Wampler – Triple Wreck Rectified Distortion


Competing with the SLOstortion for highest gain member of the amp-in-a-box pedal family but voiced very di erently and with totally di erent design goals, the Triple Wreck takes Brian’s careful dedication to getting the tonality of an amp and replicating the sounds that make the amp famous and aims it squarely at creating superb high gain tones inspired by the Mesa-Boogie® Recti er® amp series.

A powerful three-band EQ ensures that you can dial it in regardless of your ampli er. Any clean amp plus the Triple Wreck equals instant “brutal” high-gain.

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Nonetheless, it is still extremely touch-sensitive and responsive in its lower gain knob settings. If that were all that the pedal were designed to do, it would be pretty fantastic… Yet Brian worked extremely hard on the Triple Wreck pedal to accomplish two goals: rst, provide that trademark Wampler Pedals tone and exibility in achieving the amp-in-a-box function, but second, provide a beyond-brutal, overwhelming, crushing wall of fuzz with the Boost mode.

Kicking in the Boost is not like anything else you’ve heard.

It takes a high-gain, made-for-metal pedal and turns it into a re-breathing fuzz monster. The Boost is not separately activated, it requires the pedal to be on in order to do its thing, and it’s not a volume boost…

It’s a monster. Bringing unreal levels of snarling gain to bear, it can do even the most high-gain modern fuzz tones, but kick the Boost o again and you’re back to a great, inspired metal tone.

To get the most out of your new pedal, you’ll want to become very familiar with the controls. The Triple Wreck features controls for Gain and Volume, as well as a full three-band EQ for versatile tone shaping and a “Hard/Brutal” Toggle switch to help deter- mine the overall tonal emphasis of the pedal.

In addition, it has a Boost footswitch, controlled by a knob labeled Boost Contour. As with all Wampler Pedals products, the Triple Wreck distortion pedal includes a high-quality true-bypass switch which takes it out of the signal path when bypassed. Experi- ment and enjoy!

Bypass Switch – A true-bypass footswitch ensures solid, mechanical removal of the circuit when it isn’t wanted, meaning you don’t lose any tone when the pedal is o .

Volume – This control adjusts the output level of the Triple Wreck. There’s plenty of volume on tap, so whether you want to go farther than your input level or just make sure it can do unity volume (the same level of signal going out as you feed it, when active), you’re covered. The Gain, three-band EQ knobs, and the Hard/Brutal Toggle all have an impact on total output volume level, so you’re probably better o waiting to adjust the Volume until you’ve dialed in the other controls. Re-adjustment might be necessary if you get it to the desired level and still need to tweak the sound.

Gain – This control certainly brings heavy gain into play, but it goes farther than that. It lets you dial in medium crunch tones that are very responsive to your volume knob on your guitar and playing dynamics, or crank it up for a seriously powerful high-gain sound. When using the Boost mode, this has a dramatic impact as well, and is very, very strongly interactive with the Boost Contour knob. With lower Gain and with the Boost knob set more anticlockwise side of its range of adjustment, it functions more like a conventional gain boost on an amp, kicking in a higher gain tone and making it possible to switch from a medium-gain crunch to a high-gain lead tone with one click of the Boost switch. Set to higher Gain knob settings, though, the Boost Contour knob has more of an impact on the character of the blasting fuzz. The interaction between the Boost and the Gain knob is de nitely something to pay close attention to as you dial in the pedal.

Treble – This adjusts the frequency emphasis on the highs. It’s a straightfor- ward control, but it is still extremely e ective. If you want more highs, raise the Treble. If you want less, lower the Treble. This control is in some ways determined by the Hard/Brutal switch – set to Hard, you will have an inherent- ly lower amount of treble, whereas Brutal mode allows you more high frequency room to expand.

Mids – This adjusts the “body” of the sound, the midrange frequencies where guitar’s fundamentals reside. Scooping this out can put you back farther in the band mix, while pushing it up will put you more forward in the mix. Brian has worked hard to make sure that you can dial in your ideal high-gain sound with the Triple Wreck across a huge variety of amps. A classic “scooped” sound is de nitely possible, but watch where you are in the mix.

Bass – This control determines the amount of low end pound to the signal, and is great for dialing in the pedal to meet the needs of your cabinet. The idea of the Triple Wreck is an aggressive, high gain sound, and one of the ways in which it strongly distinguishes itself from the lower gain pedals and even from the higher gain options in the Wampler Pedals lineup is in its extraordi- narily tight distortion character. It allows you to easily chug (or “djent” if that’s your preference) without ab. When using the Triple Wreck with a closed-back cabinet, pay attention to the Bass knob for a tight sound.

Hard/Brutal – This control essentially sets the overall voicing of the pedal’s frequencies, to be either darker (think late ’80s, early ’90s high gain guitar tone) or brighter and more modern. Setting this up rst will give you a good “starting point” for your tone, but it’s also useful if you’ve adjusted everything else and feel the overall tone needs to shift in a larger direction.

Boost Footswitch – This is the switch that changes the pedal from recogniza- bly brutal high-gain distortion to a modern fuzz monster. It’s attached to its own control knob, called…

Boost Contour – This adjustment changes the intensity of the Boost. It’s possible, as mentioned above, to set the Gain knob lower and this Contour anticlockwise for a more conventional gain boost setup, but the majority of possibilities are varieties of heavy, crushing fuzz. This control, in conjunction with the Gain knob and the EQ options, lets you dial it in just like you want it.


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