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.
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!