The 1971-1972 versions mark the final year of the Triangle era and, for the most part, the first year with real consistency. While there are still component differences between circuits, the various versions are remarkably close in sound, with only subtle variations separating one from another. Toward the end of the year, the circuit begins to evolve and gradually transitions into what would become the 1973 Ram's Head era.Unlike the openness of the earlier Muffs, the 1972 pedals are tighter and fuller in the low end. Chords have a grindy, wooly character, while lead tones retain a sweet, violin-like smoothness. In many ways, these pedals have a more refined voice than their predecessors.Of all the 1972 versions I have played, V6 remains one of the best sounding and clearly defines this era. It continues to be a favorite among fuzz enthusiasts.Although Triangle-era Big Muffs do not carry the same mythology as the Ram's Head versions, they have been used by a number of notable artists and have appeared on some very important recordings.
Notable Triangle users include:
- Robert Fripp
- The Carpenters
- Wata of Boris
- Kevin Shields of My Bloody Valentine
- Steve Howe of Yes
- Carlos Santana
- John Lennon
Even though the circuits are all somewhat similar, I'll do my best to describe what I hear between them.
V1: Bassy low end with a gritty bloom at the end of the notes. Lead tones are tight, smooth, and full of clarity.
V2: Almost identical to V1, with just a touch less low end. This slightly reduces some of the grit and gives the lower notes a smoother feel.
V3: More low end than V1, making the bass notes sound slightly overblown and a bit flubby. The lead tones are incredibly powerful, with a bite on the higher strings that really cuts through.
V4: Very close to V2, but with a more open voice throughout the pedal. The lower notes feel more balanced, while the lead tones are smoother and more rounded.
V5: Essentially the same as V2, but with a little more gain throughout.
V6: A fuzz favorite, V6 is nearly identical to V4, but with slightly more low end and a wonderful growl on chords.
V7: Very close to V4, but with a little more flabbiness in the lower notes.
V8: Beautiful, full low end with creamy, sustaining leads. It delivers plenty of gain while maintaining excellent note definition. Many players associate this version with the famed "Fripp" sound, as Robert Fripp's early Guild Foxey Lady was manufactured by Electro-Harmonix.
V9: Similar to V4, but with a little more smoothness and fullness throughout the pedal, giving it a massive, grindy, rumbling low end and huge, blooming, smooth lead tones.
V10: More low end than V1, with huge grittiness on the bass notes while remaining noticeably smoother on leads.
V11: Almost identical to V1, but with a little more wooly growl on chords. Compared to V6, it has slightly less low end and more clarity. Lead notes are full of sustain.
V12: Similar to V2, but with a touch more gain.
V13: Sonically, it is almost identical to V6.
V14: Similar to V9, but with a little more low end throughout the gain structure.
V15: Very close to V4, but with slightly less gain throughout.