The latest multi-effect from Wampler is a dreamy if sometimes difficult-to-master delay/reverb combo.
Great, instantly useable reverb and delay tones. Impressive breadth of sounds in one box. Solid construction. Good value.
Controls and operation can feel confusing.
$299
Wampler Catacombs
wamplerpedals.com
“Modeling versus tube” might be the gear world title fight of the 2020s, but “LED menu versus none on multieffects” is a pretty riveting undercard. I have sympathies in both corners. The ocean-deep onscreen interface of theMeris Mercury X, for instance, was a bear to navigate, but it also yielded some of the most exciting and tweakable reverb I’ve ever heard. At the same time, I’ll always be partial to having every control I need at my fingertips, and every parameter a knob twirl away from just-right.In theory, the digitalWampler Catacombs fits into the second category, the one I prefer. It’s a super-loaded reverb and delay combo pedal, with seven delay algorithms and five reverb options that sound great. Though in practice, Catacombs sometimes turned out to be a bit more complicated to navigate than I expected.
Lost in the Catacombs
The Catacombs is one of those pedals that begs a dedicated read of the manual before you dive in. Wampler says that the interface enables users to “navigate effortlessly” without the use of onboard screens and menus. I was excited by this: Like I said, I don’t love getting lost down tiny LED display rabbit holes and would much rather have all I need at hand. The Catacombs technically satisfies that desire, but it also demonstrates tradeoffs involved with that design ethic. I’m alright with certain controls pulling double-duty, but when every single knob shares two functions, things can get hairy, and doing your preparation up front pays big dividends.
You have to press and hold the left footswitch for a second to access the alt controls (labeled in blue), including reverb selection on the main rotary knob. Though this doesn’t complicate matters too much when using a reverb or delay exclusively, it can be tricky when using a reverb and delay simultaneously. A few times, I scrambled to switch control modes to tame a super-loud runaway reverb or a self-oscillating delay, and the feeling of frantically spinning knobs with no impact because you’re not in the right control mode isn’t a good one. Additionally, you might not know where a given parameter is set because each knob is shared between the delay and reverb effect. The eight onboard preset slots take some of this guesswork away. And Catacombs would be a cinch in the studio once the control navigation becomes second-nature, but I got nervous thinking of trying to navigate any of these quirks during a set.
Entombed in Ambience
Catacombs’ operational challenges don’t take too much away from the whole experience because it sounds so great. Each of the six delay programs, and each of the five reverbs, were instantly useable and familiar. Side by side with my Walrus Fathom and EarthQuaker Avalanche Run, the plate, hall, and spring reverb modes held their own, and something about the pedal’s wet/dry mix made my playing feel especially alive, present, and cinematic at most settings. I was especially fond of the spring reverb with the decay maxed out—it was juicy and metallic in all the right ways.
The delay modules were just as satisfying. They include three algorithms for tape-style delays, two analog-style delays, and a single digital echo, and each mode offers a distinct texture and experience. The ability to quickly switch the effects from series to parallel offers fun and useful experimentation, letting you apply the reverb algorithm to just your dry signal, or to the repeats, too. I especially enjoyed sticking the plate reverb on my dry signal and leaving it off the delay, creating warped senses of space and continuity.
The Verdict
Though it sounds excellent, immersive, and inviting, I was flustered more than once while trying to bend Catacombs to my will. In some respects, I was reminded of a menu where you’re given three desirable options and have to pick just two. In this case, the options are affordability, sound quality, and user-friendliness. Catacombs is certainly reasonably priced and sounds excellent. But because it navigates a difficult middle path between skipping a cost-bumping digital menu and being more complex than more-straightforward, what-you-see-is-what-you-get units, you should make sure you’re comfortable with that compromise.
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.
A tribute to the classic MT10 MOSTORTION, the Mofetta features MOSFET clipping for authentic tones.
The Mofetta is a supercharged MOSTORTION, reborn and amplified that delivers the classic, amp-like overdrive, massive headroom, and versatile 3-band EQ that made the original so famous. Wampler wanted “more” and added a Texture Switch that introduces actual MOSFETs into the pedal’s overdrive section for a bolder, more articulate tone. The Mofetta preserves everything you love about the early ‘90s legend with a powerful new Wampler dimension.
Wampler Mofetta: A Modern Twist on the Mostortion MT10 Pedal Circuitry
The MT10 MOSTORTION
The original MT10 MOSTORTION was released in 1990 as part of a budget pedal series to meet the demand of a growing market. Despite the pedal’s “cheaper” qualities, guitarists began to take note of its amp-like low-gain tones, attributing them arguably incorrectly—to the onboard MOSFET Op-amps. Though the pedals were discontinued a couple of years later, used ones command insane prices today and are extremely hard to find. The Mofetta is Wampler’s way of bringing it all back and re-creating those singing tones while diving even further into the amp-like world of MOSFETs.
Musical, Responsive Overdrive
Paying tribute to a pedal called the MOSTORTION, it’s easy to assume the Mofetta would be a high-gain beast. But like its predecessor, it’s the circuit’s low-to-mid-gain voice that the original circuit is most known for. From edge-of-breakup to fat, vintage amp-style crunch, the Mofetta blooms with tube-like compression, always retaining its musical warmth. And with its high-headroom output, it easily pushes your amp or modeler into harmonically-rich breakup.
3-Band EQ
Part of what makes the Mofetta so versatile is its unique 3-band EQ. While many overdrives before 1990 relied on a simple tone knob, the idea of a dirt pedal like the MOSTORTION with bass, middle, and treble controls was darn near revolutionary. It lets you dial in the Mofetta for a full-range drive or achieve transparent grit that complements your clean tone. If you dial up the mids and treble a bit, you can even use it as a focused boost to push your amp’s breakup, or stacking with another gain pedal, tightening its response and enhancing its character.
Is it truly MOSFET?
One of the original MOSTORTION’s little-known “secrets” is that it doesn’t actually use MOSFETs for its overdrive. It uses a “MOSFET based op-amp”, but in reality uses clipping diodes to produce distortion. This left Brian thinking, “What if I built one that could actually use MOSFETs for the clipping, using multiple gain staging like a tube amp?” That’s what the Mofetta’s Texture feature is all about - it takes the pedal from smooth overdrive to fiery distortion with the flick of a Texture switch.
MOSFET clipping delivers a bolder, more articulate voice – louder, tighter, and slightly more aggressive than the original’s diode-driven dirt. While still not “Brutal High Gain” the Texture switch gives you a wider range of overdrive and even distortion that’s even more responsive to your playing dynamics. Is it better than the OG? That’s up to you, but for Wampler, it’s what the MOSTORTION was always meant to be.
The secret is out on the original MS10 MOSTORTION pedals. Their blend of responsive, amp-like gain and flexible EQ make them some of the most elusive yet sought-after dirt pedals out there. With the Wampler Mofetta you get that same tone and performance, now with a pure MOSFET enabled-version of the famed original.
Technical
- Built in the U.S.A.
- High-grade components selected for superior sound and response
- Independent three band EQ (Bass, Mids, Treble), Level and Gain controls
- Texture switch activates cascaded MOSFET gain stages
- Battery connection and 9V power jack
- Top-mounted input and output jacks
- Includes limited 5-year warranty
- Dimensions: 2.5” x 4.8” x 2.3” (64mm x 125mm x 60mm)
- Power draw: 10mA, 9V DC Do not exceed 9V DC
The Wampler Mofetta carries a street price of $199.97.
For more information visit wamplerpedals.com