Shop the Keeley Angry Orange distortion and fuzz pedal 👉 https://sweetwater.sjv.io/Keeley_Angry_Orange
Shop all Keeley 4-in-1 pedals 👉 https://sweetwater.sjv.io/Keeley_4-in-1
Hot off the heels of their voltaic Noble Screamer, Keeley’s expanding their 4-in-1 series to empower distortion-loving guitarists of all creeds to reimagine two of history’s most iconic dirt boxes as a single-chassis, tone-building powerhouse. Their Angry Orange is one of four total 4-in-1 pedals, each of which allows you to instantly toggle between the circuits of two historic stompboxes as you craft and shape via Tone and Drive controls. For a peek behind the veil, Robert Keeley himself joins Don Carr for an in-depth look at the Keeley Angry Orange. Check it out!
00:00 — Intro
00:34 — About the Angry Orange
03:17 — Playing the Angry Orange
05:54 — Selectable True Bypass or Buffered
09:17 — Outro
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#Sweetwater #Keeley #AngryOrange #RobertKeeley #DonCarr #Demo
[Music]
hey everybody what’s up Don Carr here
with Robert key and today we’re checking
out the Angry Orange now what’s that
combination that’s not obvious at all is
it not even close what is that I took uh
an angry War the Civil War big muff and
put it with the waza DS1 very nice yes
angry orange very nice I love this name
Angry Orange yeah and uh it just so
happened to fit we were trying to figure
out exactly which muff we wanted to
combine with a DS1 because there’s uh an
interesting similarity between uh big
muffs and DS1 pedals and that’s in the
tone stack believe it or not man I would
have never guessed I know it’s funny I
was telling you earlier that you know I
get to work with a variety of people
during the development of this I was
talking to Chris Benson about it and
when I told him I put a big muff and a
DS1 together I didn’t even finish the
sentence and he turned to me and he’s
like they have the same tone
stack and I was like I know they’re
voice differently but they are
technically the same kind of tilt
control you know and so that’s what’s so
fun about putting these combinations
together because when I was trying to
put this together you know I wanted two
really powerful sounds together
obviously but uh I was I was at first I
was a little apprehensive because I was
like well those are very similar in
nature on the tone control side right
you know but on the clipping side yes
it’s totally different completely
different yeah totally different yeah
and you know for us knucklehead guitar
players that you know that don’t
understand circuits it’s like this is
what this is another thing about this
whole series that’s fascinating to me is
that you can just imagine it in your
head you’re like oh those two could
possibly work together because of this
that and the other and I’m I’m just like
going hey that sounds really
good right
sometimes you want it to be you know
Polar Opposites of each other you know
like the sd1 and the rat you would think
those are quite a bit different or the
OCD and the blues breaker yeah from a
Sonic Sonic standpoint those are like
miles apart you know which I think is
great mhm yeah and those two are pretty
far apart too man even though they’re
both higher gain you know it’s like wow
the way the way you think about like how
you would use them you know musically
it’s like yeah completely different
context exactly if you’re wanting that
wall of fuzz type sound like a Smashing
Pumpkins type of thing yeah it’s
definitely a DS1 is not going to get you
there
right no right that’s that’s big muff
only yes but uh it’s surprising what
boss has done with the waza sound and
how they’ve carved out that new sound
because they’re they’re actually
designed quite a bit differently uh than
than the first Generations or the
earlier Generations no kidding I guess I
didn’t really realize that because it’s
like they just sound like the wasac
craft stuff to me sounds like a refined
version which I know that was their
intention yeah right but but but from a
design standpoint they’re different
interesting on the uh the blues driver
stays the same the sd1 and the DS1 are
for sure I know that those changed quite
a bit wow okay all right inside baseball
I like it man I like they did a great
job yeah no kidding man well uh shall we
all right so here man here’s some here’s
some Angry Orange okay oh let’s start
with a bypass sound here the uh the
famous 1968 RK with a 12 in from
suo
[Music]
that’s fun that is that it is that’s
very juicy it’s a little less gain than
some of the other big muffs the Civil
War is the softtech ones have a a
different sound other ones right right
yeah yeah the softech ones seem to be a
little little punchier and a little
crunchier almost kind of yeah it’s a fun
sound the transistors that they used in
there did have a big difference in the
way that that sounds compared to other
ones especially an OP mu yeah exactly
yeah and then here’s the uh
[Music]
[Music]
DS1 there’s a reason why the DS1 is is
is the um one of the most popular Drive
pedals distortion pedals of all time
right it’s a great classic sounding it
is it is and it’s it um you know to be
that much gain it’s pretty even across
the Spectrum you know like when you’re
playing you know like the low notes
aren’t too Woofy and the high notes
aren’t too screechy and you know all
that sort of stuff if you get the right
one now some of those mid 2000s ones can
yeah exactly well so then we get the fun
part here now that the the big muff and
a DS1 share a similar topology for the
tone control other words they’re drawn
the same way right right the values are
different I was going to say they sure
don’t sound values are different yeah so
here here’s a typical muff sound
[Music]
okay then if we change the tone stack
[Music]
out woo there’s
[Applause]
[Music]
yeah wow those are fun sounds yeah those
are great man those are
[Music]
great okay notice that there’s no
popping right this thing is in buffered
mode oh there you go the 4 in one series
series they all ship in a buffered
bypass mode nice but if you have good
reason to be in true to have a true
bypass pedal let’s say you’ve already
got a buffer that you really like let’s
say for whatever reason you’ve got a
Vintage Pedal that wants to play with
only true bypass pedals all you have to
do is press and hold down for two
seconds and it’ll flash at you twice
saying I’m now in byass interesting and
you get that right you can hear it yeah
right you hear the engagement exactly so
it’s that simple to be either true
Bypass or silent buffered bypass with
new 4- one series nice man and I got to
say too for what it’s worth I mean you
know buffers regardless they have sort
of a sound to them you know to some
extent and man I’m I don’t I don’t want
to say I can’t hear it but I can’t hear
it you know what I mean I cannot hear
your your buffer sounds great man you
must not work for me because the people
in my office know that this buffer
sounds really darn good I agonized over
that forever um you know you’re in the
midst of trying to work with some of
these classic sounds like the SD from
the super rodent or the DS from The
Angry Orange and uh boss has got a
world-renowned effects pedal line their
buffers were good enough if it was good
enough for Prince yeah probably good
enough for a lot of other people right I
wanted to be able to say no our bet our
buffer are better than at least in some
way than boss so we worked very hard to
make sure that the loss through these
even a series of six seven eight of
these things all in buffered mode are
going to preserve your signal and be as
close to 100% originally intact as
possible man and you nailed it I mean
seriously we worked hard at it because
that’s the thing I can usually when I
plug something on it I can hear the
buffer and I either like it or I don’t
right and when you can’t hear the buffer
it’s like oh my gosh Perfection totally
important to me if you have people like
Andy Timmons and you know anybody else
out in Nashville that are very used to
the way their amp and rig sounds and
then you put something in there that
when it’s off they can they’re going
like why don’t I feel good anymore you
know yeah I don’t like this now yeah
yeah that’s great man that’s another
thing that you can actually do to make
our buffer sound even better so all of
the 4 in one series is designed to work
from anywhere between 9 and 18 volts if
you put 18 volts to our pedals you will
enjoy the benefits of a higher head room
and that includes even in buffered mode
people with keyboards or um active bases
18vt active bases there’s no danger of
them clipping or creating unwanted
distortions through our buffer circuitry
so yeah if you’re going to put this in a
pro rig or you’re going to have some
high energy instruments going into it
you can take advantage of that 18 volts
design wow man that there’s a Hidden Gem
right there because that’s like I mean
it’s huge yeah that is gigantic not only
does it make the pedal sound better but
it’s just better for you sure even when
the pedal’s off it’s going to be better
it’s just better it’s just better for
you plus you always have an 18volt Port
open right that you’re like what do I do
with this well you put it to me your key
dry pedals there you go
[Music]
man
[Music]
yeah
