When scrolling through social media - especially gear groups - you tend to see a lot of the same misnomers and inaccurately assigned labels put on things… One of the most common is the “transparent” overdrive. I mean, how many times have you seen a K style pedal called Transparent? Quite a few I expect. It’s right up there with people saying “I need a clean boost” and someone saying “tubescreamer”.
Firstly, what is a transparent overdrive? Well, it’s one that doesn’t fundamentally change the EQ of whatever is coming into it. So, all that happens is that the pedal/circuit clips the signal, sending it to overdrive and then comes out again. These kinds of pedals are actually EXTREMELY rare as all the fun is in the EQ stack and when you start putting multiple EQ stacks into circuits, that’s when the fun really starts! bDub made a video last week that was discussing this, so I thought I would expand on it further, concentrating on the most famous transparent OD of them all – Paul Cochrane’s “Timmy”.
The Tummy has very little in the way of EQ colouration so what you put it just comes out, but clipped (on certain settings)… but before I jump head first into that rabbit hole, here is some basic information about how EQ is handled and how it is performed on most dirt pedals. Like a LOT of pedals the Timmy tone controls is not active, but passive, so it doesn’t add anything it only takes it away – think of it this way – a basic treble control is a LPF (low pass filter) that is wired backwards. It restricts the amount of bass coming through - it does NOT add treble. So, when the knob is all the way round clockwise, the treble isn’t being added, bass is being taken out. The more you bring it counter clockwise, the more bass is taken out giving the impression that there is treble being added. This is obviously different from a lot of the tone stacks that bDub puts in his pedals (which are 100% active EQ’s) so in those when the control is theoretically at noon there is nothing changed, but take the relevant frequencies away when turned counter clockwise, and then added when turned the other way. Worth noting, the bass control on the Timmy is active, but only adds bass – this is integral to the circuit and the style of clipping, and is quite similarly handled in the Euphoria pedal.
One of the things I’ve ALWAYS loved about the Timmy is that the tone pot is actually wired the correct way, so everything appears to be backwards for people who are used to other pedals. When you have the treble control all the way “off” (counter clockwise), all the treble is still in the circuit, when it is “on” (clockwise), the treble is taken out - so it’s working in the correct way… if you look at it from a nerdy perspective. This means that if you have the gain on the Timmy ALL the way down and the tone and bass control all the way up, you are hearing what I think is the most transparent overdrive currently available. Of course, as it’s going through ‘stuff’ before it gets there, and inside it, and what comes after, it will never be truly transparent but I think it’s the closest you can get, and most people won’t be able to hear any EQ difference in it – the pedal in this state is basically acting as if it were a buffer within minimal difference to anything else. The active bass control is also round the other way as well, so when the pot is all the way counter clockwise, you are getting maximum bass, and none added when it is all the clockwise.
To show this literally, we’ve made a few graphs to demonstrate it visually. Please bear in mind that these graphs start at about 50hz and go all the way up to the 10kHz, most guitar rigs won’t go lower or higher than this, so we’ve removed what happens above and below.
Here is the Timmy at its flattest, so that’s gain off and bass and tone all the way round clockwise. As you can see, that is what we would call over here in England as ‘flat as a pancake’, with a slight roll off at the very top end.
From here, we’ll change the EQ and gain controls to show what is happening in terms of the cut…
Gain 50%, Bass 0%, Tone 0%.
Gain 50%, Bass 0%, Tone 50%
Gain 50%, Bass 50%, Tone 50%
Gain 50%, Bass 0%, Tone 100%
Gain 100%, Bass 0%, Tone 0%.
Gain 100%, Bass 50%, Tone 0%.
Gain 100%, Bass 100%, Tone 0%
Gain 100%, Bass 50%, Tone 100%
Gain 100%, Bass 100%, Tone 100%
To round this up, I want to quickly remind everyone why a lot of us industry types scoff so much when TS and K style circuits are called transparent… the whole point of them is that they add a mid boost, which is what makes them push tube amps so well… the TS has its main peak at around 723hz and the K at 1k. They are anything but transparent!
It’s been literally AGES since we’ve done a giveaway, so we thought it was about time we caught up with ourselves and give you the opportunity to win a pedal, for doing very little at all.
It’s all contained within the video that Brian posted yesterday… In the video, he’s dissecting the classic track from Alice In Chains – Them Bones. As you may remember from my blog post a couple of weeks ago about breaking down Bohemian Rhapsody, listening to the raw tracks is most definitely our thing at the moment, I mean… I’ve even been listening to songs by Rick Astley in stem form – it’s like an addiction that is almost impossible to break once you get into it!
This track is enormous… well, the guitars are anyway... Brian takes them apart track by track to give you an idea of how HUUUGE the tones are.
We got a great insight from Wampler Artist Andy Wood about the recording process, how he hears it… “Judging by the tones there definitely seems to be multiple mics on each track, that’s where the real magic is happening. It sounds like maybe even a pair of stereo room mics are involved that creating that 3D effect. once you go left and right with that it ends up HUGE. None of what I.m saying is based on anything other than what I’m hearing and my own experience in the studio.”
What I love about this song is that the guitar groove that dominates the song gives a times signature of 7/8 with the chorus reverting to a straight 4/4 groove (this, of course, is open to interpretation but that's how I hear it)… certainly makes it stick out from the rest of the field!
Guitarist Jerry Cantrell said in an interview with Guitar World in 1998 when asked about the time signature – “I really don't know where that comes from; it just comes naturally to me. I could sit down and figure it out, but what's the use? Off-time stuff is just more exciting — it takes people by surprise when you shift gears like that before they even know what the hell hit 'em. It's also effective when you slow something down and then slam 'em into the dash. A lot of Alice stuff is written that way — 'Them Bones' is a great off-time song.
Drummer Sean Kinney said about it in an interview with Rhythm Magazine in 2016 -
"I remember that one p**sing me off because it was a pretty straightforward sort of metal-edged tune. I remember working on it but not wanting it to be straightforward. I had to figure out what kind of groove to put on it. The grooves were disjointed, timing-wise. I remember getting pretty frustrated, knocking over the drums and wondering what I could do there. It took a little time to figure it out and make it more unique than it could have been. I had to wrap my head around it and once it clicks you think, 'Ah, I'm gonna try it this way.'"
Anyway, enough of me geeking out about cool time signatures (I really hope he doesn’t dissect anything by Dream Theatre or Rush anytime soon), here is the video that gives details about the giveaway…
For reference, here is the original track from the official Alice In Chains YouTube channel.
Good luck people!
Quite often you will see a conversation on the internet - usually started by a meme - that ends up with a few people arguing that playing isn't all about the gear, it's about the player. But what happens when the gear transforms the player? Here is a short piece sent to us regarding this by a moderator of our tone group on Facebook, Andrew Gordon.
"Can a new guitar pedal really make you a better player?
If you had asked me this question two months ago I would have "No! Don’t be ridiculous!" But since finding a couple of key pedals that really work for me I appear to have levelled up in my playing. Now, is it the pedal that is making me play better or is it that I am playing more and understanding more and really starting to find myself as a player?
I think the answer is, in fact, both, but it may not have happened without that pedal.
Let me put some context to this, I play the guitar as a hobby and buying and selling gear has also been my hobby for several years. Of late I’ve finally got an interest in theory and becoming a better player than I currently am. I’ve been watching more theory videos on youtube than gear videos and really trying to implement what I am learning. I have hit a point where I feel I have a much better understanding of some of the theory and where and how I can actually use it. It appears that you really do get out what you put in and you would think at my age that this would be a no-brainer, but if I am being honest I let the gear chase get in the way of actually playing and getting better. I’ve not only seen this in myself but I have seen it some of my other “tone chaser” friends and even some in real life too! It’s easy to lose sight of what’s really important, playing.
It’s been quite a few years since I have been in a band and I am starting to feel now that it is really time to get something together not only to have fun and jam, but to keep getting better as a player and to also make my gear relevant apart from my love of it.
But how did a pedal bring on this realistic revelation?
It started with one video on youtube about one pedal and I watched it over and over and over again to point where I pinpointed the exact sound that I had been hearing in my head for the last five years or so, but I had finally heard it in gear. I have chased many different tones over the years but this one had always been what I thought was my “core” tone. A while back I found out that I am a better player on Telecaster, I don’t know exactly why or how this happened as I always thought I was a strat player and that was it. But again I was wrong. For some reason, I am more melodic, more honest and expressive player with better tone on a Tele. I ordered the pedal at my local store and waited for its release. Once I got it and plugged it in and dialled it in over a couple of days something had changed. I was playing better! I was sounding better too!
Now we all love chasing tone, I know I do but sometimes the chase is not as good as the results you can achieve. The truth is you need to chase gear to find out what makes you, you, and how you can get to the point where you are sounding and feeling your best. It can take some time to find the right gear, but you also need to put the time in getting to know how the gear works for you properly rather than just playing it for a weekend and then flipping it straight away. It’s kind of like finding your life partner, it takes time and effort and you do get what you put in. Happy chasing and finding the tone zone."
I've read this a few times and finding myself agreeing with it more the more I re-read it. The reason I relate to it personally so much is because the latest interpretation of my tone, from my gig board, has complete revitalised my playing. I use three gain stages on my board, the Tumnus and the Paisley Deluxe. I was previously using the Dual Fusion instead of the PaisleyDog, but needed some more 'grunt' so swapped it out when the PaisleyDog was released. What I found is that because the UnderDog side is more gainy, more aggressive, I was starting to dig into my guitar more and finding more inspiration when improvising with the band. Not only did this make me sound more convincing in being me, I was also setting up my rig at home to just play it more. When I do this, I found that because I relating to my tone that much more I was wanting to learn more about what I was playing... Now, I'm no slouch when it comes to music theory, but then again, Tom Quayle is one of my favourite friends so I am painfully aware that I actually know very little. The more I played, the more I was analyzing what I was playing and then looking up teaching sites to work out what I was doing... this then pushed me into new areas which pushed me into more and the cycle of learning is now at it's most prominent it's ever been. The more I enjoy my tone, the more I play. The more I play, the more I wonder how I can make myself sound more interesting. The more I make myself sound more interesting, the more I want to make myself sound even more interesting. So, as far as Andrew and I are concerned, that by way of inspiration to play, gear can and does make you a better player.
What is it about classic or vintage gear that just oozes mojo? In general, many of the circuits aren’t made of magic unicorn dust or rainbow farts and hen’s teeth; just electronics soldered together that culminate in a particular circuit. These parts aren’t necessarily designed to be used with music-related devices, but over the years that’s what’s been adopted by the industry and progressed even further into modern technology. So, what is “mojo,” and why does it play such a huge part in our gear selections? It dawned on me the other day as I was taking stock of my gear, looking at what I would be willing to move (for space and to have a bit of extra spending cash), and things that I immediately will not sell in any way, shape, or form. I think it comes down to mojo, which is a combination of several factors. It made me start looking at WHY I’m keeping the gear I’m keeping, and so easily “thinning the herd” so to speak on some other things.
Several of my friends and I were discussing vintage gear in a group chat, and lust for various pieces of classic gear that are essentially unreachable in our lifetime (financially). The more I thought about the cost. However, I started questioning why I would want something so freaking expensive? One part is nostalgia and kind of a hive-mind of what we grew up around. Many of the older guys we idolized in high school always lusted after vintage instruments, and I think it keeps being handed down through the generations. Again, it goes back to reflecting gear communities and the thought processes behind them (even pre-internet days). 1958 and ’59 Les Paul’s are considered the holy grails of the Gibson world and the idea of playing or owning one seems incredible. Same with an original ’57 Strat, or a ’68 Fender Paisley, or whatever you’d like to use as the defining unobtanium, magic instrument of love and lust as your example. Many were lucky enough to be around to experience those instruments when they were new, but as time goes on fewer players are around that have owned yet alone played a true vintage instrument. But that’s the thing; many people still lust for them despite having never laid their hands on one. Why is that? Well, mojo of course!
The IDEA of holding an instrument that old would feel like holding an ancient relic from civilizations long gone. I’ll admit that I don’t know a load of vintage instruments, but I’ve heard a lot about them lately. Paul Reed Smith did a live video in the U.K. when people asked why a vintage Strat was so great, and his answer was “Because those guys knew what they were doing.” It’s apparent because the designs haven’t changed much at all in over half of a century. At the same time, I’ve also seen many people saying that many of those old instruments are inconsistent and that some are magic, but some don’t click for lack of a better way to describe it. Despite the proposed inconsistency, some are willing to pay tens of thousands of dollars to own a piece of history. I suppose it’s about collecting anything, preserving history for future generations and all that. It’s also a very cool talking point to be able to show off that cool, now-rare gear. The same goes for pedals. The Klon Centaur is probably the most famous of all of them, and despite being a relatively simple boost and overdrive, it’s an item of lust for MANY people (and a point of contention for many more).
These pieces of gear fetch massive costs in the used market, and subsequently, many companies have tried to take the tried and true formula that players lust over and create a modern, relatively affordable (comparatively) version for the current generation that captures that nostalgia and inherent mojo. Some get excessively close in recreating the feel and response and tone of the originals, some take them to new extremes and approach the old as a springboard for creating something grounded in nostalgia, but with modern amenities. It’s the reason why we (Wampler) have two variants of klones, as well as dozens and dozens of other companies as well. It’s the same reason so many places make strat and tele-style guitars. Are the tones quantifiably different? In some cases, yes, in some cases no. There are many people on the internet that would argue that other companies than Fender make a better strat, while many believe there’s nothing like the classic. Are vintage tubescreamers from the early 1980’s completely better than the ones available today? Likely not. There may be a 5% difference or so based on part tolerances and a wider variance in manufacturing, but they’re subjective… and that percentage factors in when you’re looking at substantial differences between the costs. At that point, it’s just a personal decision as to how much that sound and difference means in monetary value. Is it worth *paying* for “mojo”? That’s up to the person making the payments!
I’ve got a few pieces of gear that are purely sentimental and will be intended to be heirlooms for my kids because they are either unique and quirky, have some form of emotional connection (such as my first MIM Strat) or completely special (gifts, etc.). In the end, it comes down to the tone and how it feels to play it for each person. For me, mojo is that smile I get when I plug into a piece of gear, and it sounds great, responds great with the rest of my rig and does EXACTLY what I’m hoping it will do. It’s the feeling of nostalgia, how playing through a piece of gear makes me feel connected to an era, or a guitar hero that I’m a massive fan of. It’s not quantifiable magic, but it hits the spot for me, where it may not do anything for anyone else. That mojo is self-driven, and I’ve bonded with pedals and guitars that were considered “budget-level,” along with not falling in love with pedals and guitars that are obscenely expensive and theoretically there was no reason NOT to love it. In the end, I can’t say that for me, mojo can necessarily be bought. It’s just the right time, the right feel, the right tone, the right look that grabs my attention when I plug in.
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….
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.
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.
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?
As you might expect, one of the things we hear a lot from some people is “How can you charge $200 for a pedal that I can buy the parts for, for less than $50, and make it myself?”
Right, let’s get comfy and pick this apart piece by piece. I’ll do my best to remain objective and not end up in a socio political rant about ethics, but you know, if you poke the bear sometimes you get bitten! But, I’ll try to keep my muzzle on and remain professional! lololz.
Let’s take the Thirty Something. A pedal that we sell for $239 USD. The first thing you have to remember is that Brian didn’t wake up one day and have it all mapped inside his head, he didn’t just do a “Let It Be” and have it ready from a dream. I kid you not that Brian took almost 3 years to design that circuit, it went through more prototypes than any other Wampler I know of (and I’m pretty certain I’m up to speed on this stuff), it was tweaked, changed, restarted, thrown in the bin so many times I actually stopped asking about it. When it was finally ready I remember Brian saying “I’m still not 100% happy with it, but I just can’t see how I can make it any closer”. That being said, when it arrived in Wildling territory and I plugged it in, I was staggered how it reacted and how it felt. I still think it remains the benchmark in AIAB pedals, it does the job perfectly. And I was brought up playing Edge, Queen, The Beatles and Hank Marvin songs… so, I’m kinda fussy with VOX tones.
Thinking about that, and thinking about how Brian is considered in his field, can you begin to imagine how much investment that is? To import a design engineer and have them work at something on and off for 3 years would be hundreds of thousands of dollars, I can’t comprehend how much it would be, but just think about that minute, that is a lot of R&D work, and you know, with a large family to support and employees to pay, that kind of work doesn’t pass unnoticed by the company accountant. R&D aside, then you have to imagine that once again, the designs of everything else doesn’t appear out of thin air, the pedal logo needs designing, the box art, the manual, the marketing, the demo videos, the promo shots… it’s actually quite ridiculous when you think about it, costs a bloody fortune.
Here is a picture I took for the marketing for the release of the Thirty Something. I am very lucky that I live near Manson's Guitar Shop and have a great relationship with them (they stock us). I go in, take over a corner of the shop, use their stock guitars as backing and then spend a long time photoshopping the picture to make it look like this. It all adds up!
Now, we get to parts. Brian is RIDICOUSLY fussy about parts. He will only use parts that fulfil his requirements, and there was a stage at one point in time when we were ditching 2/3rds of a certain part because they didn’t come up to scratch - mere mortals like me can’t hear the difference, but let’s face it, I’m not Brian Wampler, his ears are better than mine and I expect most of yours as well, so you have to budget that as well.
So, let’s get back to the meat of this. You will find websites all over the internet that ‘kindly’ reverse every pedal ever made and post the schematic for all to plagiarise, errmmm, I mean “study". So, once we’ve spent ages designing and marketing a pedal and released it, someone can then probably go to their favorite online parts store and order the parts, an enclosure and get pretty close to how the original is. I say pretty close, because I can guarantee that the components won’t be to the spec Brian demands, it won’t be laid out as well and let’s face it, I expect the basic soldering won’t be that good. We stand by our 5 year guarantee, I bet the places the parts are bought from don’t!
Let’s now look at this from another angle. And throughout this, I’m not going to mention any prices, because people will jump on it, but just think about where we are and what we are doing in this, and where you can buy it. We are not a retailer. We do not sell to the general public (we do offer direct sales through our site, but they account for next to nothing in term of units moved compared to our international sales team). We are a manufacturer. We manufacture a product, and then sell it to people who sell it through their own stores. Sometimes we sell it to a distributor who then sells it to a dealer… taking local and international taxes, shipping, the price goes up. Then I must mention the 5 year guarantee again… So, if you want to try a product in store, have that store stay open to offer you a service, you see where we, and everyone else, is coming from. Having said that, some pedals are overpriced for what they are. I’m not going to mention anything or anyone specifically here, but there are pedals out there that are basic reworked clones, with minimal R&D, with a crappy box, labelled with one of those crappy Embosser Label Maker gun things that are for sale direct from manufacturers that are silly prices, but that’s their conscience, not ours!
Made in USA. What does that mean? You may have noticed we’ve shifted from Made in USA to Built in USA. Why I hear you ask? (and to be fair, it’s another question we get asked a lot at the moment.) Well, to be able to say “Made in USA” with complete honesty means that every component is made in the USA, and as far as I know (and I like to think I’m up to speed) most parts are impossible to source, let alone in the numbers we need them, from the USA. So, we source parts – as does EVERYONE else, from around the world - we just wear that information on our sleeves. The same burden of consistency and quality is applied, and we use only the very best. I would say that if a pedal is sourced from USA components (if it was actually possible) you’d be looking at a pedal that is at least 3 or 4 times the price, and you can imagine how many of them we’d sell! (worth noting that technically, it’s illegal for any pedal company to say “Made in the USA” due to the reasons above. We just found this out recently and changed the wording to be in accordance with US law).
When you think about a $199.97 pedal (also: inflation. www.usinflationcalculator.com a pedal that costs $199 today would have sold for $107 in 1990. Ever since 2007, we’ve had a main price of about $199 unless it’s a deluxe pedal. Accounting for inflation, that pedal SHOULD cost $235.10 in 2017, yet we’ve never raised that 199 price), remove the dealer margin, shipping, taxes and everything else (I’m not going to even go to how we manage to sell our stuff for virtually the same price all over the world, give or take $30 or so dollars) then start to think about production costs, there isn’t a lot of room to think about R&D and then the guarantee period. Now do the same with a pedal that is $149, $129 or $99 - think about how much it costs to build and how many compromises have to be made in those price reductions – kinda makes you wonder doesn’t it. Strip it back, work it out, and then you think about the Built in USA (as our stuff is) you’ll see that not only are we bringing you a quality USA product, but paying quality USA salary for the guys who design, build, test, market, sell and repair (which isn’t very often thankfully) our stuff… Then look at the guys who will sell you a clone of a pedal that is still in production for $50. Do you think that will give you the same pedal? Do you think that will encourage companies like us to continue to make quality products that will inspire you to sound the best you can do?
I had a lengthy post regarding all of the things I’ve learned since starting with Wampler over a year ago, but after reaching over 2,000 words, I decided to just condense it into a list of myths about the pedal industry I feel every person should know now that I’ve seen the other side:
- The builders aren’t any different than any other person. They all put their pants on one leg at a time in the morning. In general, all of the builders I’ve had to honor to meet have been nothing short of amazing, speaking as if they’ve known me forever. The key thing to remember? Most of them usually don’t WANT to be thought of any different. They’re tone chasers just like us. They’ve all just found their niche in the trade, just like skilled workers in other areas. When I met Brian and Jason and Max, I was sweating and nervous as could be. I tried to keep a straight face despite screaming on the insane, but they treated me as equals and like it was another day at work. It was all just a blur at the time, but looking back it drastically changed my perception. They don’t want to be famous, they just happen to be in front of a camera or on social media more than other people!I was nervous the first time I walked up to Robert Keeley, but he came up and gave me a hug and we talked like old friends. The pedal industry is by far one of the friendliest groups I’ve ever seen.
- Despite pedal costs, there isn’t a load of money in the pedal business. The big thing is that from the process of concept to having the pedal on your board costs a lot of money to create. Research and development, prototyping, PCB changes, mass quantities of parts (we’re talking thousands of a single part per order), building in the United States, paint (thousands of gallons of one particular color, per pedal), printing the graphics, boxes and instructions, and free shipping. All of it cuts off of the bottom-end of the money made. Dealers like to make a little on them as well, so you have to account for that cost too. You’d probably be surprised how little we actually get to take in! That being said, it’s more about the experience and the process than the money. Like Brian told me when I started “If you’re in it to make money, you’re better off outside of the music industry.” It’s a rewarding job though, helping people find the tone that they’ve been hearing in their head.
- Working NAMM is VERY different than attending NAMM. It’s mind-boggling. I’ve only been to one NAMM (Winter in Anaheim) and it’s a full sensory overload experience. There’s a noise ordinance at NAMM so vendors and patrons won’t go over a certain dB, and that threshold is usually exceeded as soon as people cut the amps on. If you get too loud, the NAMM police come around and give you warnings. If you get too many warnings for violating the noise level….not good (fines, etc). People are everywhere, where you have to scream over the noise of neighboring booths to talk to tone chasers that walk up to your booth. Working the booth can be very repetitive. You get the same questions over and over again, but luckily if you enjoy it you won’t mind answering them. There’s really no time to sit down, eat, or even go to the bathroom sometimes. At the end of the day when NAMM closes, your ears are clogged like you’ve entered an isolation chamber, and your voice is typically hoarse from talking so loudly all day. Rinse and repeat for the next few days. Some big name guitarists stop by, many of which are just insanely nice people who just excel at their chosen instrument. The same premise applies as the builders; MOST just want to be treated like normal people. It’s a balancing act to meeting your business contacts and creating relationships with new customers, so it’s always hectic. After NAMM is done you break down (several hour job) and head home. There’s one interesting fact I didn’t know existed. Inevitably if you work NAMM, you’ll end up with NAMMthrax. You’re literally shaking hands and talking face-to-face with hundreds of people every day, and everyone ends up catching some kind of head cold or otherkind of sickness that lasts for a few weeks after you get home. In my case, I ended up with a sinus and ear infection, where some people ended up with the full blown flu. It’s just the nature of meeting with so many people in a public space.
- You’d be amazed how hard it is to find an original name and color for a pedal. This process is often overlooked because the end result is what everyone sees. The process involves checking trademarks, and ensuring that no one has a pedal or music instrument out that already has that name or something extremely close to it. Each name has to be applicable to what the pedal is, and has to be able to have imagery to use along with it. There are loads of names that sound great, but there’s nothing graphically that’s feasible to put onto the small space the graphic takes up on the pedal. The goal is to make all of the pedals flow together visually and stylistically with names, so you have to be wary of that too. To give you an example, the cataPulp was originally going to be called the Pulp Friction…but after some searching it was a 90’s porno. Strike that one off!
- Social media content isn’t as easy to find as you might think. Being an international company sounds like it would be a breeze to find content to post every day, right? Not so much. With that many viewers, you have to take into account the varying ages, gender, ethnic backgrounds, religious beliefs, political views, and any other thing that might trigger someone to be angry. With so many varying opinions in the world, your list of content gets whittled down before you know it. Content has to be relatable, provide something to the viewer, not tick anyone off, and still be relevant to the brand. So when you see those pictures and posts, give them an extra like :-)
- Guitar pedal companies don’t have days off generally. It’s a 24/7 business. We have customers around the globe, so there are constantly messages submitted to the main page at all hours of the day and night. When most people are on their holiday break, we’re working because the load increases due to people being off and having time to send messages. That’s not to say that we don’t relax some, but most days still maintain a consistent level of work at minimum. Closer to the end of the year and the holidays, it gets a bit crazier. I stepped away from my family getting ready to open presents on Christmas so I could take care of a couple of things. But if you love it, you do what you have to do!
- There’s nowhere near as much guitar playing happening as you’d think there would be. As much as I’d love to say it’s trying prototypes all day and getting to jam on free pedals, it’s not the case. It’s spreadsheets, statistics, insight tracking, blog writing, message responding, email typing, and general businessy stuff. I think we’d all go out on a limb here at Wampler and say that we play guitar LESS because of working, but it’s a tradeoff. We’re not playing, but we’re facilitating other players to play more.
- Just because there aren’t a load of steady new releases, it doesn’t mean they’re sitting idly. New releases take a lot of prep work (see 2nd bullet point). There are many pedals that will reach prototype phase and never see the light of day. There are also some pedals that have just been released that have been ready for years and it just didn’t feel like the right time to release until then. Pedal builders are always looking ahead, whether it’s their planned releases for months down the road, or researching new technology for something they have planned for a few years ahead. It’s all a chess game that requires patience and planning on the whole teams’ part to bring something to the public in a cohesive manner.
- Competitors actually like each other in most cases. Just because various companies are trying to reach the same demographic of players with their pedals, it doesn’t mean that they’re cutthroat and despise each other. Many times builders help each other directly, whether its needing help with a particular issue in a design, or just general chit-chat. The pedal building community is unlike any other I’ve seen. It’s a network of family in a sense, where in most cases they all look out for each other and are friends, and share stories of success and heartbreak. They also discuss customers, ones that are known to have fraudulent activities or sketchy dealings. You’d be surprised what builders have helped out on various releases over the years for other companies as well ;-)
As I wrote this list, I hope it didn’t seem negative, because it isn’t intended that way. I’ve been a tone chaser my entire life and my dream has always been to work in the pedal industry (specifically for Brian). These are myths that I had built up in my own head over the years that I had my eyes opened to and learned along the way. It’s an amazing business that requires quite a bit of work, but it’s unbelievably rewarding. Release day for new pedals is like a breath of fresh air, and is exhilarating to see the work that’s been done reach the people it was created for.
When it comes to pedals, there are endless possibilities of combinations to create the perfect tone for the scenario that you’re in, whether it’s just jamming at home with a jam track or in a live band setting in front of a packed venue.
One secret to finding that elusive perfect tone is to use two dirt pedals stacked together to cascade your gain structure instead of just running a single drive pedal with the gain all of the way up, or running a dirt pedal into a cranked amp. There are several advantages to doing this, including extra control of the nuances of your EQ to how the gain reacts in terms of the bloom of the notes. Here are a few tips when configuring your stacking setup to maximize tone:
- When stacking 2 dirt pedals together, the key thing to remember is that the 2ndpedal in the chain dictates the overall tone of the stack. What does this mean? Let’s use a tubescreamer and the Plexi Drive (JTM-45 style overdrive) as examples. If you run the TS before the Plexi Drive, whatever signal is leaving the TS is going to use the Plexi as a “gateway” of sorts. This means that the EQ and the clipping on the Plexi Drive will change the way the TS sounds. By nature the TS is mid-heavy, which is great for cutting through the mix. Once it reaches the Plexi Drive, the circuit itself will take that signal and adjust the frequencies it sees according to the knob position treble and gain positions. So if you have the mid hump from the TS, but have the natural light mid-cut from the Plexi Drive, that mid-hump will be less pronounced and the gain will just add to the overall level of saturation. This will give your gain a larger, “wall of sound” effect, while placing the TS AFTER the Plexi Drive, the TS will impart that more noticeable inherent mid-hump. If you have a favorite pedal that you like as your “base tone”, you’lll either want to put that last, or put a very transparent boost (even just a clean boost) after it.
- Cranking the volume on the first pedal in the stack will not raise the volume, but will increase the clipping (gain) in the second pedal. When stacking 2 pedals, remember that volume before dirt = more gain, where volume after dirt = more volume. Again, the 2nd pedal acts as a “gate” and dictates the overall volume. Cranking the output of the first pedal will push the input higher and clip the signal harder. This will make a big difference, because if you want a volume boost for a solo, you’ll want to put it 2nd in the stack.
- Using an EQ pedal after your drives can help better sculpt your dirt tones. When you add an EQ pedal into the stacking equation, your options open up tremendously, especially based on what EQ pedal you’re using. We live in the golden age of effects pedals, so there are loads of great EQ’s out there, some that just adjust basic 3-band EQ (Bass, Mids, Treble) and there are some that let you fine tune the exact frequency of the signal to add or cut whatever you want in your tone. Getting lost in the mix using a big muff? Crank up the mids a bit. Want a little bit of added depth in a smaller venue? Adjust up the bass frequencies to fill out the sonic canvas. This also applies when using the amp for dirt, by sticking the EQ pedal into the FX loop of your amp, then you have access to a boost and can adjust your amps gain tone to the closest detail to get that perfect tone.
- Stacking dirt pedals into an already distorted amp can add a depth and level of saturation to your tone only capable from stacking. Players have been using this method for decades to achieve their signature tones on classic records. A favorite of many people has always been a Plexi paired with a TS, which is used to boost the mids for solos. Another stack that happens often is using a Fender amp on the edge of break-up, and a Klon-style boost/OD to kick it into the stratosphere. One of the most popular and widely known stacks revolves around running a cranked fuzz face into most any type of amp (especially Plexi-style amps). The fuzz face provides a thick, wall of sound that’s great for fat sustaining leads or for chunky rhythms.
The main thing to remember is there are no wrong ways to stack your gain! Some of the most surprising stacks may lead to the coolest tones. Don’t be afraid to experiment and create unique combinations that can fit any scenario you need, from two low-gain drives to provide a base tone that you can stack on more gain for solos, or a boost hitting a distortion for sustain and saturation galore.
A few fun Wampler-related stacks that work really well together:
- Tumnus into the Pinnacle Distortion. It adds a low-mid presence that just punches through the mix and sustains for days.
- Clarksdale into the Plexi Drive. Reminiscent of cranked Plexi tones that have an added presence and depth from the EQ shape on the Clarksdale
- Velvet Fuzz into Plexi Deluxe.From tube driver-esque tones to full on Hendrix, this is the go-to combo for great classic fuzzy blues.
- Tumnus into the Euphoria. The perfect yin and yang. The Euphoria sounds like your amps natural OD with a D-style amp feel, and the Tumnus’s low-mid presence and warmth creates a 3D tone that works for a plethora of styles of music.
There are a lot more out there. What are some of your favorite stacks?