The Triple Wreck is intended to be a meeting ground of the famous 5150 amps and those great Mesa-Boogie amps known for their high gain aggressive crunch and tight distortion sound. The goal was to have it versatile enough to cover a lot of tonal ground, but still stay true to the characteristics of what makes those amps special and combine the elements into the ultimate high gain distortion. It had to have a flexible EQ structure, and in typically Brian fashion there had to be a switch to give more options to shaping the tone. Last but not least he added a contained boost that could go from a slight standard gain boost to full on fuzz destruction. The result was the Triple Wreck distortion.
Our favorite part of the Triple Wreck is how the bass reacts to the gain level. Many distortion pedals “flub” out as the gain goes up and lose definition, where the Triple Wreck retains that tight bottom end even with the gain maxed. It sounds fantastic no matter what type of pickups you’re using, but it really comes alive with humbuckers on a detuned guitar especially. It’s just a full on hard rock and metal pedal that will melt faces, and at the current time has the most gain of all of our pedals on tap.
Volume: This knob controls the overall output of the distortion. With the volume fully counter-clockwise, there will be no output whatsoever, no matter how high your gain knob is set. Being a distortion, there’s a lot of volume on tap, but it’s designed more for using it as a distortion and not necessarily a boost. Just like most Wampler pedals, unity on the volume knob is dependent on where the gain is set. Lower gain will require the volume to be set higher, and on the flip side with the gain up you could reduce the volume to reach unity. A good place to start is putting the volume at 11am, and adjust the amount of gain you want and your EQ, then set the volume to a bit above unity.
Treble: The knob controls the amount of high end frequencies that are heard on the distortion signal. The amps that this pedal tries to emulate were known for a biting high end presence and aggressive feel, so that’s what Brian wanted to capture in the range of the knob. Counter-clockwise will reduce the amount of high end content, smoothing out the drive and fattening it up a bit. Clockwise will add in some high end content and give your notes some extra clarity and biting sustain that’s great for lead work. Starting at Noon on this knob and adjusting from there to match your guitar and amp is the best advice. Don’t be afraid to add a bit of highs in there to cut through the mix.
Mids: This knob dictates the amount of midrange that’s present in the distortion signal. There’s a wide range to increase versatility for aggressive scooped metal to more mid-heavy classic metal and rock. Counter-clockwise on the knob will scoop the mids, giving a much more modern and djenty sound that works really well for modern aggressive metal and thrash as well as harder rock. Clockwise on the knob will give you more midrange presence, giving more body and filling out the sound of your distortion tone. Adding mids will help cut through the mix in a live setting. Where you set this will be dependent on where you have the Hard/Brutal switch set. Start at Noon and adjust to match your amp from there.
Bass: This knob controls the overall low-end frequencies that are present in the distortion signal. The bass on the Triple Wreck is what sets it apart from other high gain distortions out there. No matter where the gain is set, the bass retains it’s tightness and doesn’t flub out. Counter-clockwise on the knob will remove some of the bass frequencies, which works really well for bass-heavy amps or to not make the speaker cabinet rumble too hard and add some clarity. Clockwise on the knob will add more bass frequencies to the distortion signal, adding a depth and a girth to the tone that is a staple of those great amps that it’s trying to emulate. Start the knob off at Noon and adjust from there to achieve the desired amount of thump in your signal.
Gain: This knob controls the amount of clipping and distortion on your signal. Being a high gain distortion, you’ve got a boat load of gain on tap through the entire gain range. It can be run for a slight distortion with some added girth and grit, but we feel that it shines as you crank the gain past Noon. Once you rotate the knob clockwise, the clipping and sustain and overall ballsy crunch will become much more saturated and in your face. The gain range runs from light distortion that lets your guitars natural tone shine through, to full-on saturated shred, punk, modern rock, and djenty. The gain structure changes based on where the Voicing switch is set, so on Hard mode it’ll be more neutral and Brutal will be much more aggressive and cutting. This thing is a behemoth of METAL!
Boost Contour: This knob controls a footswitchable boost. The boost knob only works when the Triple Wreck’s distortion is engaged, and it provides a few extra options for adding gain to you signal. Counter-clockwise will add more standard gain, which can be great for sustaining leads or for all out raw saturation. Rotating the knob clockwise will actually make the gain fuzzier, to the point at fully clockwise it sounds like you’re playing a fuzz. This can add some versatility to solos by introducing something different in the mix with loads of fat sustain that will remind you of a great Big Muff.
Hard/Brutal Voicing Switch: This switch governs the overall tonal character the distortion has. On the Hard selection, it’s much more neutral and even with all frequencies standing together on a unified front of harmonic glory (this side is perfect for classic rock and metal, and even like EVH’s tone on the Live in Tokyo Dome album). The Brutal side puts more emphasis on the high end frequency and makes it much more aggressive and heavy sounding with stinging gain that’s perfect for brutal modern metal and shred. Set this control first then tweak the gain and EQ to match your rig to find your perfect sound.
- 5.0″ x 4.50″ x 1.5″ (88.9mm x 114.3mm x 38.1mm) – height excludes knobs and switches
- Soft relay switching and top-mounted jacks.
- Power draw: 23mA – Runs off of 9v negative center barrel tip plug (Boss style) or an internal connector for a 9v battery. We don’t suggest running the Triple Wreck at 18v because the way the circuit is designed it will sound better at 9v.
- There have been a few iterations of the Triple Wreck; most notable change is the switch from a massive enclosure to a more manageable sized enclosure, and the latest version has been converted to top jacks and soft switches.
You can check out the Triple Wreck more and purchase direct HERE.