Check out some of the flood-damaged instruments donated by artists like Keith Urban, Brad Paisley, and Peter Frampton to benefit uninsured musicians affected by this spring''s flood.
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The effect of ecommerce on CopperSound's shipping room.
Our columnist ponders the business-to-consumer model, and how the design of online stores might be more crucial to the stompbox industry than we’d like to admit.
Let’s open things up with a TV/movie trope. The character on screen has a speech that they’ve been preparing for once they’re called up onstage to address the audience. When they finally get up to the lectern to deliver it, they pause, give the attendees a look over, and rip up their script in a dramatic fashion before pursuing an off-the-cuff, heartfelt message that goes on to invigorate the crowd and inspire a roaring ovation. For right now—I’m at least doing the first part of that. I’m abandoning my planned topic. Consider this me ripping up my finely curated index cards.
Before sitting down at the computer, I was thinking about the title of this column—“State of the Stomp.” Perhaps I’m being a bit too on-the-nose, but I started to ask myself, “What is the state of the stompbox world?” As in, this niche section inside of this niche industry that we find ourselves traversing. But, I can only speak for myself and what I’ve experienced firsthand and heard secondhand. That being said, let’s chat about the current state of the stompbox world.
This year marks my 10-year anniversary in the boutique-effects world. In speaking to the state of affairs in those 10 years, I’ve witnessed trends, domestic growth, international growth, product collaborations, companies closing doors, others opening doors, dealer decline, e-commerce growth, and more. The last, e-commerce, is the current state that we find ourselves in—an ever-growing, bustling digital presence that brings with it the B2C (business-to-consumer) model.
This isn’t completely new terrain for us by any stretch. It is, however, something that was only a minor percentage of our business. I have often referred to our sales as being 80 percent dealer and 20 percent direct. I would say that was the case from 2014 to 2020, but over the last few years the dealer vs. direct numbers have pretty much flipped.
Why has it flipped in favor of direct sales? That’s a simple yet complex question that would rob me of sleep if I let it. I would also frame the question in the inverse: “Why have dealer orders and reorders slowed down?” Market oversaturation? Economy? I would find it difficult to imagine that economic changes haven’t been trolling consumer purchasing. Us manufacturers know that it has directly impacted raw materials. As a niche corner of the MI world, that’s scary. Especially when you’re a manufacturer of nonessentials. When essentials go up in cost, it doesn’t feel great, but more easily gets shrugged off. When nonessentials go up, purchases of them get scaled back or hauled off completely.
“Why has it flipped in favor of direct sales? That’s a simple yet complex question that would rob me of sleep if I let it.”
In conversations I’ve had with industry colleagues, there’s almost a universal trend—sales are slow. This brings us back to the “why?” A place that my company finds itself in right now is close to the opposite. We are swamped with direct orders and dealer orders. However, of all the direct and dealer orders that we have been flooded with since May, 90 percent or more are for our DIY offerings. A big reason for this is due to the fact that the DIY market is smaller than standard pedals, we offer tools that don’t already exist, and the pricing is very attractive.
In May, “Short Circuit” launched. A recurring segment on the ever-popular JHS Show on YouTube, “Short Circuit” features founder Josh Heath Scott explaining effects-circuit basics while breadboarding them—using our DIY products. This, along with giveaways and kit collaborations between CopperSound and JHS, has led to a huge sales influx in what the community has coined “the JHS effect.”
I also find it important to highlight that my affinity for the brick and mortar has not diminished. But I will say that their ability to offer an array of gear from various manufacturers feels like a double-edged sword. If a particular store carries 20 brands, they can more easily give appropriate attention to each brand and subsequent model they stock. This includes website pictures, videos, copy, and SEO for each product. Now, if that same store expands to 200 brands, the bandwidth for each product gets significantly decreased.
So, while that dealer has 200 brands to focus on, we, the manufacturer, only have ourselves, making it easier for us to tend to our website. In a world where 70-plus percent of consumers shop online, it really makes me wonder if this is the make-or-break factor when it comes to where and how people choose to do that shopping.
And now, I’d like to thank you all for the standing ovation in response to my inspiring, off-the-cuff speech.
Loud, evil, searing hot, and unexpectedly versatile, the Fuzz War’s demented bass cousin has a bold and more-complex personality all its own that sounds radical with guitar, too.
Evil. Just plain evil. Unexpected and vast variation. Responds interestingly to bass volume and tone attenuation. Wet/dry mix control. Sounds amazing (and extra evil) with guitar.
None.
$195
Death By Audio Bass War
deathbyaudio.com
If you like your fuzz measured in megatonnage, the Death By AudioFuzz War is one of life’s great joys. And if you’re a bass player with similar predilections and accustomed to watching guitar players have all the fun, the new DBA Bass War will be sweet revenge.
The original Fuzz War is a creatively twisted derivative of the Colorsound Supa Tone Bender But while you can hear some family resemblance among the Tone Bender, the Fuzz War, and Bass War, the latter is a very different animal indeed. I’m pretty sure it’s louder than the Fuzz War (holy #@*!). The fuzz is also much brighter than a Fuzz War, which sounded positively muddy by comparison.
That means a bass player has lightyears of headroom and range within which to shape their tone. And for such a loud, hectic pedal, it can be really precise and surgical. The experience of reshaping fuzz sounds is made easier, more fun, and much more expressive for the oversized outboard tone and fuzz controls, which can be swept with your toe to achieve wild filter effects. Along with the cutting fuzz tonalities, that lends the Bass War an almost synth-like feel and functionality. The pedal also responds in interesting ways to bass volume and tone attenuation: Lower bass volume generates less compressed, more focused, but still very insane tones that can be boosted to superheated levels with the pedal’s volume knob. Add in the dry/wet mix knob, which lends exponentially more complexity and range to the Bass War’s voice, and you’re talking about an exceedingly varied and evil fuzz device. Oh ... it sounds freaking amazing with guitar, too—yielding psychotically piercing lead tones, vintage biker fuzz, and vicious punk and metal grind. Wow.
Originally introduced in 1975 as part of the Schaffer-Vega Diversity System (SVDS) wireless system, this mini boost pedal originated from a 1/4” headphone jack intended for monitoring purposes.
"The SVDS Boost is a recreation of one of the first full-frequency boosts ever used on stage."
Originally introduced in 1975 as part of the Schaffer-Vega Diversity System (SVDS) wireless system, this mini boost pedal originated from a 1/4” headphone jack intended for monitoring purposes. However, guitarists and bassists soon discovered an unexpected benefit: by connecting their instruments to the headphone output, they could boost their signal by up to 30dB.
Legendary guitarists like Angus Young, David Gilmour, Eddie Van Halen, Carlos Santana, and more utilized this technique. The SVDS Boost is a faithful reproduction of this iconic boost, which may very well be the first full-frequency boost ever heard on stage.
The Sound
Unlike typical clean boosts, the SVDS Boost adds vintage coloration and harmonics that instantly transport you to the golden era of rock. The unique "Goalpost" EQ design enhances the extreme ends of the frequency spectrum, while maintaining the integrity of your mid-range. With up to 30dB of boost, the SVDS unlocks new tonal possibilities, delivering rich harmonics, singing sustain, and even controlled feedback.
Pedal
Placement The SVDS Boost truly shines when placed after other overdrive, distortion, or fuzz pedals, adding dynamic response and restoring low-end fidelity that can often be lost with mid-boost pedals. Its ability to enhance your existing gear is unparalleled, making your guitar, amp, and pedals sound better than ever.
Build
Quality Precision-built using high-quality components, the SVDS Boost is designed to withstand the rigors of professional touring. Its robust construction ensures years of reliable performance, whether in the studio or on the road.
Availability
The SVDS Boost is now available at solodallas.com and authorized SoloDallas dealers worldwide.
Price: $129 USD.