The Faux Tape Echo v2 brings you everything you want from a standard delay pedal in the ultimate gig friendly package.
Based on the hugely popular best seller of the previous models, the v2 offers the same purity of signal path, the same depth of tone on the repeats and most importantly, the addition of sub divisions on the tap tempo. With this, you can now have your delays come at ¼, 1/8, dotted 1/8 and triplet based on your tap tempo.
With our hybrid design (completely pure analog dry path with the digital delay layered on top) approach, you get the best of both worlds. You get the note clarity, much lower noise, and longer delay times from digital delays... You also get the lovely warmth and little exquisite touches that are usually reserved for analog delays. Nearly every part of the pedal, all of its major functions, are analog. The “delay line” is the only digital part of the signal path. It alone being digital brings clarity and focus to the task in a way that analog delay line chips can’t really match.
But everything else, all the absolutely vital filtering to carefully finish the sound is pure analog. Every aspect of the modulation that gives the Faux Tape Echo pedal a unique function and tone and makes it desirable for people who want their delay tone to sound as good as tape delay units but without all the maintenance, supplies, and hassle. Your all-important fundamental dry tone is 100% analog, too.
So when we say it’s the best of both worlds, we absolutely mean it. From country slap-back to ambient washes to straight-ahead rock and metal delay, the hybrid approach lets Brian make one pedal that can do it all.
The Faux Tape Echo takes everything great about the original, and adds to it that much-requested tap tempo with sub-division functionality that users have been asking for, as well as our well known emulation of the elusive and beautiful character that people look for in classic tape echo units.
Some delay pedals are complicated, some are simple… some just give you want you want, where you want it, and they do it beautifully. Warm sounding with 3 sub divisions, tap tempo and a quality of tape emulation that will make your delay lines perfect.
4 sub divisions and tap tempo… It’s easy to get lost in endless sub menus of the big delay units, but if you strip them back, which do you actually use? We’ve taken the most useful and put them there, right on the front so you only need to worry about what’s there.
The beauty of tape emulation is one that doesn’t just sound like someone has stuffed a chorus across the top. You want one that reacts, you want one that sounds organic, you want one that feels like it’s a tape, and that tape is wearing out a little. With the sub divisions and tap tempo, you have the tone AND the control.
Brian Wampler’s attention to detail and commitment to bringing you the best-sounding & most usable Effects Boxes on the market is nothing new. Those qualities are on full display within the Faux Tape Echo. We’re all tone-freaks, and we’re always trying new things, but we hope this pedal finds it’s forever home on your pedalboard, so we built it to last that long.
Fuzztration (noun): The torturous feeling of desperation when searching for THE perfect fuzz.
The search for the perfect fuzz can be an exercise in frustration. On one hand, there's always the desire to emulate the classic, vintage-inspired tones like the Rock Gods before us. They used what was available at the time to forge some of the most memorable songs in history with unbeatable sustain.
On the other hand, there are players who desire to break outside of the norm and push their own boundaries, using fuzzes that are over the top, like a tsunami of fuzz ready to envelop their guitar's signal. Despite the already incredible credentials some fuzzes have by being on such iconic songs, they weren't without their shortcomings. Many of those pedals were simple and lacked some EQ controls that could really make a great pedal extraordinary -- or not so much, due to the manufacturer using whatever parts they had available, which led to major part tolerance issues leading to each of the pedals sounding potentially drastically different.
The three-band EQ gives full sculpting capability to dial in whatever tone you want without needing magic vintage mojo. The voicing switch can take it from classic, tight response to dark, sludgy and writhing with a depth to it like piping hot magma bubbling just below the surface.
The Fuzztration isn't a pedal designed to really play "nice." It's brash, raspy, doomy, in-your-face fuzz from top to bottom. This is not to say it can't get some classic Floyd sounds, but this isn't just another classic with some added EQ options. It's rough, it's gruff, and it's like an angry lion trying to bust out of its cage. When the search for the perfect fuzz leads to a plethora of choices, the end of your Fuzztration comes when everything is packed into one, do-it-all fuzz box. Want the classic sounds? Done. How about some raunchy doom metal or sludge rock? Yep, it does that too
The volume knob is pretty self-explanatory, but it controls the overall output of the Fuzztration. The Bass controls the overall low-end response of the Fuzztration. Noon is standard, counterclockwise it removes some of the bottom end that warrants a more searing tone, where taking it clockwise will increase the bottom end tremendously, going from a raspy fuzz to full-on doom machine. Mids controls the mid presence of the circuit. Center is fairly flat, counter-clockwise will scoop the mids and become much more aggressive and cutting, almost distortion-like. Clockwise will add in some mids, which helps combat the scoop that lead many of those old classic fuzzes to be lost in the mix with the full band. The treble control effects the overall high-end and brightness of the circuit and has a tremendous effect on the overall way of shaping the tone of the fuzz.
Noon is standard, going counter-clockwise will yield in a much thicker, saturated fuzz tone that sounds like a wall of wool coming from the speakers. Clockwise will increase the brightness, and thus the raspiness and spit of the fuzz depending on where you have the voicing switch set. The Voicing switch gives you two very different but usable sets of tones. On the Tight setting, it has a classic, more modern sound that's...well, tighter, less sag and acts more as a fuzzy distortion that totals up to a sum of a whole lot more than that magical number of 3.14.
The Open setting is much woolier, darker, saggier, and an overall thicker and sludgier fuzz tone. The huge Fuzz knob controls the overall amount of fuzzy goodness. This pedal isn't designed for sparkly edge-of-breakup tones, so even fully counterclockwise it yields a thick, sputtering result that works great for alt-rock and grunge. Turning the fuzz knob clockwise unleashes a torrent of fuzz, leading to massive sustain combined with some compression, classic velcro sputters and everything in between.
This is not just another clone with fancy graphics… it’s got that familiar tone, but once you add in the secret Wampler trademark 3 band EQ you have the most brutal yet controllable fuzz you can imagine.
We all love an analog Octave feature on our fuzzes, but imagine one that you can put either pre or post gain… if you’ve never tried putting it in the other place to what you are used to, prepare to have your socks blown clean off.
Two clipping modes make the Fuzztration one of the most versatile original fuzz circuits out there… One of them is gives you that beautifully horrible fat width, destroying the first three rows and the other is just sustain… smoothness and, yes, even more sustain…
Brian Wampler’s attention to detail and commitment to bringing you the best-sounding & most usable Effects Boxes on the market is nothing new. Those qualities are on full display within the Fuzztration. We’re all tone-freaks, and we’re always trying new things, but we hope this pedal finds it’s forever home on your pedalboard, so we built it to last that long.
Based on an infamous circuit from a classic 1980’s high gain distortion pedal, the Ratsbane is Brian’s answer to the countless requests he has received to build his interpretation of this much-loved design.
If you are looking for a single pedal solution with multiple degrees of gain from light overdrive to full out saturated fuzz tones, then you’ll surely love the Ratsbane. The Ratsbane is based on a true benchmark sound amongst guitarists that has been heard on thousands of famous recordings.
The full, dynamic range, and sheer sonic force of this circuit is what makes it a true king amongst distortion pedals. Turn the distortion control all the way down for a deep but powerful gain booster. Crank it up and you will find rich harmonic overtones and a throaty, fuzz-like distortion. The “secret sauce” for this circuit has always been the filter control. Turn it counter-clockwise to cut straight through the mix with precision and high-frequency attack that lets your tone soar with absolute clarity. Turn it clockwise to filter the top end, for a warm, buttery, yet clear tone. This natural full-range distortion, mixed with its unique filter control, delivers a classic cranked tube-amp sound that crosses genres and generations of music.
In typical Wampler fashion, Brian improved the circuit’s flexibility by adding two new switches. The Gain switch offers three distinct choices. In the middle gives you the “stock” gain for this pedal. Flick it either right or left for 2 additional turbocharged gain stages you can play with. The left position offers a firm, yet smooth boost in gain, whereas the right delivers an insane level of creamy distortion. The Voice switch subtly alters the compression and clipping of this pedal. It tightens the distortion to be more manageable with greater levels of gain, while rolling back some of the fuzz qualities, to deliver a modern, high gain distortion.
Brian has incorporated some unique modifications into this circuit, easily accessed by the toggle switches. With the gain switch set in the center you get the classic circuit, flick it either right or left to get insane amounts of gain on tap.
Not content with just modifying the gain stages, Brian also added a voice switch which totally changes this circuit into a modern, higher gain style distortion. This pedal can cover boosted overdrive tones, full on fuzz, and modern searing distortion tones in one small package.
This circuit is based on a modern, and in our opinion more harmonically complex, operational amplifier IC, but we know there are some purists out there that will want to try it with an LM308 IC, so we put our “engine” in a socket to allow those adventurous DIY “modders” amongst you to have some fun. We don’t recommend it though and it shouldn’t be attempted by novices.
Brian Wampler’s attention to detail and commitment to bringing you the best-sounding & most usable Effects Boxes on the market is nothing new. Those qualities are on full display within the Ratsbane. We’re all tone-freaks, and we’re always trying new things, but we hope this pedal finds it’s forever home on your pedalboard, so we built it to last that long.
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