
Vox’s Clyde McCoy wah was arguably the first signature pedal, introduced in 1967. McCoy was a jazz trumpeter, but onomatopoeia inspired the device’s name.
Parsing the (mostly) good and the bad in the world of stompbox endorsements.
In the universe of guitar gear, artist-endorsed products are as common as stars in the night sky. Decades ago, signature pedals only had household names on them, but these days, manufacturers are tailor-making guitar gear for niche guitar players as well, and offering these bespoke creations to the rest of the public, too.
While many, if not most, pedal builders would leap at the chance to collaborate with hero-level guitarists with or without the promise of large financial rewards, the economic incentives are clear. It is tremendously difficult to draw attention to a new product in today’s marketplace. Tapping into the reach of a well-respected and popular musician can make the difference between a good product growing into a hit, or lying fallow.
Artist-endorsed gear offers the purchaser an instant connection to their musical hero. If you love Andy Wood’s music and guitar playing, buying his Wampler Pedals signature Gearbox overdrive gets you that much closer to his sound. Moreover, there is the romantic notion that not only did the signature artist design this piece of gear strictly for themselves, they designed it for you, too. Owning a signature stomp then becomes a personal connection between you and the artist. You’re not just listening to something that they made, but using something they made in a much more tangible way.
Andy Wood’s signature overdrive is an example of a pedal created for all the right reasons.
That increased connection often translates into a greater appreciation of the gear itself. Additionally, there is an implied assurance of quality when purchasing an artist’s signature pedal. The idea being that, like their musicality and technique, an artist’s professional and personal standards far exceed that of mortal guitar players. If a piece of gear has been finely tuned and meticulously crafted to satisfy a guitar hero, then it is surely more than sufficient for the average player. This is akin to the satisfaction some get in getting groceries in a car equally at home on the Nürburgring.
The above notions are how the signature gear world should work. In the real world, endorsed pedals can fall short of this platonic ideal. We have all seen examples of signature gear where the player constantly affirms their device as the end-all-be-all, despite the fact they have never been seen using it outside of a photo op. Additionally, some players use highly altered or tweaked versions of their signature gear, leaving their devotees to buy products that are not representative of what they are actually using.
Unfortunately, there is also a group of endorsees who perpetually shop their name and influence around, showing up every six to 12 months with a new company making the current version of their perfect overdrive, an overdrive whose very existence is a criticism of what they had classified as unassailable only months ago. These situations make it hard to determine whether endorsing statements are heartfelt testimonies or exaggerated marketing talking points.
“Most of the current generation of guitar players see their opportunity to make something for the community as the fulfillment of a lifelong ambition and not just as a cash grab.”
I do genuinely think these ignoble types are the exception rather than the rule. Most of the current generation of guitar players grew up with signature gear, dreaming of a chance to make gear with their own name on it, and see their opportunity to make something for the community as the fulfillment of a lifelong ambition and not just as a cash grab. Accordingly, they spend a great deal of time working to develop and dial in their offering to the nth degree—sometimes much to the weary chagrin of their manufacturing partners.
Some dismiss signature-pedal-playing guitarists as uncreative or as clout chasers, suggesting that “real” players should strictly forge their own path when it comes to the gear they use. However, it is widely supported that playing along with your favorite player’s music is a great way to learn the instrument, and most don’t berate or condemn the beginner for not scratching out their own études over those of Mel Bay.
If your favorite player’s music can help you find your voice, then maybe their gear can, too. Try some signature gear out, even if it comes from artists you don’t favor. It inspired them to do what they do; maybe it’ll inspire you to do what only you can do.
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It’s almost over, but there’s still time to win! Enter Stompboxtober Day 30 for your shot at today’s pedal from SoloDallas!
The Schaffer Replica: Storm
The Schaffer Replica Storm is an all-analog combination of Optical Limiter+Harmonic Clipping Circuit+EQ Expansion+Boost+Line Buffer derived from a 70s wireless unit AC/DC and others used as an effect. Over 50 pros use this unique device to achieve percussive attack, copious harmonics and singing sustain.
Does the guitar’s design encourage sonic exploration more than sight reading?
A popular song between 1910 and 1920 would usually sell millions of copies of sheet music annually. The world population was roughly 25 percent of what it is today, so imagine those sales would be four or five times larger in an alternate-reality 2024. My father is 88, but even with his generation, friends and family would routinely gather around a piano and play and sing their way through a stack of songbooks. (This still happens at my dad’s house every time I’m there.)
Back in their day, recordings of music were a way to promote sheet music. Labels released recordings only after sheet-music sales slowed down on a particular song. That means that until recently, a large section of society not only knew how to read music well, but they did it often—not as often as we stare at our phones, but it was a primary part of home entertainment. By today’s standards, written music feels like a dead language. Music is probably the most common language on Earth, yet I bet it has the highest illiteracy rate.
Developed specifically for Tyler Bryant, the Black Magick Reverb TB is the high-power version of Supro's flagship 1x12 combo amplifier.
At the heart of this all-tube amp is a matched pair of military-grade Sovtek 5881 power tubes configured to deliver 35-Watts of pure Class A power. In addition to the upgraded power section, the Black Magick Reverb TB also features a “bright cap” modification on Channel 1, providing extra sparkle and added versatility when blended with the original Black Magick preamp on Channel 2.
The two complementary channels are summed in parallel and fed into a 2-band EQ followed by tube-driven spring reverb and tremolo effects plus a master volume to tame the output as needed. This unique, signature variant of the Black Magick Reverb is dressed in elegant Black Scandia tolex and comes loaded with a custom-built Supro BD12 speaker made by Celestion.
Price: $1,699.
Kevin Shields of My Bloody Valentine is one of the loudest guitarists around. And he puts his volume to work creating mythical tones that have captured so many of our imaginations, including our special shoegaze correspondent, guitarist and pedal-maestro Andy Pitcher, who is our guest today.
My Bloody Valentine has a short discography made up of just a few albums and EPs that span decades. Meticulous as he seems to be, Shields creates texture out of his layers of tracks and loops and fuzz throughout, creating a music that needs to be felt as much as it needs to be heard.
We go to the ultimate source as Billy Corgan leaves us a message about how it felt to hear those sounds in the pre-internet days, when rather than pull up a YouTube clip, your imagination would have to guide you toward a tone.
But not everyone is an MBV fan, so this conversation is part superfan hype and part debate. We can all agree Kevin Shields is a guitarists you should know, but we can’t all agree what to do with that information.