The finest harmonic distortion/sustain ever! Made in NYC!
Like the legendary Big Muff Pi of the '70s, the reissue Electro-Harmonix USA Big Muff Pi Distortion/Sustainer Pedal has 3 controls that let you dial in the finest harmonic distortion/sus...
Interview from Guitar.Com "Always A Guitar Player" by Scott Tribble Guitar.com: Some people cite the Spencer Davis Group's "Keep on Running" as the first song recorded with a separate distortion pedal, as opposed to just overdriving the amp. Is that indeed how you did it? If so, to your knowledge, were you the first to do that on record Winwood: That is indeed how we did it. I think [the fuzz box] was called a Big Muff. I'm not sure that we were the first to do that on record. We just went to the music shop and picked up these gadgets and tried them out— it sounded good for that song.more
Pete briefly used a mkIII USA-made Electro-Harmonix Big Muff Pi fuzz pedal in his rig occasionally in 1976, in the studio in 1977, and in the Gaumont/Shepperton gigs for The Kids Are Alright film. Rather than using this as a traditional floor pedal, the pedal was taped down on top of the Hiwatt amp rack, and was engaged by hand, as can be seen during Pete’s solo in Won’t Get Fooled Again in the The Kids Are Alright film.more
Dunlop Rotovibe Digitech Whammy Pedal Dunlop Heil Talkbox (used on the “Man in the Box”) Digital Music Corp Ground Control Pro Electro Harmonix Big Muff Pi (used on his solo album “Boggy Depot”) Ibanez TS808HW Tube Screamer ISP Decimator MXR EVH Flanger MXR Bass Octave Plus MXR Smart Gate (x2) BOSS CH-1 Super Chorus BOSS CE-5 Chorus Ensemble BOSS TR-2 Tremolo BOSS TU-2 Chromatic Tuner Eventide TimeFactor Xotic AC plusmore
What's in the large console you use on stage? It looks very complex. "Well, actually it's not all that complex. It's a little rough to maintain. Things can get broken where it's shipped around. It's got a pair of Dynaflangers, a pair of MXR Flangers. It's got one input and four outputs – two dirty outputs and two clean outputs, all stereo. There's also two Big Muffs, Systec Harmonic Energizer – all these things are in pairs – Oberheim ECF, Eventide Harmonizer, MXR DBL, Mutron, DBX 162 compressors, Gain Brains, Kepexes, a Theremin and a Biphase. That's about it, and there's about 24 switches on the floor. I add to it every year. The Dynaflangers are on the newest thing. Oh yes, there's a Mutron Octivider and a DBX Boom Box. " - From the Guitar Player Magazine (May-June) in 1979, written down on the Frank Zappa Wiki "Wiki Jawaka"more
In hysteria and time is running out to name a few, this is how he gets the fuzzy sound similar to Matt bellamys fuzz factory on plug in baby, on his rig from the photo you can see the big muff on the board behind him and several people that have worked for muse have confirmed that with a plethera of other pedals he uses, the makn one to get the fuzz sound is the big muffmore
Guy who knew him personally as a friend and had seen his gear many times claims he remembers a distinctive PI symbol on the pedal. Also here is part of the conversation with him in which he cites Big Muff as Cliff's pedal: 'Yes I knew Cliff and saw his equipment many times over the years. Two of the first pedals I remember him getting were a Morley Power Wah Fuzz and an Electro-Harmonix bass balls. He used the Bass Balls briefly, but it did not get dirty enough for him. He tried a lot of Boss distortion pedals, but ended up choosing a Big Muff Pi. Cliff used that set up for quite a while with both his Randall and Sunn heads, at least up until the time he joined Trauma. After he switched to Mesa Boogie heads, he decided he liked the natural grind from the head better than the Fuzz sound from the Morley Power Wah Fuzz. So, he traded that for a Morley Power Wah Boost to help overdrive the front end of the Mesa head. In all the time Iknew him, he always had a Morley pedal on his Board. He also started experimenting with other pedals to replace the Big Muff Pi during the Metallica years. I remember a Tube Screamer for a while. Then he had a combination of a Tube Screamer and a Boss CS-1 Compression Sustainer going into the Morely Power Wah Boost. That is the last set up i remember him using. A Tube Screamer with a CS-1 and a Morley Power Wah Boost into a Mesa tube head.'more
Regarding the recording of Elbow's "Grounds For Divorce", Potter stated the following: > It was a Gibson Les Paul through an Electro-Harmonix Big Muff pedal and then I used a '54 Vox AC30 head with a vintage Marshall 4x12 cab. It's not like I thought 'I'm writing a rock riff, therefore I must use a Les Paul'. My favourite guitar is a Gibson ES-335, but I played it on that and it didn't quite have the sort of crunch that I was going for, so as soon as I picked up my Black Beauty Les Paul, that was it - it sounded great. Originally I just recorded the one riff and then I thought 'Well, how about if I track it two or three tones up the octave?' Then I did down the octave and then I played it on a bass, bending the note on that as well. When we twinned these four or five signals of the same riff played in five places on the guitar, it just sounded massive.more
Corgan recalls: "My first mental recognition of the 'power' of the Big Muff came one night when i just happened to drop by a Catherine band practice. Catherine was Kerry's band in the 90's, and we used to share the same rehearsal space (they were the only band we trusted not to steal our shit and vice-versa). So i walked in and i just heard this tremendous ROAR and i thought to myself 'how are they making that sound?'. Each of the 3 guitarists had Big Muffs and the sounds was very Sabbath-like, just throwing this tremendous low drone buzz into the room. I knew that the band Mudhoney used Big Muffs but honestly they weren't using them like Catherine did. So i owe a debt of gratitude to Catherine for showing me the purple fuzz light. We used to try to use the pedals live but it was impossible for there wasn't enough clarity. We did use other Electro-Harmonix pedals live, like the Electric Mistress. We only had one of these in the beginning and James and I used to take turns over who would use it on a given night. Since we were mostly playing clubs we were looking for anything to take your head off and separate the sound of the guitar from the incessant din. The Big Muff pictured is 'the' one from Siamese Dream, the fuzz that launched a 1,000 other dreams i suppose. Almost all the heavy tracks were recorded thru this, solos included. Many songs would have as many as 8 fuzz guitars going at once. It was very difficult to record the tracks with this sound, but once it went right it was BLAMMO, a huge, huge sound. The settings you see in the picture are the exact settings for if you look close enough you can still see the pencil marks on the volume and tone. I had all sorts of theories of how to best use this pedal, including the idea that it only sounded its 'best' when used with a battery (as opposed to a power supply). I'm not much for going backwards but it is tempting to crack out all the old gear sometime and give it one more go. Maybe somewhere in amongst the 44 songs of Teargaden by Kaleidyscope I can find one such moment to do so. The sound of the combo of the Bat Strat, the Big Muff, and the Soul head with Mars cabinet is still unmistakable."more
For Marsden, his desert-island effect has to be an Ernie Ball VP Jr Volume Pedal because he says it’s the most expressive tool under his control. When it comes to actual noisemakers on his board, he has a Fulltone OCD, an Electro-Harmonix Big Muff, Electro-Harmonix POG2, a Strymon El Capistan, a Boss DD-7 Digital Delay, an Electro-Harmonix Bass Soul Food that he sniped from bandmate Emma Richardson, an EHX Cathedral, and a Danelectro Reel Echo. Everything is controlled by GigRig QuarterMaster QMX8 switcher and it all stays in tune thanks to a Boss TU-3 Tuner.more
But there is one very important aspect of the Seattle/Olympia/Portland grunge guitar legacy that Love claims as her own. "I contend that I was the first person to actually have a Super Fuzz Big Muff, before the rest of the boys," says Love. "It was when I was in this purist Sixties garage band called the Venerays, with Kat Bjellandmore
Doyle was using a Demeter Preamp through an unknown power amp and Celestion-loaded 4x12's. All rhythm tracks doubled (if not tripled). The usual Devastator guitar with Duncan Invader pickup. Same thing live. However....Daniel Rey (producer) is a big fan of JCM 800's and I wouldn't be surprised if they made an appearance on the record. The few times I saw them live with Dez Cadena, he was using 5150's. FWIW, the classic Misfits sound was a Big Muff thru Ampeg V-4 heads and cabs.
"I think my absolute favorite pedal has to be the Electro-Harmonix Big Muff. I’m a bit obsessed with fuzz pedals, and I own and love different ones, but this one just can’t leave my board because it does things no other pedal does for me. It has a bit of a mind of its own. I love trying to control noise, and the Big Muff seems to love it too, because when I turn it on with the sustain setting all the way up it squeals and squelches in between what I’m trying to play, and snaps to catch the notes I try to get out against waves of massive low end. It’s thick and disgusting and I love it," David says, in Paste magazine's [article](http://www.pastemagazine.com/blogs/lists/2012/05/14-guitarists-talk-about-their-pedal-boards.html?a=1).more
Minilogue's studio is surrounded by serene nature outside of Malmö, Sweden. It's here that Sebastian Mullaert and Markus Henriksson compose their lush, evolving techno suites with a variety of hardware and software - with Live at the center of each musician's setup. In the video below, Sebastian gives us an overview of Minilogue's technology.more
Artist said: "astroflexagram @astroflexagram #pedalboardfreak #shoegaze #guitarporn #spaceecho #electroharmonix #deluxememoryman #bigmuff #mxr #phase90 #dittolooper #bossps3 #smallstone #ravishsitar #twintube #tech21 #sansamp #pulsar #greenmachine #aramateffects #bossdd5 #bosstu #guitareffects #guitarfx #seymourduncan #1spot #geartalk #pedalboard #alienspacebuttons #drugs #toys Foto: @renconde"more
when asked "Tell us about your pedal rig – it looks like you’re using some kind of big multi-effect – am I right?" he says: "Yeah a POD hd500x. It’s got lots of goodies in it. Sounds good. I’ve got a lot of the real pedals that it’s emulating and I’ve A-B’d them and I can’t tell the difference. Like the Big Muff is exactly the same as the real thing except it has better eq in the POD."more
> "After acquiring a decent starter electric guitar, naturally, my next purchase was a guitar pedal, and that came in the form of the Ibanez FZ7 Tone Lok Fuzz. From there, I got a wah pedal as a birthday present, a Tube Screamer I saved up for for months, an upgrade to my fuzz pedal [the Big Muff]..." First visible in this video at 0:46.more
> I’m running my guitar through an MXR Distortion Plus, it’s like an early ’80’s late ’70’s distortion pedal. There’s an MXR Phase 100, a Geoffrey Tease Real McCoy wah pedal and this Big Muff, I forget what it’s called.> - Erik "Ripley" Johnson at Positive Destruction (positivedestruction.wordpress.com) 14/11/2011more
Visible on Poulsen's pedalboard in [this live performance of Kiev's "Loot Recovered"](https://youtu.be/yD7eEikpbho) at 3:04. It is also visible on Poulsen's pedalboard in [this Facebook post](https://www.facebook.com/kievtheband/photos/a.493074548042.274494.176052708042/10151655219053043/?type=3&theater) by Kiev.more
"I bought a 70’s Little Big Muff Pi [op-amp version] in a second hand guitar store; it just has a volume knob on it, which I set all the way up. There’s this little switch that toggles between bass and treble on the side too, I just set it to the bass side. So it’s like a Big Muff with the tone rolled all the way back. I used that up until just recently."more
The finest harmonic distortion/sustain ever! Made in NYC!
Like the legendary Big Muff Pi of the '70s, the reissue Electro-Harmonix USA Big Muff Pi Distortion/Sustainer Pedal has 3 controls that let you dial in the finest harmonic distortion/sustain ever produced. The Volume control adjusts the output level. The Sustain control optimizes the long sustain with just the right amount of harmonic distortion. The Tone control provides a range of sounds, from warm bass to crisp treble.
Simply awesome. I like the big box format because I'm modding mine. At this time, I added the Tone Stack bypass switch, two DPDT switches to take off the diodes of the two saturation stages and a 3PDT to add a LPB-1 before the big muff to increase the gain at this first stage.
Really love all the ehx & russian big muffs I wanted to review the usa pi version because I think it has a great sound if you do a tone bypass mod ,I did and found I got instant queens of the stone age type sounds, as well as a coll white stripes stuttering solo tone due to the extra 7db the tone pot sucks usually when in stock mode
Really cant recommen buying one and doing the mod enough if your after the tones I mentioned. I will be going to make a green russian clone next for all the black keys tones, really love all carnations of the big muff!
this thing is freaking awesome!!! its hands down the most versatile fuzz pedal ive ever used and if your looking for a good black keys-jack white sound then this is what your looking for........................... however it sounds like crap on most solid state amps so i highly recommend getting a good tube amp, thats what this pedal was designed to work on
Problems being its charging port, its not the standard Boss 9v Its casing is easily scratched and its awkward square corners are annoying even though I appreciate the classic styling, but I cant deny its awesome versatile controls and tone. Seriously so many artists have used this pedal it speaks for itself.
Whether you want a super fuzzy high tone, or a slight sustain with a low bellow, this pedal gives you anything you would want with a little more. I love this pedal because of the many sounds it can produce, and it will always have a place in my rig.
This piece of absolute beauty is finally mine! It's even more awesome then I expected. It's really great-sounding. You get what you pay for (and You don't really pay a lot). It cuts through the rest of the band or loop like a hot knife through butter.
It's a great pedal that has some kind of "fuzztortion" sound to it, it's not a classsic tone bender fuzz neithe a fuzz face type of sound, though is very vesatile, anyway it's huge, it has tons of gain and distortion ik you like, or it can be almost like a smooth overdrive sound, it has a built-in buffer so it works pretty well with wah's too!
I REALLY wish I could have a Russian big muff, but alas, they've been discontinued. This is a great substitute, though. I bought this pedal because I love Muse, and this gave me a really BHR-like tone paired with my jazz bass.
Great! If you want a Fuzz Pedal, go for this one! Pros: Good amount of control, Sustain works awesome! And the Tone adjustment is really good. Cons: Doesn't seem to work well with certain pedals.
The Big Muff PI from EHX is one of the most famous distorsion pedal around the world. Produced from half a century, almost all of the guitartists tried or got one. It produce a harsh and loud sound with an infinite sustain !
Best pedal I've ever owned. Gets a nice rich fuzz. I'm not sure what exact model or year mine is, came from ebay in 2015, and it's a tad beaten up, but no distinct mods.
This was the first guitar pedal I ever owned. A Greek friend of mine was clearing out a space and came across a vintage 1970's Big Muff Pi and so I happily bought it from him for £30. This pedal started everything for me, it changed the way my guitar sounded and compelled me to really carry on playing rock and roll music. This pedal is super easy to use and needs no instructions to operate. This pedal gives me the deepest, thickest, singing tone I have ever heard on record or live, anywhere. I am keeping this stomp-box for life and I am sure that it will prove to be a rock upon my board and the go to pedal to really pump up the jam!
Fuzz absolutely indomitable. I use it only for crazy, crazy, crazy parties. Normally I can't find his place in my pedalboard for blues-rock, but he's like your rebel and lovely kid: I would never sell it.