite trend toward small pedalboards with pedals that can fulfill one sound. Mini pedals are great and I plan on keeping them as an entry point for our product line. I don’t see any reason why I can’t fold aluminum for my own mini pedals at some point. But in the meantime, when we’re releasing our next generation of pedals, I’m going to focus on this new platform. I want this new line to redefine our product line and what we’re capable of. We’ve had success with compressors and reverbs and delays. This new line is hopefully going to redefine our drives.”
The Noble Screamer heralds a new direction for Keeley Electronics, and guitarists can look forward to more exciting mashups in the future. After all, the Reese’s Peanut Butter Cup turned out to be an enduring classic. So, you can expect plenty more ear candy from Keeley in years ahead.
Silvertone Guitars introduces the new Silvertone Lipstick pickup and 1373 Baritone guitar.
Silvertone Guitars is thrilled to announce a groundbreaking collaboration with Rio Grande Pickups to introduce a new Silvertone Lipstick pickup. This partnership combines Silvertone’s iconic legacy with Rio Grande’s expert craftsmanship to create a pickup that delivers a bold, traditional single-coil tone while retaining the classic Lipstick look.
The original Lipstick pickup, invented by Nathan Daniels, is celebrated for its distinctive sound with a bright, trebly top end and scooped midrange, offering a unique sonic character that stands out both in recordings and live performances. While the classic Silvertone Lipstick pickups are known for capturing this vintage tone, the new Silvertone/Rio Grande Lipstick pickups provide an exciting twist for players seeking a higher-output, traditional single-coil sound.
Designed and handmade in Houston, Texas, the new Silvertone Lipstick pickup features an Alnico 5bar magnet, plain enamel 44AWG pure copper wire, and a shielded 2-wire connection for versatile wiring options. This pickup strikes a perfect balance between a '60s Strat®-style sound and the powerful punch of a P90, offering a beefy midrange and enhanced output for dynamic lead playing and driving effects pedals.
“We’re thrilled to be working with Rio Grande Pickups on this new Lipstick design,” says Rick Taylor, Guitar Product Manager at Silvertone Guitars. “This collaboration has allowed us to expand the tonal palette of our Lipstick pickups while preserving the visual appeal that players love. The new pickups deliver rich, powerful sound that will inspire musicians to explore new creative possibilities.”
These new pickups are the perfect way to supercharge your guitar, combining the distinctive look of the Lipstick design with the versatile, high-output tone that modern players demand.
Pricing is $279 for the calibrated set, and $159 for the neck or bridge alone.
Silvertone Guitars proudly introduces the 1373 Baritone, a contemporary reimagining of the iconic 1958 6-string bass.
In 1958, Silvertone made waves with the revolutionary 1373 model, a 6-string bass tuned low E to E, paving the way for the distinctive tic-tac technique in Nashville. This technique involved doubling acoustic bass lines with the six-string bass played with a pick. This unique tuning was also famously featured in Glen Campbell's iconic six-string bass solo on the hit single "Wichita Lineman."
With the 1373 Baritone, Silvertone pays homage to this rich history by transforming the instrument into a baritone tuning marvel. The 28” scale neck is meticulously designed for B to B tuning, echoing the popular baritone tuning that left an indelible mark on 1960s surf rock and spaghetti western soundtracks.
Crafted with a solid mahogany body, the 1373 Baritone delivers unparalleled punch and sustain. The string-through body bridge enhances resonance, and the 28” scale strikes the perfect balance, allowing the lower strings to resonate authentically without sacrificing the comfort of standard tuning guitars.
Equipped with the new Alnico 5 Silvertone Lipstick pickups, the 1373 Baritone retains the clean tones and bell-like top end of the original pickups, with a bit more output. This additional output provides the flexibility to comfortably drive pedals, tube amps, or digital modelers, making the 1373 Baritone a versatile instrument across various musical genres.
The 1373 Baritone carries a $449 street price and is available in three striking colors: Black SilverFlake, Pelham Blue, and Silver Metal Flake.
For more information, please visit silvertoneguitars.com.
The Los Angeles League of Musicians—LA LOM for short—brought the vintage vibe with them on the road last year.
It wasn’t long ago that LA LOM—guitarist Zac Sokolow, bassist Jake Faulkner, and percussionist Nicholas Baker—were cutting their teeth together as the house band at the Roosevelt Hotel in Hollywood, playing poolside for guests. Now, with eight EPs and a full-length record (2024’s The Los Angeles League of Musicians) since 2021, they’re a full-blown sensation, celebrating and interpreting instrumental tropical guitar traditions.
The trio played Nashville’s The Basement back in December, where PG’s John Bohlinger caught up with Sokolow and Faulkner to see what road rigs they use to bring their psychedelic cumbia and Peruvian chicha dreams to life.
Brought to you by D’Addario.Red Rider
This vintage National Val-Pro, circa 1960 to 1962, belongs to Faulkner, who received it as his very first electric. When he switched to bass, the Val-Pro took a backseat, so Sokolow had been more than happy to borrow it long-term. All the controls are disconnected except for the volume knob. Sokolow strings it with a .012–.052 gauge set of roundwounds, and he’s partial to D’Andrea Pro Plec 1.5 mm picks.
Leader of the Pack
Sokolow’s other sidekick is this Kay Style Leader from 1960. Each of the three pickups has a volume and tone control. The body’s been mostly routed out, so it lends the resonance and darkness of a semi-hollowbody.
Live and Loud
While he’ll often play through Fender Deluxe Reverbs at home, Sokolow trusts the Twin Reverb to get the job done in performance settings. The stage volume is loud enough that he and his bandmates often don’t need monitors: They can just listen to each other’s instruments onstage.
Zac Sokolow's Pedalboard
From his guitar, Sokolow’s signal runs through a spicy-red Voltage Cable Co. coil cable into his board. A TC Electronic Polytune 2 starts things off, followed by a Fulltone Full-Drive 3 for just a hint of dirt, then a Boss DM-3 delay, followed by a Catalinbread Topanga spring reverb. A TC Helicon VoiceTone handles some more echo work along with the DM-3.
Flight-Friendly Upright
Jake Faulkner’s traveling upright is thisJohnson bass, which has been modded by Tom at Fantastic Musical Instruments in Pasadena, California. Tom gave the upright a bolt-on neck that comes off easily, making it a perfect travel mate. For amplification, Faulkner uses pickups from Underwood, based in Palm Springs. On a tip from Tom, he glued a small piece of wood to the side of the pickups to reduce noise issues, and two sound posts have been installed inside the body to reduce feedback concerns.
Thumbin' Through
For electric needs, Faulkner uses this Fender Vintera II ’60s Precision Bass; he’ll switch between the two basses depending on what he feels best suits the song. He uses a thumb pick from time to time to accentuate certain rhythms.
Lightweight Low End
Faulkner’s been converted to this Ampeg Venture V12, a compact bass head weighing less than nine pounds—a godsend for sore-backed bassists. It’s set for a pretty neutral, SVT-style sound and runs into a Fender Bassman 410 Neo cabinet, which has four neodymium-loaded speakers.
Jake Faulkner's Pedalboard
Rather than at the start of his chain, his Korg Pitchblack Advance tuner goes at the end, with everything running out of it to the Venture V12. An Origin Effects Bassrig Super Vintage lends color and tone to the V12, then the Fire-Eye Development Red-Eye Twin acts as an A/B switch to maintain output and gain between the Johnson and the P-bass. An MXR Ten Band EQ helps balance out the upright’s tone.
With advanced controls, full MIDI integration, and expression pedal compatibility, the Elipse is designed for guitars, bass, synthesizers, vocals, and vintage keyboards.
Powered by Kernom’s patented Analog Morphing Core technology, the Kernom ELIPSE isn’t just another modulation pedal. With the innovative MOOD control, musicians can seamlessly morph between iconic modulation effects, from rhythmic tremolos and lush choruses to jet-like flangers and swirling phasers. The addition of the SWIRL control introduces a unique phaser-blend for rich, multidimensional textures.
Key Features
Iconic effects and more
The ELIPSE offers a wide range of modulation effects, including tremolo, harmonic tremolo, rotary speaker, vibrato, chorus, tri-chorus, flanger, phaser, and Univibe.
Innovative controls
MOOD Knob: Seamlessly transition between effects, creating rich, hybrid sounds.
SWIRL Control: Blend a slow phaser with other effects for multidimensional textures and get that “fat tones” you’ve always dreamed of, enhanced by an analog drive circuit for reacher harmonics.
Creative Modulation Tools
Advanced controls like SHAPE, MIX, and DEPTH let you tailor waveforms, blend dry/wet signals, and adjust intensity to craft your perfect tone.
Full MIDI integration
Save up to 128 presets, control all parameters via MIDI CC (including Tap Tempo and MIDI Clock), and sync with your DAW or MIDI controller.
Manage your presets and settings with the MIDI Controller Companion software.
Expression pedal
Morph between presets in real time for unparalleled dynamic expression during performances or studio sessions.
Perfect with other instruments
Built for versatility, the ELIPSE excels with guitars, bass, synthesizers, vocals and vintage keyboards. Its input stage is designed to handle both instrument and line-level signals seamlessly.
The rugged aluminum casing ensures reliability in any environment.
The Kernom ELIPSE will be available starting January 21, 2025, at a retail price of $369 (MAP). ELIPSE will be available globally beginning January 21, 2025.
Experience the ELIPSE at NAMM 2025—visit us at booth #5439.
For more information, please visit kernom.com.