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.
I am at a complete loss as to what to write today. I had loads of ideas laid out in my head, I was going to talk maybe about the TC Electronic MiMiQ, or the new Quintessence, the Quilter 101 Reverb, but seriously, none of that matters right now.
I am despairing as to what has happened, as to what is happening. This is the third (that I can remember off the top of my head) time in recent history where a music event has been attacked. December 2015, the Bataclan - Eagles of Death Metal concert, 90 dead and over 200 injured by persons with automatic rifles. Manchester Arena, Ariana Grande concert, 22 people killed and 250 injured by an IED. The question I keep asking myself is "why".
I'm in the UK, so I was aware of this as it was happening pretty much, I get up early in order to tip my kids out of bed in time for school, so in my gently hungover state this morning I turned the TV on (as I like to have background noise other than my kids moaning about being tired) while I wake myself up by playing Clash of Clans and was greeted by live news as it was unfolding. I was, and still am, speechless. Confused.
Music is supposed to bind us. Music is supposed to inspire us. Music is supposed to bring us together. To attack a place where nothing else matters apart from the shared enjoyment of something that transcends colour, race, nationality, sex and everything else, to me, is about as low as it can get. If that's not enough, on social media, you get everything that always happens after, happening. People offer opinions, solutions, political postures, justifications, excuses and it all descends into pointless arguments that will change nothing and just solidify more hatred and more things to not understand about the world we live in.
I often get called names because of my opinions on humanity, and all that does is nothing but show the ignorance of the people who say it. All because I dream of a world where people don't hate, not where everyone is being treated with suspicion and people are judged on their own personal actions and attitudes rather than anything else. A place where people from all over the world can get together and enjoy music without the fear of being punished for it.
We exist as a company to bring enjoyment to the people who play our products. And some of those products were on the stage last night in Las Vegas. All we want to do is allow the entertainers to entertain and for those who are listening to enjoy the experience, it’s one of life’s simple pleasures and it sickens me when people use violence to disrupt it.
All you need is love. All you need is love. All you need is love, love. Love is all you need. And pedals.
There goes my carefully laid out release.
Don’t you just hate it when that happens? This isn’t the first time of course, google cached a website tester that means the Pinnacle Deluxe v2 was leaked before the announcement, and only a few months ago when we released the Ethereal, some rather silly people had shown it as a new release almost 18 months before at a NAMM show or 2. Well, 3. But hey, who’s counting? *insert chuckles here*
The Paisley Drive Deluxe is coming, October 12th. Now, we weren’t going to tell you about this for a while yet, probably somewhere around 1st Oct, but there you go, you got it at least 10 or so days early. You may be thinking that a week doesn’t really matter, but for us this was a huge disappointment. Over the last 7 years or so I’ve been doing this, Brian and I have pretty well got this wrapped up, we know what to do and how to do it (since Alex joined us a couple of years ago it got even better) and the plan was in full swing… This is why the product page on our site was launched so quick, the FB header graphic was up quickly and the promo pictures where on FB and IG instantly after the leak… I had it all in place.. So, obviously, to make up for this - the next release will be announced to the dealers early yet under the pain of death if anyone leaks it! And you think I’m joking… I just don’t want another quiet Sunday morning ruined like this again (we must take a moment to give appreciation to my wife and kids who had to deal with me, loudly dealing with this, at 9am on a Sunday morning. I do think my kids learnt new ways of putting cuss words together in that first hour).
Although many people were VERY shocked to see us announce the pedal, it made me smile because we’ve already been teasing it for quite a while. For example, this graphic was the facebook header on our company page and it’s been in full glorious view since Sept 6th. I also published a photo on my personal Instagram a week ago that showed part of it, so the evidence was there – a couple of people picked up on it, but I love it when people only become aware of it after the event. Also, lest we forget, Brad’s tech leaked that this was coming waaaaaay back in March in an interview with Guitarist magazine. We also posted pictures of Brad’s rig on Sept 8th that clearly showed the prototype in his rig… So, you know, the evidence was there for all to see! It’s not easy to join the dots up, because we deliberately place them so far apart!
ANYWAY, enough of all that – here is the blog I was not ready to write yet, as I was hoping I’d have a few more gigs under my belt with it, but my hand has been forced so here I go. I used the Paisley Drive Deluxe on a gig last Friday. I didn’t know what to expect, the Paisley Drive for me is a special pedal – it was the first logo I designed for Wampler, I inadvertently named the pedal during (it was known as simply as the Paisley Overdrive in proto stage), so it kinda got me the job – 7 years later, here I am writing about the next generation of it. I love the original Paisley Drive so much, we named our dog after it, she’s the original Paisley Dog as far as I am concerned!
First impressions: well – I already knew what it was going to look like, as I did the confirmed graphical design for it back in February, and LONG before that I had got ready for this release and amended the original Paisley to co-ordinate with it way back in 2015. So, this has been in our minds for years. We just needed the main man to decide on what he wanted to be in it, so when over the last couple of years the Underdog started to get a run out in his rig, it looked like it was time to move it forward, Brian met with Brad and his techs a couple of time this last year to bash out the details, for example the routing and switching options, and the pedal was decided – into the process it went! But yes, my first impression was a sharp intake of breath. It is beautiful. Major props have to go to our production guys, this thing is flawless.
Channel 1: The first thing I noticed on it when plugging it in was how much gain was on tap from the Underdog side – the UD is probably the only one of Brian’s creations I’ve never played before, so it was all new to me, and boy does this thing cook! Considerably more gain that I was expecting, gravelly in a good way (the low mids are gorgeously wide), and has a great element of sag in the bottom end, not in the way the Pinnacle does, but it feels like when you hit the lower notes with a little palm muting it really jumps up and reacts. When you stick the fat switch in, the whole thing jumps up a level and starts to run into classic rock territory. I ended up running it at 15v as the band I am in doesn’t need that much gain, so I found the sweet spot right here. As always, when a little more gain and girth was needed I put the Tumnus on in front of it, and that most definitely takes you into rock territory.
Channel 2: Basically, extremely similar to the original Paisley. The three-way switch was removed and replaced with a 2 way switch. When the button is in, you get the original top setting (right on the newer one) – so that’s what I call the Trainwreck tone, or the Cliffs of Rock City right there, and when it is out, it’s like the bottom on the original (left on the newer ones) so a classic “Waiting on a Woman” TS feel. So, yeah, you get some classic Paisley from that side. The presence switch has been removed and is effectively set to “off”.
Stacked: Now, as in the Dual Fusion and Hot Wired, the real beauty of this pedal comes when you start running both channels together. Included in the Paisley DD is the same routing control that Tom and I came up with for the Dual Fusion, perfectly implemented by Brian and Jake, because if like me you use a looper, the last thing you want to do it have to press the loop switch and then press something else on the pedal. This way, it’s all done for you. I run 2 into 1, as the Underdog sounds glorious and when you stick the Paisley into it, with both set in the ‘out’ position you are going to hit the kind of creamy tones you would not expect from a pedal. Most of you that know me know I have an inherent dislike for most TS circuits, but when you run the Paisley on TS flavour and push it into the Underdog, something comes alive. These two circuits run together so well it’s just amazing we’ve not put them together before, feedback is waiting there but you are not fighting it, the guitar shines through the dirt, and when cranked, you move some serious air. Those two together sustain forever, I was hitting notes and they were ringing out like Parisienne Walkways – quietly and perfectly morphing into a feedback and once I moved the guitar the note moved up perfectly to another pitch. Think Flying In A Blue Dream intro. And I’ve never been able to find that so easily.
Every time we release a pedal, I excitedly play it for a while, understand it, and then it goes on the shelf for a while and I stick with my tried and trusted gain pedals for live. This one was plugged in at home to briefly hear it and make sure it was OK, I literally played two chords on each side, then put it on my live board as I was pressed for time. By the end of the first song I was smiling so much my face hurt, the bass player in the band (who is the biggest tone chaser I’ve ever met) was smiling back at me… I knew we were on to a winner.
Anyway, enough from me. Here’s Brett Kingman showing you how it’s done.
There are more demo's to come... lots more!
I’ll come outright and say it: I love looking at and learning about gear. Gear porn makes the day go by so much faster, and it’s interesting to see what various players choose to have on their board, why they chose it, what worked with each rig and what didn’t. Off the rack guitars, custom guitars, pawn shop finds and killer deals. All of it. From the simplest rig to the biggest rig, each setup tells a little something about that player and what their tastes are, and often it either spurs GAS or makes you curious about something else. Down the rabbit hole you go. I’m apparently not the only one either, seeing as gear culture is probably more at the forefront than ever. If you had to take a guess, how many FaceBook discussion groups would you say there are associated with tone in some fashion? You’re talking brand groups, podcast groups, general discussion groups, groups dedicated to a certain style of guitar or style of music? I’ll guess on the low side and say hundreds, and those are just the ones I’ve seen personally or been on. That’s not even touching on other forums outside of FaceBook, or places like TGP or TDPRI or ILoveFuzz (all interesting boards for sure). It’s become a global culture, where if you’ve got a musical instrument and the internet, there’s a good chance you see or experience something gear-related throughout the day. I’ll admit that I’m so enthralled with gear that I often forgo watching TV to check my phone to see what the latest thread or blog or article discussing new releases have popped up. It’s truly an addiction, one that I barely keep at bay on most days.
Most of these groups and pages have quite a varied group of members, with diverse backgrounds that range all over geographically, and with that comes the differences in cultures and varied view on race, religion, and many other variables. Thankfully, most of the places that I frequent don’t pay any attention to any of those external factors, and the focus remains on gear. Other than the subjective opinions that come up about that gear, they’re normally friendly and great environments. But not always. I’ve noticed a trend on so many groups lately that it’s become second nature to expect it to happen, and it eventually will. Inevitably there will be a member that will join, and they do NOT agree with opinions that go against their own. They disagree with a post or take a cheap shot at another member, and things devolve from there. I’m not talking about trolls necessarily. (I wrote another blog on that very topic, you can check that out here). These are people who are whole-heartedly invested in their belief, and if you question or bring up a counter-point, an argument inevitably ensues. I’ve found this especially prevalent on certain hot topics, such as discussing Klon Centaurs, Relic Guitars, or specific guitar brands and their quality. Any of those topics will ignite a burning flame in someone, who can DEFINITELY hear the magic in the diodes, or who only buys from a certain place of origin because they’ve got a stigma in their mind that guitars from XYZ are just garbage, no matter what.
I’ve come to ask myself this question on a regular basis: Are we taking gear and gear discussions too seriously? We all want to chase those ever-elusive tones, but how we each do it is going to depend on a lot of factors. Personal tastes aside, monetary reasons can put a big damper in our plans. Yes, we’d all love a Dumble or vintage Les Paul or Strat, but that’s usually not in the cards for the average player. So, we chase those tones we have in our head with the funds we have at our disposal, and luckily there are enough brands with various offerings that can get you close to that (some closer than others). Opinions are like buttholes though, everyone’s got them. I think we can all agree that not everyone is going to agree on loving all the same things. Variety is the spice of life and all that. But when I brought up selling my Centaur in my last blog, I was met with various comments regarding whether that was a good move or not. Some agreed totally, agreeing with my point that the used prices are a bit absurd and that they were able to find a great alternative for a fraction of the cost just like I did. There were a few people, however, that went out of their way to express that I was wrong and my thought process was off and that the price truly is justified and it’s the greatest in the world. That’s great, more power to you. If that’s what hit’s the spot then cool, go for it. Some got so heated in their beliefs that they felt they needed to convince me I was wrong, and subsequently various members started arguing, which led to people almost being banned from that group. Why in the heck is that so important that it’s worth getting into an argument over?
Another example that I see frequently posted are the users posting pictures of large pedalboards with a wide range of effects, with comments to follow saying, “All you need is a guitar and an amp” or “You must be compensating for lack of skill” or “I only use amp dirt and a single delay”. I completely understand and can appreciate the traditional minimalist approach. Times change though, and if you’re in a band that covers a large variety of music, you’ll need the tools at your disposal to achieve whatever the song calls for. On the flip side, there are the players that flaunt their gear choices, going specifically into how many amps and how much each one costs (usually equaling a lot). That’s great, we get you have money and appreciate discerning tastes in gear. Owning a small fortune in gear doesn’t equate to knowing everything about tone. Just because something costs exponentially more doesn’t necessarily make the tone that much more superior, nor will it make someone play better. I refer to the video of Joe Satriani playing a cheap knock-off guitar into a Peavey Bandit and RP200. Granted, it didn’t sound like his rig, but raw talent got it close enough that you could immediately identify what was being played (Surfing with the Alien). It’s all just trivial, and it doesn’t matter if you invested $400 in a guitar or $4,000, if it hits the spot then that’s all that matters. Knocking another player’s rig solves nothing and if anything rains on their parade, instead of appreciating the effort they put into it and moving on.
Lately, the big topic everyone has been discussing is Gibson’s current releases and the quality control, after a recent catch showing an advertisement for their new Les Paul that had dings in it. Many people were immediately dogging Gibson and discussing how overpriced their models are and the subsequent decline in attention to detail. There were some extremely heated arguments regarding the amount of money spent on Gibson’s, some saying they are still fantastic guitars and still an icon of sorts, where others were saying they are complete garbage and trashing the brand and people who appreciate their Gibson guitars. Around the same time, Fender released their Brad Paisley signature guitar, and the internet lit ablaze at the cost of the instrument being too high because they’re made in Mexico, the fact that it didn’t feature a rosewood neck like the one it was paying homage to, and the fact that it didn’t have a G-bender. Let’s look at just those 3 things and break them down. Brad wanted them to be affordable, hence having them MIM. That doesn’t mean cheap, that just means more cost-effective than labor costs in the US. Regarding the neck, Brad doesn’t like rosewood, if you look at his current touring guitars there are only a couple of them with rosewood necks. He’s always been a fan of maple. Lastly, the G-bender mechanism Brad uses is from Charlie McVay, a small business owner who literally couldn’t produce that many benders to suit Fender’s needs, let alone at a cost-effective level. Yes, there are other companies out there with alternatives, but there’s also the issue of consistency and longevity and added cost, which all adds up to a more expensive guitar. I guess my point is that until all of the facts are known and verified, or unless someone has experienced using the instruments themselves, passing judgment just comes off as trolling and disconnected.
So why did I write this whole thing? I don’t know, maybe making the issues stare people in the face will make them realize what’s going on and thinking before just posting the first thing that comes off the top of their mind? One can dream. I’d like to just reinforce the point of taking gear discussions a little more lightly, most people are there to learn and enjoy guitar and gear with like-minded people. Not everyone will agree, and that’s totally okay. How you respond to the disagreeing part is what sets people apart. So sit back, enjoy soaking in the info and comradery over our favorite instrument. To summarize, I’ll leave you with this quote from Travis Feaster: “If you’re offended, I forgive you.”