In addition to his NYC reissue, White used a V6 rehoused by Mike Piera of Analog Man. Kit Rae shares what Piera told him about the circuit on his Big Muff Pi Page, which includes this ca. 2005 photo of White’s pedalboard.

Shown above, left to right: Jack White's large pedal boards, circa 2005, with a red Big Muff (rehoused by Analog Man). Mike at Analog Man told me that this Muff is an old 1970's model, and it already had an LED added before he re-boxed it for Jack. Mike stated that Jack wants his Muffs reboxed in smaller, sturdier enclosures because he crushes the stock enclosures. He also refinishes the enclosures in different colors for Jack, as he wants a different look for each of his tours for his different bands. Although it has been rumored that Jack's Big Muffs are modified (the usual myth is a flat mids mod) they are actually stock circuits. The 'mod' is the different enclosure. Based on the knob type, knob positions (all at 1:00), this is a most likely a V6 Big Muff. The pots in the 1970's Big Muffs were soldered directly to the circuit board, and prior to the V5/6versions, the 1:00 position shown on Jack's red Muff (above) would have made the tone completely on the treble side, but the knob type was only intoduced with the V4 and V5 versions.

A "1970 Electro-Harmonix Big Muff silicon fuzz" is specified in an Australian Guitar interview with The Edge's guitar tech, Dallas Schoo, on page 27 of the issue. Despite the year given, various images of The Edge's Big Muff Pi show it to have the exterior of a V5 or V6 Big Muff, which were only produced as early as 1978. Given that the V5 used op-amps and the V6 used silicon transistors, it can be deduced that The Edge utilized a V6. It can be seen as early as the Joshua Tree Tour, with the earliest mention being this ca. 1986 interview with "J.B.".

Let's see, I also use the Electro-Harmonix Big Muff, and then there's the Yamaha SPX90, which I've been using alot. The yamaha REV7 is also something - I've been getting into using reverbs live.

As compiled by U2 Guitar Tutorials forum member kultschar in this forum post, photos from the Joshua Tree Tour, the Zoo TV Tour and the PopMart tour show the Big Muff being used live. It is also mentioned by Shoo in this 1997 Guitar World interview and page 179 of Live and Kicking: The Rock Concert Industry in the Nineties by Mark E. Cunningham.

U2 Guitar Tutorials

Joshua / Lovetown Rig:

http://i70.photobucket.com/albums/i89/kultschar/U2%20Guitar%20Tutorials/Edge%20Rigs/PS3-6-00009_zpsbe7ae19f.jpg

• Big Muff - Big Muff - Note the Big Muff is not in the pedal tray but on the next rack with the Tape Player. Over the years its been said the Muff was used in his B signal which in those days went to the solid star Randall amps.

(...) ZooTV Rig:

http://i70.photobucket.com/albums/i89/kultschar/U2%20Guitar%20Tutorials/Edge%20Rigs/PS3-6-00019_zps59afb57a.jpg

Well its the same pedals as the tour before, only he added a crazy amount of rack units

This picture is from CAE during the actual building of the rig, note the pedals were put into the TC2290 loops and labelled TC1, TC2 etc If your eagle eyed you can see the Boss SD-1 and Pearl Graphic EQ labelled Infinite Sustain therefore both combined in one loop for WOWY tone. The TC2290 loops idea I believe were scrapped and they ended up in Rocktron Patch Mate switchers. Below is the rig during the early Zoo tour when they played the Achtung Baby songs pre Zooropa, note the pedals were duplicated. I believe they were duplicated for backup purposes, he did substitute the odd one e.g. Boss Graphic EQ was used instead of the Pearl EQ, TC FET Booster was used instead of another FA-1 and CS-2 was used instead of another Dynacomp. This was in the days before eBay and Internet so probably difficult back then to find another FA-1 and Pearl etc which of course we now take for granted (I remember when it was near impossible to find these pedals but now everyday on eBay!!!!)

http://i70.photobucket.com/albums/i89/kultschar/U2%20Guitar%20Tutorials/Edge%20Rigs/PS3-6-00023_zpsef9f4674.jpg

Popmart Rig

http://i70.photobucket.com/albums/i89/kultschar/U2%20Guitar%20Tutorials/Edge%20Rigs/PopmartPedals2_zps9c2b5ce3.jpg

As you can see his Zoo pedals (core sounds remain intact). Im positive the OD-2 is still his main overdrive as its still the first switch on his MIDI controller like the Zoo days labelled Turbo.

Next to his Zoo Pedals he has taken away the spare duplicates and added his new Lovetone Pedals for the new Pop songs to be played live:

http://i70.photobucket.com/albums/i89/kultschar/U2%20Guitar%20Tutorials/Edge%20Rigs/PopmartPedals1_zps638d2db7.jpg

On this tour he still used his ZooTV Bradshaw MIDI controller (most the same labels)

As you can see from his MIDI controller the Bottom Row appears to be his main signal path and not only has he labelled the effects from Loop 1 - 8

The top row appears to be his split signal path

http://i70.photobucket.com/albums/i89/kultschar/U2%20Guitar%20Tutorials/Edge%20Rigs/Popmart-3jpgoriginal_zps1eaab74c.jpg

I have a better labelled picture from this tour and you can see he has another controller incorporating the Lovetone FX and Amps for switching that I have labelled (anybody have the original of this picture BTW? I only have my labelled version)

http://i70.photobucket.com/albums/i89/kultschar/U2%20Guitar%20Tutorials/Edge%20Rigs/PopmartController_zps4f17cbc1.jpg

Guitar World, 1997, "Close to The Edge"

One irreplaceable effect is the Edge's Korg SDD-3000 digital delay. "That's one of his favorites because it has so much warmth," says Schoo. "Most of the albums were made with that delay." Other processors in the Edge's rack include a Roland SDE-3000 digital delay and Yamaha SPX90, Korg A3, Rocktron Replifex, DigiTech 2112 and Eventide H3000 multi-effectors. He also carries a full array of pedals, including Dunlop Fuzz Face, Dunlop and Bradshaw multiple-wah systems, several Boss distortion units, an Electro-Harmonix Big Muff, and Lovetone's Big Cheese distortion Doppelganger phaser and Meatball envelope follower.

Live and Kicking: The Rock Concert Industry in the Nineties by Mark E. Cunningham (1999)

"For the new songs, Edge uses a Lovetone Big Cheese overdrive which delivers a very broken sound, but for his really big distortion he still uses the smal FET pre-amp and his Electrop-Harmonix Big Muff."

Use on the Elevation Tour is confirmed by the AudioFile feature "U2 - Wired for Sound" (pictured) and a 2001 Guitar One feature (as scanned by fansite U2 Atomic: Edge Gear). Use on the Vertigo Tour is confirmed by this Guitar World feature at 1:55, this photo and It Might Get Loud (as observed by Kit Rae here and here). Custom Audio Electronics also released a 2015 picture of The Edge's rack gear, which includes the Big Muff.

Big Muff Pi can be seen in the bottom left next to the Big Fuff Triangle Muff

Turner's first Big Muff Pi. It is specified in Stompbox: 100 Pedals of the World's Greatest Guitarists and this November 1, 2018 Premier Guitar interview. Along with the Univox Super-Fuzz, it was the namesake of Superfuzz Bigmuff, which Turner reflects upon in this September 6, 2018 Vice interview. It is also visible in this May 2, 2007 photo and this excerpt of Live At El Sol at 5:08, which show that the original knobs were later replaced. According to this October 13, 2017 Red Bull Music Academy interview, the pedal was irreparably damaged when a van ran over it. The remains became part of the collection of the Museum of Pop Culture.

Maximumrockandroll, August 1990 (as archived on this Open Computing Facility fan page)

MRR: And you use the Big Muff.

Steve: Yeah. Fuck! I just got a Mosrite Fuzz Rite which is what Davie Allan of Davie Allan and The Arrows used.

Guitar Player, February 1992 (as archived on this Open Computing Facility fan page)

Turner and Arm don't break stylistic stride with their pedal choices either. "We use a lot of different fuzz boxes. On the road I use a Big Muff, a wah-wah pedal, and a Memphis distortion box, which looks like an MXR. I've never paid more than $15 for one - they break easily, but they're cheap."

Excerpt from I'M NOW: The Story of Mudhoney (at 0:39)

By the time that Mudhoney started, I was playin' the Big Muff 'cause it had more of that sustain, kinda like Blue Cheer, Stooges kinda thing going, and so Mark used the Super-Fuzz.

Red Bull Music Academy

“The Big Muff...has permanent status in guitar lore and gear,” says Steve Turner, guitarist of Seattle grunge trailblazers Mudhoney, who immortalized the pedal in the title of their 1988 debut EP Superfuzz Bigmuff. “It’s gonna be one of those boxes everyone has to know about if you get into guitars. You’re gonna know about the Big Muff. I mean there’s just so many clones of it...it’s everywhere.” (Turner’s original Big Muff, which was run over by a van after a show, now sits in Seattle’s Experience Music Project Museum).

Vice

How important were those two titular pedals to the sound of the record?

I think they were very important. We only named it that because it was a bad pun. But the pedals were a big deal. Me discovered the Fuzzbox was a big deal. Mark had already loved feedback and fuzz. At the time I was so into the Stooges, Blue Cheer, and some of Neil Young’s guitar sounds, not to mention the mid-80s post-hardcore stuff like ANTi-SEEN, Pussy Galore, and Drunks With Guns, which was some really ugly stuff. Those two pedals really were the basis for our sound: Mark on the Superfuzz and me on the Big Muff.

Premier Guitar

You guys are obviously huge fuzz connoisseurs—you named your debut album after the two you just mentioned, Steve—but it’s interesting that the Nano Muff remains your favorite at a time when there are so many painstaking boutique clones of vintage fuzzes fetching pretty serious money.

Turner: I’m kind of trying to get the sound of my original Big Muff. The one I used on all of the earlier records is one of the last production Big Muffs, I think. I got it new in 1984 on closeout. Going off memory and feel, to me the Nano sounds the most like that.

Stompbox: 100 Pedals of the World's Greatest Guitarists (2020)

"I bought my first one brand new in 1984, most likely at Seattle's American Music store," Mudhoney guitarist Steve Turner recalls of the latter pedal. "I'd heard it was supposed to be cool—probably from [Pearl Jam/Green River guitarist] Stone Gossard, who I was in high school with at the time. Now, Stone was a metalhead then, and I was a punk, but mostly what appealed to us, as with most of Mudhoney's gear, is that it was cheap. Hard to imagine today, but there was literally a huge pile of them for $35 each. I should've bought them all. It turned out mine was the very last of the original run, and Electro-Harmonix discontinued it shortly afterward."

Visible this photo from this October 23, 2017 Free the Tone article.

A "reverse logo" V6 is featured in this June 1, 2015 Instagram post.

A muff said! #bigmuff #bigmuffpi