Whitman Audio calls the Wave Collapse a fuzz—and what a very cool fuzz it is. But classifying it strictly as such undersells the breadth of its sounds. The Seattle, Washington-built Wave Collapse has personality at low gain levels and super crunchy ones. It’s responsive and sensitive enough to input and touch dynamics to move from light overdrive to low-gain distortion and degenerate fuzz with a change in picking intensity or guitar volume. And from the pedal’s own very interactive controls, one can summon big, ringing, near-clean tones, desert sludge, or snorkel-y wah buzz.
The Wave Collapse speaks many languages, but it has an accent—usually an almost wah-like midrange lilt that shows up as faint or super-pronounced. It’s not everyone’s creamy distortion ideal. But with the right guitar pairings and a dynamic approach, the Wave Collapse’s midrange foundation can still span sparkly and savage extremes that stand tall and distinctive in a mix. There’s much that sounds and feels familiar in the Wave Collapse, but the many surprises it keeps in store are the real fun.
Heavy Surf, Changing Waves
The absence of a single fundamental influence makes it tricky to get your bearings with the Wave Collapse at first. Depending on where you park the controls to start, you might hear traces of RAT in the midrange-forward, growly distortion, or the Boss SD-1 in many heavy overdrive settings. At its fuzziest, it howls and spits like aFuzz Face orTone Bender and can generate compressed, super-focused, direct-to-desk rasp. And in its darker corners, weighty doom tones abound.
The many personalities are intentional. Whitman Dewey-Smith’s design brief was, in his own words, “a wide palette ranging from dirty boost to almost square-wave fuzz and textures that could be smooth or sputtery.” A parallel goal, he says, was to encourage tone discoveries in less-obvious spaces. Many such gems live in the complex interrelationships between the EQ, filter, and bias controls. They also live in the circuit mash-up at the heart of the Wave Collapse. The two most prominent fixtures on the circuit are the BC108 transistor (best known as a go-to in Fuzz Face builds) and twin red LED clipping diodes (associated, in the minds of many, with clipping in the Turbo RAT and Marshall Jubilee amplifier). That’s not exactly a classic combination of amplifier and clipping section components, but it’s a big part of the Wave Collapse’s sonic identity.
The BC108 drives one of two core gain stages in the Wave Collapse. The first stage takes inspiration from early, simple fuzz topologies like the Tone Bender and Fuzz Face, but with a focus on what Dewey-Smith calls “exploiting the odd edges and interactivity in a two-transistor gain stage.” The BC108 contributes significant character to this stage. The second, post-EQ gain stage is JFET-based. It’s set up to interact like a tube guitar amp input stage and is followed by the clipping LEDs. Dewey-Smith says you can think of the whole as a “fairly” symmetric hard-clipping scheme.
“The magic of the circuit is that those gain stages are very complimentary. When stage one is running clean, it still passes a large, unclipped signal that hits the second stage, making those classic early distortion sounds. Conversely, when the first stage is running hot, it clips hard and the second stage takes a back seat—mostly smoothing out the rough edges of the first stage.” Factor in the modified Jack Orman pickup simulator-style section in the front end, and you start to understand the pedal’s propensity for surprise and expressive latitude.
Searchin’ Safari
The Wave Collapse’s many identities aren’t always easy to wrangle at the granular-detail level. The control set—knobs for bias, filter color, input level, and output level, plus switches for “mass” (gain,) “range”(bass content at the input), and “center” (shifts the filter’s mid emphasis from flat)—are interdependent in such a way that small adjustments can shift a tone’s character significantly, and it can be challenging to find your way back to a tone that sounded just right five minutes ago. Practice goes a long way toward mastering these sensitivities. One path to reliably reproducible sounds is to establish a ballpark tone focus with the filter first, dial in the input gain to an appropriately energetic zone, then shape the distortion color and response more specifically with the bias.
As you get a feel for these interactions, you’ll be knocked out by the sounds and ideas you bump into along the way. In addition to obvious vintage fuzz and distortion touchstones I crafted evocations of blistering, compressed tweed amps, jangly Marshalls, and many shades of recording console preamp overdrive. The Wave Collapse responds in cool ways to just about any instrument you situate out front. But while your results may vary, I preferred the greater headroom and detail that comes with single-coil pickup pairings. Humbuckers, predictably conjure a more compressed and, to my ears, less varied set of sounds. I also found black-panel Fender amps a more adaptable pairing than Vox- and Marshall-style voices. But just about any guitar or pickup type can yield magnificent results.
The Verdict
Though it’s hard to avoid its filtered midrange signature entirely, the Wave Collapse is a pedal of many masks. Once you master the twitchy interactivity between its controls, you can tailor the pedal to weave innocuously but energetically into a mix or completely dominate it. These capabilities are invaluable in ensemble performances, but it’s super enticing to consider how the Wave Collapse would work in a studio situation, where its focus and potency can fill gaps and nooks in color and vitality or turn a tune on its head. Pedals that stimulate the inner arranger, producer, and punk simultaneously are valuable tools. And while the Wave Collapse won’t suit every taste, when you factor together the pedal’s sub-$200 cost, thoughtful design, high-quality execution, and malleability, it adds up to a lot of utility for a very fair price.
