effects pedals and music production @ fuzz-effect-sounds-and-more.com

Electro-Harmonix Triangle Big Muff Pi :

Triangle Big Muff Pi Effects Pedal — Reissue : v.1 Big Muff Pi

1968, Electro-Harmonix introduced their first product : Linear Power Booster/ LPB-1, designed to boost the input signal of a guitar amplifier to achieve an over-driven sound; thus employing a circuit component called, a transistor. 1969, their second product was the Muff Fuzz, intended to create a muffled “fuzzy” guitar sound via a two-transistor circuit. Their third product was the Big Muff Pi (aka BMP), which was inspired by the fuzz-laden sound of Jimi Hendrix via a four-transistor circuit—ultimately, producing greater amounts of smooth gain (distortion) and sustain. 2019, Electro-Harmonix markets a reissue of the original (version #1) Big Muff, and naming it the “Triangle” in relation to the triangular shape of which its control knobs are placed.

Which Big Muff effects pedal is best for you? :

Currently, the marketplace offers MANY different models of the Electro-Harmonix Big Muff Pi—each, with a slight variation in sound character—so, perhaps choosing one (or more) from the lot may be a challenge. Nonetheless, the following comparison of popular 1970s-era BMP models may help provide some idea of what to expect :

* “Triangle” (version #1) BMP : least open sounding (darker + more muffled), warmest, smoothest.
* “Ram’s Head” (version #2) BMP : more open-sounding, greater range of treble response.
* “OpAmp” (version #5) BMP : most open-sounding, greatest range of treble response, increased gain.

NOTE : The Electro-Harmonix OpAmp Big Muff Pi circuit design is based around an operational amplifier (IC/ integrated circuit)—as oppose, to transistors.

Audio engineering techniques for the following video :

Rather than providing a full reference of production efforts involved for my audio demo of the reissue “Triangle” Big Muff Pi, instead please refer to this website’s Blog page of the Roger Mayer Page-1 effects pedal for details—as they were both engineered in much the same manner. The only difference is that here, the following ANALOG outboard sound processing had been employed @ the mix-down stage of production :

* ART Pro MPA II : Two Channel Tube Microphone Amplifier
* ART Pro VLA II : Two Channel Vactrol/ Tube Leveling Amplifier

TONE Tip :

Modify (“mod”) the sound of a “gain” (boost, overdrive, distortion, fuzz) effects pedal—without actually, having to alter its physical circuit. In other words, one method is to employ EQ/ equalization. For example, my audio demo of the reissue “Triangle” Big Muff Pi (as presented below) features slightly increased low, mid, and high frequencies—so as to ultimately, stand-out prominently within the mix of recorded musical instruments. I accomplished this within a DAW (digital audio workstation) via a simple 3-band equalization software plug-in. Otherwise . . one may opt to insert an EQ effects pedal, placed after a “distortion” unit—i.e., guitar > fuzz effects pedal > EQ effects pedal > amplifier.

In regard to this particular upload, the recorded drum track is via the Line 6 JM4 Looper effects pedal. Also, synthesizer sounds were provided via Sonic Foundry Acid Loops (specialized .wav audio files, intended for use with the vintage Sonic Foundry Acid Pro software application). Otherwise, the signal-chain order for my guitar & bass TONES are as follows :

In order of sequence/ guitar signal chain :

* Fender Classic Vibe Stratocaster
* Ernie Ball 2223 Super Slinky guitar strings (gauges : 009 – 042)
* Mogami Audio Cables
* MXR CSP-026 Phase 90 (“Script” reissue)
* Electro-Harmonix Triangle Big Muff Pi (reissue)
* MXR M-102 Dyna Comp (compressor)
* TC Electronic Sentry Noise Gate
* Modeling Processor : Line 6 POD HD Pro (v.1)
(personal program preset, based on a ’72 Marshall 50w Super Lead amplifier + ’64 Fender Deluxe Reverb speaker cabinet).

In order of sequence/ bass guitar signal chain :

* Fender Squire Precision Bass (20th Anniversary model)
* Mogami Audio Cables
* Electro-Harmonix Knockout Attack Equalizer (reissue)
* Compression via the Line 6 Bass POD (v.1)
* Modeling Processor : Line 6 Bass POD (v.1)
(personal program preset, based on a ’65 Vox AC-100 amplifier).

Suggested Audio Playback : High-quality professional headphones (i.e., Sony MDR-7506), and a high-quality pro-audio interface are preferred. This way, the listener will hear the intended results of my music production efforts, inherent within the provided video presented below.

NOTE : There may be a delay for the video to download from my YouTube channel. Please, wait !

Epilogue :

I hope that what I’ve provided as an essential overview of my personal recording techniques, has helped inspire you to craft your own unique sound mixes. To the average home studio enthusiast, what’s been mentioned herein, must seem rather involved. As you realize by reading this post, such is NOT merely twiddling knobs on effects pedals. Rather . . such is to show how effects pedals enhance music recordings, along with pro-audio gear.

This Website :

The intention of fuzz-effect-sounds-and-more.com is to provide a reference resource; virtually sharing my gear collection, so that readers are made greater-aware of particularly good-sounding (and, in some instances), potentially collectible effects pedals. Otherwise, to also help those whom might benefit from my recording/ engineering techniques. Ultimately, as I continue to build and design this site, I will gradually introduce additional collection-based content—such as blog posts, image galleries, audio, video, and official manufacturer web links for your convenience. The information provided herein, is based upon biased opinion. Please, do your own research.

Ebooks :

Later . . I will offer for sale Part 1 of a series of self-authored eBooks, in relation to fuzz effects pedals; subsequently, also offering additional volumes regarding other effects types—boost, overdrive, distortion, etc—all via my private, independent collection. Moreover, these tomes of tone will include audio examples, color images, (in most cases) close-up circuit views, and generalized spec. information. Otherwise, said eBooks regarding fuzz effects pedals will additionally incl. generalized historical information as well. For details, please read this site’s eBook advertisement page.

THANKS for your interest of fuzz-effect-sounds-and-more.com

– Michael.

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Product names, trademarks, and artists’ names (incl. the names of builders and designers) referred to, and/ or depicted herein are the property of their respective owners, which are in NO way associated or affiliated with fuzz-effect-sounds-and-more.com. Said, names and trademarks are used solely to identify products whose sounds were studied during the audio production efforts for this reference resource. The use of said, names and trademarks does NOT imply any cooperation or endorsement. NO copyright, nor trademark infringement intended. Any errors, omissions or variations in the subject-matter details are unintentional.

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