Keeley Loomer Fuzz Reverb

A Loomer Designed as a Love Letter to Shoegaze

The Keeley Loomer was conceived for guitarists who live between the attack of a thick fuzz and the depth of an "oceanic" reverb. Its approach clearly embraces the Shoegaze and noise-pop aesthetic: wide, dense, sometimes opaque sounds that transform a simple riff into a soundscape. If your sonic culture ranges from My Bloody Valentine to The Jesus and Mary Chain, the Loomer naturally fits within this lineage, with modern ergonomics tailored for the pedalboard.

Who Is the Loomer For, and In Which Contexts Does It Make a Difference?

The Loomer is aimed at guitarists from beginner to professional levels who want quick access to spectacular textures without stacking multiple pedals. It excels in shoegaze, alternative, post-rock, dream pop, but is also formidable for thickening a chorus in rock or creating atmospheres in song intros.

In the studio, it serves as a layer generator (doubles, drones, pads). Live, its benefit is immediate: you switch from a fuzzy rhythmic sound to a sea of reverb while maintaining a strong identity in the mix. On a pedalboard, it can function as the main "color block" or as a secondary texture dedicated to atmospheric passages.

Controls, Modes, and Options: A True Fuzz + Reverb Workstation

The Loomer combines two distinct sections (fuzz and reverb) each with their own controls and playing logic. On the reverb side, you adjust the blend and decay length, then select your playground via the mode selector. On the fuzz side, you sculpt the output level, texture, and frequency balance to go from compact thickness to a more scooped and cutting sound.

The Hall mode targets long ambiances, with a wide and enveloping feel, plus the possibility to add octave regeneration in the feedback loop for shimmer-like brightness. The Reverse mode is inspired by famous rack units (SPX90, Midiverb 2): here, it leans more towards an adjustable reverse-delay sensation, with 8 time variations (150 ms, 200 ms, 250 ms, 300 ms, 350 ms, 400 ms, 450 ms, and 500 ms). The Focus mode was designed as an alternative to the FX500 spirit, combining a more opaque reverb and two parallel delays (250 ms and 380 ms) to create complex halos.

A crucial point for the sound: a rear switch allows you to choose the effect order (fuzz before reverb or reverb before fuzz ). Fuzz before reverb delivers a clearer attack with reverb "lifting" behind the note, whereas reverb before fuzz compresses and dirties the pad, perfect for textured walls and crashing chords.

The Sound

The fuzz section is described as thick, dirty, powerful, and very present, with a personality close to a Big Muff: lots of substance, musical compression, and excellent chord-holding capability without collapsing. The three modes (Flat, Full, Scoop) allow adapting the mix placement: Flat for balance, Full for maximum density, Scoop for a wider and scooped character typical of some '90s sounds.

The reverb focuses on dramaturgy : depth, generous tails, and textures inspired by studio processors. The Loomer responds well to playing dynamics: attacking hard triggers a grainy storm; playing softer yields silky, hypnotic pads. Among guitarists associated with this universe, the Loomer has notably been spotted with Kevin Shields, and seen in texture-oriented rigs of artists like Ray Toro or Dallas Green.

Technical specifications

Effects	Reverb, Distortion / Overdrive / Fuzz	Type	sector
Technology	Analog	Use	electric guitar
Format	Pedal	Color	Multicolor
EQ	Tone

Reverb Section	Blend, Decay, Warmth, Depth, Focus / Reverse / Hall mode switch	Power adapter	no
Fuzz Section	Level, Filter, Fuzz, Flat / Full / Scoop mode switch	Required power	9V DC
Dimensions	120mm x 100mm x 60mm	Consumption	minimum 75 mA