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 ...