Can anyone help me name all the big muffs

Can anybody name all the big muffs out at the moment. I've listed... NYC LITTLE NYC NANO NYC DELUXE METAL MUFF POCKET METAL MUFF GERANIUM MUFF BRITISH MUFF'N DOUBLE MUFF NANO DOUBLE MUFF

Deluxe Big Muff Pi, Deluxe Bass Big Muff Pi, as well as Bass Big Muff Pi, those are very recent. Big Muff Pi with Tone Wicker, Little Big Muff Pi, and others I can't remember.

Don't forget the Russian ones.

just in the Russians I can think of civil war, green, black...

Whats funny is that I have played almost every EHX made muff variant over the years before deciding that they all sound the same (or can be set to sound the same) as that first 90s black Russian one I bought in '97, at least in a band context. And also that I don't like them. Took me forever to stop flirting with the silliness of the big muff pi.

That's funny to me, because I just got done reading an article about how all Big Muffs sound different and players who use them tend to only use 'the one' and it's irreplaceable. I have never been a fuzz guy or a heavy dist guy. I have never plugged into a Big Muff or little Muff or Sovtek Muff or Pi. But, being heavily afflicted with G.A.S., the thought has crossed my mind to at least play through one at the store on occasion.

That's funny to me, because I just got done reading an article about how all Big Muffs sound different and players who use them tend to only use 'the one' and it's irreplaceable. I have never been a fuzz guy or a heavy dist guy. I have never plugged into a Big Muff or little Muff or Sovtek Muff or Pi. But, being heavily afflicted with G.A.S., the thought has crossed my mind to at least play through one at the store on occasion.

Its such an apples and apples comparison that the difference between your rare and expensive triangle muff and a cheap current production one are not going to hit the audience. Even in a solo guitar shootout I find the differences to be so subtle that they only matter to muff lovers. They are not as consistent as tubescreamers, for instance, but they are way more consistent than fuzzfaces. Vintage guys are nutty. I own a vintage AC30 and a modern handwired and whie they are different it is, again, an apples and apples comparison. Guys obsess about JMI-izing their new HWs and I am telling you its diminishing returns from an amp that already sounds great and really gets frighteningly close to my 62 through the same speakers. Yes there are component value differences from the JMI schematics, but my 62 is a bass voiced model and the HW is still damn similar. I think all the perceived 'improvement' in these mods is mostly psychoacoustic. The desire to spend the time and/or money is also a bit of a dick-envy thing from guys who didn't score a good old AC when they were readily available and still somewhat affordable. Sure, my 62 is a status symbol, but is it BETTER than the new one? Not in any measurable way. Its just more collectible. When I bught it the only handwired AC30s you could get were old ones, and if you wanted the tube rectifier it had to be an original JMI because the handwired 70s Arbiter model had a solid state rectifier. I bought mine because it was the only option if I didn't want to deal with a PCB and sacrifice the GZ34, not because I wanted to be cool and show off my british invasion amp. I literally had no options. Its a wonderful time to play now. You can go out and buy a hand made ac30 with a gz34 rectifier at a good price and other than the omission of vib/trem it is pretty spot on.

I totally agree. It is a great time to be playing, gear-wise. Everything {schematics} is readily available thanks to the internet and there are TONS of Geppetto geniuses making classic stompboxes and amps in their garages / basements, and selling on Etsy and eBay for reasonable prices. Unfortunately for me I found the stompboxes I like before the boutique brands found me. But I saw a Mooer pedal the other day that sounds just like my MXR script phase at half the price. And I'm not even sure that Mooer is still considered a boutique brand. Guitars are no different. Suhr used to be a boutique brand. Now, their strats are everywhere. I did manage to buy my A/B boxes from a garage genius on eBay. They are true bypass and one even has a tap tempo button (which saved me from having to place a separate tap switch on my board).

I highly recommend everyone look around their neighborhood or local city and see what can be acquired on the streets before running to a big box store/brand. Just make sure you play it first, or hear it first, before you buy. As there may not be a return policy or warranty.

Can we all just stop and ask why we're doing this? OP obviously hasn't said anything about the subject, it kind of bothers me.

Can we all just stop and ask why we're doing this? OP obviously hasn't said anything about the subject, it kind of bothers me.

grow up narcisitillo!

haha OK he is right though, we got a little carried away. I wish that would happen on one of the two threads I started earlier this week ... I guess nobody uses the DD-5 or DD-7 anymore :(

Because DD-20.

Anyone heard of those Red Witch pedals? Violetta seems really appealing.

Because DD-20.

Anyone heard of those Red Witch pedals? Violetta seems really appealing.

So what is the Hold function for? and does anyone use it?

By appealing, do you mean sexy artwork? or sounds like a decent pedal? Because all the Red Witch pedals have attractive lady artwork ...

By appealing, do you mean sexy artwork? or sounds like a decent pedal? Because all the Red Witch pedals have attractive lady artwork ...

Well I was thinking sonically, but in terms of artwork, you'd be correct. Red Witch at least gives Violetta a personality, along with her younger and less mature self, Violet.

Because DD-20.

Anyone heard of those Red Witch pedals? Violetta seems really appealing.

So what is the Hold function for? and does anyone use it?

By appealing, do you mean sexy artwork? or sounds like a decent pedal? Because all the Red Witch pedals have attractive lady artwork ...

I knew a guy in a Bauhaus/Neubauten influenced noise band who played more music manipulating the parameters on his Boss delay in hold mode than he actually ever made plucking strings and fretting! Its good for making ambient textures out of tiny audio loops. I have little interest in those kind of techniques, why not just play a synthesizer then? But to each his own. I am not sure if that's what Boss intended the hold feature on those small format delays to be used for, but its the way I've seen it used by the one guy I've seen use it.

So what is the Hold function for? and does anyone use it?

Just watch Andy demonstrate here:

https://www.youtube.com/watch?v=sVuERF9T474

I knew a guy in a Bauhaus/Neubauten influenced noise band who played more music manipulating the parameters on his Boss delay in hold mode than he actually ever made plucking strings and fretting! Its good for making ambient textures out of tiny audio loops. I have little interest in those kind of techniques, why not just play a synthesizer then? But to each his own. I am not sure if that's what Boss intended the hold feature on those small format delays to be used for, but its the way I've seen it used by the one guy I've seen use it.

That's actually quite brilliant, I'll be sure to try that out when I get a Giga Delay. Also, why use a synth when you can do the same and more with a guitar?

Actually, this article here on Equipboard ...

http://equipboard.com/posts/analog-vs-digital-delay-oscillation-and-hold

... has tons of Hold function usage in the video. I discovered it yesterday thanks to the EB newsletter.

Dopey, Sleepy, Sneezy, Grumpy, Happy, Bashful and I call the big one Bitey!