For many years now Wampler Pedals have become synonymous with
overdrive and distortion pedals - so much so, we’ve heard it say on demo
videos that Brian is the king of dirt!
Ever since the rst pedals came out, bass players have been screaming for
a piece of the action. A bass OD/Distortion over the years has become
one of our most requested pedals, a constant request for our low end
colleagues to join the party.
Working closely with in house engineer and bass player, Jake Stees,
Brian worked to bring everything you’d expect from a Wampler dirt pedal
but specically voiced for the bass - there is no guitar pedal with a dierent label, this is a ‘from the ground up’ circuit that is designed purely for
Featuring a full 3 band active EQ (so frequencies can be added as well as
taken away), two gain voicings, a blend control and a notch lter, we think
this will be the pedal that bass players have been requesting for years...
To get the most out of your new pedal, you'll want to become very familiar with the controls. The Low Blow features two gain voicings (Smooth and Jagged), a notch lter and a full three band active EQ. We advise you spend some time playing with these
controls to see how each aects the overall tone of the pedal and also how each reacts to the other controls.
The Low Blow features top jacks - plug your guitar into the jack marked q and then out to your amp via the jack marked p.
Bypass Switch – Simple enough, this is relay based soft footswitch that is wired up for true bypass switching to ensure that you
don't have anything in the way when you disable the pedal. When you stomp on the switch, the LED will light up and you’re o!
Level – This controls the overall output of the pedal. We recommend that you nd the “unity” position ASAP (where the pedal is
the same volume/output is the same when the pedal is bypassed) and work from there. Many players like to have the pedal
provide a volume boost, other like it to remain the same. Find the place that works for you!
Gain - This is the control that applies overdrive/distortion to the elected tone.
Bass – This controls the amount of bass applied to the circuit. With the
control set to noon there is none added and none taken away. With
this being an active EQ stack, you can actually add bass with this
control. Small movements are the key here, you can and that sweet
spot with careful positioning!
Mid – As you may guess, this adds and takes away mid range from
circuit. Mid range is hugely important to your tone and can be the
difference between being heard properly in the mix and becoming a
low end swamp! Find that perfect place that allows your sound to
punch through the mix and give you the clarity you need!
Treble – Like the other two EQ controls, the treble control is active so
can add or take away the high end frequencies. High end is important
when your playing has a lot of attack and can really make your notes
stand out in the mix... If you prefer a more subtle tone, something that
walks around underneath, drop the tone and you will sound so full
and warm that even the guitar player will be impressed!
Blend - Allows you to blend back in the clean and unexected signal.
Once you have your EQ and gain set, bleeding in a little of the dry
signal will bring your notes to the front of the mix without taking over.
Gain Structure – This changes the character of the gain. Smooth is
more of an overdrive and jagged is more distortion. The differences
are quite subtle, but when you are pushing the gain control you will
really hear the difference between the two styles!
Notch Filter - The secret of the Low Blow’s success is the notch lter.
This is a EQ filter that can take away the frequency that is responsible
for muddying up so many bass tones, applying this will give you the
kind of clarity you have only dreamed of in the past.
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