TEST: Keeler Push

 When I started learning the electric guitar, the world in terms of amplifier technology looked a little different than it does today. Apart from the Mesa Boogie Combo, which was already beyond every student's budget, no regular combo or head was able to produce a sustain-rich solo sound from the factory. Not to mention the “cucumber department” that I was struggling with at the time.

Back then (and probably still today), a popular distortion pedal was the first pedal that every student bought in the hope of getting the same sound out of their second-rate makeshift combo as their personal idols did on vinyl. At that time the rule of thumb was that an official distortion device cost just under 100 DM (just under 50 €). (Note: there was also a rule of thumb: one mark per watt of speaker power, i.e. a 100 watt Celestion speaker cost €50 back then! Those were the days ;-))

Who would have thought that the distortion market would skyrocket in price both to the basement level and, thanks to the boutique trend, to unimagined heights. So one or the other is wondering what, apart from purely hand-made production, can cause the RRP price of a distortion device to rise above the €300 mark, especially if it is not equipped with interfaces, interfaces or control functions.

Exactly these attributes apply to the Keeler pedals, all handmade by Rob Keeler, one of the new names in the boutique heaven, who has been showered with great praise within the scene. My curiosity was piqued.

construction

The Keeler Design pedal I have for testing is called “Push” and belongs to the subgroup of overdrive pedals, so it is intended to simulate an overdriven tube of a tube amplifier. High-class pedals of this type are characterized primarily by the fact that they harmonize interactively with the guitar's volume control, i.e. they naturally reduce the level of distortion of the pedal when the volume on the guitar is reduced. Strictly speaking, it is THE quality feature that, in addition to a high-quality basic sound, should distinguish a low-budget Quaker from a high-end device with a price factor of 10.

Visually, the pedal comes in a wonderful “Gary Glitter Memory Purple Metallic”, one of the standard disco colors of the late seventies / early eighties. Laugh at me, but I stand by it, I like this color! Oh yes, and for me the discom music a la Saturday Night Fever is still the best dance music that ever existed, that's it! ;-)

You can see at first glance that this was made by hand. Sometimes one of the four rubber feet on the underside of the housing is not completely aligned, or the triangle pictograms of the input and output sockets are sprayed on in different sizes. It doesn't matter if the inner values are right, such small optical details are pure peanuts.

As expected, the Push has a (slightly wonky) true bypass, which completely removes the signal from the internal electronics when the effect is deactivated. The pedal can be powered either by a 9V battery or by an external power supply. When it comes to control options, the Push only has three controls, named “Volume”, “Gain” and “Treble” and their function is therefore actually self-explanatory.

The product comes in a solid metal housing and will easily withstand the kind of kicks that a pedal inevitably encounters. The pedal has an extremely bright blue LED as a status indicator. If you loosen the four screws on the bottom of the case, a very clear interior becomes apparent. Only the circuit board, which is cast in black plastic, attracts some attention, but as mentioned, it is completely submerged in the black mass to make copying more difficult and therefore cannot be explored further.

Despite being hand-crafted, the entire wiring is carried out cleanly, no overhangs or slag heaps (like in my first soldering attempts...), only the synthetic resin compound pulled a few small threads when it set. Well, that's it for the equipment, let's turn to the sound.


Practice

So, to be completely honest, if you've briefly looked into the innards of the Push and weighed the box from one hand to the other, you can't really imagine what a product like this should be worth almost €300 . Yes and then I connected the overdrive...

And then it really knocks your socks off! Let's keep it short, the Push is by far one of the best overdrive pedals I've ever heard in my life. It's hard to believe what Rob Keeler can achieve with just a few wires and a minimal circuit.

On the one hand, we have an excellent basic sound from the pedal. Until around 2 o'clock, the treble control stays in the slightly musty range and can have a nice Texas muffle, before it becomes noticeably sharper in its accentuation. In the gain range, all distortion intensities of a tube can be accessed, from almost completely clean to very strong crunch, just like with a full tube amp.

I find it particularly remarkable that in my opinion the push not only simulates the overload behavior of a preamp tube, but rather you have the feeling that you are controlling a non-master volume head, the interaction with the pedal can be controlled so beautifully. Even at high gain, the compression remains manageable and controllable and doesn't get bogged down in sustain monotony. Nevertheless, the attack phase remains soft and solid without bringing too much sharpness and edges into the sound.

If you bring the volume control more into play, the Push can also be used as a booster; it all depends on the interaction of the guitar, pedal and amplifier.



Conclusion

Yes, I was a little blinded by the first impression. At first glance, I wouldn't have given the colorful disco king too much credit, but it turns out once again that even the experienced tester should just keep his mouth shut until he has really heard the product in its entirety.

The Push from Keelerdesign is an absolute top-class overdrive and impresses in terms of sound! Rarely has a semiconductor-based distortion pedal been able to make me rave as much as this product. Sound-neutral and with minimal control options, the Push meets all the parameters you would hope for from an overdrive pedal.

Everyone has to decide for themselves whether they are willing to pay a street price of around 260 euros for the inconspicuous box with the big sound, but if they want an overdrive from the Bundesliga, the push is absolutely the right choice.

By the way, the sound files were recorded with a Tele Black & Gold, hence the strong bass reduction when the volume control is closed.

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Additional Informations:

**The Evolution of Guitar Effects Pedals: A Comprehensive Journey**

The world of electric guitars is as much about innovation and experimentation as it is about virtuosic playing. At the heart of this sonic exploration lie effects pedals, those small, often unassuming boxes that have the power to transform a guitarist's sound into something entirely new and unexpected. Among the myriad of effects pedals available, one category stands out for its ubiquitous presence and profound impact on modern music: the world of floor-based effects, or more commonly known as "stompboxes." This is the story of their evolution, particularly focusing on the genesis and development of floor-based effects pedals.

**The Birth of Guitar Effects**

To understand the origin of floor-based effects pedals, we must first look back to the early days of electric guitar and amplifier experimentation. In the 1940s and 1950s, pioneering guitarists and inventors began to explore ways to modify and enhance the sound of the electric guitar. One of the earliest examples of this experimentation was the use of tape echo machines, such as the Maestro Echoplex, to create repeating, echo-like effects.

As the 1960s dawned, the demand for more portable and practical effects units grew. This led to the development of compact effects pedals, which could be easily controlled and manipulated by the guitarist's foot while playing. The first of these pedals, such as the Maestro Fuzz-Tone and the Electro-Harmonix Big Muff Pi, laid the groundwork for what would become a flourishing industry of guitar effects.

**The Rise of Floor-Based Effects Pedals**

The true genesis of floor-based effects pedals can be traced back to the late 1960s and early 1970s when guitarists sought ways to incorporate a variety of effects into their live performances. Prior to the widespread adoption of stompboxes, many guitarists relied on rack-mounted effects units, which were bulky, expensive, and often difficult to control in a live setting.

The breakthrough came with the introduction of the Electro-Harmonix Electric Mistress flanger and Memory Man delay pedals in the early 1970s. These pedals, along with other innovations like the MXR Phase 90 and Uni-Vibe, demonstrated the potential for compact, floor-based effects units to deliver studio-quality sounds in a live performance setting.

**The Birth of Iconic Pedals and Brands**

Throughout the 1970s and 1980s, numerous iconic effects pedals were introduced, each contributing to the rich tapestry of guitar tones heard on countless recordings and live performances. Brands like Boss, MXR, and Ibanez emerged as leaders in the field, producing a diverse array of pedals ranging from overdrive and distortion to modulation and time-based effects.

One of the most influential pedals of this era was the Ibanez Tube Screamer, which became synonymous with the classic rock and blues tones of artists like Stevie Ray Vaughan and John Mayer. Similarly, the Boss DS-1 Distortion and MXR Phase 90 found favor with guitarists across a wide range of genres, cementing their status as staples of the pedalboard.

**Technological Advancements and Innovation**

As technology advanced, so too did the capabilities of floor-based effects pedals. Digital signal processing (DSP) technology revolutionized the industry, allowing for greater versatility and control over a wide range of effects. Pedals like the Line 6 DL4 Delay Modeler and Eventide H9 Harmonizer showcased the potential of digital effects processing, offering guitarists unprecedented flexibility and sonic possibilities.

At the same time, analog purists continued to champion the classic sounds of vintage effects pedals, leading to a resurgence of interest in analog circuitry and "boutique" pedal builders. Companies like Strymon, EarthQuaker Devices, and JHS Pedals emerged, offering handcrafted pedals with unique sounds and features that appealed to discerning musicians seeking something beyond the mass-produced offerings of larger manufacturers.

**The Modern Landscape of Effects Pedals**

Today, the world of floor-based effects pedals is more diverse and dynamic than ever before. Guitarists have access to an unparalleled array of pedals, ranging from faithful recreations of vintage classics to cutting-edge digital effects units with advanced features like preset storage and MIDI connectivity. The rise of online communities and forums has facilitated the sharing of knowledge and expertise, allowing guitarists to discover new sounds and techniques from around the world.

In conclusion, the evolution of floor-based effects pedals is a testament to the ingenuity, creativity, and passion of musicians and engineers alike. From humble beginnings as simple tape echo machines to the sophisticated digital processors of today, effects pedals have played an indispensable role in shaping the sound of modern music. As technology continues to advance and new innovations emerge, one thing remains constant: the enduring appeal of the effects pedal as a tool for sonic exploration and expression.

**The Influence of Guitarists and Musical Trends**

Beyond technological advancements, the evolution of floor-based effects pedals has been heavily influenced by the creative genius and musical experimentation of guitarists themselves. Throughout history, pioneering musicians have pushed the boundaries of what was thought possible with guitar effects, inspiring both manufacturers and fellow players to innovate and explore new sonic territory.

In the 1980s, the rise of heavy metal and hard rock brought about a demand for high-gain distortion pedals capable of producing searing lead tones and crushing rhythm sounds. Pedals like the Boss HM-2 Heavy Metal and the Pro Co RAT became essential tools for metal guitarists seeking aggressive and articulate distortion.

Similarly, the alternative rock movement of the 1990s saw the emergence of new effects pedals designed to create unique and atmospheric sounds. Bands like My Bloody Valentine and The Smashing Pumpkins popularized the use of pedals like the Electro-Harmonix Big Muff Pi and the BOSS CE-1 Chorus Ensemble, pushing the boundaries of conventional guitar tones and inspiring a generation of musicians to experiment with texture and ambience.

**The Role of Innovation and Competition**

Innovation and competition have also played a significant role in shaping the landscape of floor-based effects pedals. As the demand for new and exciting sounds continues to grow, manufacturers are constantly striving to outdo one another, introducing groundbreaking features and technologies to capture the attention of discerning guitarists.

One notable example of this competitive spirit is the proliferation of multi-effects pedals, which combine a variety of effects into a single unit. Brands like Line 6, TC Electronic, and Boss have released flagship multi-effects processors packed with an extensive range of amp models, effects, and customizable parameters, offering guitarists unparalleled versatility and convenience in a single package.

Another area of innovation is the integration of digital connectivity and software-based control into effects pedals. Pedals like the Strymon Timeline and the Eventide H9 feature USB and MIDI connectivity, allowing guitarists to access additional presets, update firmware, and even create custom sounds using dedicated software applications. This level of integration represents a paradigm shift in how guitarists interact with their effects pedals, opening up new possibilities for creativity and performance.

**The Future of Floor-Based Effects Pedals**

Looking ahead, the future of floor-based effects pedals appears brighter and more exciting than ever before. Advances in technology, coupled with the boundless creativity of musicians and manufacturers, promise to usher in a new era of innovation and sonic exploration.

One trend that is likely to continue is the convergence of analog warmth with digital precision. Manufacturers are increasingly incorporating analog circuitry and components into digital effects pedals, resulting in pedals that offer the best of both worlds: the classic tone and responsiveness of analog circuits, combined with the flexibility and functionality of digital processing.

Additionally, we can expect to see continued experimentation with alternative power sources and form factors. With the growing emphasis on sustainability and environmental consciousness, manufacturers are exploring innovative ways to power pedals using renewable energy sources such as solar power and rechargeable batteries. Similarly, advancements in miniaturization and ergonomic design may lead to the development of smaller, more portable pedals that offer the same level of performance as their larger counterparts.

In conclusion, the evolution of floor-based effects pedals is a testament to the enduring spirit of innovation and creativity within the guitar community. From humble beginnings as crude tape echo machines to the sophisticated digital processors of today, effects pedals have remained at the forefront of sonic experimentation and artistic expression. As technology continues to evolve and new musical trends emerge, one thing is certain: the journey of exploration and discovery with floor-based effects pedals is far from over.