Brian Wampler’s take on a vintage TS10 Tube Screamer style circuit in a compact, pedalboard friendly enclosure.
Capable of anything from light boost to a gritty drive that can send an amplifier into heavily overdriven tones, the Moxie is designed to be an ultra-flexible, wonderfully warm and rich pedal but with an extra bite. In addition to the standard controls, Brian has added two unique switches. The Voice switch adds clarity by changing the entire EQ associated with this design giving it a more transparent yet robust tone. The Fat switch adds an extra dimension of gain with a custom MOSFET clipping stage, reminiscent of a classic high-end boutique amp.
Staying true to the vintage sound of an Ibanez TS10 Tube Screamer, the Moxie is powered by the classic 4558 chip, enabling it to scream with authentic woody tones. Use it to pour out a cold shot of Texas Blues, add gravity to rhythm chops, or tighten up and push your lead channel into brutal high gain. The Moxie is sensitive to nuanced picking with layers of complex harmonics allowing it to play nicely with a broad section of amplifiers and pedals. Stack this with another distortion or overdrive pedal like the Wampler Ratsbane, Tumnus, or Belle for a variety of tone options.
Features
- High-grade components selected for superior sound and response, premium finish and controls.
- Based on one of the most classic overdrive circuits of all time, the TS10 Tube Screamer
- Volume, Gain, Tone controls
- Fat switch to enhance the gain structure
- Voice switch to equalize critical frequencies
- Dimensions: 1.5” x 3.5” x 1.5” (38.1mm x 88.9mm x 38.1mm) - height excludes knobs and switches
- Power draw: 11mA at 9V, 16mA at 18V • 9-18V power jack – DC supply only, no battery connection within
- Includes limited 5-year warranty
$149.97 USD. More info at www.wamplerpedals.com.
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Tom Bedell in the Relic Music acoustic room, holding a custom Seed to Song Parlor with a stunning ocean sinker redwood top and milagro Brazilian rosewood back and sides.
A born storyteller, Bedell doesn’t keep his passion to himself. On Friday, May 12, at New Jersey boutique guitar outpost Relic Music, Bedell shared some of the stories he’s collected during his life and travels as part of a three-city clinic trip. At Relic—and stops at Crossroads Guitar and Art in Gilbertsville, Pennsylvania, and Chuck Levin’s Washington Music Center in Wheaton, Maryland—he discussed his guitars and what makes them so special, why sustainability is such an important cause, and how he’s putting it into practice.
Before his talk, we sat in Relic’s cozy, plush acoustic room, surrounded by a host of high-end instruments. We took a look at a few of the store’s house-spec’d Bedell parlors while we chatted.
“The story of this guitar is the story of the world,” Bedell explained to me, holding a Seed to Song Parlor. He painted a picture of a milagro tree growing on a hillside in northeastern Brazil some 500 years ago, deprived of water and growing in stressful conditions during its early life. That tree was eventually harvested, and in the 1950s, it was shipped to Spain by a company that specialized in church ornaments. They recognized this unique specimen and set it aside until it was imported to the U.S. and reached Oregon. Now, it makes the back and sides of this unique guitar.
A Bedell Fireside Parlor with a buckskin redwood top and cocobolo back and sides.
As for the ocean sinker redwood top, “I’m gonna make up the story,” Bedell said, as he approximated the life cycle of the tree, which floated in the ocean, soaking up minerals for years and years, and washed ashore on northern Oregon’s Manzanita Beach. The two woods were paired and built into a small run of exquisitely outfitted guitars using the Bedell/Breedlove Sound Optimization process—in which the building team fine-tunes each instrument’s voice by hand-shaping individual braces to target resonant frequencies using acoustic analysis—and Bedell and his team fell in love.
Playing it while we spoke, I was smitten by this guitar’s warm, responsive tone and even articulation and attack across the fretboard; it strikes a perfect tonal balance between a tight low-end and bright top, with a wide dynamic range that made it sympathetic to anything I offered. And as I swapped guitars, whether picking up a Fireside Parlor with a buckskin redwood top and cocobolo back and sides or one with an Adirondack spruce top and Brazilian rosewood back and sides, the character and the elements of each instrument changed, but that perfect balance remained. Each of these acoustics—and of any Bedell I’ve had the pleasure to play—delivers their own experiential thumbprint.
Rosette and inlay detail on an Adirondack spruce top.
Ultimately, that’s what brought Bedell out to the East Coast on this short tour. “We have a totally different philosophy about how we approach guitar-building,” Bedell effused. “There are a lot of individuals who build maybe 12 guitars a year, who do some of the things that we do, but there’s nobody on a production level.” And he wants to spread that gospel.
“We want to reach people who really want something special,” he continued, pointing out that for the Bedell line, the company specifically wants to work with shops like Relic and the other stores he’s visited, “who have a clientele that says I want the best guitar I can possibly have, and they carry enough variety that we can give them that.”
A Fireside Parlor with a Western red cedar top and Brazilian rosewood back and sides.
