Jason Wilding

Jason Wilding

Quite a lot of the time when I see an event pop up on Social Media my reaction is usually one of these three: “A world tour means more than America and Canada”, or “Hey, you know there is life outside London as well?” or more often than not, “HOW MUCH???!!!??” – so, you can imagine my delight when mid-afternoon yesterday it popped into my news feed that Dan and Mick will be playing in a pub about an hour from me and it’ll be free to get in.

It took Lisa and I about 3 seconds to decide to go and check it out, as you know… ‘why not?’. We didn’t know what to expect as we saw that it was the ‘That Pedal Show’ band’s first outing and thought it would be cool to see and give them a little support!

They said in their post that they were “starting at 8”, which in the UK generally means “on stage at 9:30, so arrive early and spend money over the bar so we can be rebooked”… so, we made our way there and were somewhat surprised that at 8:10 they were already in full swing. It was a small venue, vocals only PA and packed to the rafters with people wearing TPS shirts (including myself). Obviously, the first thing you do is try to sneak a look at their boards without anyone noticing. As I looked over I was surprised to see a mate from the local music scene down here in Devon, Paddy Blight, playing bass for them. It was a weird moment, but he’s a great player and top guy so not really surprising as I know he’s had a ton of gear from Dan in the past.

The bar was right at the back of the venue and I managed to catch their eye as I walked by to say ‘hello’ (obviously, I wanted them to know I was there because I’m somewhat of an attention seeker) and at that point Mick decided to get everyone in the room to say hello to me, which was both the most embarrassing and ego massaging moment I’ve had for a while, not to worry though, the good feeling didn’t last when I found out the price of a pint, but you know, it was free to get in and apparently most pubs charge you both arms and a leg for a drink these days… **grumble grumble – back in my day… pound a pint… I remember when all this was fields etc.**. As I was waiting for the Guinness to settle they surprised everyone by going straight into a full rendition of Shine On You Crazy Diamond… which, for most bands would be a struggle but when you are a four piece with no keyboards, it’s verging on the downright insane! As you would expect, the guitar tones were pretty stunning. The great thing about the balance of Dan and Mick is that you have the two polar opposites of great tone. Dan is not shy when it comes to using pedals to get his sound, and constantly tweaks them on the fly, and Mick enters into blind panic if he has to change a patch during a song, but uses amp gain perfectly… the balance was spot on… And, I know you are wondering how he did  the intro of Shine On, so to quote Dan when I asked him how he did it without the keyboards was “there was a shitload of reverb and delay on there”. 

The one thing that I think a lot of people were pleasantly surprised is that they both have great singing voices and the 3 part harmonies were on point. Whenever I’ve seen a band attempt “Shine On” if there isn’t that massive vocal boost on the main line it falls down the crapper, and they had it nailed. It’s worth noting that in terms of vocals, that was the biggest surprise of the night, both Dan and Mick have great voices… damn them, great players, great tone, and great singers too. And that’s before I get jealous of the fact Mick still has a full head of hair.

Anyway, enough of that, this is a gear blog? Right? So, what did they have… Well, Dan was obviously mostly playing his favourite Telecaster, “Red” going through a G2 controlled monster of a board. The vast majority of his tone came from his workhouse D&M and King Of Tone, through a Sovtek Amp (sent to him by Josh Scott) though Dry/Wet/Dry set up. I love a guy who’s not afraid to take tons of gear into a show!

 

Mick on the other hand, appeared to be relying mainly on Blue through his trusty Victory and Two Rock amps for his tone, pushed by a Silver Klon .

Paddy's bass board

I would love to see the guys take this band out on the road out on the road properly, but you know, they both have real jobs as well as providing us with all the content we have come to expect from That Pedal Show on a weekly basis. The main reason for me writing this is that all four of them were just having fun and playing the music they loved with their friends (and this music was an eclectic mix to say the least, but I don’t want to ruin the surprise for those who will get a chance to see it in the future let’s just say if you like songs from a mixture bands such as The Bros Landreth, Soundgarden, Pink Floyd, QotSA and Tenacious D, you’ll be smiling). 

We had to leave before the end, as it was so busy and we couldn’t find somewhere to sit (we are both old and have bad backs!) and as I was driving home I came to the conclusion that music, mostly, should be about having fun with your friends and making a noise that you and the people who are listening to it find enjoyable. We are all guilty of taking ourselves FAR too seriously sometimes, and it’s great to be reminded about what it’s all about. Fun. Dan and Mick are obvious such good friends that making music together is pure joy for them. What we all need to do, obviously, is get them to tour the planet and remind everyone!

Back on October 12th I made a blog post about getting a Line6 HXFX, I gave the first impression of it and am now ready to follow up on that as I’ve finally got it out to gig over the weekend!

First of all, in regard to the purpose of the original post (I needed to downsize my rig due to an existing spinal issue), it’s job done. My 50lb pedal board is now less than a quarter of the size and weighs about a third. It’s SO good to walk into the venue with my board in one hand, my guitar on my back and my Mandolin in the other. My back and my surgeon will be forever grateful for this development! 

So, what’s it all about, what’s the purpose, and why did I choose it. Regardless of all the stuff about my back, the main issue was downsizing. I play in a pub band and there isn’t room for a board that big, it just gets in the bloody way. Also, and most importantly, I love the scribble scripts. Because of that, the Helix family was the basic and most obvious choice. Couple that with the fact it’s renowned for being the easiest to use, I was a fan before I even started. However, I really must remember that what is easy for most generally means “bloody nightmare” for me as I detest reading any manual that’s over 2 pages long. I looked up the “how to use” videos and they made it so simple I thought – this is gonna be easy.

I was wrong. 

First World Problems, a two-part tale of western privilege.
Firstly, there is pretty well no point in using this thing without using the HX editor from your computer. Based on space limitations, the HXFX is remarkably easy to use, but you know, it’s fiddly and annoying and you can’t use its full potential without it. This is the first major failing of it to be honest. Considering the technology out there today how on earth this was released with only a computer editor and not some kind of app, preferably with Bluetooth, is really amazing. About a year ago my big brother bought a Line6 Firehawk FX and I had a lovely time editing the sounds on it via an app on his phone as he was playing it. I’m pretty amazed that this technology hasn’t gone forward onto the HXFX. As you can imagine, editing something easily when you are on your computer at home does not translate to when you realise that one of your solo sounds isn’t quite loud enough and you need to fix it on the fly during the break… Plus, it’s 2018. I want to do it on my phone dammit.

Secondly, considering that Line6 are one of, if not THE market leader (when you take into consideration their market share) producers of high quality and small wireless systems, why wasn’t a receiver built in? I feel a trantrum coming on I WANT AN APP!!!! I WANT A RECEIVER!!!

Using it.
As with anything like this, it’s all about the mindset in how easy it is to use. I’m guessing that a lot of people will use it in stomp mode, but I’m willing to wager that there are a lot of people like me who have come from a full looper situation and are looking to condense. So, for this piece I’m going to be talking about it from that angle only. From what I can see, the vast majority of YT demos are geared towards using it in stompbox mode, so I was struggling to find the way around using it my way. Also, worth noting I’ve not properly dived into the expression pedal element of it yet.

Once I had worked out what the hell was going on, I was able to navigate the thing much easier. The first issue I had with it was the difference between patches and snapshots. They should have been called “boards” and “patches”. You see, that’s what a patch is. You set up a ‘pedal board’ within the patch and then use the snapshots to change the what is on and what isn’t. Now, this caused me no end of problems initially, but when I got my head round it, it was easy. I just then had to work out from each virtual board which patches I can use as you only get four snapshots per ‘board’ (patch).  Why is this an issue you ask? Well, when you load a new ‘board’ up, the audio drops out for a split second. When you change between Snapshots, this does not happen.

The quality of the effects are generally really quite good, although with everything else that belongs in the modelling world, the whole thing is a retrospective view of the world of guitar effects. It’s crammed full of the classics, and being a tone snob within the industry who has played everything that Brian Wampler has made since 2010 and most of our competitors pedals, at times it was really disappointing. Compromises HAVE to be made when you go from a full board to one of these. This is NOT a unit for the cork sniffers who are well versed in the current trends in boutique level pedals. The compression is great if you want a vintage Ross style, or a SP Compressor, but if you are used to the Ego, or a Keeley, or an Origin Cali76, your bottom lip is going to drop when you play them. Same with the Klon model, it’s really accurate to the original, but if you’ve played any that have come after it – including the KTR – you’re going to be a fraction disappointed. The delays are great, even the tape emulator (but it ain’t no FTEv2), as are the reverbs – but at times it feels like they have made them to appeal to the guy in the store who is going to be demonstrating it so everything is kinda over the top, there is a distinct lack of subtlety within them. Unsurprisingly, the things I’ve not found a use for are the overdrives. I’m sorry Line6, but once you find the boutique level OD pedal for you, an accurate model of some of the older stuff just ain’t gonna cut it. I am an overdrive snob, which is probably why I have worked for Wampler for so long, so it was never going to work out well! Once you really get into OD’s properly, it’s not just the tone, you can actually feel the difference between all the boutique guys, Keeley’s feel different, JHS feel different… so, a digital recreation of a Boss SD-1 just isn’t going to hit the mark. Fortunately, Line6 have allowed you to have two external FX loops within so my beloved Paisley Drive Deluxe is still my main overdrive. For this run of gigs I’ve been using the Klon model in the HX, and using both side of the Paisley… however, as I only use the blue channel of the PaisleyDog as a solo boost, I am pretty certain that from here on in the Tumnus will be back on the board in the second loop and I’ll use the internal TS for boosting. Once you get used to that Tumnus feel and sound, a regular Klon model just isn’t going to cut it. I’m sorry to all you Klon purists out there, but I think it’s just better. I just wish there was a third loop so I could use the Mini Ego, but of all the compromises that I will have to make, the Tumnus and the PaisleyDog are above it on the list.

The one thing I am pretty well staggered was not included was a side chained noise gate. The effects are noisy, especially when you stack them up (in fact, the ‘same’ effects on this board has considerably more floor noise than my old board,) I’m pretty certain those big ol’ brains at Line6 could find a way of putting a noise gate in that reads when there is a signal coming from your guitar and then place the gate in a location you want (ideally, after the gain stages). All that floor noise will be gone in an instant even with the sensitivity set real low. 

So, what’s the verdict then? When we look into the specifics of what I wanted, it’s doing a grand job. I wanted to replace a lot of my board and my TB looper, and it’s done this. Is it an ‘all in one’ solution for everything? Not quite – but right now, it’s probably the closest I can get to it. The key thing to remember is that almost everything you want out of a massive board is going to be compromised when you scale down.


My old, big board (mostly for sale - under the Strymons are Tumnus, MiniHOF, Wireless receiver, dB+ and under the board is a Carl Martin ProPower 2. Since this was taken, the Mobius was replaced with the BOSS MD-500 and the TimeLine with a Source Audio Nemesis)...

 


My new board, streamlined board of compromise...

 


And, for a more direct comparison, here is the case for my new board sitting atop of my old one (now for sale, please contact author lololz)! The actual case for my old board weighs 2lb less than my entire new board inc case!

 

Pros of using something like the HXFX...

  • SCRIBBLE SCRIPTS. The single most important thing on this. I can now troll myself every gig with ‘comedy’ names for my patches and snapshots. I particularly enjoy the fact I can insult our lights guy with a specific patch for his favourite part of his favourite song…. He always watches my feet as I kick that in, so the look on his face when there is an insult to him on that bit is priceless.
  • The vast majority of the effects are more than good enough, in fact some of them are outstanding (“muff”, intelligent harmonizer, TS, plate reverb, Script 90 phaser and Vibe in particular)
  • Ease of use. Despite what I say above, it’s easy to use, I’m just a luddite who wants everything to be so easy I don’t have to think about it.
  • It is without doubt outstanding value.

and the cons...

  • It draws 3A. That’s a huge power draw, hardly any supplies give that out and the wallwart is bloody huge. This will annoy me for ever!
  • No app? Come on Line6, you did it with the Firehawk. Do it on the HX as well.
  • On the flip side to one of the cons, some of the effects are disappointing. Most of the overdrives are dated, the gate needs updating, it needs a polyphonic pitch shifter (like the Digitech Drop), the chorus is good, but not as good as the BOSS MD-500 (better than the Mobius though)… some of them need to be calmed down (’63 Spring’ in particular).
  • A built-in wireless receiver would have been perfect.
  • It’s noisy. Really bloody noisy. Get a decent side chained gate in there! And get it in there now! 

At home, I think it will stay in the case. I have the Full Helix for recording and quiet play, and also ‘quite’ the collection of pedals and there is nothing like grabbing a pedal off the shelf and just loving what it does. But, for live, I’m the kind of person that wants it all set up, not change and be the same gig after gig after gig. In that case, it’s perfect. If you are a ‘set and leave it’ kind of player (whether that be at home or live) then this is for you. If you are a tweaker, it just won’t work quite so well. 

All in all, this has been an interesting experiment. Due to the physical limitations I have I will stick with it and enjoy every moment when I use it, because it's good, most of my old board is now up for sale. Is it ideal? Is it perfect? Nope, gear choices rarely are – it’s all about compromises and unless you want to take a board the size of a small village out with you, it will always be this way. But… it’s good enough for a pub band and good enough for my almost exacting ears. Without the option to put my favourite OD in there it would be a massive fail, as NOTHING works for me like the PaisleyDog does, but the rest of it is close enough. I just wish I could find a way of getting my Tumnus and Mini Ego in there as well… But, I may have a plan for that. I’m getting a slightly bigger board for Christmas… so, here I go again!

 

 



 

I got name-dropped on the podcast this week (#239), it all stemmed from a conversation that Brian, Alex and I were having over the weekend about the future of rock music. Then subsequently, the future of the guitar, and the guitar heroes of our youth. As Brian said, I was naming Kurt Cobain and Nirvana, but unfortunately, my opinion was not expanded upon in the conversation properly, so I’m going to explain on here where I was coming from.

During my life I have seen 4 guitar related musical explosions that have directly affected the sales of guitars and guitar gear in general. Or course, I can only speak from my own observations, it’s probably different from your ‘angle’, whatever that may be!

The first one I remember was the late 1970’s (and I only really have a visual memory of this as I was young). We used to live in Greater London and one of the last memories I have of that area before we moved to Devon was seeing a full-on London Punk. Full Mohican haircut (is that moniker for a hairstyle appropriate these days? If it isn’t, I apologise for my ignorance) on top of the full Vivien Westwood style of clothing. At the time it scared me as I was only about 5, but, looking back at it now, I fully understand what was happening.

Punk came around due to the frustration of the music, the politics, modern culture and just about everything else. People needed an outlet, and that boiled up to the point of explosion and the extremes of these people became very famous. For us, it was the Sex Pistols who spearheaded this charge and at the time people thought “What the hell is that?”…

If you watch interviews with members of the movement discussing the musical aspect of this, it was frustration with music popular at the time and they need to push back against it. Just listen to John Lydon talk about the Eagles and you’ll understand where I am coming from. Subsequently (and most importantly, relevant this piece), legions of people picked up the guitar and joined in. This music was never on the radio, in fact, the major broadcasters of the day refused point blank to play any of the punk stuff. That is until it became SO big they couldn’t avoid it, even then it was only the parts that were the most commercialised, maybe one or two songs.

Fast forward a few years to the mid ’80s. Now, from the blues came rock and from punk came the attitudes of thrash. These attitudes were existing quite happily until that mad moment when the kids of the day first heard players like Satriani, Vai, Gilbert, Malmsteen and so on. Everyone who had been enjoying riffing out suddenly heard all the virtuoso music and thought “What the hell is that?”. This was, if I am being honest, the time when I looked at the guitar in a different light. I was already fully embedded in rock music, in particular NWOBHM, and loving all the widdlywiddlywiddly stuff, but those guys are responsible for more hours of me woodshedding than any other. With this, guitar sales shifted away from the Strat’s, Tele’s and Les Pauls and the pointy headstock era was born. Over here, that music was never on the radio.

The next one is a weird one, as for me it was a two-part instance that happened 4 years apart, but it came from the same attitude. Firstly, in 1988 Guns ‘N’ Roses exploded here, they were anti virtuoso and relied on that Les Paul into a Marshall tone… unlike the other bands they benefited from being played on the radio, well, ‘Sweet Child O’ Mine’ was. Here they weren’t really regarded as a rock band per se, because the first song they became known for opened with the lines “She's got a smile it seems to me, reminds me of childhood memories, where everything was as fresh as the bright blue sky”.  That didn’t really sit with those of us that were used to headbanging along to “Ace Of Spades”. They were considered to be pop rock which explains why the ‘Use Your Illusions’ albums outsold ‘Appetite for Destruction’ at the time (although now, the first album flattens those completely) – I remember hearing ‘Welcome To The Jungle” for the first time and thinking “What the hell is that?” Sales of guitars peeked again and Marshall got to join in the party, although stopping making the 800 series in favour of the 900’s might not have been the best move ever as something was missing from those amps.

The second part of this joint explosion, and the one I think was the most important in my lifetime, was in 1992 when Nirvana fully exploded. Which, like G’n’R, happened because of one song on the radio… Nirvana gave the impression (to me at least) to be coming from the same direction as punk did. As a direct response to the music of the day, the virtuoso players seemed to have forgotten about the riffs and the songs, the over production. The reason this one sticks in my mind so much is because I was working in a guitar shop when this happened. Over the space of a couple of months my customers went from “Dad Rock” types or “Big Hair Shredders” to young moody kids who wanted to strum the hell out of their guitars, stare at their feet, and think the entire world was against them. Because, well, they thought it was. Strat’s, Tele’s, Jag’s, Mustang’s and interesting guitar sales went off the charts… the Les Paul’s died on their arse, we could shift a few Epiphones, but Gibson’s… nope. For years I had confused looking parents talking to me while their kids glared at me through their hair and grunted in response when I tried to talk to them. However, when they got a guitar in their hands their faces lit up. All I could see in the faces of the parents was “What the hell is that?”

After that everything kind of flatlined again, until the radio picked up on Oasis and Blur. I’m not going to say much, but, (as someone working in a guitar store at that time) if I ever hear a kid play Wonderwall again I’m going to scream. So, net result, guitar sales spiked for a few years. I can directly relate this movement to when the 60’s guitar music thing happened, the fact that most Oasis songs appear to have a riff directly borrowed from that era further proves my point. Bizarrely, this appeared to bring up the sales of acoustic guitars more than electrics, but the raise happened across the board. There was no “What the hell is that?” moment though, unless you happened to see Liam Gallagher be interviewed without an interpreter.

So, where does this leave us now? The thing I find most interesting about it is that half of these movements happened without the support of radio in any way. One (albeit two bands) came from just one song being on the radio and the other was pure pop music, so radio play was inevitable. Punk was NEVER on the radio. 80’s rock (whether it be NWOBHM or the more extreme elements of it towards the end of the decade) was never on the radio… Actually, that’s not entirely true, “Soft Metal” or whatever it was called, often was. it was usually some disgusting “oh baby I love you” style song with heavy guitars in the chorus and a nice wailing solo, but the rest wasn’t.

All this leads me to the discussion Alex, Brian and I were having over the weekend which prompted the podcast and which has now prompted this piece. I was saying that “we need the next Nirvana to hit” (and I say this as someone who isn’t really a big fan of them) but did they ever promote sales in guitars to the ‘kidz’. Brian’s main argument is that “People don’t listen to the radio anymore, so there will never been another big guitar group”… However (over here at least) that never stopped the punks of the 70’s and the rockers of the ’80s. In fact, it was what made them. Being overlooked was what defined them. 

What’s next? Who will be the next supergroup to explode sales of guitar gear? If you look at the way most of those bands came about, the ones that caused guitar sale peaks in my lifetime, it was because they were standing against something. Now, that may be a political stance but, at the core, mostly it was about the music. Right now, popular music (in my humble opinion) has never been so crap (yeah I know, I sound like my Father). Well, maybe the mid 90’s pure lollipop pop scene, but the jury is still out on that, time will tell.

Politics right now is at the most divisive I can ever remember it being, music is consumable. The music industry is churning out gallons of forgettable sewage and vacuous crap that does nothing more constructive than make the likes of Simon Cowell even more disgustingly rich than they already are. Instant fame is touted as the only answer, fame is handed to the lucky few, young impressionable kids on a plate on televised talent shows and most of them are instantly forgettable – and then forgotten. How many kids watch these talent show with a dream, not understanding the odds of even getting an audition for them? The internet affords us access to endless hours of new and great music, giving artists the impression that they have the chance to be bigger than The Beatles… but can they ever be? Of course they can’t. No one ever can be. But can a band come along that stands up against the drivel? Stands up against the politics? Stands up against the system and the ‘machine’ that runs everything?

It’s time we had another Nirvana, another Sex Pistols. It’s time for another band that can rise up and smash everything to pieces. Like Punk, 80’s rock and grunge, this explosion will NEVER happen on the radio. The radio is as much about music these days as MTV is. This explosion will happen from the internet. From an independent source as that is always where the life-changing music comes from. There are endless great bands out there at the moment, my daughter spends most of her free time these days working out “Panic! At The Disco” riffs on my guitars so the hope is there, but it’s not fully realised yet. What band is going to come along and speak to her fully like the Pistols and Nirvana did to people of her age at that time? I have no idea, but the world is begging for it.

We don’t need another guitar hero at all; the age of the guitar hero is dead. We need another Steve Jones. We need another Kurt Cobain. These were the anti-heroes that exploded guitar sales. We need someone to put a finger up to the industry and make a stand against it. The guitar itself is not dead (as Blake points out on the podcast, everyone is looking at Guitar Center and saying “Man, the guitar is dying” as their sales are going down) but are those people looking at the underground independent manufacturers that are thriving? No, they are not, because the media is only interested in reporting the companies that have shareholders to keep happy....

The one thing that is obvious to me is that what is actually dying, albeit slowly right now, is the corporation strong hold on the MI industry and music in general. The underground is rising, the next Sex Pistols or Nirvana are posed to maximise on the ambivalence of the general public and I hope that they will shake it to the core.

We need another “What the hell is that?” moment. We need another guitar anti-hero.

 

Yes, you love it, we love it, EVERYONE loves it. So much so, last year the amount of money the great British public parted with was up +11.7% to £1.39B (thank you America, we are now adopting your retail trends) according to data from IMRG. And this was online sales only. In the US, the period known as Black Friday (including CyberMonday) was $19.6B. Approximately 58 million people chose to do their shopping online only, versus roughly 51 million at physical stores only (a drop of 1.6% from 2016 in physical stores) (practicalcommerce.com). 2018 is projected that the average adult is expected to drop $483.18 each (finder.com). Yeah, I could bore you stupid with stats here, but I won’t.

What does this mean, well – you know, it’s a time of year that we at Wampler spend a lot of time planning to making sure our big hitters are released on the run-up to this period – the eagle-eyed amongst you would have heard Brian say in numerous NAMM videos last January that we didn’t really have anything new to show this year as everyone shows the new stuff, so it all gets lost in the mix, and also if you show it in January there isn’t a big retail opportunity to drop them for about 10 months. Doesn’t make sense really. Does that mean we won’t be showing anything this January? Well, you’ll have to wait and see, but from what I can see from here we may show a proto of something quite extraordinary, but then again we might not. Who knows? Well, we do, but we aren’t in a position to speak about that yet!

Looking around the market place this week has been fascinating… I’ve seen lots of companies like us who are giving a flat 15% off everything, to reward the people who buy from us all year round… then there are the stores. A lot of them are just banging stuff out at a discount, and it’s awesome, but some stuff has been NOS that is cheap, which is even more awesome, but a lot of it is the just dead stock that needs to go. So far today I’ve been tempted by a guitar I don’t need and won’t ever play, an amp that is COMPLETELY unsuitable for my house and gigs and about 8 plugins for Logic and FCPX that I simply don’t understand. And my inbox… I’m on the verge of turning it all off… PLEASE stop emailing me, or I might just unsubscribe from you, I don’t mind receiving your news once a week, but one company has sent me 6 emails in the last 48 hours. I might get something from one of their competitors just to air my displeasure at their overbearingness… is that a word? Did I just make that up?

Black Friday is insane. I love it. Please, before you go anywhere else today and this weekend, make sure you pick up the brand new Fuzztration from our site, or a Pantheon… or one of our older models, direct from the factory, at 15% off. That’s 15% you can put to your next piece of gear... and buy them right here

 

 

 

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.

 

Was extremely excited to hear Brian’s latest chasing tone song choice last week, as it was featuring one of my favourite bands from the 80’s, and one that I consider to be HUGELY underrated… The Cult.

The Cult signified a massive moment for me growing up, as they introduced me to the concept of taking a song, a small but perfectly formed one, and exploding it into a huge extended remix – or what us people of a certain age call “A 12” remix”. From what I can remember, they didn’t record anything different, just took the composite parts of the original and cut them all together and mixed them up to make what I can only imagine be the perfect version of the song to hear live! I remember the thing that really grabbed me was the different textures of the guitars, tones, riffs, and hooks that went in to make a 4-minute hit and be able to bring it out to a 6-minute epic. Anyway, enough of that, here it is…



So, this was all about 1985 or so, when I was deep into Iron Maiden and all that stuff, so it was a departure for me to concentrate on a three chord band who were all about the hooks. In 1987 they followed up the massively successful “Love” album (that featured ‘Rain’ and “She Sells Sanctuary”) with “Electric” that took them one stage further, more hits on both sides of the Atlantic and them fairly well cemented into history. On this album was the track “Love Removal Machine” that was a pretty decent smash the dashboard, roof down, foot down type of track… and it’s this one that Brian gives the full breakdown treatment to. It was classic Cult of this era: open, riff-laden and more hooks than a tackle shop. Although for me, on a personal Love remains the pinnacle of the Cult’s output (you know, it’s that time and place thing), “Electric” is by far a better album in terms of hits and just great rock and roll songs. 

So, Billy’s gear on this. What do we know? Although Billy is well known for using a Gretsch (and now has a signature with them that is based on a ’75 Baldwin era White Falcon) this album was ultimately revolving around Les Paul’s, in the words of Billy himself it was “...purity and method were the keys to this recording... so it all boiled down to the right amp and cab with correct mike(s) and the Les Paul... no pedals used at all on the session apart from a wah were obvious on certain tracks...” which to me makes sense as the low ends are WAY too tight to be a hollow body, it’s tighter and more under control. 

The album was produced by Rick Ruben (this was the first album he had recorded with a full band in a studio) after the band was not feeling the ‘first draft’ of the album (due to be called ‘Peace’) with the producer of the Love album, Steve Brown. Rick agreed to remix the album providing they could re-record “Love Removal Machine”. Rick stripped Billy back and made Ian more aggressive vocally. At the time, in the studio, Rick was listening to a lot of AC/DC, in particular “Back In Black”, so there is an element of guitar driven rock and roll to it, hence the reduction in the signature swirly stuff that we all fell in love with on “Love”.

What do I hear in this track? Well, we already know that Billy loved his Marshalls, and this just screams a Marshall that is clipping beautifully. Pushed hard by a Les Paul and not a trace of effects, so no tubescreamer’s or anything else (although I think that solo tone has something happening). Really puts me in mind of the players that came before, and some of Billy’s heroes in particular Malcolm Young, Mick Ronson, and Paul Kossoff. There is a lot of room in the tone, so not only is it close mic’ed but some serious room mic happening. The whole thing with the Electric album compared to Love was that it was more rock and roll, more of that classic 70’s thing happening… Which, for me, is why it’s never going to be quite as classic as Love was… I mean, listen to the intro of “She Sells Sanctuary”… JC120 with the inbuilt stereo chorus, flanger, phaser, two delays, compression, and reverb… just amazing and most certainly groundbreaking. In fact, if you are not really that familiar with The Cult, start with Electric and then once you’ve digested it all, hit up Love and then marvel at 1985 in all its glory!

 

 

 

 

 

 

Yep, that's clickbait. But I only use clickbait when whatever drove me to write a piece is somewhat silly.

Had one of those moments on Facebook a couple of weeks ago that was most definitely a moment of disbelief. I think it was the first one in a long time that I couldn’t understand what I was reading, so… you know me… thought I’d put this out there in the vain hope of correcting a misconception. 

It all started with this picture...

...which as you can see is long time Wampler signature artist Brent Mason in the studio playing a rather nice looking white Gibson SG. I fully expect you to all know who Brent is, but in case you don’t, let’s just say this… Brent has been one of, if not THE, first call session musicians on the Nashville studio scene for over 30 years for guitar. In a nutshell - Brent is one of the most recorded guitarists in history. As well as being a Grammy Award-winning artist he is also a 14 time winner of the Academy of Country Music (ACM) Guitarist of the Year Award and a 2-time winner of the CMA Award Musician of the Year (being nominated every year since 1991). In 2011 he was inducted into the Thumbpickers Hall of Fame. He has played on well over a thousand albums and shows no sign of letting up yet, in fact, click here to see his list of credits on Allmusic (although it does have to be said, this list is woefully incomplete… About 6 years ago many record labels stopped putting the musicians who played on albums on the sleeves, and that would appear to be where AllMusic get their credits from, so a lot of the more recent work is uncredited. When you consider the last 3 George Strait albums and the most recent Blake Shelton, of which Brent recorded for and not listed on AllMusic, this becomes a glaring omission. I do believe that AllMusic tends to only note music recorded and released in the US so stuff outside is also missing… it also only shows music that has been released, so all the demos are not on there, songs that didn’t make the album or released on Indie labels… So, by my estimations, take the AllMusic list of credits and at least double it to get an idea of how many recordings Brent has made over the years) – now (rant over about AllMusic) if you have the patience to go down that list all the way back to 1985 then props to you, but in case you don’t, here is what you will see. He has played on a lot of country music over the years. And I mean a LOT. I’m not wrong if I were to say ‘He’s just about played with everyone”. However, if you look closely, you’ll also notice that he’s played on a lot of things that aren’t country as well. In fact, if you don’t know about the other side of Brent, I strongly suggest you check out the album he recorded and self released with his brother Randy in 2006, “Smokin’ Section”. His knowledge and vocabulary in jazz and western swing is his strength (in my opinion), which often surprises people as they think “He’s a country guy”… which of course he is, but as a wider part of the puzzle of his playing.

I get what you are thinking now… Jason, why are you writing this piece? Well, the thing that shocked me was the number of people on the thread (that went with that picture) saying things like ‘The SG threw me for a second’, 'why are you playing an SG', 'what happened to your tele' and comments similar to that.

I’m in the VERY lucky position of knowing Brent (in fact, it was getting to know Brent about 10 years ago that ended up with me working for Brian), so I got into a little bit of a conversation about this with him as I was staggered by it, I thought everyone knew that he played other guitars. I mean, we ALL know that THE highly modified Grey ’68 Tele is his number one, but you know… a telecaster only works on the songs that a telecaster works on. What happens when he needs something that requires an LP, an SG, a PRS, a Strat, an ES335? Well, this is what happens. Brent puts down the Tele and picks up his LP, his SG, his Strat and so on… you see, he’s got a LOT of guitars at his disposal. You don’t get to where he is musically and reputationally without having the right tools for the job. I look at it this way, Brent is an artist (let’s say for the purpose of this comparison a painter). If Brent was going to paint a picture would he only use one brush? Nope. He’d use what he needs to get the job done. He may have a favourite brush that he likes to use, but you know, other brushes will be used to create the perfect picture. 

One of the best things I’ve seen said about Brent over the years I’m been an avid fan is the description that he is a musical chameleon - he is able to switch between many many styles at the drop of a hat, instantly camouflaging himself into his surroundings. This is why he is in such demand, which is why he has to have so many guitars at his disposal… Here is a snapshot of the guitars that Brent uses in the studio

  • Fender ’68 Telecaster, modified by Joe Glaser – probably the guitar people most associate with him, because… well, you know, it’s legendary. Seymour Duncan pickups… all pretty stock apart from the SD ST2 in the middle (that only has half the stack wired that he brings in via that third pot, a ‘blend’ pot). Mini Gibson HB in the neck and Glaser B bender.
  • Fender Cream Tele, with Glaser B Bender.         
  • Several PRS “Brent Mason” signature models
  • Gibson ’71 Les Paul gold top, with mini HB
  • White Gibson 1972 SG
  • PRS Mike Mushok Baritone (tuned to down to B)
  • Whitfill Turquoise Baritone
  • 1998 Red Gretsch 6120 Duane Eddy model, with Bigsby
  • PRS 12 string
  • Fender ’65, stock – survived the flood of Nashville 2010 and was bought back to life by Glaser.
  • Gibson 1968 335 (also survived the flood and Brent is on record in saying that it sounds better now than it did before the flood after going through Glaser’s workshop).
  • Blue Ridge 371 Parlor Acoustic
  • 2011 Buddy Holly Tribute J45, made for Brent by Daniel Roberts
  • 2016 Gretsch Resonator Acoustic
  • 1986 Alverez gut string 

I guess the reason I’m writing this is that, well, Brent is one of my favourite players to have ever walked this earth, so any excuse to write about him is good with me. Also, to act as a stark reminder that just because a player is famous for using one guitar, it won’t be their only one. The great thing about being a musician is all the gear we get to play with, all the time, and that applies to the players who achieve legend status as much as it does to a humble player like me.

I’d like to thank Brent and Julie Mason for indulging me, once again (they have been doing this for years now and I’m eternally grateful), and providing me with the info that completed this piece.

 

It's story time.

Hello, my name is "Us" and I am ‘somewhere’. It’s very noisy and there are a lot of people I know, along with some that I don’t, all around me. I feel quite light-headed, it’s like some kind of intense sensory overload being here. As I look around, I notice that in front of me are a large set of double doors set into a wall, kind of like the famous gates of Jurassic Park.  The walls are too high for me to see over them, but, short enough for me to see that behind them is a large open park type place with a few buildings rising up.

Over the doors, written in huge letters, it says, “Welcome Guitar Players!” Obviously, I enter. In the back of my mind, I seem to understand that I can enter this place because of something I have previously signed up for, something that gives me access to the other area. However, this was a LONG time ago and I vaguely remember that the personal information I used to gain access was really basic and was in no way cross-checked or verified.

The first impression I have, once inside, is that it is quite exciting. It is a lot more peaceful than outside and it feels comfy, it’s the kind of place I would like to hang out...

All around are small gatherings of people talking to each other. I am instantly drawn to a crowd of people looking at someone’s new piece of gear. As I walk up, giving the gear more than a cursory look, I hear various people saying “Congrats” and “Nice one!”… but there are also a small amount shadowy figures lurking around them saying things like “Should have got this instead” or “it would have been better if…”… these conversations are happening all over the place, all with their own set of shadowy figures. I don’t think the shadowy figures are here for the same reason I am, at least in part, maybe they are here for another reason as well.

As I walk around I see a lot of friends. Some of them I know well, but in a strange way, I get the impression I’ve never actually met them before. It’s like I don’t really know them, but at the same time, I kind of do. It is amazing to see each and every one of them and it makes me feel great if not sometimes a little awkward.

I can see some old guard musical heroes who I can actually go and talk to, but they look like they might be borderline grumpy, so I just say hello and tell them I’m a fan. I sometimes try to draw a commonality with them via a shared experience of their music before I carry on, but only if I can manage to catch their eye of course. There are new musical heroes who are casually talking to everyone, lots of up and coming players attracting a lot of attention and loads of just normal players - players just like me, walking freely between them.  It would appear, upon closer inspection, that a lot of these normal players seem to think they belong in the other categories. Some have even made their own nametags declaring this! 

Some of the players are excitedly playing people music, sometimes their own, sometimes their version of famous songs. Some are just listening to the music that is readily available elsewhere. Available outside. Available outside outside. On the first impression, it appears that a lot of people are being introduced to music they have not heard before. This is great! But, then again, when I look a little closer, I notice that some of them are literally holding people close to the speakers and shouting “LISTEN TO THIS” and not letting go. Some of them are repeatedly asking if I want to buy a t-shirt, some of them are talking about anything other than guitar gear in the vain hope that other people are listening...

I pause now and then to take in the people who are standing on tall soapboxes, shouting at random people about almost anything. They have a few people close to them, hanging on to every word they say and just blindly agreeing with everything. Those who have the audacity to not actually be listening to them, or those who dare to offer a different point of view, are treated with nothing short of the utmost disdain. Once again, I notice that the shadowy figures are literally everywhere, they seem to like to be wherever there is an element of chaos.

Around the perimeters, there are countless market stalls – some small, some big, and some that are huge. They vary from the ones that have one or two people working on them, desperately trying to keep up with the people who visit, to the ones that appear to have an endless amount of resources and people to respond to the random questions that are being asked. Some are provoking conversations in the hope of catching the attention of the casual passerby while some are tempting people with shiny new gear. At almost every stall there appear to be people who think they are straight up comedians – while some of them are hilarious, a lot of them are very ‘niche’ at best.

Some of these stalls look just like guitar stores and others appear to be set up by gear manufacturers, many are a mixture of both. A lot of them are really colorful, some with hilarious posters hanging on the walls (that seem to change quite often) and there are a lot of people playing the products… A really strange thing I notice is that it’s the same people playing at almost every stall simultaneously. It’s all really weird. There are a lot of people approaching these stalls, but most don’t stay for very long. A lot of the people working the various stalls seem to know each other. Some seem to be legit friends but some appear to be friendly to each other’s faces while being angry and bitter behind each other’s backs. There are a lot of stalls that look the same – similar looking products, similar advertising, similar silly jokes. It’s hard to see which of the stalls was there first so I don’t know who is being original. The most intriguing thing I can see is that some of the stalls appear to be in open warfare with the others. It’s funny watching people openly poaching people from other stalls to bring them to their own.

Scattered around just about everywhere there are, what appear to be, large meetings of people who are talking as if there are old friends. These meetings seem to be named as well, possibly to grab the attention of the people walking around. They all look as if they are having the best time, comparing gear, ideas, music and pretty much anything else you can think of. 

As before, there are shadowy figures who jump in to say something controversial before ducking out again… I manage to watch one shadowy figure flit between many of these meetings, start a problem at each one, quickly leave and then do the same thing again and again at other meetings. The shadowy figures are mostly ignored but sometimes they are challenged and, in some cases, quite a violent verbal altercation takes place. Although I can’t identify them at all, I glimpse a look at some of their faces and they do seem to be having the best time imaginable. 

Now and then there are what appear to be closed meetings, held within a contained area (the buildings I saw from outside), you can’t see or hear anything that happens within until you are permitted entrance. You have to formally request to go into a lot of these, sometimes it looks easy, some of them have rules posted on the doors and in some, you even have to answer a specified set of questions to gain admittance. The rules of these ‘meeting places’ are absolute and the rules of outside do not apply. In fact, the rules published are the only ones that are in any way policed, although it would appear a lot of people think that the rules of the outside should take precedent. 

These meetings are sometimes very busy, sometimes not. Some are just like minded people hanging out but some appear to be sponsored by one of the market stalls around the outside. I go into a couple and mostly they are great. Sometimes, the people inside get very rowdy, acting up, just blatantly going against the rules. These people are usually thrown out, or somehow have their volume turned off for a specific amount of time. It would appear that when people are removed from these places they often get extremely angry and go to other places, (similar to the ones they were in) and straight up insult the people from the other meetings. Once outside the meetings they have just been expelled from, they form into the shadowy figures I have seen running around.

I spend what feels like hours in here, listening, watching and looking at all the people. I’ve really learned a lot in my time here! Once I have really had enough, (it is now excruciatingly loud and overbearing) I can see that a lot of people are angry and I can, and cannot, quite understand why. All around there appear to be people who are thoroughly miserable and can’t find the exit, but at the same time don’t appear to want to find it either. I decide to leave and fortunately find the way out and it’s by the very same set of doors I came in by. As I walk towards the doors, with the noise of everything and everyone ringing in my ears, I look up and notice the sign above them. On the on the back of the sign that welcomed me through the doors is written: “Thank you for visiting the Guitar Community on Facebook, we’ll see you in about 10 minutes (or less, I expect)”. 

As I walk away, the doors shut behind me. But it’s even louder out here and everything is chaotic so I look over my shoulder. I look at the doors. I focus on the sign above them. I listen to the delightfully busy murmur from the other side and decide right then to turn around and go straight back in.

The first impression I have, once inside, is that it is quite exciting. It is a lot more peaceful than outside and it feels comfy, it’s the kind of place I would like to hang out... All around are small gatherings of people talking to each other. I am instantly drawn to a crowd of people looking at someone’s new piece of gear. As I walk up, giving the gear more than a cursory look, I hear various people saying “Congrats” and “Nice one!”…

 

As you can expect, half my life appears to be talking to people that have a new pedal day. Often it’s on Social Media congratulating them, or maybe it’s after I’ve advised them what to buy, or in rare cases talking to them if something isn’t right or they don’t bond with it.

This week marked my first personal NGD in over a year. A Helix HX effects.

Before I give you my thoughts on it, I want to tell you why I’ve gone down this route as it appears to surprise a lot of people, but in reality, it’s just the next logical step for me. So, before I write about that, I want to write about the board that I am saying farewell too and the reasoning behind it.

When I started gigging again it was after a short 17 year hiatus from being in a regular band. I was nothing short of prolific in the 90’s and I got bored. I went from guitar, to bass, to live sound… because you know, I still wanted to gig, but I got bored and stopped doing it... I soon then went to University in a different country. Well, in Wales, but you know, that’s a different country. Four years after going to University I was the proud owner of a nice and shiny law degree and a copious amount of debt. A crippling amount in fact. I had just met the person who would go on to change my life and we got married, two kids arrived completing our family in the 4 years that followed. Because of this, my gear was sold so gigging was just out of the question.

Once I started down the path I am today with Wampler (and back in the music instrument industry again) the gear started to reaccumulate around me and I found myself being able to gig again (I had played some over the years, but it was using someone else’s gear). The only local band that I wanted to play with lost their guitar player (of 24 years) and they asked me, so I said “Hell yes!” My first gigs with the band had a simple rig. My beloved PRS Brent Mason-Polytune 2-Mini Ego-Tumnus-Dual Fusion-FTE-TC Mini HOF into a Fender BDri. It was small, simple and sounded great. But I wanted more.

Over the following couple of years, the board changed from a PT Nano 16 to a two-tier Temple board, Line6 G30 wireless, One Control OC-10 looper that had in it the following… Polytune 2, Tumnus, Paisley Deluxe, Strymon Mobius (split pre and post), Strymon TimeLine, TC Quintessence, TC MiMiQ, TC Mini HOF, Digitech Drop… the TimeLine was replaced by the Source Audio Nemesis and the Mobius by the BOSS MD-500… into the Fender BDri (used as a head) and a Quilter 101MR into a homemade 2x12” cab.

Yes, it got silly.

This is my thought process throughout this. Back in the 90’s I adopted modeling early on with the Roland GP100, into a Marshall 100/100 tube power amp into a 4x12, purely because I liked the control of it. At the touch of a midi footswitch button, I could change everything from the amps to various delays and modulations… It was awesome. But, the dirt/amp channels didn’t sound great. These days, I’m more than happy with my Wampler dirt section as they are so responsive to my touch and volume control, so all I need is a basic decent amp with a good clean sound and my dirt needs are covered… but boy do I love having custom mod and delay patches set up for songs. It gives it that extra bit of sheen I couldn’t get from something that wasn’t programmable. I 100% compromised on the tone and purity of the FTE for the TimeLine… that was improved with the Nemesis. The Mobius was a new addition as I didn’t have any mod before… and the MD-500 improved on that. So, that was my gear journey up to this point.

And now the reason for getting the HXFX.

Three years ago I did something rather nasty to my spine which resulted in me literally spending 6 months on my back. I couldn’t stand, walk or even sit down. Fortunately, my job is a “home working” position so I was able to do everything I needed to from my bed. Once I finally had the operation to put it right (which the surgeon said “You have the 1 in a 1000 version of this, the worse it can be”) I was back up and about again, ready to get out there… and I joined the band 2 months after. It was between then (Feb 2016) and now that the board grew to the silly state it is in now.

Then, the horrible thing happened… Two weeks ago I was lifting my board into the back of my car and my back screamed “NO” at me. It was, fortunately, a warning shot across the bows. For a couple of months, I had been suffering a tightening across the small of my back after gigs, but I put that down to being 45 and generally unfit but this was different. This was my back say “That’s enough Jay, sort your shit out mate, I can’t do this much longer”. With that, I had a decision to make. It’s obvious that I can’t keep carrying around this monster board so I needed something that will meet me in the middle. And then I discovered the Helix HXFX. So, I got one. The main thing that attracted me was the ease of use of programming it, I detest reading product manuals and this is easy to use as it’s all on the little screen things, so for a Luddite like myself, it’s perfect.

First Impressions… it’s great. There are a few things I’m compromising on in terms of tone using this, but I can live with them. You see, I’ve gone back to the PT Nano 16 again. So, it’s Line6 G30 receiver, into the Helix, Tumnus and Plexi Drive in the loops, out to a Black 65 and into the Quilter 101MR. It can do everything the other rig can do, almost identically, but weighs ¼ of my previous board. The Quilter weighs literally 1/50th of the BDri and with a Black ’65 in front of it set to zero gain makes it sound like the Fender, or close enough in a live pub band situation. I’ve gone from 4 painful trips back and forth to the car each way to doing it all in one go easily.

I’ll come back in a couple of weeks and give you the full rundown of how the rig stands in a live situation, but so far, it’s looking and sounding really good. The Helix HXFX has a lot of limitations and a couple of glitches I will need to work around, but I am confident I’ll find a way. Most importantly, it gives me loads of opportunity to talk to my friend Ross at Line6 who just LOVES it when I start to pick apart their product and say things like “Why does it do that, that’s a bit silly” and “we would have done this differently” as only industry friends can… it’s the simple pleasure of this job!

 

 

You may have noticed that we dropped a new pedal last week - the Pantheon Overdrive - a pedal that we’ve been asked so many times for I’ve stopped counting… it was Brian’s take on the old Marshall BluesBreaker pedal that was released in ’91 and discontinued not too long afterward. Safe to say it’s been well received by virtually everyone who has seen it and there have been some amazing demo’s out in support of it that shows just how good, and bad, it can sound in any given situation. I must say, release day is stressful and delightful all at the same time, I love it when it’s over but not as much as Lisa does, as apparently, I’m an arse in the weeks running up to it… basically, I think we all are as every release matters. 

It’s been a blast reading all the internet arguments over it, so I thought I would do a little research and answer some of the questions that I’ve seen asked, maybe correct a few statements that have been said as fact, and give you an insight to the process that brought this latest tone machine to market.

This conversation started, as far as my failing memory allows, about 7 years ago, when myself and the Jeff Baker (who worked for us at the time) said to bDub that we need the following versions out of the following classic circuits. K, TS, and BB. The Clarksdale came a couple of years later once Travis and Max shouted about it enough, the Tumnus a couple of years after that because I was the one talking endlessly about it and finally, his take of the BluesBreaker is now here – because we kept seeing the same things on line. Not only were people asking for Brian’s take, but they wanted one NOW. The reason these three have taken so long to materialise is that Brian doesn’t actually enjoy making and designing pedals like this, for the want of a better phrase, something that is close to an existing circuit, he would rather start from scratch but the overwhelming amount of people made it impossible for us to ignore them, they wanted it bad, so we provided!

The main interesting thing I’ve seen is that one of the dealers put the pedal up on their site for sale using a version of the dealer copy we sent them. Now, it may surprise you to know that we consider ourselves a B2B business and we sell to businesses far more than we do to end customers. So, we have different versions of our copy that goes to different customers. Different things are highlighted, different benefits are shown. Basically, when we ‘write’ with the end customer in mind, it’s all about the tone and how we think it will make a player sound the best they can. When we 'write' to the retailers, it’s all about “look at how many of these you can sell”. After all, you know, we are a business and we intend to stay in business for as long as we can - so we market hard to all of the customers in the way that appeals to them the most… Most retailers aren’t interested in tone, they are more interested in a pedals USP and how many they can sell.

A lot of people jumped on a few things from this straight away, and it was jumped upon extremely passionately. It always is. The gear market, when you look at it objectively, is sometimes hilarious in its partisan views about companies. We have customers who love us and appear to want to fight to the death in order to protect our reputation, and others do so as well for other companies… which is the reason heated debates happen... As a point of interest though, one of the guys who was shouting the loudest about us being cloners on Facebook did so with a profile picture of him with a Suhr classic S in his hands. Pretty certain I don’t have to explain that one too much...

OK, so back to the point of this. Yes… the Pantheon is a direct descendant of the old Marshall Bluesbreaker  (note - the Pantheon was originally going to be called Paragon, but we changed it). In that respect, it’s no different from the JHS Morning Glory, or the AnalogMan King of Tone, Prince of Tone, the Snouse BlackBox and countless other pedals I can mention. The only one of those that is an original is the Marshall, the rest are variations of. Please note, the Xotic BB is NOT a Bluesbreaker style, it’s a TS with a baxandall active bass and treble, but that’s another story. 

I have written this from my own limited knowledge of circuits, so forgive me if it’s not 100% accurate – pretty certain it’s on point though, I didn’t feel the need to properly learn this stuff as I know a guy who’s fairly well versed in it all. It’s the same reason he didn’t learn PS, AI, FCPX etc etc. To show good form though, I’m not going to publish our own schematics of these pedals, but take the ones that are readily available online - but I will show you part of the Pantheon schematic, although part of it will be obscured… but worry ye not, I expect the full reverse engineer of it to appear online before I’ve finished writing this sentence.

To quickly go back to the Xotic BB, here is the schematic of that, as you can see, it’s got 4558 in it so it MUST be a TS, right? But seriously, it’s basically a modded TS circuit. One that sounds amazing… so, let’s not have any more BB is a BluesBreaker conversations please!!

Here is the original schematic of the BluesBreaker… for the purpose of this conversation, I’m going to be mainly referring to the one marked as “Original Wiring” that has been presented with Comic Sans. I apologise for you having to witness something in Comic Sans, it is out of my control. Please take the time to look at it and then compare it to the others that follow.

BluesBreaker schematic

Next up, the JHS Morning Glory. The cornerstone of virtually every P&W board I’ve ever seen.

Morning Glory schematic

As you can see, it’s pretty bloody close to the original. There are some obvious changes most importantly there is a jFet volume booster at the end that has the potential to be really very loud on the output (other pedals afterward beware lolol)… Which is interesting as the main issue I remember from the original BB was that it was just too darn quiet, so Josh identified the main issue and boom, fixed it. You’ll also notice that it has a switch on it, which flits between normal amounts of presence and some more, giving it a little more flexibility.

From here, let’s go to the GrandDaddy of all the descendants of the original BB, the mighty King Of Tone. There is nothing I can say about this pedal that hasn’t already been said, it’s got the greatest reputation for good reason, because it nails that tone perfectly. In my opinion, it was the BB that Marshall should have made in 1991.

Here is the schematic.

KoT schematic

As you can see, once you adjust to the fact that there are two identical circuits running side by side, if you look at one side only there is once again a handful of difference between this and the others, we have some internal dip switches to change the clipping style, an internal trim pot for presence and the high gain version just has a different value gain pot IIRC. Therefore, neither of these pedals could be deemed to be an original, just a development of the original theme.

Moving on… here is the actual schematic for the Pantheon as drawn by Brian. 



Once again, it’s pretty bloody close to the original, with a couple of changes put in for good measure that Brian always puts in. But, fundamentally it’s the same thing as the others with a couple of tweaks. All controls are on front and there is a bass control done in the way he prefers. We have soft, hard and combined clipping… same thing, just done differently.

If you want to know the differences, here they are in a nutshell.

BluesBreaker
The original = noninverted opamp, through some EQ stuff, into an inverting opamp, into fixed/set presence control and out again.

Morning Glory
Increased quality of parts, has increased output and presence switch. In terms of the circuit, it’s louder and more versatile.

KoT
2 pedals in one, exclusive style diodes that are of increased quality (that are hard to come by), presence and clipping options inserted easily inside and the option to have the gain pot replaced for a higher gain version. The differences are in the circuit that around R3 you get a little more highs and a little more gain – overall, it’s just more flexible.

Pantheon
All controls on front, increased quality of parts, 3 way selection of clipping diodes, 3 switchable stages of gain, converts the signal upon exit to a much lower impedance than the others (meaning, it “buffers the signal”), adds even more stability due to the style of parts used… we think it’s the best so far.

What do we have in conclusion… well, each offers something different in terms of user interface and options. They all sound pretty similar and you can make each sound like the other if you are that way inclined… it’s all down to, I think, this. Which one turns you on the most for whatever reason. All are built in the US, all have increased quality of parts, all are more stable than the original, all have increased outputs… but in terms of originality and ‘mojo’… well… the evidence shows you otherwise – the last original BluesBreaker circuit came out in 1991!