Jason Wilding

Jason Wilding

I think like lots of people I’m totally and utterly ‘fed up’ (edited by request of the boss) with the price of concert tickets these days. I mean, it has been reported that on average people are paying nearly $400 to see Adele, nearly $240 to see Taylor Swift… the cheapest price for the Rolling Stones near me is about $160 (which you would need a telescope to actually see them) and so on and so forth. The question I’ve been asking myself recently is why?

I have a couple of theories about this - and they may be crap, or I may be full of BS (likely), but something somewhere has changed. And that thing, I think, is mostly due to us. But I’ll get to that in a minute.

Their fault.
Ticket touts… Scalpers…. Whatever you call them. The advent of the internet and sales on the internet has made it very easy for third parties to get involved and make a quick buck or two (million). It’s really hard to tell which are the legit sites and which aren’t, legislation has been passed to restrict this from happening but the trouble with the law is that it doesn’t move as quick as the brains of the people who are trying to take our money for effectively nothing. Is this a fight we can ever win? Also, the promoters of the events charge what they can get, so why not maximise on ticket prices if they know it’s still going to sell out? Everyone would do it if they could.

Our fault.
Those of us who are of a certain age will remember the Napster ‘revolution’ and remember seeing Lars from Metallica on TV moaning about theft, copyright infringement (and the subsequent lawsuits that followed) and most people laughed at him and treating him pretty badly… I do believe this was when the whole “Lars is crap” thing came from (well, that and the snare sound from St Anger, but that’s a different story) as he was actively stopping everyone’s fun in getting free music, because everyone loves free stuff, right? It’s always been interesting as being a kid listening to rock music in the 80’s, Lars was a legend up until around this time, then everything changed.

ANYWAY.

Since the whole filesharing thing has been embedded into our psyche (and lets it, pretty certain that at one point everyone has either done it or is close to someone who has) the eventual response by the music industry was to provide streaming services (I know it’s much deeper than this, but let’s face it, it was all they could do) and everyone jumped on it as, well, for all intents and purposes, it was still free. These days a lot people pay a company like Spotify about £10 a month to lose the adverts but in my experience, in just talking to people, most people just put up with the adverts and have it for free, because right now, that concept of ‘free’ music, or a variation of it, is legal.

What does that do for the bands? And I know what you are all thinking, 99% of the bands didn’t get an income from record sales so this doesn’t apply, but I’m looking at the large-scale acts here… obviously, a massive chunk of their income has gone. Completely. There is that famous break down of payments from Spotify that shows that a band in 2016 who had their songs streamed over 1,000,000 times and received a total payment of just under $5000. At this point, I could list how much that would have broken down if those had been airs on the radio or physical sales, but I won’t, because we all know that an income from that would be well in excess of $5000.

You know what this means, don’t you? Of course, I mean that the bands, record companies, management etc etc have to reclaim their income from elsewhere (as they ain't going to take a pay cut) and the only viable place to do that is either via endorsement deals (rare that they pay that well), merch sales (and those are now pirated ridiculously – just check out all the many adverts in your FB feed of companies selling cool band related shirts) and touring. Before the Napster revolution a band used to tour to support the album in order to provoke sales, but these days it’s pretty well their only source of real income. This is a hard pill for us to swallow, especially when you consider that the most expensive tickets these days are bands like Rolling Stones (and I’m pretty certain they’re fairly comfortable financially) but they are still a business, and guys who manage them aren’t going to let them go out on a tour to support an album that won’t sell, so that income figure has to come from somewhere else.

The fans fault (and yes, this is a little tongue in cheek)
Our expectations of live shows are somewhat more complicated than they used to be… Long gone are the days when you see a band and it’s a bunch of people playing the hell out of their instruments with a few lights behind them, you now have full interactive shows with everything from massive custom built OLED video screens showing content aimed specifically to the night of the performance, to fireworks, light shows that are just incredible, complicated sets with raising platforms etc and just about everything else… Shows are now events. Each time we go to see a show we expect it to blow us clean off our feet, it has to be better than the last one we saw so touring bands are obliged to up their game every time. It all kinda adds up. As an amusing aside to this concept of crowd expectation, a mate of mine – Tim Stark - is the chief builder at Mansons Guitar Works, so he makes every guitar Matt Bellamy plays, both in the studio and on tour. Those of you who have caught a live show from Muse knows what this means, as it’s expected now by the crowd… Let’s just say that the expectation of the crowd keeps Tim a very busy man, and those guitars are hand built in the UK, so they aren’t a $100 Squier used for the final song of the night!

The sad thing is that due to the way everything pans out, we are unlikely to see concert tickets come down to a more sustainable level for your regular person any time soon. You will always be able to see your favourite band, well, I doubt you’ll see them, but you’ll be able to hear them as you’ll be SO far away from them you’ll end up just seeing the video screens. The reason many people took the Napster route, and all the services that followed them, was because they couldn’t afford to buy all the music they wanted so they downloaded it. Stole it. The people who could afford to buy the music still did… And now, the people who could afford to buy the music still can and now they are the only ones who can realistically afford to pay top dollar to see the best bands, actually see them. The irony is not lost on me.

Here’s a final thought - I travelled 400 miles (round trip) by bus to see 6 bands in 1988… Helloween, Guns and Roses (full original band), Megadeth, David Lee Roth (with Vai), Kiss (without makeup) and Iron Maiden (full “7th Tour of a 7th Tour” production) for a total cost of £31 (about $60 USD at the time). Even with inflation that only comes to £80 ($115 USD) today. I wonder what that show would cost now?

 

 

 

In all the years I’ve been playing I’ve made the mistake of only listening too and ripping off other guitar players in order to find my own ‘style’. Yep, this was a big mistake. More recently I’ve been listening to other instruments to expand my palette and I’ve been having a ‘meh’ time with it… coupled with a constant desire to get my head around a more modal approach to make my playing more interesting, it just ending up as a more frustration (and let’s face it, I’ve had one of the very best explain it to me multiple times – Mr Tom Quayle)… I’ve understood some of it, but you know, I can’t find a way of putting it into a vocabulary that is mine. 

This has been changing recently and it’s come from the most unexpected of sources.

… so… backstory.

I first met Dave when I was about 16, he’s 8-9 years older than me and from the moment I first heard him play I was utterly blown away by his musicality. He’s a piano player. Classically trained, a music teacher, and just a frightening sense of melody and structure. Way back then, I was hugely intimidated (and that’s a reflection of me, not him, a more lovely and open man you could never meet), that I just could not ask him anything… Our paths have crossed many times over the years and although I’ve always had the utmost respect for him as a musician, I never thought of talking to him about it all. A couple of years ago I saw on FB that he was doing a solo show close to me, so I went to see him. First time I’d seen him in years! We caught up and went our separate ways… then at around that time Mrs Wilding had a couple of piano lessons with him and they became friends, he was very understanding that she couldn’t always fulfil her lesson slots due to her illness, and then last year when he became poorly she was there for him and the friendship became stronger. Once he was a little better, he came over and he just fitted in with our family and it became a regular thing - “it’s Saturday, so Dave’s coming over”. 

Since the time I first met him and then during the time we barely saw each other, Dave has made a career out of teaching music/piano and has gone so far as to earn a doctorate in music composition. So, if anything, I should have been more intimidated by him than I was before. But, now I’m 44, I’m a lot more secure and confident in my musicality so I’m more open to speak to people…. That first day he came over he only played a little piano and music didn’t come into the conversation, but ever since then at some point in the day we end up playing. I am VERY lucky that my wife is a musician and my kids play everything they can get their hands on, so music is always happening in the house.

It was about a month ago and Dave was just messing around on the piano and this incredible run came out of nowhere and I sat there, on the other side of the room, with my mouth agape. He looked up and laughed and said “what?”… so, I just said “What the &%^$ was that?” and he said “Oh it was just an *insert explanation here* and it made sense. I don’t know why it made sense in what he said, because it was no different from a guitar player saying it, but I think because it sounded different, and I could then look at it and have it in black and white (and also see and understand the chord he was using underneath it) there was what you might call a lightbulb moment.

I’m not arrogant to say that because of this I have Quayle levels of theory at my disposal, but what has happened is that I’ve found someone, and a way, to demonstrate this kind of thing and then transfer it over to guitar and my own playing. I’ve started to understand how different intervals work over different chords and I guess I’m kinda approaching my solo construction slightly differently, maybe in a more piano way… not just a bunch of guitar-shaped boxes and scales, but a more fluid movement between them… but my playing has definitely changed because of my weekly jams and chats with Dave. This became obvious last weekend. As with any local music scene, it’s all slightly incestuous… the band I’m in now Dave was in during the early 90’s. So, after coming over Dave came with me one day (this was about 8 weeks ago) to the gig to see everyone. This was the week that he and I first talked theory and construction, so it was me he was seeing play that night. Then last week, he also came and saw us again, and was a couple of my lead lines caught his attention - a couple of times he looked at me and smiled and nodded… one of the times I said to him, well I mouthed, “That’s your fault” and he laughed… I realised that without actively knowing it, I had lifted part of his approach and taken into the guitar, into my own playing/style.

So, kids, the lesson in all this is this… if you have musical friends that aren’t necessarily guitar players and they have a better understanding of music than you do, pick their brains, take music as a thing outside your instrument and blatantly steal their lines and ideas. There is a huge chance it will make you a better player.

 

 

Unlike me to start a blog post with the pure intention of starting an argument! But, you know, sometimes it just has to be done. For those of you who are unfortunate enough to know me in some way will know about my music preferences... My favourite players are on a constant rotation of being ‘the best’ in my head. There isn’t a day go by that I don’t listen to Gilmour, I have epic binges of Vai, Brent Mason is the ultimate studio musician I can think off, Jerry Reed is THE man, Randy Rhoads is immortal… Nuno has the right hand of the Gods.. etc etc. You know how it goes.

The strange thing about this, or maybe I should say “strange beautiful music” thing about this is that very rarely do I stand up and gush about Satriani, but in recent times I’ve been on a Satch trip that appears to be never ending. And it’s lead me to this conclusion. Joe Satriani is the ultimate rock guitar player. 

Right, OK. So let’s get this out of the way. No one can EVER take away the impact of the three guys that made rock guitar what it is today, without them we simply wouldn’t have the music we have… So, Eddie Van Halen, Jimi Hendrix and Tommy Iommi. Accepted, vital. They are the heart of it all… but in 2018, are they the greatest?

Here is why I think Satch wins this title (of course, this is a massive subjective issue). Of course there will be dissenting arguments, however... I need to keep the word count down so I'll try to put it in bullet points, this could have been a definitive 20k word thesis!

Style.
When you break down what Joe’s music is, primarily you’ll find a shedfull of hooks. Little lead lines that you hum along too. And then right after that, some weird crap that no one can comprehend (at the time) will fall out of your speakers and you end up looking at the CD case (I’m thinking back here to when I first got his music in the 80’s) thinking “What the hell are you on?”. Then, more hooks, more melodies, more weird crap, melodies, hooks… This is where Joe wins for me, the melodic element. I mean, if you look at EVH and Vai, that’s the one thing they miss in their playing. Those hummable melodies that appear in EVERY song, usually multiple times. As musicians, we are constantly looking for melodies and hooks, Joe seems to have them falling out of everything he writes.

Technique.
Joe’s playing is flawless, in every respect. Whether he be grooving along, sweep picking, tapping, legatoing (is that a real word?) or anything else, he does it perfectly. If you listen to ANY of Joe’s live recordings, or have seen him live, you’ll notice that he is complete control of his instrument at all times. How he manages to hold the whole thing at the edge of feedback in that way and only have it come in at certain times is beyond me… His right hand is permanently locked in, his left hand never seems to drop a note at all, basically, in terms of the physical act of playing, there isn’t a thing wrong.

Innovation.
This may not be a big one to those who are younger than I am, or weren’t into this style of music when it was released, but believe me, back in the day when Joe erupted onto the scene, it was like nothing we’d ever heard before. I was very fortunate as I was introduced to Joe’s music in the mid 80’s, I was early teens, and I couldn’t believe what I was hearing. I had heard Vai on DLR, I was well into EVH, Hendrix and all the others… but there was just something else unheard of here. I can remember with pretty well complete clarity the first time I put Surfin’ on, the title track was all well and good – but it was the following three tracks that confused the hell out of me. “Ice 9”, “Crushing Day” and “Always With Me, Always With You”. From that moment on, every album of Joe’s that I inhaled just blew my socks off. How many other people listened to “Mystical Potato Head Groove Thing” the first time and played it again and again thinking “What the hell was that and how the hell did he do it?”. Also, when we are talking about Joe being an innovator. Let’s remember, he taught Vai how to play, Alex Skolnick, Kirk Hammet (don’t go there, that’s another conversation, but if you want to, listen to Master of Puppets, And Justice For All etc and then stop talking) and so many other outrageously good players, you have to take note of the mans impact.

Coolness.
Who else can go out on stage every night, out Voldemort Voldemort and smile while playing like that. You gotta admit, he’s so damn cool it’s just not funny. Even at 61, he’s still a sizeable amount cooler than any of the younger crop of players out there today.

Musicality.
I’ve often heard that Joe is just one major scale away from being a major scale himself, maybe that’s why I love it so much, as I’m a fan of things being in a major key and even when he’s in a minor key it sounds major. I’m not going to delve into his theoretical approach via his concept of pitch axis etc, but everything is about the music and not just the mindless widdlewiddle that so many shredders rely on. This is where he sits apart from players like EVH, sometimes on EVH solos it’s just insanity and all over the place, in the best possible way, but with Joe it always feels like it’s just the song but in solo form. The only people who come close to constructing solos in this way, maybe Andy Timmons or Nuno Bettencourt.

Influence.
Dude, he taught Steve Vai. End of argument.

As you can imagine, I’ve been writing this while listening to Joe, in particular, the Live! album from 2006. In between grabbing my guitar to play along, or the epic amounts of air drums I’ve been subjecting my wife and kids too (much to their amusement) and generally blubbering on about something that I have no right too, or been able to articulate properly, because it’s all just opinion and you know what they say about opinions. And what they are like. But, I ask you this… put personal favourite’s aside (Joe is not my favourite, at least not today, but who knows what tomorrow will bring?) and think about the wider scope of modern rock guitar and the person who has been consistently updating the genre for 35 years. Once again I’ll refer to the main arguing points… Vai: technique, stage presence, insanity… the top of the tree. EVH: Without him there would be none of this I expect, he broke the mould, but he only broke it once. Hendrix. In my own (highly contentious opinion) he was a blues player, although once again, without Jimi there wouldn’t be the others (but then again we can take that all the back to Chuck Berry and further). Who else? We can list and discuss them all, but when I really think about it all as a whole, it always comes down to one man. Joe Satriani.

Now, as the much-overused meme says… “Change my mind!” - but before you do, watch this. This has absolutely everything in it and just shows what a master of his instrument he truly is...

 

 

 

 

 

I’m pretty old – currently staring down the barrel of being 45… So, I groan when I get up from the sofa and my idea of a great concert (as someone attending) is whether it is seated and how easy the access is to the ‘facilities’. Whereas this may sound terrible to some (especially me to be honest), it does mean one thing – I’ve been playing live since I was 17 so I’ve been thinking about this kind of stuff for a long time. Along the way, having done over a thousand gigs, I’ve picked up some knowledge about some things that I might not have thought about before. 

This week I want to talk about speaker placement when you perform… When I was a nipper, before the gig time, I had to keep my sound levels down low at home, because – you know, parents. I quickly found out the best way to do this was to lean my amp back (up against the wall) so the centre part of the cone was pointing at my ears. During this time, I wanted to be Jannick Gers before I knew that Jannick existed… basically, I wanted to stand between Smith and Murray on your bog standard Iron Maiden world tour. My bedroom came complete with a full-length mirror so quite often I was stood with my foot on the bed in that classic “on the monitors” way and other various poses the band are known for admiring my potential for being in the band... It was during this time I realised that where the speaker was pointing made an enormous difference to how I heard my guitar. It was either muffled if I wasn’t dead on, or bright and clear when I was. Based on this experience when I started with my first band I used to put my amp on stuff to make sure it was at head level as much as possible – I found that not only was it the best way to keep my stage level down but also the very best way to know that the people out front only heard what I was hearing. From there I went on to live mix large bands around the circuit which taught me also that in regards to upper mids and high end, speaker placement is absolutely everything. The lower the frequency goes, the more omnidirectional they become (this varies with speakers size) so you can put them anywhere and they’ll be heard, but those high ends have to be facing the right direction and high enough to literally go over the head of people, otherwise anything further than 10 feet from them with people in front of you, they are just gone.

Now, any self-respecting guitar player will be able to tell you that the best tone you get from your amp (providing you aren’t on a weak hollow stage) is to have your amp on the floor, but this is a nightmare for the people out front – you can’t hear your top end if you have your tone going into your calves, and also, if you are anywhere near the drummer you have to be literally twice as loud to hear yourself. I can’t begin to tell you how many times I’ve seen a band where the guitar amps are on the floor and the first few rows have been slaughtered by sheer volume and gnarly top ends while the player thinks he sounds incredible.

With all that in mind, where do you put your speakers when you play live? Are they on the deck, or are they elevated? The current band I’m ruining is set up like this, my cab sits on top of a flight case, it’s a 2x12” (and I have it vertically) with the head on top. This means that because I am stood anywhere between 1 and 10 feet from my cab (usually about 2 or 3 tbh), at all times the top speaker is sitting close enough to head height for me to hear it properly. I have to have my cab a certain way ‘up’ as one of the speakers is truer on the higher end and the other is more about warm mids and lows. The top speaker has to be looking at my head, so I can keep the high end under control.  As I play in a band that borders on country music, I have my cleans set on very clean with some sparkly high ends going on, so I sit on that verge of being shrill if I am not careful. I am so paranoid about this that I often hold my nose and blow down it to pop my ears out to ensure I am hearing all the highs properly… Something Mrs Wilding finds most amusing!


My current live speaker set up... vertically aligned so I can hear what I am doing... I don't play shoegaze, I promise... 

Well, that’s the story part of the piece out of the way – what about the facts that support it, because we all like the sciencey facts part, right?

Speakers, and the frequencies that they protect vary in directionality. The higher the note, the more directional your sound will be projected. Here’s a little test… play a low E note and then one as high as you can straight after. Do that stood to the side of your amp, then at a 45 degree angle, and then right in front (also do this crouched down if your amp is on the floor). You’ll notice that the low-end notes sound pretty identical in all three but the higher notes will sound much duller when you are at the side.

Most guitar amp speakers are 12” and they demonstrate ‘beaming’ at about 1335hz – that is the frequency they become immensely directional. So, everything below that will feel a lot more omnidirectional. To put this in real guitary terms, a tubescreamer has a hump that is most prominent at 732hz and that’s considered to be a mid-range bump - upper mids is generally thought to be between 1khz and 2khz so everything above the midpoint of your upper mids is being protected in a strict direction. Now, think about standing on a stage with your amp on the floor about 5’ behind you. There is an enormous chance you are not actually hearing the high end of your amp properly, so your tone will be brighter than you think.. chances are you compensate for this by increasing the treble control on your amp/pedals. Now think about all those people who are standing on the floor about 15’ in front of you. Yep, it’s your high end that’s actually hurting them and ruining their night!

There are several companies that try to put a stop to this happening, most noticeably the Deefleex, it provides a deflection panel that sends your upper frequencies up to your ears - this is great - but in order to work properly they stick out quite a bit from your amp, so unless you are playing on a bigger stage, you just can’t use it as it will get in the way... if you don’t have that problem though, this simple solution could make a world of difference to your understanding of how you, and your audience, hears your tone.

While we are talking of speaker cabs, here’s another thing to consider… how you have your cab laying. If you are using a 1x12” cab, the sound will spread out evenly in all directions (this isn’t strictly true, but for the sake of this piece let’s keep it simple), but if you are using a 2x12” cab it will react quite differently. If you have the speakers in your cab aligned horizontally, you will get a bigger spread ‘up and down’ than if you put them vertically which will spread the sound wider. This is why I have my cab elevated off the ground and vertical, so the cab will spread more to the sides that it does up. If I had to put my cab any lower I would put it so the speakers are horizontally aligned, so the sound goes up more. For me, in a band that plays smaller venues, the dispersal of the sound to the sides is WAY more important because there won’t be enough room for a horizontally aligned cab to fill the room with sound. And there’s no point in taking all this gear to a gig if only a few people directly in front of me can hear it, right?

 

 

When you are lurking on as many gear forums that I am (it’s no wonder my sanity is often questioned) you start to notice patterns forming, you see the same questions come up, and quite often you get to see some great answers and also some terrible ones. I was explaining to Mrs Wilding a couple of weeks ago that at times it feels like I’m in a room with about 100,000 other people and I can hear all the conversations in the room at the same time… Sometimes, the conversations just pass you by but others stick out, especially when you hear the same conversation happening over and over again.

One of those topics that comes up time and time again is “boosts” – the different kinds and where to place them, even which one… so I’m going to write an answer at my level, which is idiot level, to try to explain it all. This may contain information you already know, but hopefully, it will contain some information that you haven’t consolidated yourself yet so there may be something useful in here for you!

When you boil it all down, there are (in my opinion), 3 kinds of boosts that guitarists favour. A clean boost, a treble boost and what’s often classed as a dirty boost, this could be called a coloured boost, or a tone shaping boost or a multitude of other names. The main consideration when deciding which is for you is what you fundamentally want it to do, and where you plan to put it in your chain. My own live rig runs two boosts, one pretty well up the front and one right at the back. Unsurprisingly, they are both Wampler – the Tumnus Mini sits at the front (after the compression and pre-gain modulations) before the main gain stages and the dB+ is right at the back (well, it sits before the reverb pedal but that is an always-on pedal so it doesn’t count!) and acts as a literal volume boost.

The thing that kinda makes me smile is when someone asks online “Recommend me a clean booster” and the thread instantly fills up with shouts of “EP Booster”, “Tumnus”, “TS” and the like and more often than not no one will stop to ascertain what they need, it may be that they need a dirtier boost or not. I would say that 99% of the time the dirtier version will be better, but you know….

Clean boost.
The clean boost does just that. It boosts the output of the signal coming in before it goes out. A lot of them are sold on the basis of a HUGE amount of boost, and for me, that kind of goes against the intention of them. Putting a clean boost in front of your gain stages will just increase the signal going in causing them to clip quicker, so you kind of get more of the same – where’s the fun in that? So, in my opinion, clean boosts are much better situated at the very back of your chain to ensure that when you go in for a solo, everyone can hear you over the rest of the band. Of course, this is not a hard and fast rule, a lot of people love their clean boost in front (especially if you are driving amp gain) because, well… they love their tone. So, happy days. But, once you start enjoying the beauties of a dirty boost it’s hard to ever go back to clean for pre-gain. In a nutshell, the classic clean boost will not add any clipping and it will NOT change the EQ of the signal, as EQ and clipping are so closely connected when you think about pedal dirt, it’s hard to separate them fully.

Treble Boost.
Kind of self-explanatory… takes the higher ranges of the tone and boosts it, this will in turn cause whatever sits behind it to clip into overdrive much quicker based on the frequencies that are hitting it.

‘Dirty’ Boost.
Now, this is where the real fun starts, well it does for me anyway. Thinking about it, I actually use 2 dirty boosts in my rig as I run the c2 side of the Paisley Drive Deluxe into c1 and only tend to use it for high gain stuff… So, why do I do this? Well, it’s all about the options it gives me with tone shaping, and how it makes my guitar feel under my hands. The amps I play with are set at totally clean at all times, so when it’s just the Tumnus that is on it kind of gives it a little nudge, adds very little gain (clipping) and the volume is set to unity. So, it’s not really pushing the amp in any direction, it just throws a gentle EQ curve across everything while giving it a little bite. It’s barely noticeable on the clean sound, but when it’s put on when the PaisleyDog is engaged, it fills it out SO much I can’t really describe it. Everything is warmer, fatter and it really pushes it forward. Not in a way that it makes my guitar sound louder, just fuller. When I then kick in Paisley Drive side (which is effectively set at full TS mode) the combined boosting of the TS frequencies and the K style frequencies produce a wall of sound that is huge. As I use a programmable looper in my rig, I have the following combinations available to me…

1) Clean, 2) Tumnus, 3) Paisley Dog, 4) Tumnus -> Paisley Dog, 5) Paisley Drive -> Paisley Dog 6) Tumnus -> Paisley Drive -> Paisley Dog.


Main Dirve section on the right (c1) with the TS boost on the left (c2)


My hidden boosts. dB+ for final solo boost and Tumnus Mini for pre, pre boost.

Now, the Paisley Drive is set somewhat different than the Tumnus, it’s set just above unity volume with a little more gain applied so when it hits the Paisley Dog side, there is an increase of overall gain as well.

With this in mind, how does all this work technically? The best way to think about dirty boosts is that it’s not about adding clipping to the chain, well, it is, but it’s more about the EQ shapes that they provide into your core signal. EQ is everything! As the Tumnus is a K style and the Paisley Drive is TS style (in one of the modes, and that’s the mode I use it in), I’m adding a largish amount of EQ to my tone when they are kicked in. The TS brings in a hump that centred at around 723hz and the Tumnus centred around 1k (these can and will change when you use the tone controls so that’s not gospel), the change in the character and depth of the main overdriven tone is quite remarkable. It does bring in a little clipping (gain), but you know, what it mostly brings is a jump in response from the EQ stacks, so I can easily control the feedback point and sustains for ever. When people look at the settings on my pedals they are quite surprised how low the gain is set on each, because when they are stacked, the inherent EQ shapes are bringing the gain that’s already there front and centre, with a much more 3D depth... that’s not how it works, but that’s how it feels. 

If you are thinking about a booster pedal, think about what you really need it to do and where you should place it in your chain. Are you after a literal boost for your solos or are you looking for something that changes your tone into something else. The vast majority of people want the latter I think, so the choice then is which voicing you want to bring in – most people instantly think about a TS or a K, but then again there treble boosters (that explode those higher frequencies that bring the character of the subsequent drives/gain stages to a whole new place), or pedals like EP booster that bring another element of width and fullness of its own character, I’ve seen a lot of boards that have an EP at the start and at the back, purely because the warmth it brings also sounds great as an end of chain boost as well.

As I’ve now been using the double boost pre-gain for quite some time now, I’m pretty certain I won’t change as it works so well, but, the older I get the more I start to think of downsizing, so who knows? Maybe we need to do a triple pedal that utilizes both kinds in a single box with one killer core gain stage at the end (I wish I was famous, I would totally have that as my signature pedal). With all this in mind… what is a clean boost in your mind – it is about clipping? Is it about volume? Should EQ play a part in this?

 

A question we get asked a lot is “how does someone become a signature artist and get their own pedal?”. Well, as with everything else, there is no rule book, but if there was one it would contain so many variables it would be impossible to give an explanation of the sure-fire route.

Right now we have a signature pedal at proto stage, one in ‘headscratching’ phase, and another in the negotiation phase, so it’s safe to say that this is subject that’s in my head a lot at the moment. So, for my own benefit in the process of consolidating all the information, I can give you a run-down of what is needed.

Let’s start at the business end of things. Why does a company bring out a signature unit? The obvious answer to that is the mysterious phenomenon known as “exposure”. If you look at our first two, Brent Mason and Brad Paisley (who now has 2, the regular and the deluxe), it’s easy to see why we did it. We were a very young company when Brent and Brian worked on the original Hot Wired, and when it was released it instantly gave us a good reputation and a great platform to market the brand from, and go on to have the brand come to the attention of a lot of people, myself included. I cannot begin to tell you what this pedal did for us as a company… Brent is one of the most respected musicians in the world, so to have his name on a pedal and have him use that pedal on countless recordings was massive to us. A couple of years later, we launched the Paisley Drive (the first release I was involved in) and that exploded the brand to a much bigger audience around the world and it’s safe to say that the high-end pedal world was now completely aware of Wampler and what we could do… 3 years after that, we did the signature pedal - the Dual Fusion - that made everyone say “What?” and has gone on to become one of the best-selling Wamplers of all time.

Tom Quayle was a relative unknown at the time, big amongst a certain genre of players (who followed him fanatically), but to the rest of the world, unknown. What we wanted from Tom was to not only bring the pedal into his genre (which was exploding), but also be part of a pedal that he was already using (although in separate units) that we felt could be massive to the market – provided we could match up our vision for it with his (which luckily for all involved was extremely simple, it was great fun working out how we wanted it and thinking up the features at the time what were revolutionary). He had found his tone with the Euphoria and Paisley stacked, and we knew that a dual pedal with these two elements (althought modified to suit him and the single pedal format) would be enormous. Also, having got to know him, we knew that he would market the living daylights out of that pedal at countless trade shows, videos, social media outlets, and just about everywhere else… Tom is one of the most hardworking guitar players I know that is often appearing at seminars, shows… just about everywhere around the world. We also knew that providing he stay true to himself (which to anyone who knows Tom knows that is what he always does) at some point in the future the rest of the industry was going to catch up with us and his name and picture would all over the place.

What does all of the above mean when looking at it closely it? Well, to a signature artist you have to fall into 1 of 3 categories:

  1. Is their idea for a pedal so unique and original that you have to sign them up then and there to being this piece of genius to market? (extremely unlikely, I would say impossible – “Hey man, I’ve got a great idea for a new pedal, no one has ever done this before”… the reality is – they may not have done it, but I can almost guarantee you that one of us would have thought about it at some point and gone on to discard the concept.)
  2. Is the artist in question so famous, and relevant, that just having their name on your pedal will explode your brand around the world? (unlikely, but when they come along, happy days – I mean, no one in their right mind would turn down a superstar like Brent or Brad.)
  3. Is the concept of the artist/pedal combination something that people will relate to - and will the artist network/promote you so much that the amount of traction gained from your combined marketing efforts going to make something truly special? (the most likely)

Now, it’s fairly obvious that as of today, we’ve had two #2’s and a #3 in our list. A lot of people mistakenly think that in order to get a deal you need to be #1 (everyone thinks they have THE next big idea which is usually, well… not so big), a lot of the people who think they are #2 are usually a few years past that point of their career (or are in no way big enough to even think about it) so think it will be a steady income stream for them for doing nothing, yet no one thinks about the concept of #3.

In order to be a signature artist, you have to have something special. Yes, you need to have the talent and ears to make it even to discussion stage, but what about the rest of it? To do it, and do it successfully, you have to work HARD to get there and even harder to keep it going… The main thing to remember that as a business we like to sell a lot of pedals and it is an aggressive marketplace out there with countless elements working against you. We’ve found that the people who even make it past the initial nanosecond of consideration are not in the least bit concerned with the monetary aspect (the commission) and are only interested in realising their vision for their sound by working together, combining ours and their marketing platforms, and most importantly… the vision for the future of both ours and their brand. In a nutshell - you have to jump in with both feet and take a ride with us, and sit right up front!

As you can imagine, I’ve seen a lot of people make a pass at us for signature units, Winter NAMM is a classic one where a lot of players are walking around in dark glasses trying their hardest to be noticed whilst looking like they are trying not to be noticed -  and this year, most of the time, all I wanted to say to them is this: “You see that guy over there… the quiet one with the new signature Ibanez, yeah… him. He’s called Tom. Be like him.”

What is great tone?

February 19, 2018

Over the weekend, everyone’s favourite member of the Wampler Pedals Tone Group on Facebook asked this simple question. 

“What is good tone?”

When I opened up the list of answers, I was almost in dread as I was expecting an argument of epic proportions about individual personal opinions but was delightfully surprised at the answers (although I shouldn’t have been, we have a great bunch of people in there). I thought I would collate a couple of the theories here (with some direct quotes - so, don’t shoot the messenger), cross-reference them with what is in my head, just to open the discussion further.

Before we go into it - here’s my favourite comment of the thread “I’ve heard it’s in the fingers. Maybe that’s why people put their fingers in their ears when going to loud gigs? Always chasing that tone”.

The overall opinion of the thread was that it’s a subject issue – “The tone you like” (one of the more succinct quotes), but I got to thinking, this really does matter on who/where/when. Is it when it is either appropriate for the band, the song, the player or the audience?

One of the wonderful things about being a little older than I’d like to admit (but still not old enough to look old, I hope), is that you get to revisit the favourite tones of your past and dissect them with more experienced ears. Case in point, Mrs Wilding found a great gig on the digital TV box thing – Gary Moore: One Night in Dublin and his guitar sound was immense, really thick and full, everything you could want to hear from Gary Moore when he is in rock mode… I spent the next however long regaling to Mrs W about the Thin Lizzy album, Live and Dangerous, saying that the tones on that recording were much more classy than Gary’s etc etc. So, eventually, I downloaded the album to my phone and we listened to it in the car this week. She just looked at me and said “Yeah, it sounds good, but I prefer Gary…” and doesn’t really want to listen to it anymore. This made me think a little. Am I listening to it still with the ears of the person I was 30 years ago, or can I listen to it afresh? I’ve listened to it over and over since and I’ve come to the conclusion that even after all these years, for the moment in time (recorded in 1978) it still represents incredible guitar tone. I have no idea what Gorham or Robertson had in between their fingers and us, it sounds like Les Paul’s and Marshall’s, but I don’t actually want to know… I just want to listen to it and think “Yep, 1978… that’s great tone”. Does it stand up to the tones from 2008 when Gary was ripping through modern amps with pedals helping out? I think it does because it’s a moment in time and maybe not one that everyone can appreciate.

Another one I always come back to is Iron Maiden’s Live after Death… compare that to later Iron Maiden albums where the guitar sounds aren’t so raw, now… is that because when I got Live After Death it was unlike anything I’ve ever heard before and still brings those memories back, or is it because they had a better live tone in the 80’s? Anyone have any opinions on that, or am I alone with this? Is my memory playing tricks on me, because even today, I think it sounds just incredible.

One of the comments that made me stop to think was this… “Whatever fits the song and makes the song better. Jimmy Page had horrible tone that worked in fantastic songs.”. This has always been an issue with me with Zep, I adore the songs and the playing, but some of the guitar tones have been kinda ‘meh’, almost like some of them were badly recorded demo’s. However, if the guitar tones had been different would it have had an adverse effect on the music itself? Sometimes, the tone works for the song perfectly even if it’s not a tone that excites your ears personally. Listen to the tone in Kashmir objectively, is it great when it’s on its own? But as part of the song… is it just perfect?

The simple truth about guitar tone was perfectly wrapped up in this quote – “As far as what the rest of us like, it's subjective. But, if you find a sound that inspires you to play and you play better as a result, that is good tone.” – when I feel my tone is on point and my guitar is reacting the way I want it to, then I know I play better, there is something magical in there that just excites the brain and you play better for it. Once again, Mrs W comes into the conversation as she says after some gigs “You sounded great tonight, I could hear it in your playing”… However, do the drunken rabble that is dancing around in front of us aware that my rig is different from the guy who played in the band before me, with his USA strat, vintage TS-9 and a Deluxe? (not that I am knocking that rig, not at all, it’s just not me). I think of some them do, but most don’t, they just like what they hear and react to it.

There is a lot of talk about great tone, every day, in every format, on every forum you care to visit. The main question for me is this – is the great tone for you personally or the people who have to listen to you, and if it IS for them, how far will you go to give them what they want? Great tone is a moment in time… Like the Lizzy album, the Maiden album, EVH on the first two albums, Nuno on Pornograffitti, everything SRV did, BB King at the Regal, Every note ever played by Andy Timmons, Cliffs of Rock City by Paisley, Gilmour on The Wall… but, if you take those tones and put them somewhere else, will they still work? I’m going to go out on a limb here and say  this - Great tone is just something that makes the song what it is, it doesn’t matter if anyone else likes it or not, it’s just about the end product, and if the end product works, then surely it’s just good tone.

 

My NAMM 2018 diary

February 01, 2018

Day 1, Wednesday – “…there’s two L’s in Hell…”

It started like any normal day, not enough sleep and getting up to get the kids off to school…  Once they had gone there is that horrible moment when I catch Mrs Wilding’s eye and she looks sad. She doesn’t like me going away - we are one of those weird couples that spend 24/7 together and thrive on it so it’s very hard on her as let’s face it, I’m off to California with my peers and she’s at home - but she accepts that it’s a vital part of the job so she puts a brave face on. Once I’d got my shit together and packed up, I got in the car ready for the drive to Heathrow. Now, the journey up is usually indicative of my week and unfortunately, this year was the drive from hell. It was absolutely pouring down, in the most English way, all the way there. I don’t mind driving in the rain, but when you have visibility of about 50’ and people are going past you at what looks like about 100 and they don’t even have their lights on it’s just plain scary. The English, what are we like?

Arriving at Heathrow I quickly found my travel buddies, Tom Quayle (who was about to have the biggest show of his life due to his Ibanez signature model being officially released), Jay Henson, Jake Willson and David Beebee, and we started settling in for the long journey to LaLaLand. We got on early due to Jake being picked out as needing extra attention by the customs guys (so we blagged on through the line with him) and found our seats. The flight was barely 1/10th full so we spread out and for once, got as comfy as possible. The best thing about the flight is that this is the chance I get to truly catch up with Tom (who everyone who is connected to me on Social Media knows I love like a brother) and as usual he unwittingly gave me about 10 guitar lessons during the flight! Bonus. The conversation with everyone was as random as usual - it went from theology to philosophy, music to movies, life to death and a lot about how our kids are trying to send us to an early grave. The highlight for me was when we were talking about how people misspell, or mispronounce, our names that led to a conversation about what our Darts names would be, Jake “There’s two L’s in Hell” Willson and Tom “Legatenstein” Quayle. Believe me, 9 hours into the flight when half of the group had been drinking somewhat it was much funnier than it sounds written here.

The absolute worst thing about the NAMM journey is US Customs. We’ve usually been up for 24 hours at that point and you are made to feel like a terrorist coming through… So, we puckered up and prepared for the inevitable. For once, we sailed through with barely any waiting and I found myself on the shuttle heading to the Wamplers and NAMM. Arriving at the hotel at around 9pm, I was almost dead on my feet – I got a text from Brian saying he had just left the convention center (he’d had to rewire one of the boards) so I had time to unpack… when I got the message they were back. I walked to their room and Amanda was half passed out already (not a good sign) and the first thing we said to each other was “You look as tired as I feel”. You would have thought that we’d all just hang for a bit and get some sleep, but no, that would be far too logical. I poured myself into bed at 2:25 having drunk a little too much.

 

Day 2, Thursday – “…my wife really fancies you…”

BOOM, 4 hours sleep. Thanks Jetlag, you are a cruel mistress. I Facetimed my family then staggered down to breakfast. We got to the show and I had a nightmare getting my badge so was about 30 minutes late getting to the booth. I was greeted with the booth being packed and poor Greg facing it on his own… This is the busiest Thursday I can remember at NAMM. It seemed like we were packed ALL day. The first couple of days tend to be all about the meetings and I was lucky that I didn’t miss any (a wise man doesn’t book the early slots). It’s usually the day that we all fly off in order to see industry friends around the immediate area as well and them dropping in to see us – it was a delight to see the likes of Seymour Duncan and Phil X – who I actually got a photo with this time based on the statement “Hey Phil, let’s have a photo together as my wife really fancies you”. Thursday is a bit of a blur to be honest, we had a LOT of people come by and they all loved the new pedals.



After the show we went out to someplace somewhere to eat. I don’t actually remember where. But, I think it was a Pizza. Probably was. We went back to the hotel via Target to get some supplies, accidently bought a ton of beer, and went back with the intention of being in bed by 11 so we would be prepared for the day ahead. Amanda did this… Brian and I on the other hand… 2:05 I went to bed after we talked about the new releases, next releases, our kids, our lives, absolutely everything. And we had the first discussion about my favourite time of the year… April 1st

  

Day 3, Friday - “…Nah mate, you’re talking bollocks.”

4.5 hours sleep. **sigh**. Up, Facetime, breakfast, show. Got there on time so had a moment to properly catch up with the guys on the booth. It still kinda freaks me out a little to see Groover Jackson and Bruce Egnator just walking around, and then there’s Dave Friedman, and Joe Morgan… most importantly Jerry Best, Steve Elowe, Paul Wilson and Avi Elkiss – the guys who make Wampler work from the manufacturing and distribution perspective, in other words, the guys that do the real hard work! Friday was also insanely busy, even more so than Thursday. It’s great, but it’s a nightmare. However, getting to meet Andy Martin was a highlight, he’s as cool in the flesh as he is on video!

Lord Thomas of the Quayle rocked up to the booth about 11:20, he was due to play on the booth at 12 but he had no patience so instead of 30 minutes everyone got almost an hour of unadulterated Quayle. That was the strangest part of the trip for me, it was the first time we got a little PA on the booth so Tom could use backing tracks… When I met TQ at Heathrow airport for my first NAMM in 2012 (effectively my first NAMM buddy) I instantly liked him and what a journey it’s been since then. We are now what you might call family friends, we talk regularly about the real world, he’s been a musical mentor to me… we did the Dual Fusion in 2013, I’ve seen him progress into this world class virtuoso and I don’t mind admitting that I got a fraction emotional when he was surrounded by a large group of people just marvelling at what he does best. Improvising. Yep, this was mainly improvised.

 

Yep, I know it’s portrait instead of landscape but this was for FB – people tend to hold their phones upright ;)

After the show (which included me sliding down the railings outside that Amanda assured me looked cool, but the massive bruise I’ve been left with meant it was anything but) we went out to meet up with some of the members of our Facebook Tone Group which was just ace. We all sat around drinking beer and eating food, just hanging out – for us this is what it is all about. The people, we do this as we are all the same, just people looking for great tone, so to directly connect with the people we help along the way is incredible. I ate too much, drank a little and just had the best time. Thank you guys for coming out, it was awesome. So… back to the hotel for an early night. As usual Amanda went to bed and Brian and I went to the firepit by the pool for a quick drink… we were joined this evening by a few other residents, one who quickly and with the deduction skills of Sherlock Holmes realised I was “European, probably British” and basically took over the conversation for an hour. The conversation actually started with him telling me that Princess Diana was murdered by MI5, to which I replied “Nah mate, you’re talking bollocks” and the conversation went on from there. He was mainly interested in talking about politics… which considering we appeared to be polar opposites on that subject it went quite well, he was much more drunk than I was so I’m not ashamed to admit I kinda walked him around in circles for a bit and then forced him to contradict himself repeatedly without him realizing it. I was actually being my online internet troll persona in real life! And no, he’s never been to a shithole country before... Once he had left the inevitable happened… we went to bed around 2:30 after Brian fell asleep mid conversation after a few beers were drunk!

 

Day 4, Saturday – “…two middle-aged guys loaded with camera equipment trying their hardest to get into a high school dance…” 

The mad day. I arrived really early so actually got to try the new pedals properly. Although I was slightly hungover, I really enjoyed the day as so many people came by just to chat and hangout. We had Andy Wood on Synergy, another performance from Tom and it was all just incredible. I just don’t know where the day went. So many people! I had a load of meetings with dealers, saw some incredible playing and hung with friends – in particular PapaGates himself, Brian Haner, who is one of my favourite NAMM buddies and one of the few people who can talk as much rubbish as I can with the sole intent of saying everything and nothing at the same time... Perfect.

As the show was ending and it quietened down, I ran over to see the “competition” and had a great play through a load of Keeley pedals (Super Phat Mod is HUUUGE), hung and chatted with Robert, sat on Stefan Fast, trolled Josh Scott, checked out Chase Bliss and popped up to see CatalinBread which was kinda weird. It felt empty, obvious since Nic’s death it’s not the same as he would always be there, but no Howard… Scott… I dunno what’s happening, but I didn’t hang around long enough to properly find out. I just couldn’t.

After the show we popped into Downtown Disney to see our friend’s band play, and Brian and I trundled off to the annual pedal builders party… Rather stupidly we didn’t check the address and rocked up to the place it’s always held. We were denied entry by a well-dressed woman stating it was a private party. We told her we had been invited… when she dropped the bombshell that this was a high school dance did we realise how bad it looked… I mean, two middle aged guys loaded with camera equipment trying their hardest to get into a high school dance… we made our excuses and left VERY quickly. Once we arrived at the correct location it was wonderful, this is the only time we all get together so the conversations are tremendous. I shared a lot of abuse with Stefan Fast, trolled the crap out of Josh, laughed with Robert and shot some video with Andy Martin. We had a very interesting conversation outside that concerned how one of us had been totally disrespected by a heavyweight of the regular effects industry. I won’t go into details, but there is a video up, and it’s been heavily edited. Us ‘boutique’ guys kinda stick together and there are a lot of us now that have lost a lot of respect for that one guy. I’ll leave you to work out how that was! The venue was open to the public and there was Karaoke happening as well – a lovely lady called Bunny who must have been about 60 sang some incredible older lounge Jazz stuff in a really low register so everyone who sang after her was just treated to a load of drunken pedal builders chanting “BUNNY! BUNNY! BUNNY!” over and over. I honestly have no idea who started that **ahem**.

We got back, intended to go to bed early… beers, firepit, 2:10….

 

Day 5, Sunday “…Where’s Heidi?”

Got up super early as it’s the day I go home and I’m always really excited. The booth is always quieter on a Sunday so we all did loads of playing and everyone just floats around to see everyone else. April 1 was discussed a lot, hugs were had, goodbyes were said and at 5pm I walked outside, got smashed in the face by the heat and jumped on the shuttle to the airport. I arrived at the airport before TQ did, and he woke me up when he arrived (I know, how classy am I – I was snoozing as I was sat forward in my seat) and as with the rest of the journey, we just flew through customs and made our way to the plane via the Sushi bar. A couple of years ago we were served by a hilarious woman called Heidi and we wanted to be entertained by her again, but our calls of “Where’s Heidi” were greeted with “She got fired because she… well… kinda…” and we stopped him there, we didn’t want to taint her memory!  

The plane was half empty again so we spread out and slept for 6 glorious hours. Once again, Passport control was easy and before I knew it I was doing 100 miles an hour past Stonehenge, home and into the arms of my family and one stupidly excited dog.

NAMM is great, but it’s bloody hard work and extremely tiring. It’s the only time I get to spend one on one time with Brian and we make more plans in those 5 days than we do in the next 360. I see the most inspiring players and come back a better player. Unfortunately for me and my family I was completely dehydrated when I got back and the next 2 days were a complete write off. I blame Brian. It’s always his fault.

 

Following on from bDub’s video about the 12 things he’s learned making videos for YouTube (see below), I thought I’d piggyback that and make 12 things I’ve learned being the main social media guy for Wampler in the last 7 years. For those of you who don’t know, I’m the guy that has been the constant with the social media for Wampler since early 2011. Other people have worked with me during that time, most notably Alex who’s been with us for almost 3 years now, but, most of it has been me and my warped sense of humour. 

  1. People have opinions and they think they are facts. People are passionate about music, and they are passionate about their opinions associated with them. Especially when it comes to favourite guitar players. They may love the blues, or shredders, or whatever, but there are a LOT of people who misunderstand the concept of opinions. They have the final word and are prepared to destroy all those who dare to disagree! Let’s face it, we’ve all got into arguments on social media over pointless crap with strangers, but recently it appears to have hit new highs. My ban hammer finger seems to get twitchy much quicker these days.
  2. Memes are made to be stolen. One of the things that has caused me the most headaches is irate people shouting (well, typing in caps) “YOU STOLE THIS FROM MY BLOG WOT I MADES IN 2013” or something. The unfortunate thing about meme’s and graphics is that once they are on the internet, they spread like wildfire and it only takes one person to download it and put it somewhere else and all traces of the originator are lost forever. Subsequently, there have been times when things I’ve made have come full circle and come back to us, which makes me chuckle, and there have been cases when well-known outlets have been downloading stuff from us directly to reshare… It’s a difficult one, and one I try not to get grumpy about, but… you know… sometimes when a repeat offender does it over and over it becomes obvious and I let myself down and make a snide comment on their thread. I should know better really.
  3. Everyone thinks that you are the face of the company and you better not show any trace of personality. This is one that happens to me often. I quite often get a *insert expletive here* who thinks he can come on to my own social media presences and tell me off for putting them down when they act like an arse to either me or my actual real-life friends. I’ve been called many names, most recently a Nazi. As you can imagine, that wasn’t particularly nice but I’m a big boy now and sticks and stones and all that...
  4. Everyone thinks that because you work for a company like Wampler it’s all jamming with Brent Mason, making fancy meme’s and drinking fine wine with Seymour Duncan at NAMM and nothing else. Nah… it’s mainly planning strategy for marketing, B2B selling, watching market trends, trying to predict market trends, justifying decisions made about the current market, the future market and maintaining relationships. Basically, it’s about moving little grey boxes around the world. Sometimes you get the fun stuff, but it’s really really rare.
  5. Everyone is a world leading expert. On everything. No matter what evidence you place in front of them about running a business, they still don’t see why they should buy a pedal for $200 when they can buy a soldering iron and parts from “Hanks fishing tackle and Radio Spares for $35 and making it their damn self and it being just as damned good”.
  6. People think that who you are online is who you are in real life. What people have to remember is that working from home and doing online stuff can be kinda boring. When I get bored I partake in the age-old English past time of taking the piss. Although I do it in my real life, I pretty certain I’m not the stereotypical grumpy Englishman people think I am, or appear to be – here’s the thing, I often have to play bad cop to Alex’s good cop when dealing with trolls and people who don’t know when to stop talking. I dunno, maybe I am grumpy… but my wife tells me I’m not, and I’m not man enough to disagree with her on anything.
  7. People will tell the world with righteous indignation about bad things with a company on social media before even venturing into speaking with the company about the issue. Or, they will expect you to be online to sort their problem out 24/7 and have the answer for you in seconds. How many times have you seen “I’ve not received a response from them when I mailed them”… most of the time it will be 2 am on a Sunday, they’ve emailed you through the website and 10 minutes later they’ve gone out in public slamming you for the problem and your unprofessional way of not getting back to them. It’s massively frustrating, but you know, I’ve got to poop at some point!
  8. People will look for a correlation of events and try to draw conclusions from them, and they’ll do it all the time. “Yeah, well, Brian said he likes Uni-Vibes and next doors cat looks like Brian’s, he said the word vibe and wet in the same paragraph in a video in 2016 so I KNOW that a WampVibe is coming this year!”. Or something like that. You’ll know when stuff is coming because we’ll tell you. I mean, it’s not in my nature to tease people at all or anything like that **ahem**
  9. You get free stuff, all the time. I expect some of you have seen the pictures I post online of ‘my’ gear. The main thing is, it ain’t my gear. It belongs to the company (and others). I actually own 2 electric guitars, about 5 or 6 pedals (none of them are overdrives or distortions) and no amp. So, when I do gigs and take amazing gear, people think I’ve got amazing gear coming out of my arse. I don’t. I’m just lucky that this particular job means I have to have it here, for marketing. So, you know, it ain’t all bad…
  10. You spend all day chatting on social media. This is the one that confuses me the most. I am prolific on social media when I’m working, within the realms of my job – watching and analysing. But, once I take the work hat off, I disappear completely for a period of time. I am a family man and I protect the relationship with my wife and kids fiercely, so when I walk away from the computer, you won’t catch me on Facebook. I work from home and it’s 7 days a week, virtually 365 days a year, making multiple posts over multiple platforms for multiple brands. I keep in touch with a lot of our artists and dealers on FB and most of my relationship building is done there, so when I walk away, I walk away. It’s that, or I’ll end up being divorced.
  11. Fundamentally, most people (and companies) do not understand the concept of social media marketing. Which, in terms of other companies is great!! Hahahaha – KIDDING! But, I spend a lot of time watching and learning on social media, seeing what others are doing, analysing what we are doing and then making decisions on how to proceed based on what I see. I do have to say though, it’s a big rush when I see some of the biggest companies in the world blatantly taking our style and doing their version of it. It’d be better if I got 10% of the fee though! I speak to a lot of people who are allegedly marketing experts and most of them don’t get it. Don’t get demographics, don’t get what it means to try to get into people’s heads in the best possible way. A few do, and when I find them, I talk to them a LOT!
  12. A lot of people want to take your job. I understand that, completely. I have a cool job and people can think they can do better. Especially on the graphical side. We’ve, well – I’ve, really honed the look of the range in recent years graphically. We made a conscious decision on our look and I’ve continued to produce the graphics according to that plan. I’ve lost count of the number of times I’ve read “Your pedals look shit mate” or something. It’s usually a graphic designer from the other side of the world who’s looking to get the work for themselves. Unfortunately, unless they want to do all the other stuff I do as well, it probably won’t happen. Because you see, we don’t all have one job at Wampler, we have about 4! 

Thank you for listening to me ramble and for your support of this blog, this is my first one of 2018 and I hope to be filling your eyes and minds with more irrelevant crap in the future! Despite what I have written above, I genuinely adore my job and interacting with people as much as I do. It's one of life's simple joys to be able to connect with so many people, from so many cultures, from so many countries, each and every day...

... and, there is a lot more to this, but I'm not going to give all my secrets away!

 

We had a great year here at Wampler and for that, I'd like to thank you all for your part in it.

Throughout this year we've launched ourselves back into the release schedule (after an extremely quiet year before) and seen some instant classics being put into boards all over the world!

First up was the Dracarys, a brutal high gain pedal that not only brings the brootalz but also more classic rock tones.

 

Ethereal - finally! Yeah we know, we first showed it 18 months ago and many people felt like we kept delaying it, we didn't, we just wanted to make sure it was right. And safe to say, Brian made it perfect!

 

Next up came The Doctor... inspired by a conversation that Brian had with Brad Paisley that led to some prototypes (SkyLine and WheelHouse) a few years back, finally released into the main line in 2017.

 

Speaking of Brad Paisley... The Paisley Drive Deluxe was up next. Having used the Paisley Drive now for 7 years Brad, Brad wanted us to incorportate his other favorite Wampler pedal into a unit, the Underdog. The Underdog has not been available for years and years now, so this was a welcome release for Brad fans everywhere!

 

And finally, the big one. Our most requested pedal EVER. When we bought out the Tumnus 2 years ago it was so well received it kinda blew us away, but we couldn't help but notice people wanted a full-size version and, well, they wanted it to be Wamplerized. Mainly with a three band EQ. We had a few hairy moments upon release as there was an issue with it, but we did everything we can to put it right for our dealers and most importantly, for you. 

 

So, that was our year in pedals. We are extremely excited to bring you new stuff next year, I'm telling you now, it's already shaping up to be an amazing set of releases! Watch this space!

As always, it's not just about the pedals, we get up to all sorts of nonsense online as well, we host THE best gear group on Facebook, we have our regular FB page that we post stuff ranging from useful right down to extremely silly, we have a lively Instagram page, we tell stupid jokes on Twitter and Brian is always bringing it on our You Tube channel. What it is, I'm not sure, but he brings it. As you are reading this, you probably know about our blog, but it's worth checking out should you stumble across it. Finally, as tone chasers ourselves, we bring you the Chasing Tone podcast... We sometimes even talk about gear on there!