Oooops, they did it again. Unfortunately for us, and you, a few dealers saw fit to release details of the Tumnus Deluxe before the release date, so this pedal will come as no surprise to many of you. Shame really, but I’m guessing when a pedal is as eagerly awaited as this one is, it’s fairly inevitable that people will want to get ahead of the game.
But, that as we say, is already history. We are managing the release now, we’ve officially announced it, so it’s now out there – let’s just get on with what this thing actually does. As usual, I gigged the pedal last week to get a feel for it, and here is what I found from that night and playing with it afterwards. I’ve also extensively A-B’d it with the mini so…
The pedal. First of all, I must say, it’s bloody beautiful. I’m pretty self-deprecating when it comes to my work, but with this, I give myself a pat on the back. It looks ace. Taking the original concept and expanding on it, complete with white LED in the lamppost :D
When I first plugged it in, my initial reaction was that it was much smoother than the mini. Everything seems to be a little more rounded, a little more pleasing to the ear when using it as standalone overdrive. I always found the mini to be a little gnarly and out the box, the Deluxe has been smoothed a little, with a tweak of the gain and the EQ, you can replicate that gnarliness, but you can get a much smoother tone if you require it. For me, this is a massive bonus. Setting the bass and mids at 12, normal mode, buffer in, you get pretty close to the Tumnus. Increase the gain a fraction and the treble a little, you have an almost identical replication of it. However, when you then drop the mids back a little it smooths out somewhat, and when you bring them back up past to where it was, the tone just jumps out at you. Flicking on to true bypass doesn’t do a huge amount initially, it’s a fraction smoother again, but that just shows what a wonderful buffer Brian put in the mini. However, when I started stacking up over drives over the top (more about this later) the true bypass really started to shine.
I dropped the pedal straight into my gig board in place of the mini (it was most amusing, I had a glove covering it on my board just in case a camera phone was out, highly unlikely, but you never know – the singer thought this was hilarious and made repeated jokes about me throwing the gauntlet down) So, my gain section was Tumnus Deluxe into 2-1 of the PaisleyDog. Right away, I noticed that smoothness and clarity that the true bypass gave, I got the original Tumnus tone by tweaking, but ended up using the smoother version. I found that I was boosting the mids slightly, not quite so much top end and keeping the bass ever so slightly rounded off. This gave me a much fuller sound. The Tumnus for me is almost an always-on pedal, the Bravado is immensely unforgiving in its cleanliness, so I use it to break it up a little. Also, when you have the Underdog growling at you, bringing the Tumnus in behind it makes it sound massive with considerable bite. The Tumnus Deluxe with its expanded EQ options gave me slightly more control over that, and allowed me to really tailor that bite and hone it exactly where I wanted it. The one thing I really noticed was that the whole thing was just slightly fuller due to the EQ, it was slightly more pleasing to listen too as the gnarlyness was gone - when I was stacking two overdrives on top of it, as well as compression before, it wasn’t jumping to feedback so quick. I had much much more control over my tone because the base tone was somewhat more refined.
I’m not going to wax lyrical about it, I want you to make up your own minds when you get the chance to play it, but my initial thoughts of this pedal and what it does remain from when I first plugged into it. And those are: it’s smoother, it’s eminently more tweakable to nail THAT exact tone you are chasing and most of all, it has a white LED within a streetlamp on the graphic. Worth it just for that alone I’d say!
Yesterday, this question was asked on the Wampler Pedals tonegroup on Facebook.
“Do you ever get to a point in your music that you just feel stuck where you’re at? And that you find yourself losing sight of where you need to be in your music to inspire yourself to learn new things? What do you do to re-inspire yourself to get you back on track?”
This struck somewhat of a chord with me (da daaaaaa) and my personal experience is why I have so many strings (da daaaaaaaa) to my bow as a player. You see, I’ve been in so many ruts with my playing I think I could write a book on how to get out of them. Well, maybe not a book, but probably a blog piece.
So, in the many ruts I’ve historically been in, how did I elevate myself out of them? The trouble I’ve been in is that I’ve been in one for a while and I was lifted out of it this weekend. But, I’ll get to that in a minute.
- The first and most important thing I’ve done as a player is to see live music. As much as I could, as often as I could. My wife always kinda laughs at me when we see music together as, apparently, I stare at the guitar player’s hands, all the time. My concentration levels are so high I am barely aware of the world around me, I’m just drinking it in. Absolutely everything they do. Notes, rhythms, vibrato, phrasing… everything. I just watch them. Any decent player, that doesn’t have to be decent on the level other than playing in a local pub band, will have something to offer you if you only pay attention. For example, on Saturday our band shared a bill with a Reggae/Dub band called The Barefoot Bandit. I quite like Reggae and Ska, so I was always going to like it, but they had a guitarist in that band (Harry) that enthralled me. He had the kind of right hand you don’t come across often, his rhythm work was sublime – yet subtle, his chord inversions were perfect (he was complimenting the other guitar player of the band) and his solos were genre perfect. When we went on after them I was so inspired to make my right hand stand out better. I didn’t play anywhere near as many notes as I usually do, but I hope I was a little funkier. Ever since then, I’m been working on my right hand, I hadn’t planned to, but it’s opened a new door for me.
- The second most important thing I’ve done is learned that it’s not all about your preconception/expectation of a player. View every player you hear/see as a potential teacher and take something away from them for yourself. If you pick something up from a player, take it home and incorporate it into your own. For example, the one thing Vai has taught me over all the years I’ve been listening to him is phrasing. It’s the same lesson I got from Clapton, Nuno, Beck and Quayle. When I first heard those players the last thing I thought about was their phrasing, but that’s what I’m left with from them. I looked past my expectation and found something they had that I didn’t. I unexpectedly learned from them, after I first got into them.
- Listen to everything you can bear to listen to. Don’t just listen to your comfy music, the stuff you love, stick something on you wouldn’t normally and try to hear something different in it. When I am coming home from a gig (when the wife isn’t with me) I often listen to Classical Music, or Jazz, or something else I would never listen to at home – so, use your radio. Put a channel on and listen to it. There will be something there for you to latch on to, even if it’s just one thing – the more you do it, the better you will become at picking stuff up. And DON’T just listen to the guitar parts, listen to the phrasing and attack of brass sections, listen to the depth and power that a certain inversion of a chord that is being made by the strings in an orchestra… It’s all the same thing, it’s all just the application of the notes and the intervals between them. Then think about that in your own playing, something will pop out at you.
- Don’t be afraid to stop playing, or go to a different tuning, or pick up another instrument. A piano in the house is the best thing for me to have as a guitar player, I often sit down at it and play with chord inversions or different scales over chords on the piano… I look at the patterns on the piano I wouldn’t normally look at on guitar - I try to play guitar stuff on piano and then piano stuff on guitar. Most of the time it sounds like utter crap but the thought that has gone into it ALWAYS opens another door in my head, and when I get back to being me on the guitar again I usually notice something has changed somewhere, something new has arrived.
How does all my waffle above deal with the question posed? When I’ve been in a rut I’ve found that someone, somewhere, will pop me out of it. Harry did it on Saturday, I heard something that I wasn’t expecting, and dived into it. I’ve also found that if I take something from someone musically and put it into my own playing, it will then open another door. So, if you want a challenge, learn a song by someone you never normally would. Then look at the chords underneath it, then take a hook from that song and put it in a completely different one and see what happens. You will find that your playing will become more interesting and you will discover a new direction to play. This is the reason I successfully play a lick from Steve Vai as part of my stock solo in “Bring Back The Sunshine” by Eddie Rabbit - and I’ve been told it sounds good.
Most of all, do not limit yourself to one genre or group of players. Listen to everything, take a walk with a different tuning or a different instrument. Primarily, just stop worrying. Someone will come along and scare the crap out of you enough to make it all exciting again.
Thank you Harry, you did it for me on Saturday.
This week I want to tell you about a piece of gear I first played nearly a year ago. I’ve been sitting on this piece for a while, as I wanted to wait until it was released, and it just has.
The company is called Synergy Amps and I’m a fan. And before you start to think cynically, I’m not employed by them!
As always, there’s a story attached to this for context, so I’ll get that out of the way first. When at NAMM I suffer horrifically from jetlag. As Cali is 8 hours behind the UK my sleep patterns are destroyed and I literally get about 4 hours of sleep per night, I’m not there for long enough to try to force it around with sleeping tablets, so I just live with it. The best thing about this is that I’m up at the crack of doom and generally get to the show each morning LONG before the doors are open. I usually take this time to do a line check on the rig and make sure everything is in place before the people attend the show, start attending.
One morning I was there so early the only people on the booth complex we are part of, the wider Boutique Amp Distribution booth, were myself, Bruce Egnator, Groover Jackson and my buddy Steve Elowe. Now, Bruce and Groover being there isn’t integral to this, but I just wanted to make you all sound the name drop horn in your heads – it still freaks me out that these guys are just milling around to talk too, a real pinch yourself moment! The Wampler rig was fine so I wandered off to see Steve who was sat at a computer, with guitar in hand, rocking hard. He was also gently cussing under his breath about latency issues, so I offered to help. He got me to play while he did something to the computer.
I was playing through the new Synergy Amps rig.
At first I just played enjoying the tones, then he started to press buttons and all these different sounds were appearing, so I was playing different stuff on the fly as the sounds were so radically different. He then stood up and said “That’s better”. The computer was now behaving how it should so we had some time to play with the Synergy rig.
Let me fill you in on what this thing is. Basically, Synergy is a modular system that has ports which allows you to add various modules that sound and behave like the amps they are based upon. You buy the dock, a single or double module unit, and then load the amp module in. The docks are 12AX7 driven with a ton of different out options. There is a straight “preamp out” and an emulated out to go into your PA/desk/DAW - I was initially playing through the preamp out to a power amp, but once Steve had sorted the latency on the computer he pushed it over to the emulated out. I couldn’t believe what I was hearing, I had an incredibly authentic Soldano SLO100 tone coming straight from the studio monitors that sounded EXACTLY the same as the preamp out, and from what I can remember about playing an SLO (which I have played through a lot) exactly the same as the amp – not only tonally, but in respect of response. The way it responded to my picking dynamics, the volume pot and the gain… man… the gain...
At that point he started to show me the differing modules, which could be changed in a matter of seconds. One minute I was ripping through the SLO, and then quickly through a Friedman BE which was just roaring, then back into a TDLX which had the kind of clean tones you’d expect from a blackfaced, or tweed finished amp, then a Morgan AC that was SO glassy… and then… and then…. and then...
After I’d played it for seemed like 5 seconds, which in reality was almost ¾ of an hour, I was left thinking about the practical uses of this system and where it sits in the market place. The first thing that got me, other than the tone that was coming from it, was the ease of use and how practical it can be in any set up. In a way, it was like having a modelling system but without the endless sub menu’s and degree in computer science to work it, or let’s face it, if you are anything like me, tons and tons of stuff that you would just never, ever use. This I think is where this product is going to sit, right in the place where people want a ton of options, but only the specific ones they require, and something that has real tubes, real knobs and real tone. You can literally have a mountain of boutique amps available, at a fraction of the cost and using a fraction of the room, just ‘there’.
The trouble I’ve always had with the modelling stuff, apart from ‘that’ reaction (which let’s face it, that gap is being bridged all the time), is that you generally have to get rid of your original amp set up and get a full range amp/speaker to go with it. You don’t get the best results from those things going into your amp, they still sound great, but they work best when everything is modelled and you are going direct. Then, they sound incredible. The beauty of the Synergy system is that it can be run direct within the loop of your favourite amp, giving you multiple new channels to play with. For many players, those that don’t want the computery stuff and love their rig already, this HAS to be the best thing, well - as we say over here, since sliced bread. Also it works flawlessly direct into your DAW, or PA, it has a great FX loop (so you can run your favourite effects in there, the ones that were originally in the loop of your amp if you used it that way)… I’m not sure who is behind this system, but I doff my cap in their general direction.
From looking at the website, I can see that the docks are $499 for the single and $799 for the double, there is also all tube heads available and a power amp. The modules are $399. So, let’s look at a boutique level amp, which I’m guessing you will all agree tends to be around $2k to buy and generally only give you the sound associated with that amp, you get what you get and nothing else. So, consider this, If you have a great amp you can buy the dock and 2 modules for ¾ of the price of a new and different sounding head, and then keep adding to it for $399, you will start to build up an amp collection that is worthy of Joe Bonamassa. Then think that these modules are small enough to get two into a single 19” rack unit. Even if you have 8 modules and the Syn2 (double port dock) it comes to less than 2 full boutique level amps. That’s 8 amps for the price of two. Once you have the dock, the modules are so cheap GAS will be screaming for new ones all the time.
I don’t get excited about new technology products very often mainly because I like tubes, knobs and instantly available tone and most of the time these days, all those things appear to be missing in new innovative technology. New gear concepts these days usually consists of “sitting down with a manual the size of a novel and 3 hours just to get the amp tone you want that’s hidden in the middle of other stuff that appears to have no practical musical use to anyone”.
I want one.
A few months ago I wrote a ‘review’ of the Quilter 101 Mini Head here in the Wampler blog, it was an interesting experience using the 101 Mini, but tonally it didn’t work out for me. It was great, just not there yet. There were issues with the basic core tone and most importantly, the strange EQ section.
I’ve subsequently got my hands on the newer version of this head, the 101 Mini Reverb, they’ve upgraded the unit considerably, made the EQ a much easier system to dial in and you guessed it, contains reverb. I’ve been using the 101 MR for the last few gigs as the ‘other’ side of my stereo rig, and something happened this weekend that made me look at it in a different light.
First of all, a quick gear rundown so you get a feel what my rig does. My rig is mono until it hits the incredible TC Electronic MiMiQ which then splits it to stereo. The main side of the MiMiQ (which sits after my pre gain modulation the gains stages and compression – so that’s pre gain Strymon Mobius – mainly Vibe - Mini Ego, Tumnus and Paisley Drive Deluxe) sends the signal on to the post gain side of the Mobius (so that’s chorus, tremolo etc), the Strymon TimeLine, dB+ and then to a Wampler Bravado amp. The other side of the MiMiQ just feeds direct to the Quilter 101 MR – both then feed directly into a stereo 2x12” speakers. I have the MiMiQ set on “slight drunk” so when it’s kicked in I find the difference in tone (I set it pretty quickly, on a scooped setting) and the lack of delays etc do a really good impression of a second guitar player.
I play in a pub band, playing covers, and on Saturday night we were kinda cookin’. The crowd was rocking, so we were. My rig sounded fantastic and I ended the first set on a high! I was just having a lovely time… when it came to the start of the second set we started and I noticed that something wasn’t quite right. None of my delay’s where there, so I checked a different patch (the vibe) and that worked, so I thought – oh shit, the TimeLine is knackered. There was something else going on with the sound as well, it wasn’t quite as attacky or bright as usual (I have the Bravado set on Bright position 4 with the mids scooped out so it’s more like a Fender Deluxe than it should be)… For about 3 songs I felt this thing was wrong, still sounded like me, still sounded great (well, let’s face it, with those gain stages how could it not?), but there was a certain something missing. Trust my wife to spot the problem… It the end of the third song she leaned over to me from behind the P.A. speakers and shouted in my ear “Do you know that the Bravado is on standby?”.
So, I had turned the Bravado on to standby at the end of the first set and forgotten to turn it back on again, which is quite funny considering the piece I wrote about putting amps on standby last year. it was just the Quilter being used and I was blown away with the sound of it. Granted, It was not as clear and concise as the Bravado, and the response was different, but it was close. Kind of felt the same way when I first played through a Kemper, really close but the reaction wasn’t there, because it’s a D class and I’m used to a valve amp.
Once I realised my mistake I tweaked the Quilter a little to try to bring the top end in and it got even closer before bringing the Bravado back in. This little thing is quite remarkable when I think about it, I carry it around in my effects case and it weighs about 2lbs and it stood up against the Bravado and didn’t lose without a fight. It took the pedals like a dream, it responded to my pick attack and expression like a dream. The updated EQ section was SO much better in this one, every issue I had with the original was addressed. Basically, this thing is pretty bloody awesome.
I’ve made the conscious decision that when we do the small, quiet gigs – as we often do – and you can’t get a valve amp up to the required level to make it sound like I want too (yes, we really do play that quiet sometimes, literally so you can talk over it), the Quilter 101 MR will be my main amp and the Quilter 101 Mini will be the stereo field. It won’t be the Bravado (as, you know, valve compression and response of a high end amp, there is nothing like it), but at least I can put it to the level I want to play at and I won’t be disappointed with the tone, which when you think about it, is quite remarkable.
I can thoroughly recommend this little amp, and I don’t say that very often. Everyone should have one in the front pocket of their gig bag as a back up, or if like me you want a stereo field, it’s perfect. Actually, if I wasn’t so fussy (I am, extremely) I would probably use it for every gig as let’s face it, the people listening wouldn’t be able to tell the difference in those conditions... It’s close enough to the real thing to be able to warrant the compromise of tone – that magical thing that can’t be replicated - especially when like me you have a history of sciatica and want to keep the weight down!
As a last thought - when the Bravado isn’t here I use a Fender BDri as my main gigging amp… well, I used to, as if the Bravado isn’t here, from here on in I’ll be using the Quilter…
Paisley Drive Deluxe - Release date.
Due to unforeseen circumstances stemming from availability and Brian's constant demand for perfection, the release date for the Wampler Paisley Drive Deluxe has been amended to October 31st. Not only will this allow the global dealer base to ensure that they have the product in store for the release date, but it allows us to know that every product shipped meets his exacting standards and people all around the world can get it in their rigs, on release date, no matter where they live.
The thirst for perfection, it's what drives us.