A question we get asked a lot is “how does someone become a signature artist and get their own pedal?”. Well, as with everything else, there is no rule book, but if there was one it would contain so many variables it would be impossible to give an explanation of the sure-fire route.
Right now we have a signature pedal at proto stage, one in ‘headscratching’ phase, and another in the negotiation phase, so it’s safe to say that this is subject that’s in my head a lot at the moment. So, for my own benefit in the process of consolidating all the information, I can give you a run-down of what is needed.
Let’s start at the business end of things. Why does a company bring out a signature unit? The obvious answer to that is the mysterious phenomenon known as “exposure”. If you look at our first two, Brent Mason and Brad Paisley (who now has 2, the regular and the deluxe), it’s easy to see why we did it. We were a very young company when Brent and Brian worked on the original Hot Wired, and when it was released it instantly gave us a good reputation and a great platform to market the brand from, and go on to have the brand come to the attention of a lot of people, myself included. I cannot begin to tell you what this pedal did for us as a company… Brent is one of the most respected musicians in the world, so to have his name on a pedal and have him use that pedal on countless recordings was massive to us. A couple of years later, we launched the Paisley Drive (the first release I was involved in) and that exploded the brand to a much bigger audience around the world and it’s safe to say that the high-end pedal world was now completely aware of Wampler and what we could do… 3 years after that, we did the signature pedal - the Dual Fusion - that made everyone say “What?” and has gone on to become one of the best-selling Wamplers of all time.
Tom Quayle was a relative unknown at the time, big amongst a certain genre of players (who followed him fanatically), but to the rest of the world, unknown. What we wanted from Tom was to not only bring the pedal into his genre (which was exploding), but also be part of a pedal that he was already using (although in separate units) that we felt could be massive to the market – provided we could match up our vision for it with his (which luckily for all involved was extremely simple, it was great fun working out how we wanted it and thinking up the features at the time what were revolutionary). He had found his tone with the Euphoria and Paisley stacked, and we knew that a dual pedal with these two elements (althought modified to suit him and the single pedal format) would be enormous. Also, having got to know him, we knew that he would market the living daylights out of that pedal at countless trade shows, videos, social media outlets, and just about everywhere else… Tom is one of the most hardworking guitar players I know that is often appearing at seminars, shows… just about everywhere around the world. We also knew that providing he stay true to himself (which to anyone who knows Tom knows that is what he always does) at some point in the future the rest of the industry was going to catch up with us and his name and picture would all over the place.
What does all of the above mean when looking at it closely it? Well, to a signature artist you have to fall into 1 of 3 categories:
- Is their idea for a pedal so unique and original that you have to sign them up then and there to being this piece of genius to market? (extremely unlikely, I would say impossible – “Hey man, I’ve got a great idea for a new pedal, no one has ever done this before”… the reality is – they may not have done it, but I can almost guarantee you that one of us would have thought about it at some point and gone on to discard the concept.)
- Is the artist in question so famous, and relevant, that just having their name on your pedal will explode your brand around the world? (unlikely, but when they come along, happy days – I mean, no one in their right mind would turn down a superstar like Brent or Brad.)
- Is the concept of the artist/pedal combination something that people will relate to - and will the artist network/promote you so much that the amount of traction gained from your combined marketing efforts going to make something truly special? (the most likely)
Now, it’s fairly obvious that as of today, we’ve had two #2’s and a #3 in our list. A lot of people mistakenly think that in order to get a deal you need to be #1 (everyone thinks they have THE next big idea which is usually, well… not so big), a lot of the people who think they are #2 are usually a few years past that point of their career (or are in no way big enough to even think about it) so think it will be a steady income stream for them for doing nothing, yet no one thinks about the concept of #3.
In order to be a signature artist, you have to have something special. Yes, you need to have the talent and ears to make it even to discussion stage, but what about the rest of it? To do it, and do it successfully, you have to work HARD to get there and even harder to keep it going… The main thing to remember that as a business we like to sell a lot of pedals and it is an aggressive marketplace out there with countless elements working against you. We’ve found that the people who even make it past the initial nanosecond of consideration are not in the least bit concerned with the monetary aspect (the commission) and are only interested in realising their vision for their sound by working together, combining ours and their marketing platforms, and most importantly… the vision for the future of both ours and their brand. In a nutshell - you have to jump in with both feet and take a ride with us, and sit right up front!
As you can imagine, I’ve seen a lot of people make a pass at us for signature units, Winter NAMM is a classic one where a lot of players are walking around in dark glasses trying their hardest to be noticed whilst looking like they are trying not to be noticed - and this year, most of the time, all I wanted to say to them is this: “You see that guy over there… the quiet one with the new signature Ibanez, yeah… him. He’s called Tom. Be like him.”
Tom Quayle is one of the premier fusion guitarists in the UK, who is well known for his vast knowledge of music theory and is leading the forefront in terms of instructional material to help guitarists develop their technique and hone their fretboard knowledge all over the world. His legato speed and fluidity is nearly unbelievable to watch and his ear for tone is absolutely spectacular. In 2012 Tom was already using our pedals, and he and Jason Wilding struck up a great friendship. The Dual Fusion came about when Tom was discussing with Jason about how much he loved the Euphoria and Paisley drives, and how he enjoyed stacking them in different combinations to create his signature fusion sound. Fast forward about a year and it was decided that they would make a perfect pairing for a dual pedal, but there were a few things Tom wanted modified to suit his fusion playing style better. A few changes included removing some switch positions that he didn’t use, as well as the bass knob from the Euphoria side, but he wanted more transparency and clarity most of all, along with a certain response in the gain structure. The result is the Tom Quayle Signature Dual Fusion. (Note, there is a video at the very bottom of the blog where Travis Feaster compares the Dual Fusion to the Paisley Drive and Euphoria).
Our favorite part about the Dual Fusion is the ability to setup the switching order exactly how you would want it. 1 into 2, 2 into 1, or each side set independently through different loops and combos of other pedals. This allows for infinite tone shaping options and combinations, limited only by the imagination (and cabling!). They are made to be fantastic standalone overdrives, but stacked the magic combines into a “fusion” (sorry for the pun) of smooth and sustaining gain, while still remaining transparent and sparkling with the original guitar tone always taking center stage. This video will show you a brief description on how the switching system is setup:
The Dual Fusion is extremely versatile due to this switching option setup, and it works really well paired with humbuckers, singlecoils, P90’s and all things between. The Dual Fusion reacts directly with the guitar at the heart of it’s tone, so if you love the sound of your guitar into the amp but with loads of tweakable tone-shaping options, then this is the pedal that will do it.
Volume(s): These knobs control the overall output of each side of the Dual Fusion. The level of the volume to reach unity depends on the type of guitar and where the gain knob is set on each side. If the gain is higher, then you won’t need the volume as high, where if the gain is low you’ll have to raise the volume to compensate. This pedal overall is not excessively loud, so don’t be afraid to turn it up a bit to reach the level that you want. That being said, there’s still enough volume on tap on both sides to give a boost to the front of your amp for some great amp breakup.
Tone(s): The tone knobs dictate the amount of high end and presence each side of the Dual Fusion has. Counterclockwise will yield a darker, warmer tone with less accentuated highs, which works really well for bright guitars and amps to tune your overdrive precisely to where the sweet spot it. Clockwise it will increase the high end content of the overdrive and give it a much brighter and punchier tone, which is fantastic for humbuckers and inherently darker amps. A good place to start is a Noon, and making small incremental adjustments from there. The tone knobs react differently based on which position the Voicing switches are at on each side of the pedal. Adjusting the voicing switches may require you to adjust the tone up or down to find the sweet spot in that configuration.
- Side 1 (Vintage): The Smooth setting is based more on the classic *D*-style amplifier (the name rhymes with Rumble ;-) ) . The touch response is much smoother and the EQ is a bit more neutral in terms of any particular frequency being accentuated. It works equally well on any pickup selection, adding a richness to your tone even at the lowest gain settings. In this position the Tone knob may warrant a bit extra high end to cut through the mix, or to make it even smoother you can reduce the tone knob towards the counterclockwise direction. This is the preferred setting of Tom Quayle. The Fat setting has a much more pronounced midrange and more accentuated lows and low mids. This works really well for fattening up single coils or cutting through the band mix. There’s a bit of a volume bump and overall less overdrive than the Smooth setting. In this position you may want to lower the tone knob to compensate for the jump in midrange, or raise it as a boost for your tone on solos and control the output with your guitar's knobs.
- Side 2 (Modern): The Throaty setting has warm EQ profile, which accentuates the midrange but still allows your tone to shine through like a naturally breaking up amp. This particular setting works great for rhythm chording, and it allows each note to bloom into a beautiful space of tonal bliss. There's very 3-Dimensional character to this voicing that works in all genre's of music. The Natural setting has a much more even EQ profile that lets all of the frequencies work together to give the most transparent feel while still fattening up your tone. This works really well if you love the sound of your amp but want a bit more “oomph” to sound like you’re pushing your amp into sweet sustaining overdrive.
Gain: The gain structure is really where the two sides differentiate the most. Side 1 (Vintage) has a much more open and natural gain profile, which lends itself to sound like your amp breaking up instead of a pedal doing the work. This side is the brighter of the two, and sounds great paired with humbuckers and singlecoils alike. At 9am there is a slight bit of hair added to the notes, but the guitar’s natural tone takes front and center stage. At Noon, there’s a bit more edge but with the clarity of an amp starting to breakup. Around 3pm there’s loads of added sustain and crunch, but it remains transparent and lets the natural tone of the guitar shine through. The gain is very reactive to picking dynamics, so picking lightly will give a sweet clean tone with light grit and smooth sustain. Digging in and picking more aggressively will give much more grit and sustain and really sounds like an amp overdriving, but at manageable volumes. This is imperative for fusion playing as well as most any other style of music because it allows the player to adjust their gain on the fly just by altering their touch. Side 2 (Modern) has a different feel overall and is the perfect companion to side 1. Side 2 has a more aggressive feel, with the gain structure being overall fatter, with a thicker sound, as well as being the darker of the two channels. At 9am, there’s a nice punch to your tone with some added grit that fattens up your lead playing and lets the notes bloom. At Noon, there’s more sustain and grit, and it also fattens up and has more edge on your natural tone that works great for blues and rock. At 3pm there’s a considerable amount of gain and sustain, and it covers everything from smooth fusion playing to even modern rock music.
Stacked together the two sides create a layered overdrive that fills out the sonic space tonally, but still retains your guitars natural character. Depending on which way you stack the overdrives, it will give different results. 1 into 2 will yield a fatter sustain and overdrive that’s pushed by the clarity of the vintage side into a rich, creamy overdrive with some sparkle. 2 into 1 will yield a more open, transparent gain with sparkly highs and a tight, sustaining bottom end.
- 5” x 4.5” x 1.5″ (88.9mm x 114.3mm x 38.1mm) – height excludes knobs and switches
- All Analog, True Bypass
- Power draw: 16mA – Powered via negative center tip barrel-type power (Boss style) or an internal 9v battery connector.
- Switchable stacking order (1 into 2, 2 into 1 or you can completely separate them).