Brian Wampler looked at the 1980s and saw two kinds of fire-breathing monsters. California boutique amps—smooth, articulate, punchy, the kind of gain that lets you bend a note and hear every microtonal ghost in between. British high-gain stacks—saturated, muscular, that cranked-Plexi crunch that made the decade sound the way it looked: dangerous and covered in hairspray .
He put both in one box. Emerald green sparkle. Gold hardware. The Wampler Golden Jubilee.
The Distortion channel is American. Mid-80s hot-rodded California, notes stay clear even when you’re drowning in gain. Pinch harmonics jump out without a fight. The Overdrive channel is British. That JTM45-meets-Plexi thing, blooms into rich harmonics, percussive chug that locks in tight when you’re hammering palm mutes .
Stack them together and the Order switch lets you decide who hits first. OD into DS gets creamy, singing leads. DS into OD gets massive rhythm tones that’ll fill a room without filling a truck .
Three knobs per channel (Level, Tone, and Gain). A Character switch per channel. No menus. No screens. No tap-dancing. Just gain that feels alive under your fingers: responsive, dynamic, the kind of dirt that cleans up when you whisper and roars when you dig in.
Thirty milliamps. Nine to eighteen volts. Built in the USA. Five-year warranty. It’s a workhorse in a party dress. Plug it into anything—tube amp, solid-state, digital modeler—and suddenly your whole rig sounds bigger, meaner, more expensive.
Two legends. One box. No herniated discs.
