Keeley Dark Side Review: Fuzz, Delay and Modulation

The Keeley Dark Side is one of those pedals where the name tells you almost everything and almost nothing at the same time.

Yes, it is very obviously a Pink Floyd thing. The fuzz, the tape-style delay, the modulation, the whole “Dark Side” idea — this is not exactly a mysterious reference. But what made the pedal interesting to me was not whether I could perfectly recreate every famous David Gilmour tone.

That would be a slightly dishonest angle anyway, because I have to admit something right away: I have not listened to Pink Floyd that much.

I know. Very professional guitar reviewer behaviour.

So instead of treating this as a “can this pedal make me sound exactly like Gilmour?” test, I wanted to see how the Keeley Dark Side worked inside my own kind of demo song. Could I use the fuzz, delay and modulation in a way that made sense for how I write and record guitar parts? Would it feel like a tribute box, or would it work as a creative tool on its own?

That is the more interesting question to me.

The unit in my video is also an earlier first-generation Dark Side. So if you look up the pedal today, you may see the newer Dark Side V2, sometimes called the Mk II depending on where you are looking. The current version has some layout and feature differences, which I will cover later in the article. The main idea is still the same, but if my pedal looks slightly different from the one you find in shops now, that is why.

How I Got the Keeley Dark Side

This pedal has a fun backstory.

The Keeley Dark Side was designed by Robert Keeley himself, and I actually had the pleasure of meeting him at GitCon. I got this pedal as a gift from Robert as a thank you for helping set up and unpack the whole GitCon thing.

That is a pretty cool way to end up with a pedal.

And because of that, this is not really the kind of review where I pretend I walked into a store, bought the thing completely randomly and had no emotional connection to it. I got it as a gift from the person who designed it, which is obviously special.

But the actual question is still the same: is the Keeley Dark Side useful?

And more importantly, does it make inspiring sounds?

What Is the Keeley Dark Side?

The Keeley Dark Side is a dual-sided pedal built around fuzz on one side and delay/modulation on the other.

The fuzz side gives you three voicing options: Flat, Full and Scoop. You also get controls for Fuzz, Filter and Level. The Fuzz knob controls the amount of fuzz. The Filter knob shapes the top end, either adding or rolling off brightness. Level controls the output of the fuzz side.

The other side of the pedal gives you delay and modulation. You can choose between Flanger/Rotary, Tape Delay and Phase/U-Vibe. The controls change depending on which mode you are using, which means this is one of those pedals where the knobs do more than one thing.

That can be very powerful, but it also means you probably need to spend a little time with the pedal before it becomes second nature.

The modulation side lets you blend between the paired effects. For example, in the Flanger/Rotary mode, one side of the Blend control leans more toward rotary, while the other side leans more toward flanger. The Phase/U-Vibe mode works in a similar way, letting you move between phase and Uni-Vibe-style sounds.

The delay mode is different. There, the Blend/Tape Head control changes the delay subdivisions or tape head patterns. That gives you a bunch of rhythmic delay options inside the same pedal.

So the Dark Side is not just one fuzz plus one effect.

It is more like a compact workstation for fuzz, delay and modulation textures.

First-Gen Dark Side vs Dark Side V2

My unit is a first-generation Keeley Dark Side, so it is worth explaining the difference between that and the newer version.

The older version used a TRS insert system. That allowed you to place pedals between the fuzz side and the modulation/delay side. For example, you could run fuzz into another pedal and then into delay, depending on how you wanted to build the signal chain.

The newer Dark Side V2 changed that idea. Keeley moved toward a simpler effect-order switch, so you can change whether the fuzz or modulation/delay side comes first without messing around with insert cables. That is much easier if you want to change the order quickly.

The trade-off is that the old insert system gave you a more flexible routing option if you wanted to place other pedals between the two sides.

So the V2 is more convenient. The first-gen unit is arguably more flexible if you like routing experiments.

For most people, the V2 change probably makes sense. If you are using the Dark Side live, a simple order switch is much easier than dealing with a TRS insert cable. But if you enjoy building weird signal chains, the older version has its own charm.

Either way, the core idea remains the same: fuzz on one side, delay/modulation on the other, with the ability to combine those sounds in different ways.

The Pink Floyd Thing

Let’s talk about the obvious part.

The Keeley Dark Side is clearly inspired by David Gilmour and Pink Floyd tones. The fuzz, tape delay, phaser, Uni-Vibe, flanger and rotary sounds all live in that world. You can absolutely approach this pedal as a compact way to get into those classic atmospheric lead and texture sounds.

But I do not think you need to be a huge Pink Floyd fan to enjoy it.

In fact, that was one of the things I liked about using it. I was not trying to copy a specific record or solo. I was just using the pedal as a sound design box for my own guitar parts.

And it worked.

The fuzz can be thick and sustaining. The delay can make parts feel bigger and more cinematic. The modulation can add movement without always becoming too obvious. Put those together, and you can create sounds that are definitely Floyd-adjacent, but still usable in other contexts.

That is important.

A pedal like this could easily become a novelty box. But the Dark Side feels more useful than that.

Fuzz Side: Flat, Full and Scoop

The fuzz side is based around a big, sustaining op-amp-style fuzz sound.

It has that thick, singing quality that makes single notes feel larger than they are. It is not a polite overdrive. It is not a transparent boost. It is a fuzz that wants to become part of the personality of the guitar tone.

The three voicing modes make a big difference.

Flat mode feels like the most balanced starting point. It gives you the fuzz sound without pushing the EQ too far in one direction. This is the mode I would probably start with if I wanted the pedal to sit in a mix without fighting everything else.

Full mode gives you more body and weight. It feels thicker, and it can make riffs sound bigger. This is especially useful when you want the fuzz to carry a main part rather than just add texture.

Scoop mode pulls things in a more scooped direction, which can sound huge alone but may need more careful use in a mix. Scooped fuzz sounds can be very satisfying, but they can also disappear if the arrangement is dense.

The Filter control is important because it lets you shape the high end. With fuzz pedals, that can be the difference between “massive and singing” and “why is my speaker angry at me?”

Clip 1: Fuzz in Flat Mode Into Delay

The first clip used the fuzz in Flat mode into delay.

This is probably one of the easiest ways to understand what the Dark Side does well. The Flat mode keeps the fuzz fairly balanced, while the delay adds space and movement around it. Instead of the fuzz just being a dry wall of sustain, the delay turns it into something more atmospheric.

The result is less about raw aggression and more about width.

That is where the pedal starts to feel cinematic. The fuzz gives the note weight, and the delay gives it a tail. It is the kind of sound that can make a simple part feel much more dramatic.

I like this sort of setting for lead lines, slow melodic parts and places where the guitar needs to feel bigger than the actual notes being played.

It is not subtle, exactly. But it is musical.

Clip 2: Full Mode Fuzz With the Main Riff

The second clip used the fuzz in Full mode, with the Filter around noon, playing the main riff with both the VHC and Tele guitars.

This setting is more direct.

Full mode brings in more body, which works well for riffs. With the Filter around noon, the sound has enough top end to stay defined without getting too harsh. That is important because fuzz can get messy quickly when you start using it for rhythm parts.

Using both the VHC and Tele also shows how the pedal reacts to different guitars.

With humbuckers, the fuzz gets thicker and more saturated. The VHC gives it more weight and push. With the Tele, you get more bite and attack, which helps the riff stay clearer. That contrast is useful because it shows the pedal is not locked into one type of guitar.

Some fuzz pedals feel like they only really work with one pickup type or one amp. The Dark Side feels more adaptable than that.

Full mode is probably where I would go if I wanted the pedal to be the main sound of a riff.

Clip 3: Bass Guitar With Full Mode

The third clip used bass guitar with Full mode, the Fuzz knob all the way down, and the Filter a bit over noon.

This is a very interesting use of the pedal.

With the Fuzz knob all the way down, the Dark Side is not being used as a completely destroyed bass fuzz. Instead, it becomes more like a dirty tone shaper. Full mode gives the bass some extra body, while the Filter a little over noon keeps enough definition in the top end.

That kind of setting can be useful if you want bass grit without losing the role of the bass in the track.

A lot of fuzz pedals can sound huge on bass when you play alone, but then disappear or become too blurry in a mix. Here, keeping the fuzz lower makes the sound more controlled. It adds texture without completely taking over the low end.

Would I call the Dark Side a bass pedal? No.

But this clip shows that it can absolutely be useful on bass if you are careful with the settings.

Clip 4: Flange/Rotary Blend With Humbuckers

The fourth clip used the modulation side in Flange/Rotary mode, with the Blend around 10 o’clock, using the VHC Custom guitar with two humbuckers.

This is where the Dark Side starts to move away from pure fuzz and into texture.

With the Blend around 10 o’clock, the modulation is not fully extreme. It sits in a more usable zone, adding movement around the guitar rather than completely turning the part into a special effect.

The Flange/Rotary mode is interesting because it can be easy to overdo. Flanger can get very obvious very quickly, and rotary sounds can sometimes feel fake if they are too exposed. Blending between them gives you a middle ground.

With humbuckers, that movement sits nicely under the thicker guitar tone. It gives the part a bit of motion, but it does not erase the attack of the guitar.

This is the kind of modulation sound I like in a mix. You notice that something is moving, but it does not immediately scream, “Hello, I am a modulation pedal.”

Which is usually a good thing.

Clip 5: Phase/U-Vibe With Blend Around 9 O’Clock

The fifth clip used the modulation side in Phase/U-Vibe mode, with the Blend around 9 o’clock.

This is probably one of the most classic Dark Side areas of the pedal.

Phase and Uni-Vibe sounds are a big part of that old psychedelic guitar language. They give the guitar a pulse, a swirl and a slightly liquid movement that can make even simple parts feel more alive.

With the Blend around 9 o’clock, the effect stays fairly tasteful. It does not become seasick or cartoonish. Instead, it adds movement around the note in a way that still feels usable for rhythm or lead parts.

The Uni-Vibe side of the Dark Side has a nice throb to it. It is the kind of effect that can immediately make a part feel more vintage and atmospheric.

Again, I am not trying to judge this only by how close it gets to a specific Pink Floyd track. I am judging it by whether it makes me want to play.

And this setting does.

Clip 6: Flat Fuzz, Filter at Noon and Delay for Lead Guitar

The sixth clip used the fuzz in Flat mode, Filter at noon, and delay for lead guitar.

This is probably the most obvious “big lead tone” setting of the bunch.

Flat mode keeps the fuzz balanced, the Filter at noon keeps the top end usable, and the delay gives the lead part space to breathe. This is where the Dark Side really starts to feel like a lead machine.

The fuzz gives sustain. The delay gives atmosphere. Together, they make single notes feel wider and more important.

This is also where the pedal’s concept makes a lot of sense. You could build a similar sound with separate fuzz, delay and modulation pedals. But having those sounds in one box makes the process faster. You turn on the fuzz, add the delay, adjust a few controls and you are in that world.

For a lead guitar part, that is very satisfying.

The Delay Side

The delay side is one of the most important parts of the Keeley Dark Side.

It is based around multi-head tape-style delay sounds, which means it is not just a basic digital delay with one repeat pattern. The different subdivisions and head combinations create rhythmic repeats that can interact with the guitar part in interesting ways.

This is great for atmospheric playing.

The delay can sit behind a fuzz lead and make it feel huge. It can also create movement in cleaner or more modulated parts. It has that warm, slightly old-school character that fits the whole concept of the pedal.

The main limitation is that you cannot use the delay and modulation effects at the same time. You choose delay or modulation on that side of the pedal. That is not necessarily a deal breaker, but it is something to know.

If you want fuzz, delay and Uni-Vibe all at the same time, you will need another pedal involved.

Still, for what the Dark Side is trying to do, the delay sounds are very strong.

The Modulation Side

The modulation side gives you Flanger/Rotary and Phase/U-Vibe.

The clever part is the blend control. Instead of only choosing one effect at a time, you can move between the two sounds in each mode. That makes it possible to find in-between textures that do not feel exactly like a standard flanger, rotary, phaser or vibe.

This is where the pedal can become more than a “Gilmour in a box” thing.

You can use subtle movement under a part. You can make the guitar feel wider. You can add that slow swirl that makes a lead line feel more vocal. Or you can push it further and make the modulation more obvious.

The Phase/U-Vibe side is probably the one that will immediately appeal to people chasing that classic psychedelic guitar thing. The Flanger/Rotary side is a little more specific, but it can be very useful if you keep it tasteful.

I would not say every possible setting is instantly usable. This is a pedal that rewards tweaking. But there are some very good sounds in there.

The Order Switch and Routing

One of the coolest things about the Dark Side is that the fuzz and modulation/delay sides can be used in different orders.

That matters a lot.

Fuzz into modulation sounds different from modulation into fuzz. If the fuzz comes first, the modulation shapes the already-saturated sound. That can be smoother and more classic. If the modulation comes first, the fuzz distorts the movement, which can get more intense and strange.

In the breakdown section of the song, I used the order in a way where the modulation went into the fuzz. That gives the sound a different kind of texture, because the fuzz is reacting to the moving signal.

This is one of those features that makes the pedal more fun than a simple two-effects-in-one-box design.

It lets you experiment.

Recording Setup

For the demo, I used my Uraltone Junior amp going into a Two Notes Torpedo Reload. From there, I used the Wall of Sound plugin in Logic to get the cab simulation sounds.

That setup is important because you are not hearing the pedal through a random tiny practice amp or a phone microphone. It is a direct recording setup with a real amp, load box and cab simulation.

That kind of setup makes sense for a pedal like this because a lot of the tones are about texture. Fuzz, tape delay and modulation all react strongly to the amp and cab sound. If the amp tone is too small or harsh, the whole thing can become difficult to judge.

With this setup, the Dark Side had enough room to sound big.

What I Like About the Keeley Dark Side

The thing I like most about the Keeley Dark Side is that it feels like a mood pedal.

That might sound vague, but I mean it in a good way. Some pedals are tools. Some pedals are problem solvers. Some pedals are there to do one very specific job.

The Dark Side feels like the kind of pedal you turn on when you want the part to become more cinematic, more dramatic or more textured.

The fuzz is thick and sustaining. The delay makes things wide and atmospheric. The modulation side gives you movement. And because the pedal has two sides that can interact with each other, it is easy to create sounds that feel bigger than the individual parts.

It is also fun that it is not only useful for obvious Pink Floyd things.

Yes, that is the concept. But in my own demo song, I found myself using it more as a creative sound box. That is probably the best compliment I can give it.

It made me write parts around the sound.

What Could Be Better?

The Keeley Dark Side is not perfect.

The biggest limitation is that the delay and modulation live on the same side. That means you cannot use the built-in delay and one of the modulation sounds at the same time. For a pedal built around these big atmospheric sounds, that can feel like a limitation.

The controls also require some learning. Because the knobs change function depending on the selected mode, this is not always the most instant pedal in the world. You may need to remember what each control does in each mode, especially with the delay subdivisions.

Also, if you have the first-gen version, the routing setup is different from the newer V2. Some players may prefer the older TRS insert flexibility, while others will prefer the simpler order switch on the newer version.

So it depends on what kind of user you are.

Finally, the fuzz itself may not be for everyone. Online opinions seem a little divided there. Some people love the sustain and thick Muff-style character. Others find it too compressed or not aggressive enough. Personally, I think it works best when you lean into what it is: a thick, sustaining, atmospheric fuzz rather than a raw garage fuzz or modern distortion pedal.

Who Is the Keeley Dark Side For?

The Keeley Dark Side is for players who want fuzz, delay and modulation in one compact pedal.

It makes the most sense if you like atmospheric lead tones, psychedelic textures, big sustaining fuzz, tape-style delay and old-school modulation. Obviously, Pink Floyd and David Gilmour fans are the target audience. But I do not think you need to stop there.

This could also work for ambient players, post-rock guitarists, studio players, home recordists or anyone who wants one pedal that can create big textures quickly.

It is probably not the right choice if you want a simple overdrive, a modern high-gain distortion or a delay pedal with tap tempo and presets. It is also not the best choice if you need every effect available independently at the same time.

But if you like the idea of one pedal that can take you from fuzz riffs to swirling modulation and tape-like delay, the Dark Side makes a lot of sense.

Keeley Dark Side Review: Is It Still Worth It?

Yes, I think the Keeley Dark Side is still worth it, especially if you understand what it is trying to be.

This is not just a fuzz pedal. It is not just a delay pedal. It is not just a modulation pedal. It is a compact workstation built around a very specific sound world.

If that sound world appeals to you, there is a lot to like here.

My first-gen unit may look different from the newer Dark Side V2, and the routing options changed between versions. But the main concept is still strong. You get a thick fuzz, warm tape-style delay, useful modulation and enough routing flexibility to make the pedal feel creative rather than static.

The Dark Side is not the most straightforward pedal. It takes a little time. But once you find the sounds that work for your playing, it can be very inspiring.

And for me, that is always the real test.

Final Thoughts

The Keeley Dark Side is a very cool pedal.

It is easy to describe it as a Pink Floyd pedal, and that is obviously part of the story. But I think it is more useful to think of it as a fuzz, delay and modulation workstation with a strong vintage-psychedelic personality.

The fuzz gives you sustain and thickness. The delay gives you space. The modulation gives you movement. The order options let those pieces interact in different ways.

My unit is the older first-generation version, so if you are buying one today, check whether you are looking at the older model or the newer Dark Side V2. The newer version makes the effect order easier to switch, while the older version has its own routing flexibility with the insert setup.

Either way, the core idea is still the same.

If you want one pedal that can create big, fuzzy, swirling, tape-delayed guitar sounds, the Keeley Dark Side is still a very inspiring box to plug into.

And even if you are not the world’s biggest Pink Floyd listener, there is plenty here to enjoy.

You can check out the gear mentioned in this post through the affiliate links below. Using them does not cost you anything extra, but it helps support isthisgeargood.com and keeps the lights on around here.

Thomann: Keeley Dark Side v2: https://thmn.to/thoprod/398030?offid=1&affid=394

Sweetwater: Keeley Dark Side v2: https://sweetwater.sjv.io/dynjgq