You may even find that two different V1 circuits sound the same through one amp, but different through another amp. Then there are the tone circuit differences. Two V1s, each with a different circuit variant inside, may sound nearly identical when both tone knobs set the at Dial both into the bass range and one may sound muddy and useless, where the other sounds warm and articulate.
Or dial both to the treble side and one sounds harsh and trebly, but bright and compressed in the other. V1 and V2 Big Muffs are like that. No separate power switch, hand wired on perforated circuit board. Some have a printed circuit board. Basically the V2 was just a larger enclosure for the V1, and the ever-changing component values meant the sound changed from one circuit variant production run to the next. The V1 and V2 Big Muffs both spanned a similar range of circuit variants, so in that regard, some V1s sound the same as some V2s, but many do not.
I am describing some typical attributes here, based on dozens of examples I have played or own. The mid range was very "scooped", or removed, making the sound get lost in a band mix when playing live with certain amps and playing certain types of music. I have found that there is more of mids scoop on many late model V2s versus the more typical V1 Big Muff circuits. Some circuit variants had fat low end bass frequencies, sometimes flabby sounding. In general most had a fairly tight and controllable low end.
That bottom end creates a huge, thunderous sound through a tube amp. The bass and treble frequencies varied slightly from one V2 circuit variant to another, and there are a few variants were they varied quite a bit, as did the gain. The "violet" circuit variant would be an example of the latter, and it was one of the most common circuit variants used in the early s V2s.
Power switch on back. All have number on circuit board. Early models have a rubber anti-skid pad on bottom, and later maodels have four rubber feet. Wide variety of knobs used. The circuit continued to evolve, but there were less circuit variants inside the V3 box than the V2. By the circuit had evolved into an unchanging standard schematic, as in the "Tone Bypass" V3.
Most V3 circuit variants had more sustain and sounded slightly more aggressive than the typical V2 Big Muffs. The examples of V3s I have played that included the tone bypass switch were very agressive and fuzzy in normal mode. In general, most had a fairly tight and controllable low end. The bass and treble frequencies varied slightly from one V2 circuit variant to another.
All three edition use the exact same large circuit board trace shown above, all marked Includes AC adapter jack on back, and power switch. No AC letters on top. Same as first edition but letters AC added on top. This is a great distortion pedal with a big sound and much of the same scooped mids character of the previous transistor versions. I think the transistor versions are more organic and sound better for bluesy solos, but the op-amps are great for crushing, grungier, wall of sound material, heavily distorted rhythm playing, and heavy leads.
The Big Muff tone tutorial
They have a very deep crunch, flat mids, and superb deep bass control. They are not as good for palm muting as some of the earlier Big Muffs.
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T hey do not do fuzz quite the same as the transistor versions, nor do they have the same character and organic randomness. The scooped tone makes them easy to get lost in a band mix when playing live with certain amps. Unlike the transistor versions, the tone is very consistent from unit to unit.
The signal still goes through and is amplified by the active op-amps, which can sometimes add a gain boost. Adding a true bypass switch can eliminate this problem. This is the Big Muff circuit heard on most of Smashing Pumpkins' Siamese Dream album, so that should give an idea of the potential of this version. It is the rarest of the two op-amp Big Muff versions. It was aslo offered simultaneously in a tone bypass switch version, the V5. No LED or battery door. Includes AC adapter jack on back. This version inc luded a 'tone bypass' switch that completely bypassed the tone circuit, making for a huge, brighter, distortion tone.
When bypassed the tone has a flatter EQ allowing slightly more mid frequencies to come through. The tone in non-bypass mode is very close to the traditional Big Muff sound. In bypass mode it has more of a heavy, classic rock sound. Note there is a slight decibel volume boost when in bypass mode. This is the most common of the two op-amp Big Muff versions offered. Look for t wo op amp IC chips on circuit board two groups of 8 pads shown in red boxes above. Tone bypass switch on back, no power switch. The tone of this circuit is very similar to the V3 Big Muffs described above, and was basically the same as the "tone bypass" V3, which used the exact same schematic.
The 'tone bypass' not true bypass switch was kept from the V3 and V5 versions, which allows you to completely remove the tone section from the circuit. This gives a raunchy, raw, and very loud tone with more mid range. It stands out better in a band mix, but lacks the trademark Big Muff character.
The bass, treble, and fuzz varies slightly from unit to unit. Component values were changed, making it a bit more muffled muffier? The first version is the most like the old early 70's Big Muffs, with a bit more note clarity than the later revisions, and slightly less bass. The component values were modified in revision A , revision B and then again in revision C. The later versions have a thicker and bassier sound than the Rev A and B Muffs, with less note clarity, but a thicker and heavier sound when playing chords.
The bottom end is also beefier on the B and C versions than most vintage Muffs. Presumably this was done to give them a more modern, heavy and dronier sound. Mid tones are very scooped. These do not react as sharply to pinch harmonics as most V1, V2, and V3 Big Muffs and do not work as well for crisp palm muting as some of the older Big Muffs. It has a grungier, but very cool character to the sound. Think Jack White of the White Stripes' tone, one of the most popular users.
The bass and treble varies slightly from unit to unit, but the differences are usually minor. There is NO power switch on the back. Both knob types shown above were used. Pointer knobs usually indicate an early model from , or early A version from These knobs look like the old EXH pointer knobs, but they have a white indicator line not found on the old knobs. All later production use the hockey puck shaped knobs. PCB version numbers are printed on the component side of the circuit board: Sort of a mix between the V1 and V3 Big Muffs, but with a fatter bottom end, brighter and less scooped mids, and less gain.
The second edition sounds similar to the more gritty green Russian Big Muffs that would come later, with a very dark sound, thunderous lows, and a smooth and clear tone. Some people do not like that bottom end and consider it too bassy, but I think that is what makes this version sound so huge. The bass and treble of the tone varies slightly from unit to unit. The second edition, had gray knobs, a gray box bottom, slightly different graphics the R beside Sovtek was circled , and the pF caps were replaced with two identical 1nF square flag caps circled in yellow above in each of the three positions.
Sort of a mix between the V1 and V3 Muffs, but with a fatter bottom end, lower gain, brighter and less scooped mids. It was very dark and bassy, but with a smooth and clear mid range, and a very musical clarity. Those mids were still scooped out like a typical Big Muff, but the Sovteks had more mids than vintage USA models, so they stand out in a live band mix slightly better. They are noticeably smoother and have less grit than the later Green Russian and Black Russian Big Muffs, which is probably why they are the most favored and desireable of all the Sovtek Big Muffs. At high volume, it sounded spot on Sorrowish!
Probably will still use the Hardwire for my shows…We play Young Lust and all I have to hit is it and the Carbon copy and I am close enough for our scene. I had one quick question. I have never owned any Marshall amps. Would one work better for the Gilmour chase? If so what model would you suggest. It would be for my gigs in a classic cover band as well.
I could spend around 1k. Thanks again for all you do! I will continue chasing that Gilmour sound! Lastly……you guys need to come play in the States!! Thanks for your kind words Chad! I also think that the new DLS series are pretty good. They offer classic tones and the clean channel is also pretty good. Hi Bjorn, and congratulations for your excellent site! It has more than enough gain and mids to operate alone. The Soul Food, when set all clean, can open up a RAT a bit and also add to the harmonics of the pedal.
I recently ordered the Big Muff Pi. The largest of the three. The amp seems to me to be very midrangy in nature. Hi Brian, the Jr has a boost switch, which boosts the gain and mids. This also means less headroom. The current Big Muff reissue has a boomy tone and little in common with the early 70s models. Otherwise a clone would be better. My pedal chain is: Thank you for the website and all your articles! You should start with the amp and find the best basis for your pedals. Check out the amp setup feature for some tips.
Depending on what tones you want, I often set all the controls on the RAT at about 2: Perhaps with the tone slightly lower. Are you intending to use the Soul Food for boost or overdrive? I have followed your tuition, knowledge and experience for while and I guess I do not have to stress how I admire all of that and how much I have learned from you.
Now I have a question. I know it is a matter of personal taste, but I would like to know how you would arrange the order of following 3 pedals: Thanks a lot for your kind words, Dusko! My question is if I were to use an eq pedal to tame the beast should I run it before or after the muff or keep it in my fx loop? I really like the tone of the violet version and I will also purchase the chicago stompworks Rams head clone. It is a very delicate beast when it comes to pedal order any advice would be much appreciated. Bjorn, I have a Vick audio 73 ram head, a stock bd2, a blues junior and a strat with ssl5 In the bridge.
What settings do you recomend for the muff and for the bd2 to get tones similar to the gdansk? Also, do you have any tip about achieving a eric johnson lead tone with a big muff like the ram head? I think you should focus more on the amp settings and get those right before you adjust the pedals. The pedal settings suggested in this feature should be a start.
See the Setting up your amp feature for amp settings. Depends on your guitar and amp but I think the phat mode makes it sound better and closer to the TD. I also recommend the Wampler Plexi Drive. Did you try both? I can not begin to tell you, how much you have helped me along.. What is the best option for booster a muff, like bass big muff or big muff tone wicker, a bd2 or the soul food nano? Do you think the hiwatt t20 head with a marshall cab with 2x25watts grennbacks would sound better than 2x70watts V30?
I have a boss dd3 that i use a lot but a also have the vox time machine delay, i would like to give a go with the time machine of being my main delay. Do you know that pedal? And do you think it can be better than dd3 for pink floyd tones? Personally I think the BD2 is better suited for boosting, as the Soul Food has a bit too much mid range, which often will make the Muff sound dark. I prefer V30 speakers. They will give you more headroom but the Greenbacks are great too. The Time Machine sounds great and you got a lot of different options with it.
Whether or not it sounds better than the DD3 is down to taste. As i told you before, in other comments, i have a Hiwatt T20 HD and last weekend i try it in a studio with my vintage cab with 2x25watts greenbacks. This time i could crank the amp a bit and it sounds great! I have a stereo elecrtic mistress that i made the error of buy it.
So, once again and following your advices, I have to say it, every pedal that i bought sugested by you, it was the exact sound that I was looking for! So i just order the ElecLady. Is adding Buffalo Fx overkill?
But I like it more for other things than for Gilmourish tones, although it certainly smokes a Tube Screamer circuit and other pedals I have. The Overdiver should be set near clean as explained in this article. That being said, I think the Sovtek models and clones, operate just as good on their own. It adds just the right amount without too much that no other OD pedal seemed to be able to dial in, for me at least. I like it with the Bass turned all the way up, treble about half way, and drive just past the middle.
It sounds pretty close to the record and some live recordings, especially if I dial in compression just right. Bjorn, Where can I download the Near the End sound track that you use for jamming? Ace as always,loving the new look site Bjorn. Thankyou for keeping us all inspired and informed.
I bought a Vick Audio Overdriver.
Help Dating a Big Muff Pi ? (Skreddy?) | The Gear Page
Is this how the original Colorsound Overdriver behaved??? These vintage style overdrives and boosters has a very different circuit and nature than the more modern equivalents like the Tube Screamer. Guys i have wah,comp,bass bigmuff,formula No. You will probably notice the Muff sounding a bit more open. Like your website update!
Did you already tried the Mooer Blues Mood? I know Kit Rae has a comprehensive section about the DBM on his website but still, it shall really be useful to include this info as for most, your excellent site has become a one stop- shop for all things Gilmour. Thanks for the article Bjorn. The article is meant to cover Big Muffs in general and not a particular model, although DBM needs some explaining. Been looking forward to reading this for ages. Site looks great by the way. Well, for about 30 seconds. With the BD-2 engaged, the sound kept dropping out, like the system was being overloaded.
Sounded horrible, major distorted tone and garbled. Extreme feedback as well. Alone, each pedal sounds as it should. The large beaver sounds a bit rough by itself, but I think this is to be expected and thus I bought the BD-2 to clean it up a bit.
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Any thoughts on this? I tried several things and modified the settings on both pedals and the amp, but just cant seem to get it dialed in correctly. I have a GE-7 which I can add in to the mix as well. Im thinking the amp just can handle this type of signal at lower volumes, but Im at a loss. Any advise is greatly appreciated! What settings do you use on the three? I note on the BYOC website that in they stopped offering a particular transistor 2N for use in the Triangle setup and I want to make sure that the clip you posted does not included that particular transistor i.
I want the sound of the pedal in your clip. Can you confirm that your Triangle pedal sues the BCC transistor? Hello Bjorn, Please start the muff tone tutorial. Also- when can we expect the review of the Vick Audio Coloursound power booster clone? Bjorn, this article has been on hold since 7th Feb, ! Please, please start the tone tutorial on muffs ASAP. Taming a big muff can be sometimes daunting and articles such as these shall go a long way in addressing this issue.
It will be worth the wait: Recently discovered this site, loved it and waiting to see this article! Ha, Im checking this every day to see if its back up. Think ive read all the articles now,bar this one. Hopefully its up soon: I have been using the 45w mode naturally biased hot with the solid state rectifier. The Caprid sounds dull in the room, and the recording sounds close to what I hear. I might try a compressor in front or maybe a Sunface or two could help or replace The Caprid. Start with setting your amp up for a nice clean tone and then set the controls on the Muff to match that. A TS9 might be a good choice for those 80s and 90s tones but try a transparent booster or overdrive for the Animals and Wall tones.
I have an F2B also and love it, just wanted to compare how he sets it. From what I can see he only used the right channel on the 94 tour but I might be mistaken. Bright off, volume 6, bass off, mids full and treble 7. I have to play like a stiff to compensate for the looseness, which compromises the soul of the music. Btw congrats on the site and your band, I really dig your music. Two questions first — what amp are you using? Does the Caprid sound dull in the room or only on the recording? For my really dirty tones I use the Blackstar or the Wampler with Kotb boost my Savage Glas 30 jumpered and at a nice crunch.
Use a Twin Reverb and a custom passive attenuator from Savage Audio. Your web site IS amazing, your playing outstanding. Glad you enjoy my site: Your guitar and amp will handle most pedals so it really depends on what tones you want. I mean, it is a lot cheaper than both the muff and the fuzz face, do you have a video with the rat and dark side of the moon tones? That would be great Anyway, thank you so much, you are the boss: Hey Bjorn i need help, im between a big muff and a hendrix fuzz face, which one is more versatile?
Also i would like to get a boss blues driver to boost the muff or the fuzz cant found another booster in Chile Thanks in advance: Thank you for this excellent article! I knew David Gilmour used Big Muffs, but I could never coax anything remotely Gilmourish out of mine before reading this ;-. When i use my 15watt zinky on the clean channel, every thing sounds wonderful, the caprid just sings. When i use any other amp like the twin or egnater the muff and even the RAT just sound really trebley and fizzy. Volume doesnt seem to be able to compensate for it either, no matter how loud i crank it, the distortion doesnt really seem to smooth out and open up.
Some amps like pedals. Some handles all sorts of pedals. You also need to set each amp individually and not apply settings between them. Always match the channel and master volume also. Just a hair can do wonders. Likewise, your pedals needs different settings with different amps. I had some questions regarding unity volume on BM clones. Does this matter in regards to tone and bedroom level playing?
How does this effect the relationship with other pedals and the amp itself? Do you have a preference on which you feel is more useful? Most gain pedals operate on a combination of the gain and volume controls and Muffs and fuzz in particular are very responsive to how you set the volume. Unity level or lower will often produce a softer tone with less compression and edge but a more pronounced gain structure. Increasing the volume produce a more amp like distortion with a smoother break up and more compression. This also means less noise and feedback.
I also have a question that has nothing to do with big muffs, I was wondering if youve had any expirience with delay modeling pedals like the line 6 dl4 , or boss dd Are they any good? Also the boss dd say it has Sound on Sound….. See this feature for more details. I know your right, i just wanted to see if what tonal possibilities could come out of it but it works better to leave it behind so thats what i do, thanks and take care. I am using a chandler tube driver after a skreddy p19 and wren and cuff caprid. I also tried the chandler with pretty much almost no gain, to the point that the volume severely dropped off, and it sounded less choked but it still was not as good as after the muff.
I have been just sticking with running it after but i do like to try different things to see what sounds i can get and how it affects the tone. Depends on your amp and pickups and how they interact with the pedals. With a bright amp with a mids scooped Muff and transparent overdrive it might work but once you start adding mid range and darker sounding components, it will choke up.
Hey Bjorne I was wondering how to dial in OD before a big muff. A booster is usually placed after the high gains. What kind of OD is this? ODs with a boosted mid range will make the Muff sound dark and choked. Also, if you add too much gain into the Muff, this will happen. I love listening to your clip doing the Mother solo. But the Hoof put the hook in me, and as I listen to them all, for me the Rams Head is the cats behind!
I might add that your Laney is also a real winner. I figured I was going to have to go out and get a hiwatt in order to get British tone, and pay lots for it. The Laney seems perfect for developing ones tube sound and chops, and the price is a fraction of a vintage DR Well done, and very deft chops you have as well, mate! This guy is saying the overdrive should come before the big muff, in stead of after the muff like you are saying…. You can place the boosters anywhere you want.
First in the chain, after the distortions, last in the chain, in the effects loop… whatever suits your rig and tone. However, David has and always has had his boosters after the Muffs and combined them that way. Depends on how hot your pickups and amp are. Left my guitar in for a setup today, was just leaving the shop when out of the corner of my eye I spotted a Muff Pi tucked away behind a load of junk in a glass display.
Probably a reissue clone clone clone, but hey!! You should be careful with using compressors with high gain effects. Gain is a super boosted and compressed signal. A compressor is basically also a gain pedal so when you add gain and gain you will get more noise. Try but you should adjust the settings on the Muff accordingly. How many pedals does David normally has turned on? I mean you could have 10 or more on your board but is that really necessary?
Normally just pedals. However, his large pedal boards are more for being able to cover multiple sounds from different albums and eras. See the David Gilmour Gear Guide for setups on each song. Bjorn i will love to se you making a Tc Electronics Nova Drive demo, a friend of mine have one but i cant seem to make it sound right for some Gilmour tones, i was thinking in buying one of these because i have a G system but im not sure. The distortion section is like a RAT on steroids: I know its a bit off topic, but what kinds of pedals and settings would you use on those pedals for the DSoT On The Turning away tone, if you had a Strat with the Black Strat pickup combination, and a Laney Cub 15w stack?
Also, nowhere does it mention what kind of overdrive David used on the tour, if you could help me find that out, I would be very grateful! Thank you so much man! David used several different distortions on the tour, including a Boss HM2. Check out my version of On the Turning Away here. So I have a fender exccelsior, There are three imputs, One labeled guitar, the others labeled mic.
If it would be, do you know witch ones i would link and witch one i would plug the guitar into? Try it and hear how it sounds. Hey Bjorn i would like to start off and say thanks for this website, seriously it has improved my playing and tone, and all these facts on gear is splendid since gilmour gets the best tone and thats who im trying to model it after. My question is, i have new big muff pi tone wicker its great, does tones from animals fantastically.
His tone from gnask has that dirt but its really transparent and clean if that makes any sense. I was wondering how much gain should i use on the sparkle drive and how much clean should i blend in also. Thanks, and keep up the website its the best website on internet. As it says in the feature, the tone is a combination of many things and not least you amp.
See this feature for some amp setup tips. The Sparkle Drive is based on the TS9 circuit, which has a lot of mid range. This is not the best option for boosting pedals like the Muff and it can often result in a dark and muddy tone. Try different settings as explained in the feature and if needed, consider getting a more transparent booster like the Boss BD2 or the TC Spark Booster.
If I can make it work, how would I do that? Is modding the BD-2 for true bypass an option as well?
I just started listening to your band Airbag, and I was just blown away at how good you guys are. I never thought there would be a band comparable to the Floyd, or even in the same vein. I like other prog, but it never really captured me. Bands like Yes, Jethro Tull, and all those guys are very talented musicians, but none have that same atmospheric ethereal quality that the Floyd has. I thought I could never listen to another modern band again until I listened to Airbag. The atmospheric keyboards, tight drum work, groovy bass lines, and most of all, the unbelievably stellar guitar work by you.
Everything that made Gilmour great, and what set him apart from all the other guitarists. If you guys ever come to the US, or I come to Norway, I will definately make it my first priority to see you guys. Thank you so so much Bjorn for giving us guitarists and Gilmour freaks alike this website and your amazing band. Thanks a lot for your kind words! Glad you enjoy our music! We plan on having a guitar section up on our website soon so all the info will be there. I mostly used a Les Paul on that album and some Strat. Its buffers might affect the tone to some extent but not nearly as much as with fuzz pedals.
The Champ is, as you point out, not the best amp for pedals. It was never intended either. The Cub, if you decide to buy it, will give you a much better basis for your pedals. Personally I prefer a modified BD2 with a bit more warmth and smoother breakup. For clean boosting, check out the TC Spark Booster. Need to explore them more to really comment… — Bjorn].
You can find more about this and other builds here: I was reading the Catalinbread Echorec manual last night, it stated that the preamp had a load of clean headroom available via an internal pot. So I increased the internal gain volume on mine and plugged it in the fx loop. I can now use it as a clean boost for the power amp section and a delay. The pedal resides on top of the amp, a la Gilmours ER, and is easier to make adjustments. When you review one, I recommend giving this a go, it sounds so incredibly close I recon Gilmour used his ER as boost also.
Yeah, I think he did. But then I switch to 15 watt and maxed the volume, and it sounds just incredible. Alas I then got scared shared house , and turned it down again. Thanks for all your advice, my guitar improve beyond recognition. Yes, volume plays an important role. Once you get the power stage of the amp and the speakers working, the Muff really opens up and get that smooth sustain.
On the 1w setup, try placing a transparent booster in the fx loop of the amp. Max the volume, set the treble and bass neutral and roll the gain all the way down. Try with your CPB. This will boost the power stage and emulate a full blown amp. Bjorn, just out of curiosity, wonder why David doesnt modulate his lead tones with a chorus, flanger, or rotating speakers anymore? Its all dry tones now. Dont get me wrong, I love his tone now!
Im just wondering why on his last album he never did or on tour. I guess some modulations are a bit dated. I love recreating those old sounds but I think David likes a pure tone based on his guitars and amps with just a mild crunch from his pedals. Finally built a Triangle Large Beaver and I am in love with it so far. Great tone, plenty of options with the EQ switch, and so, so quiet. Hi Bjorn, Ty so much for this info! D I wonder if u have checked out this pedal? Here is the site check it out: I hear more grit and breakup in the Rams Head than I remember in the Triangle.
It nails In the Flesh and Dogs and as a bonus I actually found it more useable for other than Gilmour tones because the grit is closer to a standard distortion than other big muffs. This is due to the high gain transistors that were used. I think it would be really cool if someone who has a Line 6 POD HD would share the settings they use to replicate Gilmour pedals and overall sounds.
Imo I think I was a bit scripted, bar to bar, q to q. I was wondering about the Sovtek ,you said there are similar to the late 70s muffs but with better midds. So what muff can cover it all and better than the current us reissue, it sucks imo. Also do you know anything on a new DG solo album?
Depends entirely on your setup. A Muff can sound great on one amp and horrible on another. It seems though that the Sovtek models, which has a bit more gain and mid range, are the most versatile. Check out the Blackout Effectors Musket. These seems to work best on smaller bedroom setups. However, you might have a hard time dialing in the right tones since the Muff really needs a minimum of volume to smooth out — as explained in the feature.
Check out this article for some tips on choosing alternatives for your bedroom setup. Bjorn I want to thank you for the time and effort you have put into this website. Your recommendation for the Laney Cub 12R has been spot on. After a few months breaking in, it now sounds great as a home amp. I think the muff any muff I guess needs tube power and adrenaline to squeeze the best out. Bjorn, i have 2 questions. What tubes would you recommend replacing on the Laney? I still have the stock Rubys. I read some tubes will make the amp sound harsh and some rounded and too dark.
Have you replaced the stock transformers on your Laney for better tone? There are about tube manufacturers operating today and these sell licenses to all kinds of brands. Check out EuroTubes for some tips on how to select tubes for your rig. Thanks for your site and all the work you do, without it I would still be chasing my tail for tone. In a side note have you heard of a uni-vibe style pedal called a Shaky Jimi made by Moen? Well again thanks for all your work, and keep the goods comming.
Glad the Large Beaver worked out: Never tried the Skahy Jimi. Thanks for the tip! What I want to be able to do is have the OD,Muff, and fuzz on the line selectors A channgel and the mod effects on the B channel and use the level controls on the line selector to blend them together.
Let me know how it turns out: Well, I got a new pedalboard and am going to replace my DD20 with a Nova. Now what I want to do is have my board set up so that I can blend my gain effects with my mod effects using a line selector. Does this sound like a good signal chain to follow? What I want is to be able to make it so the mistress is not so dominating in the mix, more like the studio Thin Ice sound.
If so then one dry amp with only gains and one wet amp with all effects will give you a milder blend. Having said that, having two delays on the board allows a few more time settings and combination of delays. Why do you need to ditch a pedal? Click the links for my reviews.
The LV might be better for bedrooms. Based on sound clips and reviews it sounds right there in the middle of a Hiwatt and Fender with lots of headroom and a fairly bright character. Bjorn, thanks for the tips! Still experimenting, hoping to pick up a Musket in the next couple of months.
That should work well with the Laney at bedroom volumes. Slightly off topic but I was just wondering your thoughts on pedals for low volume playing! Specially with the wife at home all the time: Does that have to be so loud etc etc etc. I was thinking bd2 with mod to start with! What would you recommend? Just got the EMG dg20 set second hand on eBay! Lookin forward to some shine on! Check out the Fulltone OCD as well for a bit more warmth. I have one for my Laney Cub and it sounds amazing even on the very lowest volume levels. The TC Dark Matter is a stripped down version of the same pedal.
I noticed an improvement immediately. I was actually a little bit off in reference to the Tube Driver, when I play at home the amp volume is usually between 2 and 3. As far as the Muff goes, that is usually boosted by the Tube Driver. Or change the speaker to a Weber or Jensen C12N? I have a very wide interest tone wise and I want it to be as flexible as possible.
In addition to that I also really like Mick Taylor and Keef type tones, Buddy Guy, the who, bluesbreakers etc and some slightly harder stuff for my Les Paul. Maybe I should trade the Deluxe for a Mesa or something? Versatility being my main emphasis. I have a brain cramp…. I always have a notion that something could sound better: Just a thought… — Bjorn].
I will go way offtopic here, but have you seen this video? Hey Bjorn do you have any opinions on the Egnater Rebel 30 as a Gilmour type amp? Maybe I should get a Weber speaker for the RI? Especially for bedroom playing. Perhaps a bit too much mid range for my taste but it handles most of the typical Gilmourish pedals nicely. I love the big muff tone in sorrow.
Does anyone know how to achieve this? Is it just panned far left or right in the mix? Does anyone know what I mean or is it just my ears?!! This, and possibly some reverb in the PA mix, makes the tone huge and ambient. There are no records on David using hum buckers on any album or song… as far as I know. He has a large guitar collection though so there might have been a couple of moments when he reached for a Custom: See the Album Guide for the setups on each song.
Bjorn, Great article as always. I have a Dano Transparent Overdrive the first ones similar to the Timmy that I use for a light overdrive as well as a mild boost with the drive down and the volume up. I have always used it before my other dirt pedals. For example I have a MXR Classic Fuzz that needs its buffer on to work with my wah, but that makes the fuzz pretty shrill and weak. My CTO overdrive as a booster before it with the bass bumped helps restore the fuzz to a nice silicon fuzz face sound. But would you put this pedal in the league of some of these fancier boutique clones?
Most vintage style fuzz pedals needs to be placed at the very beginning of the chain but whatever works for you! A nice transparent booster behind it smooths out any harsh overtones etc as explained in this feature. Bjorn, Have you tested Earthquaker Devices Hoof? I recently tried one and found it to be very quiet and quite versatile for Muff type tones. Check out this feature for some tips on recording your Gilmour tones.
Hi Bjorn, did you that, in newest Guitar techniques magazine march theres lesson about David Gilmour and in that lesson they recommend Gilmourish. I think my initial response to the Pig Mine was quite positive but after some extensive tests I found it way too aggressive and noisy for my taste. When you engage the pedal there should be no volume boost or drop. I did miss the Royal Beaver in your article. Are you still as positive about this one as well? I bought one a few months ago and I think it sounds great. Do you still use it regularly?
Any tips on settings? The settings from the manual are okay but I thought you might have better ones. Check out the picture of my board in the My Gear section. Try the tips with just the guitar, rat and amp connected. The buffered Boss pedals might make the signal sound brighter… — Bjorn]. How come, is it too muddy or has a completely different character? So rather buy a Rat instead of a Little Big Muff? Both sound better than the US reissue but I think there are better sounding clones on the market. Laney Cub 12 Head and cab also just picked up in the last week.
I have a Keeley-modded BD-2 on the way, will hopefully arrive later this week. No delay yet, unfortunately. I have the amp set at your recommendations http: The power light on the Laney flickers, which is a bit alarming, but it seems to be a common issue caused by dirty contacts. Try setting the treble at 4 and the tone to 6. With the level at 6 I usually keep the gain at 2. The EMGs are quite hot so you may want the gain at 1. The Rat has a sweetspot on the filter just between so try different setting and see what fits you amp and guitar. Keep in mind that the Rat has a lot ofmid range so you might want to keep the SPC control at a minimum.
I rarely use the EXG. Yeah i probably didnt explain it very well — the pedal has two circuits in it — one to use it as a booster but a separate one where it creates feedback for you rather than just making your amp louder. Based on the clips it sounds like it can let you get the violin type feedback rather than just screaming feedback, and you dont need a loud amp for it to work. Im doing this on a phone so im afraid i cant post a link.
Hi Bjorn, cheers for the great tips and advice. Muffs can be a rewarding handful so the pointers are much appreciated! I was wondering if youd seen the boss fb Im hoping my local shops have one i can try at the weekend but the idea of big amp feedback at bedroom levels is very appealing. Most of us have neighbours that puts a stop to that. I got my violet rams head from north effects. I mean, it always sounds good, its just one day it may sound a bit less agressive and other days it sounds like a mean som bitch lol idk.
I was just wondering if you do the same! The size of the venue and stage, building material, placement of your amp according to the walls… everything will make your rig sound different and you will have to tweak your amp and pedals just a little bit every time. Read more about preparing for a show in this feature. I thought Dave K wa too flashy when I first saw him in Rogers Band, And its true that het brings his own style trough gimours notes.
But I think anybody would. I found what tha red Boss pedal was on Dave Kilminsters pedal board. Apperently its not for sale anymore Couldnt find it in the Boss Site. What do you thingk about the Line6 MM4 modulation modeler? An alternative would be something from TC Electronics or simply pedals. I picked one up but having a little trouble dialing it in. More like an overdrive. Like I said before, Exellent article again. I really like the stylish new website aswell.
What I would like to ask you is; what is your take on Dave Kilminster. Especially his approach to gear. Then there is another pedal on his board that looks like a red colored Boss pedal, but it may bee a Keeley moddel pedal as the indicatorlight on top shine green or orange… Just judge for yourself: He occasionally uses the amp overdrive for instance on Young Lust. What strikes me is that allthough he is assigned to cover most of Gilmours parts, note for note, as the album was.
And he has pretty much nailed it. I am talking about the album version here. What do you, as a respected Gilmour Guru, think of Dave Kilminster? Does he do the parts justice? I have to say that I have come to like Dave K over these last years. I have fallen in love with that tobacco burst Tele aswell, and so now it stands proudly next to my self made Black Strat.
Is there a possibillity that a backingtrack will be uploaded for us gearheads to play along to? He nails the notes but obviously wants to put something of him self in there as well. I think Kilminister is the right man for that. Stay tuned on our site: See you in April! Wow, did I get that right: Have you checked it out so far?
A review would be great. Thank you again for being there for all of us. I always anxiously await your new articles, and each time read it over and over — amazing! Try the settings suggested in this article. Do the needed fine tuning for your rig, how loud you play and how you play. Great one-stop Big Muff article, Bjorn. I have to say thanks for turning me on to Muffs. After reading your articles and watching your tutorials, I decided to gamble on a Little Big Muff that I found for quite cheap in a pawn shop. I absolutely LOVE that pedal!! So many ideas, this one artical is going to keep me busy for a while, experimenting with different tones.
Thank you Thank you. I picked up the Musket based on your review, and love it. I was also able to find an Analogman BD-2 on eBay, and was amazed at how useful it is. I had a stock BD-2, and traded it. Your advice has really helped my rig. I did have a question about overdrive-boosters. It is plenty loud for my uses. For the more accurate settings and modern tones I recommend a digital unit like the TC Nova Repeater or any Boss model. If you are interested, look at it http: Ive been waiting for one like this! The next time you do a Fuzz review and make a video can you show us riffs and the solo from Time off the live Wembley track if you know it?
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