In March of 2012 Wampler’s own Travis Feaster was asked to record a session for the BBC’s Paul Jones Show. Unfortunately… the BBC’s studio of choice (Maida Vale Studios: Jimi Hendrix, Led Zeppelin, David Bowie) was booked, so Travis’ Band (The WT Feaster Band) was “bumped” to the historic Abbey Road Studios to record. Abbey Road Studios has recorded countless famous acts. The “short list” of recorded artist at Abbey Road Studios include, but are not limited too: The Beatles, Pink Floyd, Queen, Stevie Wonder, Iron Maiden, Oasis… and the list goes on and on.
Travis’ delay of choice was the Wampler Faux Analog Echo. Take a listen to Travis’ original soul filled blues song “Walk On” as he puts the Wampler Faux Analog Echo pedal through its paces.
We would like to give special thanks to the BBC and the Paul Jones Show for the use of the performance footage.
You can check out the PAUL JONES SHOW here.
...it feels like we've been waiting years for this moment! Well, if we are honest, we have! After countless hours on the breadboard, many prototypes and a time span reaching back over 3 years, Brian finally presented to us his interpretation of those wonderful tones from Vox amps... We all played it, and then continued to play it... then we played it a little more... Our conclusion, we love it! We think it's the best VIAB type pedal available, we can't wait for you to hear it!
Brian Wampler; Demo/walkthrough... http://youtu.be/I8fxozVo8BI
Jamie Humphries; Queen based demo... http://youtu.be/FSwATzjUOq4
Brett Kingman; Single coils... http://youtu.be/dw45tH8PdlE
Brett Kingman; Humbuckers... http://youtu.be/Z9vfokzfmUY
ACE THIRTY SOUNDCLIPS!
Over the 3 last years, I have been constantly tweaking and designing a pedal that can sound like a Class A British style amp (popularized by Vox for example) both clean and distorted. My first version of this type of tone (the “Cranked AC”) sounded fairly close, but there was just something missing. After countless configurations, I am completely satisfied of the tones achievable with the Wampler Ace Thirty pedal. The Ace Thirty ranges in those legendary Class A type tones from 60’s british invasion, to classic rock, to Brian May from Queen. The Ace Thirty will be available on November 29th 2013.
For a couple of sound clips of the new Ace Thirty Video, check out the videos below:
WANT TO WIN A FREE ACE THIRTY BEFORE THE RELEASE DATE?
Over the years we have had tons of artist do some amazing demos and reviews of our pedals on YouTube. However, I always get a big kick of the videos our fans create. I always love to hear our fans take on the pedals I have designed. This got me thinking, I wonder who the best pedal demo-er out there is that I don’t know about yet. Who would be the best person to demo one of our pedals?
So here is my challenge to our fans. I want to see who can do the best demo of one of our pedals. I will pick the best demo and feature it on our website. The guidelines are you can use any one of pedals (even the discontinued models), make a great video demo, and post it to our Blog page in the comments section here. THE WINNER: will receive a brand new ACE THIRTY PEDAL, BEFORE THE RELEASE DATE!
To watch a YouTube video of the Wampler Ace Thirty competition video please check this video out:
A RECENT INTERVIEW I DID WITH "THAT'S MY GIG" BLOG
While taking a quick break at the Nashville Amp Expo, I had the chance to sit down with Derrick Williams (guitar player with Jake Owen) for a special segment of “That’s My Gig” and talk about how I started Wampler Pedals Inc., the ins and outs of the company, and some advice to any person who is interested in a career in the music business…. Derrick even makes me play a little guitar….
Being a guitar player, first and foremost, has influenced every pedal built I have ever designed and built. From chasing classic tones of legendary musicians to my own personal musical influences – I am constantly trying to create pedals that replicate the tones I have in my mind.
Chasing your dreams can sometimes be a scary thing, but sometimes you just have to evaluate where you are, take a deep breath, and just take the plunge.
To watch my interview with Derrick for “That’s My Gig” follow the link below.
It’s October and that means millions of people will be putting on their favorite pink clothing, ribbons, bumper stickers, hats… all of which show support for Breast Cancer Awareness; a topic that is very near and dear to me.
With tons of pink products floating around to support Breast Cancer Awareness …. I thought to myself… let’s do it again, the last two years with the pink Paisley Drives have been awesome, let’s go again! So, this month in honor of Breast Cancer Awareness – I will be releasing a small, limited batch Ego Compressors with 100% of the profits going towards a Breast Cancer charity called The Rose.
About 1 in 8 women in the US will develop invasive breast cancer during their lifetime. Early detection/ awareness is instrumental in helping to stop the spread of Breast Cancer.
So help me raise some Breast Cancer Awareness by going pink. Purchase here: http://www.wamplerpedals.com/charity/
More about the charity: http://www.the-rose.org/
For more information about Breast Cancer and early detection you can visit:
What defines a “good” reverb? The recording engineer will define it one way, the concert pianist another, and the guitar player yet another. An engineer craves a myriad of options and a super-low noise floor, and these days, probably integration with their DAW of choice. A concert pianist or opera singer merely desires a realistic representation of an outstanding acoustic environment. But we guitar players are a curious lot. For many of us, the term “reverb” produces an unusual evocation; one formed by the equally unusual effect of audio passing through long metal springs. Unusual or not, the now seemingly archaic practice of producing “reverb” by sending a guitars signal happily bouncing down a long spring produces more than just a sound that emulates a large acoustic space; it produces magic.
Some accounts credit Laurens Hammond of Hammond Organ Company fame with inventing spring reverb in the 1940’s; other accounts contend that Hammond was second to Bell Laboratories, who rumor has it was experimenting with the concept as early as the mid 1930’s. Just exactly who and when doesn’t really matter; what matters is this: the distinctive sound of spring reverb is literally as old as, or even older than, the electric guitar itself. Those original Hammond reverb tanks were things of aural beauty, and they were really “tanks”; with comparatively huge springs hanging literally in tanks of oil.
It was, of course, Leo Fender who introduced the greater guitar-playing world to the magic of spring reverb, and his “tanks” were made by the Hammond Organ Company in good old Illinois, USA.
For the most part, when discerning guitar players talk in hushed tones about the hallowed golden sound of spring reverb, it’s those wonderful vintage US made tanks from the 1950’s and 60’s they hold in such high esteem. The warm-fuzzy golden goodness of vintage spring reverb is undeniable. Also undeniable is the fact that for most gigging guitarists these days, such vintage reverberation is just not particularly feasible. Not only are vintage reverb units or vintage amps that contain vintage tanks expensive, they can be unreliable. No one can blame a delicate little spring that’s been banging around under tension for decades for not being able to keep up with the rigors of the road, and so most vintage units are now enjoying the rest they so exhaustively earned, living a pampered life of luxury in a studio or honored vintage collection.
So where does that leave us? Where do we turn to get our reverb fix? For most of us this has been a difficult question. Once you have basked in the glory that is vintage spring reverb, it’s hard to accept anything less. The current production spring tanks don’t sound as good as the old ones, are still prone to damage, and can, of course, still make some really offensive noises when jostled about. For those of us who on occasion are required to travel with only a modest pedal-board the problem is particularly poignant. And so the decision is made by most guitar players: we need a reverb “pedal”.
Those of us old enough to remember the pre-digital days also remember the pre-digital “reverb” pedals, which were not really reverb at all. These things were actually the product of a bunch of short analog “bucket-brigade” delays. The sound produced was, well, interesting; but it was most decisively NOT reverb. When switched on, these things hissed like a serpent, and when switched off they sucked all the high-frequencies plumb out of your tone. To add insult to injury, these behemoth pedals also generally required a proprietary 18-volt (or higher) power supply, too.
The late 1980’s ushered in the first “digital” reverb pedals. Like their analog forerunners, these things were generally large, power-hungry beasts; they also hissed like mad and sucked tone even when switched off. The “reverb” was at least approaching the sound of true reverb, but compared to a good spring tank … well … there just plain WAS no comparison. Even the reverb pedals of the late 90’s and into the early 2000’s left much to be desired. Generally the evolution of digital pedals went the same direction as all digital “revolutions”; they just kept heaping on features. Once you convert a guitars signal into a stream of ones and zeros, it’s pretty much possible to rearrange those digits to mangle the result in any number of ways. The problem is that most folks don’t actually like the sound of rearranged ones and zeros. To a discerning guitar player this digital process can bring about grave consequences. Cheap pickups, bad tubes, inexpensive speakers; these can all provoke a pretty objectionable tone, but they don’t hold a candle to decomposing a signal into representative ones and zeros, rearranging those ones and zeros, and putting them back together. This is exactly what most digital reverb pedals do.
If the story were to end here, it would be a sad story; but it doesn’t, and it isn’t. As of this writing, at least one company, Wampler Pedals, is producing a digital reverb pedal that accomplishes everything we want a reverb pedal to do, while avoiding those things we strongly require it to not do. The Wampler “Faux Spring” reverb pedal uses a very advanced and proprietary digital spring reverb emulation circuit that is among the finest available, one which bears absolutely no resemblance to the digital reverb “chips” commonly found in reverb pedals. This complex circuit was not designed to mangle ones and zeros in a nearly infinite number of ways. This circuit is designed with one solitary goal: to provide true “spring” reverb. And, as for that terribly distasteful process of taking your guitars signal, converting it into ones and zeros and spitting it back out, this pedal avoids that digital carnage by NOT Converting the guitars dry signal at all, the non-effected (dry) signal remains pure in its analog form. The reverb may be digital, but the guitar tone most certainly is not.
Is this the final chapter? That’s hard to say. Once Leo Fender discovered the magic of the spring reverb tank, it remained the sole source of reverb at Fender throughout his years of ownership. However, if Leo was alive and at the helm of the company that bears his name today, I can’t help but feel he would be giving this “faux spring” thing some serious consideration. Likewise, if the Brian Wampler’s of today continue to tinker and innovate, it seems inevitable that the state of the reverb pedal will continue its upward trajectory. Personally, I’d like one that is super-tiny, self-powered and needs no batteries or external power source, and … oh … sounds JUST like the reverb in my vintage blackface Fender Vibrolux.
To a few of you, the very term “scatter-winding” may be new. It was to me not long ago. I was introduced to the term while reading the Book: The Fender Inside Story by Leo Fender’s right hand man, Forrest White. Forrest pointed out that those highly sought after “pre-CBS” pickups were wound entirely by hand without the precision of modern machine-winding techniques. Those pickups were “scatter-wound”, or in other words, they weren’t perfect. The windings did NOT fall neatly, one nestled tightly to the next. This scatter wind was not a design intention; it was simply a natural result of the human process.
Another interesting tidbit from Mr. White’s book: Leo made those pickup winding machines himself. As was the case with so much of what Mr. Fender was doing in the early days, he was breaking new ground in winding pickups. There was no commonly accepted “correct” way to do it. And so Leo sourced the motors he thought would work best, concocted his own apparatus for cradling and directing the wire and for holding the pickup bobbins in place. His celebrated drive mechanism: a rubber-band. Turns out there were no drive belts available that had the right amount of “give” for the delicate wire he was using.
And so it is that young ladies, often seamstresses by training, wound pickups on machines driven by rubber bands. That would not really be much of a story if not for this fact: they were not just ANY pickups, they were THE pickups. The pickups that defined early American Rock & Roll. The pickups of the “surf” sound. Buddy Holly’s pickups. James Burton’s pickups. Jimi Hendrix’s pickups. You get the idea. This list has no end. These are the pickups that reside in some of the most valuable and desired guitars the world has ever known, or likely will ever will. Holy Grail tone? In a word, yes.
Today there are a few small American companies winding pickups by hand the way Fender did in the “Golden days”. Leo would be flattered by the hefty prices those pickups demand. To Leo, hand winding pickups, with the resultant “scatter” winding was not just one of several options; it was the ONLY option.
Scatter-winding is more than mere folk-lore; there is some real indisputable science to it. The inductance between wire windings laying tightly parallel to one another is indeed quite different from that of the same windings scattered willy-nilly to one another. The modern method of machine-winding pickups may be yet another instance of newer not being better. Sure a programmed machine can wind a heck of a lot more pickups in a day than even a highly competent human can, but with a yardstick delineated by quality rather than quantity, my money is (quite literally) on the human.