You may have noticed we released details of our new pedal recently – a fuzz/octave called “Fuzztration”. Instead of waffling on about the origins of it, the circuit, and the tones within; I’m going to talk about the name, the look and the marketing angle of the Fuzztration as this is quite a departure for us, we are breaking our mould somewhat with it – and to be honest, it was a long and painful journey to get to this point.

This is a pedal that has been in discussion for a while and the earliest reference I have of it in my “Wampler: Pedals – Logos” folder is from July 2017. Brian had been talking about it for probably a year or so before that… so, when we say we throw stuff around for literally years before a release, this is a case in point!

In order to tell the story properly, I have to give away a little of the process. When Brian has decided on a circuit, and what controls it is going to have, he cracks on and breadboards it. Once that is done and he is happy with it the tones/response etc, he forwards all the relevant information to our chief engineer Jake Steffes to ensure his vision of tone will work in the confines a pedal. I can clearly remember Brian telling me about it and describing it as “it’s a versatile fuzz, rea thick and the octave can kinda sound like the solo tone from KWS ‘Blue on Black’ tone, as well as all the regular stuff”. With that in mind, the original concept of the pedal was to be called “Blue on Black”.

As soon as the pedal has been allocated its place in the release schedule; Brian, Alex and I started on the long a tortuous process of naming the thing. Avi, head of production and distribution, had a stock of matte black powder so it was decided really quickly that it would be that colour, because ‘cool’. 

Jake forwarded me the controls and it was clear it was going to be “deluxe” sized so I did what I always do, take a look at the market and see what’s cool and what isn’t. One of my favourite dirt pedal concepts is Jamie’s exquisite Acapulco Gold with the massive ‘gain’ knob. So, I decided early on a large knob controlling the clipping would look great. Other than that, it was pretty straightforward. 2 stomps, 4 other knobs, 2 switches, power and in/out jacks. I quickly spoke with Jake about putting a big knob for the clipping, and he said it would be cool, so… I wanted it on the top right with the other controls on a nice shallow W formation to the left. The first thing I had to do was to find a larger knob that would still look like a Wampler and fortunately for me, Alex told me that the knobs on the Bravado were the same as our pedal ones, just bigger. So I made him measure one... With these measurements confirmed, Jake laid it out and we quickly had the basic layout in the bag. Jake nailed this process and I tip my hat in his general direction. I try to change things around a little now and then so I requested a blue and green LED because I’m kinda bored of red and blue and I knew that this was coming on the Paisley Deluxe (that was still months out from being released) and we’ve used it many times before. This is always a gamble, as we didn’t know what the rest of the pedal is going to look like yet.

Once Jake has laid it out, he sends me the ‘drill pattern’ and I can transfer it to the templates I have in photoshop and start to work out the look/name. These are pictures from Aug 9th 2017, three concepts for the Wampler “Blue On Black” – Only one was ever printed, and it looked… well… crap.




From here, must have been April ’18 (it was decided a long time ago it would be released some time forward so it went on the back burner) I was distracted and inspired by a piece of music by my favourite composer, Camille Saint-Saëns - Danse Macabre. I simply LOVE this piece of music, it’s dark and deliciously spooky which I thought would be amazing for a fuzz pedal. I went as far as a couple of mock ups for it, but unfortunately, it just didn’t work. I would have loved to have the first demo recorded to be that piece of music on a Fuzz/Octave though… I might do it one day, just for the lololz.



The name was abandoned. From there, I thought of Valkyrie, for two reasons. Lisa and I had just watched “Vikings” on Amazon and I’m a long-time player of the game Clash of Clans which has Valks in it. I actually really liked this, as it was dark and nasty, aggressive and cool. Two concepts were quickly done, and the one I liked (on the right) was drawn by an extremely talented artist from Seattle called Stacy LeFevre – we couldn’t agree on terms so the concept, name and design, were put to rest.

So, we are back to the drawing board once again. At this point, myself, Brian, Alex and my partner in designcrime – Richard Oliver were going quite insane. Frustration levels were reached and breached and there would be literally weeks between conversations. Names did go back and forward, but we were so annoyed with it we distracted ourselves with other releases that were more pressing. I love working with Richard as he understands me (bonus) and has become a great friend during this time. In fact, it was Richard who nailed the artwork for the Pantheon (which was named by Matt Kimes). After the Valkyrie idea had been shelved, Richard came up with a ‘big list o’ fuzz names’ – some great, some silly…. Even at one point suggesting “Chewbacca; and have the octave switch called ‘Laugh it up Fuzz Ball’, it’ll be funny if not really really litigious and not in a good kind of way.” 

Another name came forward at this point, I think from our good friend Frank Falbo, and we still like it even though it’s been decided not to be used for this pedal. So, I’m not going to talk about it here! I have it in mind for a couple of pedals down the line… time will tell.

At this point we were extremely frustrated with it. We’d all had enough. No one dared mention it for a while, apart from Brian who would remind us it needed to be done. We are now in about July or so. Texts were coming and going because it was getting to the point where we couldn’t avoid this any longer…

Whilst on holiday in Tenerife, Richard got a text from Brian saying we are still struggling for the name for the fuzz, and everyone felt their creative well for this name had run a bit dry… so, he followed Marketing 101 and asked the nearest young person for help. This happened to be his daughter, Leila, who was 15 at the time and we’ve been told has impeccable musical taste (despite hating on Pink Floyd and Iron Maiden which in my book is a travesty and I blame that squarely on the parents). She came up with a couple that were funny, then randomly said “Fuzztration”. He initially dismissed it but then thought - wait - that's EXACTLY the feeling we get from naming this pedal… That day, I received this in messenger from Richard:

I instantly copied and pasted his message and text it to Brian and Alex and we all thought that it was a killer name. The next hurdle was the graphic and the logo. Richard asked what I thought and said something along the lines of “Some kind of artsy vision of someone who’s screaming, or got their head in their hands or something, I just need to find the thing that triggers it in my head”. I really wanted a screaming face because Edvard Munch is a genius and that’s one of the most symbolic pictures of all time, also it perfectly fitted the process of getting here. And then there’s Pink Floyd… The Wall. The symbolism of both are iconic.

Here is the process Richard and I went through – I resisted the scream originally, as we were at the time keeping our designs simpler.

So, images 1-4 are me getting annoyed and it not working, 5 is me working towards the font to use with the new name, 6 is Richard’s concept for the screaming man I had previously mentioned (that was a strong contender) and then through my thought process of the face and the colour scheme. I wanted to put a heart beat on it as the more frustrated I got, the more my heart started to pound… The face is a mixture of my face from this picture (taken August 29) and one from a free site on the internet mashed up and put together with elements of both - you’ll have to work out which bits are me and which bits aren’t.

Here are the print tests. As you can see, the eyes didn’t work, nor did Richard’s face, but my screamer did. Once we had decided on the knob colour, on we went...



As this pedal is hot on the heels of one of our most successful releases ever, I knew that we had to go big on the teasing. So, if you scroll back through our social media for the last month or so, you will see that fuzzes are mentioned a lot more. Brian starts to talk about fuzzes on the podcast, he even mentioned this one a few times. I started to tease the graphic style and on Oct 31st I released this graphic for the Halloween moment of silliness that contained literally hundreds of lines of text in the back ground, I talk about everything in there... there are song lyrics, undying declarations of love for my wife and kids, my desire for a holiday, a new amp… so many things – including a little troll moment for one of our customers, Jeff. Within the lines of text were also clear and large hints about this next pedal release, I’m quite delighted and annoyed that literally NO ONE zoomed in to check.

So, here it is, the Fuzztration and that was the cliff notes version of how it came to be called this. There is quite a lot missing, because I don’t have records of it all as much of it was deleted in several fits of rage along the way. A lot of people have been asking us for a LONG time that we needed to release something kinda muff like, but make it better. Based on the work we did on the Tumnus and Pantheon, I was very confident that Brian can take the concept of a classic circuit, and make it infinitely better. And he did.

 

Frustration over, Fuzztration lives.