All user reviews for the Electro-Harmonix Little Big Muff Pi XO

Indeed distortion / fuzz analog
power supply by 9V battery or transformer
3 buttons: volume, tone and sustain

UTILIZATION

Very simple config
We find the sound pretty quickly
Manuel virtually nonexistent, but it will be crazy

SOUND QUALITY

I bought it yesterday and I'll make it because it does not fit me at all, let me explain:
I own a Gibson BFG and Blackheart Bh5 this pedal and made for those seeking a sound dirty and very bold on my gibson with the P90 is the slurry noise
For my purpose it would be interesting and thoroughly amp Big Muff in boost.
I would put a note for those seeking this type of sound will be pleased with their purchase.

OVERALL OPINION

I think back to good old Boss DS1 (AC has nothing to do I know), but as I explained above for those seeking this type of sound, DARK!

First Fuzz
some distortion
analog

UTILIZATION

The config could not be simpler.
Nanmoins, a sharp rglage trs can s'avrer ncessaire as needed, depending on the cut.
This means that the sustain knob tends to bring a little more acute as and that it is pushed at an end.
Therefore rctifier shooting with the tone button depending on whether you want a nose like radio fuzz or fat, really fat trs.

SOUND QUALITY

The effect is particularly trs.
It is much sharper than my old Big Muff (ny), bcp prcis more but less smooth:
it has its typical small spitting at beginners who are dstabilisant.
The most weird for me and that by transferring my old Big Muff (Standard and dusts)
and by this one, my gagnner its overall clarity, dynamics and precision.
I play Fender Richie Sambora Signature (shame oh yeah!) Chain of effects:
Line 6 FM4 in little big muff whammy in 2 Loop Road rage in PS5 boss in hot carl martin surf trem drive'n'boost mkII in carl martin effects loop and flight phase shifter boss boss boss in DD3 memory in sterero Hazara man in ehx ibanez ad 9
everything in a supersonic 112

I had the problem of sound crpitements ds for months, I never have supper the old crumbling muff
the little clear up everything, I would play more on pedals vintage promised c!

This is crazy also with the pedals is that it is stirring a lot of records in
mtal, doom, sludge, rock'n'roll, jazz, rock, experimental etc.
and it is not necessarily dirty.
Notes held with the background and sustain a delay and you are in the atmosphere of Robert Fripp and Brian Eno
or the crazy solos from Fred Frith, etc. etc.

The thing to me is his appearance as sci jigsaw machine gun when martle agreements super fast in the acute
the sound becomes muddy and less prcis
I suggest you go listen DUB trio on myspace
the guitarist uses and abuses of the pedals with ingniosit (especially in the album Another Sound is Dying) and live trs trs was wrong.

OVERALL OPINION

Few days of use
and I still play more often.
I had an old big muff much of miodle attaqubr /> in fact this old big muff cating my sound for months (and wear gnrale bypass doubtful I think)
report quality unbeatable price
or of some brands make you pay 100 balls for pedals that will actually rduire the spectrum of your super amp lamps
this one of enlargement, especially in the low, damn!
It's been awhile since I had not cracked 50 euros as intelligently,
and more beautiful she is!

The Little Big Muff is a distortion pedals / fuzz. It's roughly the legendary Big Muff, which can be heard on tons of records, used by Carlos Santana, David Gilmour, The White Stripes, etc.. Except that the standard of the original Casing t replaced by something a little more practice with true bypass (the signal does not pass through the circuit when the pedals disables, to avoid a "puff" sound) and standard diet.

Some say it does not, however, exactly the same sound as "big" Big Muff, so the circuit must be a little DIFFERENT, but of all the fawns have normment Big Muff varied since the release of the pedals in 1971 ... So there is no "real" Big Muff.

Obviously it from analog (no numrique in 71!). Entrance, exit buttons.

UTILIZATION

The config is simple ... gnrale more or less. With three buttons we suspect that a still quite accessible, but subtly enough to Ragit PDAL rglages and it may take time getting used to.

The volume adds bulk, but also changes the sound, and provides a "boost" powerful enough to saturate your amp lamps alone.

The tone adds low and / or treble, but the volume (the same time as low) or saturation (at the same time highs), and interacts with the Tone SETTING THE your amp and your guitar. It can range from acute hyper ultra deaf screaming ... with lots of opportunity between the coolest.

The "sustain" is Ralite gain. It thus adds to saturation, volume, sustain (a lot) and changes the sound. The tone Ragit do not like a SETTING THE sustain each other! It also compresses the sound, sometimes until the crasis ...

In short it is simple enough not to take the cabbage, and rather complicated all the time for discovering new tricks

SOUND QUALITY

The sound ... L is also more complicated as it sounds, and much more versatile as they say often.

The base effect of the Little Big Muff is to transform a honnte clear sound in a standard roar. We find the roar all rglages except with trs little gain, and again. APRs must carve all a.

* Holding the sustain less than 50%, on a bright amp, you get a standard overdrive, powerful trs, trs vintage, with lots of bass. Ideal for the Blues-Rock trs muscle. APRS is played with the tone for a more or less aggressive and dirty. It is possible to stay plutt own, despite the roar, but only with a clean game: the pedals do not ask that in place everywhere, it must be kept on a leash ...

* With more than 50% of sustain, the sound is more dirty, more "cras" less natural. Ideal for power chords or solos, but there is little chance we could still hear the ninth chords in jazz <img class="smiley" src="/images/audiofanzine/interface/smileys/icon_mrgreen.gif" alt="mrgreen" /> By drilling on the tone, treble and become trs aggressive guitar sound can end up more or less disparatre compltement derrire roar. Trs enjoyable ... if done expr

* On a dj its saturated or combined with other effects, it's a bit of Russian roulette: some rsultats trs sound good (LBM + overdrive, which "smooth" sound, the David Gilmour, LBM + wah wah), others not so good (LBM + Small Stone) and other, er, INTERESTED (LBM + tremolo). It is easy from DLIR in noisy fun, but not suited all styles of music.

And it all without losing the warm, vintage pedals reminder that comes straight from the beginning of time. The foot.

OVERALL OPINION

I use it for several weeks on a Fender Super Champ XD (+ modlisations lamps) with a copy of ES 335 (humbuckers) and a Telecaster with a P90.

And I love it! It took me some time to get DCID buy it because I do not much gnral plays in distortion. But Bigg Muff distortion is not like any other: dirty (but not forcment), powerful, warm, vintage and more versatile that it looks, while keeping his inimitable personality ( enmity and elsewhere).

In short, I would do this choice every time, except that I will turn may be to the MODEL with "tone wicker," for even more versatility ...

Distortion / Fuzz could not be more conventional. Pure analog. SMD components. Full-metal body, true bypass. Powered by 9V (probably more able to cash), by conventional battery or AC adapter (for effects pedals, tip = GND).

Three knobs: gain, volume, tone.
An LED indicator of operation (red).

A jack input, 1 output jack.

Classic. Not fancy.

UTILIZATION

The configuration is simple. Having bought second hand I did not have the manual with it. But given the straightforward approach, there is no problem.

Note: I had a look at the manual on their site. Two pages! (No, one and a half.) But there is no need more. Perhaps some examples of settings were nice?

The buttons look good, are not too sensitive, maybe a little lack of grip. The controls are really effective.

The LED is easily visible, no problem from this point of view. Despite this, the battery does not wear out too quickly (usually it&#39;s the LED that pumps more on a pedal, especially when it&#39;s a simple effect like here). From what I remember, I used it much but I&#39;ve never needed to change the battery. Good point.

Quality level of manufacture, unless you are a fundamentalist component crossing is good. Conso mastered, metal housing and solid switch. The plastic jacks tend to unscrew: be careful. The jacks are soldered to the PCB model, so it&#39;s not bad, if the plastic flies, it is always easy to plug / unplug the Plugs (since they do not move). The disadvantage is that you just might tear if there is too much like a nag, as it is the PCBs that takes all the mechanical stress (even if it is visibly solid). Blunders made plastic parts, if you lose you&#39;re wrong!

The battery change is done by unscrewing the bottom cap. So you need a screwdriver. Hum. The box is rather large, not very high (less than a BOSS), but very wide. It takes up space on a pedal board. Moreover, there is, as on all EH pedals, 4 small rubber feet to grip. Efficient, sure, but for a pedal board is the galley, as it must be glued velcro underneath. As the feet are 3-4 mm high and they are stuck, difficult to put the Velcro, as it will not stick to the floor pedal board. I admit I have not yet acceptable solution (I dare not pull the feet).

SOUND QUALITY

I use it with Epiphone SG Special, Fender Tele and Fender Jag.

The sound is quite what one expects: this powerful, a little heavy. The sound is rather rough cons, especially since the profit margin is important: 1 / 10 of the race was already a flurry of fuzz. At least we have on reserve. Margin volume is good, because in general it takes to turn the knob 1 / 3 for a volume equivalent to the sound clear. Good point. The coloring is very marked, and the tone of the guitar appears difficult. But it is the effect that it wants. In general, the sound is rather rough (again, this is the effect which means that). I shudder to think what would be a Double Muff ...

You can have the crunch by reducing the gain, and it makes it rather well, but even this minimum crunch not bad. The tone knob is very effective, but obviously does not sound sculpting. It takes a true equalizer for that. One way I think overall there are too many mids / bass, which makes his vague, and requires up the tone knob, but it quickly gets something nazillard. Hard to get something convincing.

It is perhaps the guitars I use, in any case it is difficult to be clear already in a band with another guitar. To make matters worse, the gain he has seen, we get a feedback loop of control quickly (again, it surely comes as the guitar). Difficult to tame. on the other hand, once a balanced setting is found, it was a real dirty fuzz sound and powerful. For which this pedal is made casually. To the psyche / rock 70&#39;s punk or she is well. For solos yes (but beware of feedback). For metal it seems too rough.

I do not think it adds a lot of breath. Better! For cons, the switch is very noisy! When activated, it makes a noise (sound) monstrous. It exudes quality, for sure, but hey, it&#39;s a bit annoying when you play. In a song, you hear a little noise in the switching amplifier, so be careful.

OVERALL OPINION

I use it for two years, initially to make recordings and experiments (Hagstrom Suede - Spring King - Little Big Muff - tube amp = Wow!), Then on stage, coupled with an Octave Multiplexer, which I brings out my Jag on a solo (as the basic sound of the Jag is a bit anemic, especially in a group of 7, with another guitar player who plays Les Paul). Margin volume of the Big Muff allows me to overcome the attenuation of the octave. I think they go well together. To give an idea, it gives the same kind of sound that the keyboard early Trukin Space &#39;on the Made in Japan Deep Purple. This is powerful! But do not abuse it.

The sound is distinctive, powerful, dirty, not very versatile, I find, but this is not what we asked. Seems still difficult to use it exclusively. In any case, I do not do it.

Considering the price (45 € used) I&#39;m not complaining. But given the limitations in sound, I tell myself that I would have been disappointed if I had had more money. It is worth its price (fob quality and sound) and it has its place in a pedal board. We must be sure of what we want.

Fuzz, and when they say FUZZ, FUZZ it ...
Jack, I do not redo the joke of speakon, the box is too small ...

UTILIZATION

you shoot, dribble it, you turn it some more and then puke. Finally me that's how I use it. And it is a choice.

SOUND QUALITY

It really gets me going, I know it's a safe bet, I heard everywhere: bass, guitar, rhodes, I even wonder if it would be great on a voice or a paper clip ....

OVERALL OPINION

Bah if you like fuzz sounds, I think it's a very good ratio Q / P. After discussing the usa / russia vintage etc. ... I do not take part in the debate. It suits me and sounds great.

fuzz pedal more comfortable in the 45% fat in the goldsmiths.

UTILIZATION

Not a foot to seek his accurate but great to find a sound. Have to turn it all the buttons.

SOUND QUALITY

Here we speak of quality in absolute terms. BM The sound is simply living, capricious but endearing. If we are able to adapt his game to what the WB sends you is a struggle, But if you win you have a unique sound. I like the effects that sometimes surprise me. It's usually a pleasant surprise that bad. the only drawback, according to the settings the volume knob is not reliable, I often corrects on the fly "(I have a mid knob for the biggest pay per foot).

OVERALL OPINION

Still a little mayo with your fries? ooo yeah

This is a (physically) smaller version of the legendary Electro Harmonix Big Muff Pedal. It is a heavy fuzz and sustainer, a unique combo when the Big Muff was first introduced. This pedal's larger predecessor became legendary after being used by David Gilmour and Jimi Hendrix, amongst many other, newer players. It is an analog pedal through and through. There are no excess connection types other that the 1/4" input and output, as well as the input for a power supply (sold seperately, unfortunately). This isn't rackable of computer/midi capable.

UTILIZATION

This is a really easy pedal to use, just like the original. There are three knobs, Sustain, Tone and Volume, all of which are rather self-explanatory assuming you know that sustain is virtually the same as compression. There is really no need for a manual.

SOUND QUALITY

When I first saw the Little Big Muff, I assumed that it was a less powerful, cleaner pedal than the original (whatever that means anymore) Big Muff. I later tried one out and was actually really surprised. This thing sounds very much like the Big Muff Pi, and has minimal differences from the larger ones that came out in the same year (2000). This is a supremely dirty, powerful fuzz pedal. It's great for really rocking rhythms. Some people complain about leads, I tend to either switch pickups and increase volume on the guitar or even use a boost of some type to get a better lead sound with it. When you have enough clarity and high end, you can really make this pedal sing!

OVERALL OPINION

This is a perfect way to make the Big Muff easier for most people. If you're crowding your pedal board to make room for your big muff, you might want to think about this alternative as you'll suffer virtually no tonal differences. The price is totally worth it for the killer tone.

The Electro-Harmonix Little Big Muff Reissue is simply a smaller version of the Big Muff Pi.  It contains the same circuitry and everything.  The pedal is an analog one, with standard 1/4 inch connections for both input and output.  It can be powered by nine volt power supply and isn't rackable as it is a stomp box.

UTILIZATION

The Electro-Harmonix Little Big Muff Reissue has the most basic parameters for a distortion pedal possible.  You've simply got parameters for sustain, tone, and volume.  The sustain is awesome as it really does add a whole bunch of sustain to your tone, which is overall probably my favorite part of this pedal.  Unless you are an absolute beginner, I don't think that you need to have the manual to figure out how to use this pedal.


SOUND QUALITY

I have used the Electro-Harmonix Little Big Muff Reissue in the recording studio mostly with a '76 Fender Twin Reverb combo amp and a Fender Stratocaster.  I'm overall very pleased with the tones that I'm able to get within this configuration and with this pedal in general.  It definitely is a Big Muff as it has the same exact circuitry and make up of the reissue of this pedal that is a bigger.  I love how thick of a distortion tone that you get with this pedal, both for rhythm and lead parts.  Although a lot of people will use this for rhythm and chords, I generally use it for lead sounds as I really like the way that it fattens up my sound.


OVERALL OPINION

If you're looking for the Big Muff sound, but don't want to spend too much money, the Electro-Harmonix Little Big Muff Reissue is a good way to go.  While the regular Big Muff reissue isn't all that more expensive, but I kind of like having it so small as it makes it easier to fit on the pedal board, as the larger one does take up a lot of space.  I'd encourage those interested to check out the full line of Big Muff pedals, but this one is definitely a good choice. 

According to Electro-Harmonix, the Little Big Muff is identical to the Big Muff, only smaller. It's a rather basic, but seemingly sturdy stomp box fuzz pedal. One input, one output, three knobs (volume, tone, and sustain), and a foot switch.

I chose this pedal primarily as a compromise between the Big Muff and the Nano Muff. The Big Muff is just too... big, and I honestly don't understand why the pedal has to have such a large housing. The Nano Muff only has a volume control, and I wanted to be able to tweak the sound. But I really feel that the Little Big Muff is no compromise at all, more like the best of both pedals, and it seems deceptively flexible.

Some people have complained that it adds too much low-end. While I do tend to keep the tone above 12 o'clock, I feel there is plenty of room for adjustment, and it might be more about the amp they are playing out of; my tube Peavey Classic 50 makes this pedal sound a bit less bassy than my digital Peavey KB-60 keyboard amp (but surprisingly enough, I feel that this pedal sounds good through both of them).

I was inspired to try an EHX Muff pedal when I heard some of the gritty fuzz tones coming from Jack White's guitar on the DVD &quot;Under Blackpool Lights.&quot; It's extremely easy to get a very similar sound with this pedal and variations on it. Perhaps this pedal IS a bit more bassy than the regular Muff, but someone searching for Jack's sound is probably better off with this one, because I feel some of his low end is probably coming from that hollow-body Res-o-Glass Airline guitar, as they tend to &quot;growl&quot; quite a bit. But most people don't have an Airline.

Anyway, to me this pedal sounds &quot;full,&quot; so I'm not complaining at all about any perceived amount of low-end. It's got a sound that I like a lot.

UTILIZATION

There's no real manual to speak of. The instructions that come with it give a basic overview, and the gist here is that if you plug in an AC adapter, it must be outer-ring positive (like most pedals). EHX didn't supply an adapter with it, but they did include a battery. I've got mine plugged into a Voodoo Labs Pedal Power 2 Plus.

It's simple to use by just adjusting the three knobs. The volume, tone, and sustain all seem to have the ability to affect the sound, which is a good thing, because it gives the pedal quite a bit of versatility. I just love the sound I get from it, and it's hard to come up with a combination of settings that doesn't sound good. It does seem to get a bit too bottom-heavy with the tone control set low, but if you like fuzz, it'll be easy to get a satisfying sound out of this pedal.

In my opinion, it's a perfect combination of simplicity and versatility. Very easy to use.

SOUND QUALITY

&quot;Sound quality&quot; is an interesting metric for a fuzz pedal. As I said before, I love the sounds from this pedal. It trashes up the signal very nicely, though inevitably there will be people who do not like it for one reason or another. I was actually a bit shocked by how much I liked the pedal. It sounds a lot fuller than the overdrive box I have. I thought maybe the pedal would be redundant seeing as how I had two other fuzz pedals as well. But this pedal seems to have its own character, and a significantly different fuzz sound than the two Effector 13 pedals.

I play a Switch Wild One (single bridge humbucker with coil tap), an Eastwood Corona (SG clone, with excellent Eastwood humbuckers), and a modified Squier Strat through this and the rest of my pedals, and each guitar has some subtle differences that can be heard. It sounds good with all of them. It even cleans up a bit if you put an overdrive after it, but I'm not really liking much of the sounds I'm getting from my overdrive. A Boss DS-1 would probably be more to my taste than the AMT Du Hast pedal that I have now. But that's not the Muff's fault.

My favorite guitar, as far as sound from the Muff is concerned, is the Eastwood Corona, and it sounds so good that I often leave the other pedals turned off. However, a new addition to my pedals is a BBE Sonic Maximizer, and this makes the Muff sound even fuller. You can almost sort of adjust the tone of the Muff even further with this pedal. So while I liked the sound of the Muff by itself, I tend to leave the BBE on at all times.

OVERALL OPINION

I've been using this pedal for a while, mostly playing with the settings and jamming with it. I like to adjust it because of the many variations it can produce. It's fairly quiet, even with the sustain turned up, but adding distortion behind it can highlight some of the background noise (one of the reasons I like using it by itself). The only real problem with this pedal is it can sometimes create such a wall of sound that it loses clarity in chords and such. I think this pedal shines best when played with 3 strings or less, which helps the individual notes come through. But I'm not complaining.

I think I paid $65 for this pedal brand new, and for my satisfaction of the sounds I'm getting, it's a ridiculously good value. I wouldn't hesitate to make the same purchase if I had to. There will always be people complaining that they can't get an exact sound out of a pedal, and for those of you looking to chase a sound of a particular artist, that may very well be the case. I don't know, because I'm not much on chasing a particular sound. I bought this pedal because I wanted something similar to what I heard Jack White playing. I'd say I got it, and I'm more than satisfied with the sounds it can make.