“Now we’re seeing trends, smaller companies like Reeves Electro Guitar Pedals. Today I think people look at us as ‘high end’ rather than ‘boutique,’ because like some of the other makers that used to be smaller we have become pretty big. “Even back then, companies like Fulltone and Keeley were still kind of considered boutique, but I would say in recent years Fulltone would not really be considered ‘boutique’, or companies like us, or JHS, or EarthQuaker, which are probably some of my closest competitors. “Back in 2000 to 2005, what we would call a boutique pedal was different,” says Wampler. Having started playing the guitar at the age of seven, the concept of modifying and then fully redesigning a classic pedal first came to him around the year 2000 when a then more technically savvy pal made some improvements to Wampler’s own Boss DS-1. But if the man’s progress has gone from a love of dirt pedals, to high-tech digital wonders, to plug-in software emulations of his own effects, he’s still grounded by a passion for a simple and effective overdrive. Effects pedal designers tend to come to their craft via one of two routes: through formal education, technical training, and a slog up the industry ladder or by pursuing a passionate hobby, poking around where their probe possibly didn’t belong, and learning through the process of repairing and modifying their own gear.īrian Wampler definitely came into the business via the latter path, but you wouldn’t know it given the heights to which he has ascended, or the often-breathtaking complexity and technicality of much of his company’s current work.
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