Talking about gear (97)
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…
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.”
I’ve not had a good internet based rant for ages so I think it might be time to dust off my sword and shield and dive on in…
Part of my job is to answer questions, research products, keep an eye on the competition and the like so I quite often tour the forums (or, as this is 2017, the social media equivalent) as it’s the best way of discovering what is around, what is coming, and what people are leaning towards. Mostly, it’s a very rewarding process but sometimes I read things that make me want to stop the world and get off. My main frustration tends to be geared towards the attitudes that appear to be forming, as you watch them grow and become a thing, it’s very frustrating because once you do this long enough you see it coming and you want to be able to stop it, but you are powerless.
The latest one, or should I say, the one I’ve been noticing for about a year or so now is in full flow.
Inverted Gear Snobbery.
You may have noticed this, as it often revolves around brands such as PRS, Strymon, Two Rock and even sometimes the high-end effects manufacturers such as ours (yes, I know Strymon are that as well but let’s face it, they are a force of their own these days and stand above the resst of the market in that particular field). You’ll notice several reoccurring comments. “Praise and Worship” and “Blues lawyer” and both of these send me postal.
Praise and Worship
I despise labels in music, to me, it’s either rock and roll or it’s not. I tend to personally dislike the things that aren’t in my head rock and roll, but you know, that’s me. However, rock and roll isn’t what its common label is, it’s anything cool, edgy, different, powerful, emotional. So, Justin Beiber’s “Love Yourself” is rock and roll, and "Rockstar" by Nickleback isn’t. It’s not about the chord structure or being guitar-based, it’s about the passion, performance and the delivery. If a song is delivered on a Sunday morning, in a church and delivered with passion and power, who cares. To me, it’s still rock and roll. It’s just a genre of music, it has its own style, its own way of doing things… so, there tends to be the Trifecta of Strymons on the board as let’s face it, if you want mental delays, reverbs, modulations to be all over the place, all the time, and have it under control, is there a better tool for it? Nope. Not right now. So why is it a problem? I don’t know, I’ve asked people why and they just laugh and make derogatory comments. It’s all a little strange really, but boy, do they enjoy making disparaging comments about those Strymons and lots of booteek level pedals that are on the board.
This gets right on my nerves as well, so what if someone has worked hard in their career and now has a massive amount of disposable income. So they buy a $4k PRS and play blues licks on it, who cares? What difference does it make? If someone wants to spend their money on a nice guitar, why shouldn’t that, why does it mean we should mock them and make fun of them? Music is being played, and that’s a good thing.
So (and yes, I also hate paragraphs that start with that as well), what is this about? Why do people instantly judge people based on the fact they have nice things. Why is it an issue if a random P&W guy uses 3 Strymons for 6 songs on a Sunday morning, or if a successful lawyer owns a few extremely nice PRS. The only issue should be “are they being put to good use”. If they are bought to be put into a bank vault, then yes, we should be in an uproar, but in my experience, they generally aren’t. A lot of people wear their gear as a badge of honour, as a status symbol, but that’s no difference to a young guy and his impressive jewelry or sneaker collection, someone who collects books, paintings, watches, cars… anything. What difference does it make? Do people with a PS1 mock the people with a PS4? No, they don’t.
A lot of this, I think, stems from inverted snobbery that maybe comes from a little jealousy. You’ll often notice that the guy making the most noise is the one with the old TS and Strat into a Fender amp. Or a Gibson into a Marshall. Often runs alongside the “If it wuz good enuf for Jimi” comment or similar. I quite often respond to “what difference does it make, it’s a subjective issue”. Gear is here for one reason and one reason only, to make the people using it happy. If the gear does that, then job done. Just don’t look down on the people who choose to do it differently than you do. Both styles are good. Both are valid. Both have a place. I see a lot of it come from people perceive that 'blue lawyers' drive the price up, do they? How many 'blues lawyers' do you see that have a Klon, or a Dumble... in my experience, none. All their stuff tends to be new and shiny.
As an ending to this rant, I have to declare this. I play a PRS. I gig with 2 Strymon's and 4 Wampler's. The picture above is my board. I have a law degree, but I don’t play the blues much and it’s pretty well-known I’m hugely unlikely to be playing in any given P&W setting anytime soon. How about you listen to my tone and what I play instead? How about we listen to what the guys with the Strymon's and the nice PRS do instead? Why do we listen and judge something so easily with our eyes when in this case it’s our ears that we should be using, not any gear based preconceptions that are invariably saying more about the person saying them than the person under ‘discussion’.
... yep, hear that all the time. It's almost up there with the meme of Jimi with the caption "Jimi plays without true bypass pedals and everyone still manages to enjoy his tone.
Those, amongst others, are the things guaranteed to make us roll our eyes and yawn. We've even had someone imply recently that professional guitar players don't really need fingers.
So, let's look at this properly. Let's have a think about the guitar signal, its path, pedals and what is needed and what isn't. Actually, let's not. Let's just remember this.
Guitar pedals are a tool that some people enjoy using. They are not essential. They are not invalid. They are a tool. Put it this way, if you were walking past a stone mason or carpenter working would you shout up to him "What you using that drill for bud, Christopher Wren didn't need that when he designed and built St Paul's Cathedral in 1675!" - I doubt you would, I doubt anyone would. Well, I hope no one would because basically, that would be a fraction silly.
We, as always, were having a discussion about this the other day. We'd seen many outrageous comments from certain people online and we were trying to contemplate it properly and we sort of came up with this. Guitar pedals are like a spice rack full of a wide range of spices. You sometimes pick on to make something a little better, you sometimes don't. We, and I'm guessing others in our industry, feel that we do not expect your entire playing life to revolve around pedals, we just expect that there are times when you feel like the tone you are chasing is not quite right and there may be something out there to help you get it. It's become more and more obvious over the years that more and more people are using pedals (helped that company's like ours make pedals that sound really good these days, as previously, not many of them truly did) because they give you better tones, they give you more options. If you have a decent clean amp, spend a few hundred bucks on your favourite pedals and they will be able to transform that amp into any number of other amps. Your Marshall can become a Fender and your Fender can become a Marshall... or a Vox, or a Randall, or... or.... or.... Certainly easiler than having to buy a new amp every time you want to change your gain choices!
So, consider your base tone, the one you love more than anything, a nice juicy perfectly cook steak (apologies to the vegetarians out there, but this is the best way to describe it). Sometimes you want it straight up, nothing fancy, just as it comes. Other times you might want it to have some pepper on it, or pepper sauce… other times you might want the full cumin rub, or even mustard… you can have it any way you like.
Your pedal box IS your spice rack, and let’s face it, would you want to go to dinner repeatedly with a person who cooks in the same bland way every time? Sometimes it would be great, others…. Just boring.
Anyone know how Keef likes his steak?