Meet the Wampler Catacombs and the Syntax: The Catacombs offers delay and reverb pedal with 11 iconic sounds in one intuitive package. While the the Wampler Syntax features a compact and versatile MIDI program selector, tap-tempo controller, and amp channel switcher.
Ever since Brian Wampler first picked up a guitar, he's been chasing the perfect sound - a quest that led him to build pedals in the first place. One challenge kept coming up, both for him and the countless musicians he's talked to: the struggle to have a wide range of sounds with complex editing capabilities while keeping the pedal interface manageable. Musicians either compromise on versatility or sacrifice precious space. Brian knew there had to be a better way. That's why he created the Catacombs - a pedal that eliminates the compromise altogether. It packs 11 of the most popular delay and reverb sounds into one intuitive, powerful package. Whether you're after a trusty digital delay and a plate reverb or a musical shimmer and a spaced out echo we have you covered!
The team at Wampler have worked for a long time on ensuring Catacombs will become an indispensable part of your rig. Each program offers tap-tempo control and can be saved into one of the pedal's eight front panel preset locations for instant recall. Delays and reverbs can be run in Stereo, in parallel or in series. But it doesn’t end there - the pedal also comes with a complete software version as a plugin for your DAW in AAX, AU, and VST3 format for both Mac and PC. The Catacombs plugin is FREE to all customers that register their Warranty online ($49.99 if purchased separately).
Legendary Delays
When designing the Catacombs, Brian wanted to put a whole universe of sonic textures at your fingertips. With six delay programs, you can feel the warmth and depth of analog delays (ANLG), the harmonic nuances of a Bucket Brigade Device delay (BBD), or the nostalgic modulated vibe of classic artisanal tape and mechanical delays (TAPE). Feeling adventurous? The other-worldly Echo-Space Delay (SPC) awaits. The favorite Wampler Faux Tape Echo (FTE) and an accurate recreation of the classic 2290 digital delay (DIGI) also feature. Each setting offers tap-tempo control and can be easily saved into one of the pedal's eight front panel preset locations for instant recall. It's like having a studio's worth of delay effects right at your feet.
Iconic Reverbs
But he didn't stop at delays. The Catacombs also houses five finely tuned reverb programs that Brian and his team honed to perfection. With just a twist of a knob, you'll discover expansive halls (HALL), a warm vintage plate (PLT), and that classic spring reverb (SPR) with plenty of "drip." The shimmer reverb (SHMR) allows a whole new layer of sonic texture, especially when paired with an expression pedal, and the intimate ambiance of the ROOM setting creates that perfect studio reverb. Just like the delay programs, each reverb is easy to control and can be quickly saved into one of the eight onboard presets. The Catacombs is all about giving you the tools to shape your sound effortlessly.
Stompbox-like Control
Like the Terraform and Metaverse before it, the Catacombs is designed to be as quick to dial in as possible. We replaced confusing menus and fiddly touch screens with clearly marked knobs you can adjust on the fly. Controls for Time, Feedback, Modulation, and Level (with Alt functions for each effect type) put all the essential tools right at your fingertips.
Digital Power with an Analog Soul
In creating the Catacombs, Brian wanted to blend the best of both worlds. It uses a
high-performance DSP engine to bring each effect to life with authentic character, and gives you eight front panel preset locations where you can save and instantly recall your favorite settings. If you're looking to expand even further, you can access up to 128 presets with full MIDI control, it has optional stereo routing, a parallel or serial switch, and an assignable expression pedal input to control any parameter (or multiple parameters) in real time. It's a pedal that can grow with you, adapting to any musical situation.
Brian Wampler’s attention to detail and commitment to designing the best and most player friendly products out there is second to none. Those qualities are on full display within the Catacombs. From its convenient form factor to its flexible controls and full MIDI implementation via mini-TRS jacks, the Catacombs is all Wampler.
- Studio quality conversion 48 kHz sampling rate with 24-bit audio
- Full 20Hz to 20kHz frequency response
- Studio-quality vintage and modern effects - 6 Delays and 5 Reverbs designed and realized in-house at Wampler
- Simple user interface making your sound design instantaneous
- All parameters controllable via an outboard expression pedal
- 8 onboard preset locations to save your favorite patches, 128 total via MIDI
- Full MIDI control with CC and PC commands and MIDI clock compatibility
- True Stereo or Mono I/O
- Complete set of AAX, AU, and VST3 plugins FREE when pedal registered online
- Pedalboard friendly enclosure with minimal footprint
- Power draw - 9V DC center pin negative, external supply only: 130mA at 9V
- Dimensions : 4.5” x 3.75” x 2.25” (114 x 95 x 56mm) Weight: 2 pounds (910g)
- Includes Wampler’s limited 5-year warranty
- Designed and Built in the USA
The Wampler Catacombs carries a street price of $299.97.
For more information visit wamplerpedals.com.
Wampler Syntax
The Wampler Syntax Rig Control Pedal offers dual-sided functionality and easy setup via slide switches, and seamless integration with your favorite gear.
Let me know if this sounds familiar: you have a powerful effects pedal with a ton of built-in features, but they're buried under menus. The onboard footswitches won't cut it, so you add a dedicated MIDI controller, maybe a tap tempo pedal, maybe an external footswitch. Before you know it you have removed the convenience that an all-in-one pedal was supposed to offer.
Brian Wampler feels your pain. That's why he designed a dual-sided MIDI program selector, tap-tempo controller, and amp channel switcher and put it in a tiny housing. We call it the Syntax: a micro-format, multifunction switcher that lets you go deep with your favorite delays, modelers, amps, and other gear with the press of a footswitch.
Effortless Setup
Syntax has way more power than its small enclosure suggests. Even more impressive is you get all its functionality via simple, independent slide switches. A quick slider push can set one footswitch to scroll MIDI program changes while the other taps out your delay's tempo. Or connect Syntax to your amp in latching mode to swap channels. It's up to you, and it really is that easy.
MIDI Switching from a Micro Pedal
Syntax is a full-fledged MIDI preset controller in a mini-stomp housing. Able to output PC messages 1 through 8, this little stomp can set presets on all your favorite MIDI-enabled gear - including the Catacombs, Metaverse, and Terraform. All three can be daisy-chained together via MIDI and synchronized presets can be selected from the Syntax with ease. No complex menus, just a simple setup and plug-in, and you're ready to scroll through up to eight of your favorite tones. With a dedicated MIDI In port it can also be integrated into a larger MIDI environment.
Tap Tempo & Latching
Here's something Brian has always thought: why should we settle for pedals that do just one thing when they could do more? Latching and momentary footswitches might look the same externally but they perform different and equally important functions with different rigs, so he figured, why not create a pedal that can handle both? Want to switch amp channels or toggle effects seamlessly? Or maybe you need a rock-solid external tap tempo? You got it. It's all in the Syntax, ready to adapt to any rig you throw at it.
A Lot More Control in A Lot Less Space
Whether you lean heavily on MIDI, need tap-tempo for your favorite delay, or want to free up some pedalboard real estate for a new Catacombs (hint, hint), the Wampler Syntax is the perfect choice. Designed to be placed either horizontally or vertically on your board, it works seamlessly with all digital Wampler pedals, as well as your other favorite gear. It brings your entire rig together while giving you even more room to expand.
Brian Wampler’s attention to detail and commitment to designing the best and most player friendly products out there is second to none. Those qualities are on full display within the Syntax. From its convenient form factor to its ease of use and versatility, the Syntax is all Wampler.
- Rock solid construction and high-grade components selected for optimal performance
- Compact 2 footswitch preset switching remote via MIDI (PC1-8)
- Latching and momentary function through Ext out TRS socket - function selectable via dual slide switches
- Dimensions: 1.5” x 3.5” x 1.5” (38.1mm x 88.9mm x 38.1mm) - height excludes knobs and switches
- Power draw: 20mA at 9V - 18V 9-18V power jack – DC supply only, no battery connection within
- Includes limited 5-year warranty
- Built in USA
The Wampler Syntax carries a street price of $99.97.
For more information visit wamplerpedals.com.
The PXO was created as a live or studio tool. When we sent Phil the overdrive sample he found that it saved him in backline situations and provided him a drive that plays well with others.
The PXO is an overdrive/boost where you can select pre or post giving you variety in how you want to boost, EQ and overdrive. We have provided standard controls on the overdrive side such as Volume/Gain/Overdrive and EQ but on the boost side you have a separate Tilt EQ that allows you to EQ with simplicity. You can experiment by cascading in a pre or post situation and experiment from there. The PXO has a lush, thick feel to the bottom end and a smooth top end that begs you to dig into the note.
J. Rockett Audio Designs PXO Phil X Signature Overdrive Pedal
Phil X Signature OverdriveThe tiniest TS on Earth has loads of practical upside and sounds that keep pace with esteemed overdrive company.
Solid Tube Screamer tones in a microscopic machine. Light and easy to affix to anything.
Small enough to lose easily! Vulnerable in the presence of heavy steppers?
$99
Olinthus Cicada
olinthus.com
The Olinthus Cicada’s Tube Screamer-on-a-postage-stamp concept is a captivating one. But contemplating the engineering impetus behind it begs questions: How much area does the pedal and mandatory/included TRRS breakout cable actually conserve? Where do you situate it in relation to other pedals so you can actually tap the bypass—which is the pedal enclosure itself! Would my neighbor’s cat eat it? As it turns out, there’s many good reasons for the Cicada to be.
For starters, small size and light weight on this order are a big deal. Flying with gear is stupid expensive. So, for players that don’t relish the antiseptic aspects of modeling, this micro-analog middle path could be a sensible one. Altogether, pedal and cable are about the size of a set of keys. You can stuff it all in a pocket, put clean laundry in your gig bag, and tour for a while, as long as the rain doesn’t soak your shoes.
All this assumes you roll with very small and very few additional effects. But if you can survive on overdrive alone, you can stick a little adhesive to the back—tape, Velcro, bubblegum, etc.—and affix the Cicada to almost anything. It sounds really good, too! A classic TS application—Fender combo and Stratocaster—yields soulful blues smoke. The same Fender amp and an SG means dynamite, raunchy, and rich Mick Taylorisms. It even does the Iommi stomp pretty well at high gain! I’m still not sure if the Cicada is a solution for a less-than-pressing engineering problem. Nevertheless, it opens up real practical possibilities and sounds more than legit in the process.
Featuring a slim Headlock system, water-resistant shell, and spacious front pocket. Available in classic Black and Ash, as well as new colors Moonlight Blue, Amazon Green, and Burnt Orange.
This brand new design reimagines and elevates the original to new heights, featuring a fresh range of colors and a refined slim Headlock system. The enhanced MONO Sleeve is engineered for durability, featuring industrial-grade webbing handles reinforced with steel rivets and bar-tack stitching, a water-resistant 420D shell, and plush interior lining. A spacious front pocket offers easy access to essentials like cables, tuners, and other gear, while the ergonomic shoulder straps ensure comfort during long-distance commutes. Sleek and compact, the MONO M80 Sleeve 2.0 is the perfect choice for guitarists on the go.
To bring the MONO M80 Sleeve 2.0 to life in the launch campaign, MONO collaborated with renowned guitarist Rock Choi from Seoul, South Korea, known for his bold and precise playing style, and Susannah Joffe, an emerging indie-pop musician from Austin, Texas, USA. Together, the artists showcase the M80 Sleeve 2.0 in a dynamic video set in New York City, demonstrating how effortlessly the case integrates into the urban lifestyle while offering superior protection for their instruments.
The updated Sleeve 2.0 is available in classic Black and Ash, and for the first time in MONO’s history, debuts a range of new colors: Moonlight Blue, Amazon Green, and Burnt Orange, giving artists fresh avenues to express themselves through their gear.
The MONO M80 Sleeve 2.0 features include:
- An ergonomically designed case that is sleek and suited for urban travel, along with comfortable shoulder straps and a tactile side handle for easy carrying.
- A water-resistant 420D shell and plush interior lining, built to military specs and extreme resistance to abrasion and the elements.
- A slim Headlock system, made from shock-absorbing EVA rubber, secures the guitar's neck and headstock, while the EVA insole protects the body and strap pin from impact.
- A spacious front pocket for essentials like laptops and cables, and a small interior mesh pocket for critical items.
- Side-release chest buckles provide added security and a construction reinforced with steel rivets for extra durability.
- Rock-solid, industrial webbing handles that are standard in MONO cases. Bar-tack stitching and steel rivets reinforce strength, while high-grade webbing offers a comfortable grip.
- String guard protection to safeguard your guitar’s strings.
Does the guitar player’s mind have the patience and focus of a classical musician, or are we on another tip altogether?
The first time I really played music was in fourth grade in my elementary school orchestra. Although I played terribly and was just one tiny cog in a huge musical machine—second to last chair in the second violin section out of 30 kids—being part of these incredible, interwoven melodies was a genuinely moving experience, regardless of how bad it must have sounded. But despite the personal history, classical musicians are a bit of a mystery to me, and probably most guitarists.
Firstly, classical music is too much work.
Great guitarists all have worked their asses off to master their instrument. But the most dedicated guitarists probably won’t put in half as much hard practice time as classical players. I first noticed this when I was touring with my friend and former bandmate Robert Martin—who’s worked with Frank Zappa, Stevie Nicks, Etta James, Bonnie Raitt, and lots of others. We could be in Venice with a free day to explore, and Robert would lock himself in a room with his French horn to practice. On the gig, he wasn’t even playing French horn, just piano and sax, but he carried that thing with him around the world because he had to get his lips on that horn daily. It was somewhere between a compulsion and rigid dedication. Robert told me he had been on this schedule since 1969, when he entered the Curtis Institute of Music, where he undertook intensive classical studies.
On Quora, I found a conversation around the question, “How much do professional musicians practice every day, or does performing take the place of practice?” Only classical musicians responded. The consensus was that orchestral musicians need to practice all the time to play at their absolute best. For symphonic violinists, the practice minimum seems to be three hours daily, but it’s not uncommon for violinists to practice eight hours per day and they rarely take a day off.
Sasha Romero, the principal trombonist in the MET Opera Orchestra, posted on the forum about her typical day. “I usually warm up/practice fundamentals for 30–60 minutes before starting a 2.5-hour rehearsal. Depending on the rep, I may play 5 minutes of that or pretty much every measure (trombones still have far fewer notes than string players). There’s often a second 2.5-hour rehearsal after lunch. After I get home, I might have one more hour-long practice session where I work on an upcoming rep or a recital or whatever is in the near future.”
On her lightest weeks, she posted that she practices about one-and-a-half hours minimum, and four hours max, every day. I could not imagine the misery of four hours alone in a room playing trombone scores. Lots of counting, a bit of monophonic blowing. Torture.
Ever notice when you walk into a venue to see an orchestra, they are all seated practicing right up until the conductor walks out? I always think, “The curtain is up. We can see you. If you don’t have it by now, just go with what you’ve got.” Meanwhile in the world of guitar, half the band is joking around or slugging down drinks right until curtain.
“I could not imagine the misery of four hours alone in a room playing trombone scores.”
Guitarists play what we want when we want. Yes, hard practice is part of the guitar journey, but even a raw guitarist, only playing for a short time with no formal training can play something that connects on the deepest level.
Second: Classical music limits your expression.
Classical players color in the lines. Their contribution to a composition, as one player on the forum put it, is that “the depth of color is up to you.… If Beethoven wants pianissimo, I must play the softest, most spine-tingling pianissimo anyone ever heard!”
Guitarists outside the classical world have carte blanche to do whatever they want. As Eddie Van Halen said: “You’ve only got 12 notes, and however you mix them up is your thing.” In our world, the most revered guitarists are players like Django Reinhardt, Wes Montgomery, Jeff Beck, and EVH. They are celebrated because they went where no one had gone before.
Guitar is a very personal instrument. We are all influenced by others, but ultimately, all guitarists have their own thing. If 10 guitar players lay down a track for a new song, you will get 10 wildly different interpretations.
The vast majority of my 10,000-plus hours were spent having fun, or, as SRV put it, “trying to pray through my guitar.” Guitar remains my therapist, entertainment, companion, and an expression of self. Classical musicianship feels more like servitude to me. Guitar feels like freedom. Classical feels like religion. Guitar feels like spirituality. I’m not knocking either one, but we know who our tribe is.