
Wampler Catacombs
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 doesnāt 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 Wamplerās 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 : 4.5ā x 3.75ā x 2.25ā (114 x 95 x 56mm) Weight: 2 pounds (910g)
- Includes Wamplerās 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 Wamplerās 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: 1.5ā x 3.5ā x 1.5ā (38.1mm x 88.9mm x 38.1mm) - height excludes knobs and switches
- Power draw: 20mA at 9V - 18V 9-18V power jack ā 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.
Blackberry Smoke will embark on a co-headline tour with Mike Campbell & the Dirty Knobs. Lead singer Charlie Starr shares, āWhat could be better than summertime rock and roll shows with Blackberry Smoke and the one and only Mike Campbell & The Dirty Knobs?ā
Blackberry Smokeās fan club will have early access to tickets with pre-sale beginning tomorrow, March 11 at 10:00am local time, with the public on-sale following this Friday, March 14 at 10:00am local time. Full details and ticket information can be found at blackberrysmoke.com.
In addition to the new dates, Blackberry Smoke is currently on the road with upcoming headline shows at New Orleansā The Fillmore, Houstonās 713 Music Hall, Austinās ACL Live at the Moody Theater, Dallasā Majestic Theatre and Maryvilleās The Shed (three nights) among others. They will also join Lynyrd Skynyrd and The Avett Brothers for select dates later this year. See below for complete tour itinerary.
Tour Dates
March 14āDouglas, GAāThe Martin Theatre*
March 15āDouglas, GAāThe Martin Theatre*
March 27āNew Orleans, LAāThe Fillmoreā
March 28āHouston, TXā713 Music Hallā
March 29āHelotes, TXāJohn T. Flooreās Country Storeā”
April 24āMontgomery, ALāMontgomery Performing Arts Centre§
April 25āPensacola, FLāPensacola Saenger Theatre§
April 26āTampa, FLāBusch Gardens Tampa - Gwazi Field
May 8āAustin, TXāACL Live at the Moody Theater#
May 9āDallas, TXāMajestic Theatre#
May 10āPalestine, TXāWiggly Thump Festival
May 15āMaryville, TNāThe Shed~
May 16āMaryville, TNāThe Shed%
May 17āMaryville, TNāThe Shed§
May 31āVirginia Beach, VAāVeterans Band Aid Music Festival
June 1āLexington, KYāRailbird Festival
July 10āPistoia, ItalyāPistoia Blues
July 11āMilan, ItalyāComfort Festival
July 13āWeert, LimburgāBospop
July 15āManchester, U.K.āAO Arena**
July 16āBirmingham, U.K.ābp pulse LIVE**
July 18āBrighton, EnglandāThe Brighton Centre**
July 19āLondon, UKāOVO Arena Wembley**
July 25āNashville, TNāRyman Auditoriumā ā
July 26āNashville, TNāRyman Auditoriumā ā
July 31āLewiston, NYāArtpark Amphitheaterā ā
August 1āPittsburgh, PAāStage AEā ā
August 2āColumbus, OHāKEMBA Live! Outdoorā ā
August 3āRoanoke, VAāBerglund Performing Arts Theatreā ā
August 5āNorth Charleston, SCāFirefly Distilleryā ā
August 7āRaleigh, NCāRed Hat Amphitheaterā ā
August 8āCharlotte, NCāSkyla Credit Union Amphitheatreā ā
August 9āAtlanta, GAāSynovus Bank Amphitheater at Chastain Parkā ā
August 10āAsheville, NCāAsheville Yards Amphitheaterā ā
August 21āBonner Springs, KSāAzura Amphitheaterā”ā”
August 22āRogers, ARāWalmart AMPā”ā”
August 23āEl Dorado, ARāMurphy Arts District Amphitheaterā”ā”
August 30āCharlestown, RIāRhythm and Roots Festival
*with special guest Parker Gispert
ā with special guest Zach Person
ā”with special guest Brent Cobb
§with special guest Bones Owens
#with special guest Jason Scott & The High Heat
~with special guest Rob Leines
%with special guest Taylor Hunnicutt
**supporting Lynard Skynyrd
ā ā co-headline with co-headline with Mike Campbell & The Dirty Knobs
ā”ā”supporting The Avett Brothers
A satin finish with serious style. Join PG contributor Tom Butwin as he dives into the PRS Standard 24 Satināa guitar that blends classic PRS craftsmanship with modern versatility. From its D-MO pickups to its fast-playing neck, this oneās a must-see.
PRS Standard 24 Satin Electric Guitar - Satin Red Apple Metallic
Standard 24 Satin, Red App MetA reverb-based pedal for exploring the far reaches of sound.
Easy to use control set. Wide range of sounds. Crush control is fun to explore. Filter is versatile.
Works best as a stereo effect, which may limit some players.
$299
Old Blood Noise Endeavors Dark Star Stereo
oldbloodnoise.com
The Old Blood Dark Star Stereo (DSS) is one of those pedals that lives beyond simple effect categorization. Yes, itās a digital reverb. But like other Old Blood designs, itās such a feature-rich, creative take on that effect that to think of it as a reverb feels not only imprecise but unfair.
The Old Blood Dark Star Stereo (DSS) is one of those pedals that lives beyond simple effect categorization. Yes, itās a digital reverb. But like other Old Blood designs, itās such a feature-rich, creative take on that effect that to think of it as a reverb feels not only imprecise but unfair.
In this case, reverb describes how the DSS works more than how it sounds. Iāve come to think of this pedal as a reverb-based synthesizer, where reverb is the jumping-off point for sonic creation. As such, the sounds coming out of the Dark Star can be used as subtle sweetener or sound design textures, opening up worlds that might otherwise be unreachable.
Reverb and Beyond
Functionally speaking, the DSS starts with reverb and applies a high-/low-pass filter, two pitch shifters, each with a two-octave range in each direction, plus bit-crushing and distortion. Controls for lag (pre-delay), multiply (feedback), and decay follow, with mini knobs for volume, mix, and spread. Additional control features include presets, MIDI functionality, plus expression and aux control.
The DSS can be routed in mono, stereo, or mono-in/stereo-out. Both jacks are single TRS, and itās easy to switch between settings by holding down the bypass switch and selecting via the preset button.
Although it sounds great in mono, stereo is where this iteration of the Dark Starāwhich follows the mono Dark Star and Dark Star V2āreally comes alive. Starting with the filter, both pitch shifters, and crush knobs at noonāall have center detentsāaffords the most neutral settings. The result is a pad reverb, as synthetic as but less sparkly than a shimmer. The filter control is a fine way to distinguish clean and effect signals. In low-pass mode, the effect signal can easily get dark and spooky while maintaining fidelity and without getting murky. On the other end, high-pass settings are handy for refining those reverb pads and keeping them from washing out the clarity of the clean signal.
Lower fidelity is close at hand when you want it. The crush control, when turned counterclockwise, reduces the bit rate of the effect signal, evoking all kinds of digitally compromised sounds, from early samplers to cell phones, depending on how you flavor it. Counterclockwise applies distortion to the reverb signal. Thereās a lot to explore within the wide ranges of the two pitch controls, too. With a four-octave range, quantized in half steps, the combinations can be extreme, and Dark Star takes on a life of its own.
Formless Reflections of Matter
The DSS is easy to get acquainted with, especially for a pedal with so many features, 10 knobs, and two footswitches. I quickly got a feel for the reverb itself at the most neutral filter and pitch settings, where I enjoyed the weight a responsive, textural pad lent to everything I played.
With just the filter and crush controls, thereās plenty to explore. Sitting in the sweet spot between a pair of vintage Fenders, I conjured a Twin Peaks-inspired hazy fog to accompany honeyed diatonic arpeggios, slowly filtering and crushing that sound into a dark, evil low-end whir as chords leaned toward dissonance. Eventually, I cranked the high-pass filter, producing an early MP3-in-a-good-way āshhhā that was fine accompaniment to sparser voicings along my fretboard. It was a true sonic journeyThe pitch controls increase possibilities for both ambience and dissonance. Simple tweaks push the boundaries of possibility in exponentially deeper directions. For more subtle thickening and accompaniment sounds, adding octaves, which are easy to tune by ear, offers precise tone sculpting, dimension, and a wider frequency range. Hearing simple harmonic ideas plucked against celeste- and organ-like reverberations kept me in the Harold Budd and Brian Eno space for long enough to consider new recording projects.
There is as much fun to be had at the highest feedback settings on the DSS. Be forewarned: Spend too much time there and you might need a name for your new ambient band. Cranking the multiply and decay knobs, Iād drop in a few notes, or maybe just a chord, and get to work scanning the pitch knobs and sculpting with the filter. Soon, I conjured bold Ligeti-inspired orchestral sounds fit for a guitar remix of 2001: A Space Odyssey.
The Verdict
The Dark Star Stereo strikes a nice balance between deep control, a wide range of sonic rewards, playability, and an always-sounds-great vibe. The controls are easy to use, so it doesnāt take long to get in the zone, and once you do, thereās plenty to explore. Throughout my time with the DSS, I was impressed with its high-fidelity clarity. I attribute that to the filter, which allows clean and reverb signals to perform dry/wet balance and EQ functions. That alone encouraged more adventurous and creative exploration. Though not every player needs this kind of tone tool, the DSS is a must-check-out effect for anyone serious about wild reverb adventures, and itās simple and intuitive enough to be a good fit for anyone just starting exploration of those zones. However you come to the Dark Star, itās a unique-sounding pedal that deserves attention. PG
Introducing the new Firebird Platypus, a tribute to the rare transitional models of 1965.
In early 1965, the original Firebird design transitioned through several different iterations. One of the significant transitions that occurred flipped the headstock to the Non-Reverse shape. Unlike the original Reverse Firebird headstock design, which featured a two-layered headstock with a holly veneer, the new headstock was flat, like the bill of a platypus.
Mahogany body and glued-in mahogany neck
The Firebird Platypus has a mahogany body with the appearance of a traditional neck-through Reverse Firebird body for that classic Reverse Firebird appearance, while the neck of the Firebird Platypus uses glued-in, set neck construction like the Les Paul and SG and delivers outstanding sustain and resonance.
Platypus transitional headstock design
The headstock features the flat, transitional style āplatypusā design that was found only on rare models from the 1965 transitional period when the Firebird was gradually switching over from the features found on the original models that were released in 1963 to the features that were used for the later Non-Reverse Firebird models.
Firebird humbucker pickups
Itās outfitted with two Firebird humbucker pickups. These pickups are equipped with Alnico 5 magnets and have a unique sound that is not quite like any other humbucking pickup, with unmatched clarity, chime, and bite. They sound great for both clean and overdriven tones.
Exclusive Cherry Sunburst finish
This exclusive Cherry Sunburst finish is available only on Gibson.com and at the Gibson Garage.
For more information, please visit gibson.com.