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albou « The Vintage extended family! »
Published on 04/22/13 at 07:02The features are simple: there are the settings of his great (and big) sister, namely Volume, Tone and Sustain (gain for novices). However, there are two small switch, in fact fairly discreet, changing the institution entirely.
Entrance, stamped "input" and "amp" output and finally a true bypass. For the price it is enough!
Of course, it is out of the question to speak of other digital editions or 'witchcraft'. The transistors are those who have made the reputation of the family's Muff.
Nothing to say, it is a Big Muff and it's like that.
UTILIZATION
To use the thing is quite clear if we already owned or used a pedal drive or distortion. Volume knob for volume (excluding December '?), The tone knob for the master EQ and one to sustain the level of distortion is desired.
Nevertheless, one can not help fiddling with two mini-switches available ... But what the heck is that? The manual is in English it does not understand what Mike wanted to Matthews. In theory, if the tone switch is ON and OFF wicker, we get the original sound of the Big Muff. This is debatable, but the sound is better than the Little Big Muff (meaning closer to the original).
The manual is very clear for the theoretical explanation of all the settings, but as with everything, the best is to try ... And that's what we'll do!
SOUND QUALITY
The sound ... What about ... The Big Muff does not have to prove the original sound is a classic among classics. A very fat fuzz endless sustain that works both in rhythm game lead in single or dual microphones (including p90). In addition, the tone and sustain knobs allow very subtle changes that go from light colored fuzz drive for blues and funk, to Hard Rock and Grunge very powerful.
But if we had wanted to "limit" to that, we would choose the original. When you push the Wicker switch to the ON position, the acute increase instantly and give a little more power to her. It's subtle, it's not revolutionary, but it is there and what is ultimately quite handy even if you lose a little heat.
The revolution is rather right side: at the tone switch ...
When it turns OFF, the tone circuit is cut and the volume increases by a quarter or a third party. We must therefore take precautions when the off.
But the sound is very different: a powerful distortion and couilllue which somewhat resembles that of Germanium 4 of the same brand is obtained. Sustain shorter but it's perfect for the rhythm and rock riffs.
Ultimately, I used mainly the 'fuzz' circuit I is hell! Versatility (in fuzz tones of course) is hell, the fat that remains incisive quality!
The distortion is less, but perfectly functional for that matter.
Finally, the mini-switch wicker could benefit from a 'real' way to switch a boost I finally ... Ca is the big breaks anyway!
OVERALL OPINION
I use it for almost 6 months and I have not yet done the trick! Multiple opportunities that can meet many different musical styles. The purpose of Mike Matthews, when he designed the Big Muff, was to create a distortion that can reproduce all the notes of a chord with a "sharp" equivalent for each note. And it works! It does not get messy when we add a seventh or whatever, and I love it!
On the other hand this is great with the EHX is the quality / price unbeatable always at the expense of a certain neutrality and tonal versatility, and that's more like it! One likes or dislikes.
I would do this choice without hesitation because I love, I love the same!
Finally, I would like to take on some of the remarks in which "the Big Muff today is crap and all the others too! It is a distortion as another! And those kids not wash the hands before sitting down to eat Ah of my time ... etc ". In this case, all stop playing the guitar, they are all zero in chi ** compared to the 60's-70's.
Know, my friends of the 21st century, we can not reproduce the manufacturing quality of the time when much to do with what we have, and do not act in bad faith in the quality. Thank you for your attention!
Entrance, stamped "input" and "amp" output and finally a true bypass. For the price it is enough!
Of course, it is out of the question to speak of other digital editions or 'witchcraft'. The transistors are those who have made the reputation of the family's Muff.
Nothing to say, it is a Big Muff and it's like that.
UTILIZATION
To use the thing is quite clear if we already owned or used a pedal drive or distortion. Volume knob for volume (excluding December '?), The tone knob for the master EQ and one to sustain the level of distortion is desired.
Nevertheless, one can not help fiddling with two mini-switches available ... But what the heck is that? The manual is in English it does not understand what Mike wanted to Matthews. In theory, if the tone switch is ON and OFF wicker, we get the original sound of the Big Muff. This is debatable, but the sound is better than the Little Big Muff (meaning closer to the original).
The manual is very clear for the theoretical explanation of all the settings, but as with everything, the best is to try ... And that's what we'll do!
SOUND QUALITY
The sound ... What about ... The Big Muff does not have to prove the original sound is a classic among classics. A very fat fuzz endless sustain that works both in rhythm game lead in single or dual microphones (including p90). In addition, the tone and sustain knobs allow very subtle changes that go from light colored fuzz drive for blues and funk, to Hard Rock and Grunge very powerful.
But if we had wanted to "limit" to that, we would choose the original. When you push the Wicker switch to the ON position, the acute increase instantly and give a little more power to her. It's subtle, it's not revolutionary, but it is there and what is ultimately quite handy even if you lose a little heat.
The revolution is rather right side: at the tone switch ...
When it turns OFF, the tone circuit is cut and the volume increases by a quarter or a third party. We must therefore take precautions when the off.
But the sound is very different: a powerful distortion and couilllue which somewhat resembles that of Germanium 4 of the same brand is obtained. Sustain shorter but it's perfect for the rhythm and rock riffs.
Ultimately, I used mainly the 'fuzz' circuit I is hell! Versatility (in fuzz tones of course) is hell, the fat that remains incisive quality!
The distortion is less, but perfectly functional for that matter.
Finally, the mini-switch wicker could benefit from a 'real' way to switch a boost I finally ... Ca is the big breaks anyway!
OVERALL OPINION
I use it for almost 6 months and I have not yet done the trick! Multiple opportunities that can meet many different musical styles. The purpose of Mike Matthews, when he designed the Big Muff, was to create a distortion that can reproduce all the notes of a chord with a "sharp" equivalent for each note. And it works! It does not get messy when we add a seventh or whatever, and I love it!
On the other hand this is great with the EHX is the quality / price unbeatable always at the expense of a certain neutrality and tonal versatility, and that's more like it! One likes or dislikes.
I would do this choice without hesitation because I love, I love the same!
Finally, I would like to take on some of the remarks in which "the Big Muff today is crap and all the others too! It is a distortion as another! And those kids not wash the hands before sitting down to eat Ah of my time ... etc ". In this case, all stop playing the guitar, they are all zero in chi ** compared to the 60's-70's.
Know, my friends of the 21st century, we can not reproduce the manufacturing quality of the time when much to do with what we have, and do not act in bad faith in the quality. Thank you for your attention!