The first thing you notice about the 1973 pedals is that they are housed in a larger enclosure with a completely different design. Sonically, they are also quite different from the earlier versions. The huge, boomy low end is gone and the fuzz is smoother on the lower strings, giving these pedals a warm, balanced voice from low to high.
The early pedals are fairly consistent, producing smooth, sustaining fuzz with rich harmonics. There are, however, a few unusual circuits that stand out from the rest, and the later versions begin to show interesting changes that would eventually lead into the next generation of Big Muffs.
Another interesting aspect of the Ram's Head pedals is their enclosure colors. Red, violet, blue, black were all used during this period and the paint color itself does not necessarily determine the circuit inside. Over the years, these colors have become associated with certain versions and are often used to identify the circuit, but this can be misleading.
For example, many people refer to the "Violet" or "Blue" versions as if they are specific circuits, but I have seen the same "Violet" circuit housed in violet, blue, red, and black enclosures. The same is true for several of the other versions.
That said, I will continue to use the color names because I have found that certain circuits do commonly appear in specific colors, usually with only minor variations.
Because of this, paint color alone should not be used to identify a particular Ram's Head circuit. The circuit itself is always more important than the color of the enclosure.
V1: Continuing the harmonically rich fuzz of the transitional 1972–1973 Triangle circuits, V1 adds a bit more low end throughout the pedal, giving it a fuller voice. The result is a wonderfully warm tone with juicy, sustaining leads and rich harmonics.
V2: Often referred to as the "Blue" version, this circuit evens out some of the extra low end found in V1, resulting in a more balanced voice and establishing the tone that the early 1973 pedals would become known for. The fuzz remains smooth and harmonically rich, with excellent, violin-like sustain and clarity.
V3: The popular "Violet" version retains everything that makes the "Blue" version so special, but with a slightly smoother top end throughout the fuzz. The result is a beautifully balanced, harmonically rich tone with smooth, sustaining leads and just a touch more sweetness in the upper frequencies.
V4: The "Black" version is very similar to the previous two circuits, but with a bit more gain while retaining the warmth and smoothness of the "Violet" version. The extra gain adds a touch more saturation, resulting in a rich, harmonically complex fuzz with wonderful sustain.
V5: Still very much within the family of the previous versions, V5 has noticeably more gain, adding a slight sizzle to the top end. The extra saturation gives the lower notes a hint of grit while lead notes sing with even more sustain and harmonics.
V6: Very similar to V5, but with even more gain throughout the circuit. The added saturation brings out a wealth of harmonics and gives lead notes incredible sustain. A capacitor change in the tone section also adds a hint more mids, giving the pedal a slightly fuller voice.
V7: Very close to V6, but with the tone section returned to the classic Big Muff mid-scooped character. It retains the abundant gain, harmonics, and sustain of V6 while delivering the familiar open, scooped voice associated with the early Ram's Head circuits.
V8: The "Brick Muff." This popular version was originally thought to be the same circuit as David Gilmour's Big Muff used on The Wall. Very similar to V7, it features a capacitor change in the gain section that adds more low end to the fuzz, giving it a fuller voice. The result is huge, smooth lead tones with incredible sustain and harmonics, while the lower notes retain just a hint of grit underneath the fuzz. It remains one of the most popular and musical versions of the early Ram's Head era.
V9: A very interesting version, V9 has a pronounced scoop in the gain section that introduces more high-frequency content into the fuzz, which gradually smooths out as it travels through the circuit. The result is a fuzz that is both aggressive and refined. The tone section also features a slight midrange bump, giving the pedal a little more presence and helping notes cut through without sacrificing the warm character of the earlier versions.
V10: Loaded with gain and featuring some interesting capacitor changes, V10 has a bigger, more open signal flow that gives the lower notes a wonderful wooly growl. Despite the added thickness, the fuzz remains smooth and harmonically rich, with plenty of sustain and a powerful voice throughout the entire range.
V11: Very similar to V10, but with slightly larger capacitors used throughout the circuit. The result is even more gain, a stronger wooly growl, and a grittier, punchier low end. Despite the added thickness and saturation, the pedal still retains the smooth, harmonically rich character that defines these early versions.
V12: The Gilmour pedal. Originally nicknamed "The 47" because of the single large capacitor at the beginning of the gain section, this circuit gives the fuzz a fuller low end, incredible sustain, and violin-smooth leads, while retaining the subtle grit underneath the low notes that is so characteristic of Gilmour's tone.
I first traced this circuit after a customer told me it allegedly belonged to David Gilmour and had been purchased from Pete Cornish during a sale of some of Gilmour's excess gear. Pete was kind enough to respond to my inquiry and confirmed that it was possible, but without documentation could not verify it with certainty.
Whether or not it was actually Gilmour's pedal, there is something special about this circuit. Out of all the Big Muffs I have traced, this one captures that smooth yet gritty Gilmour sound better than any other I have played.
V13: The "Orange" Big Muff. This version was traced from my own personal pedal. Very similar to the V12 Gilmour circuit, it uses even larger capacitors throughout, giving it more gain, sweeter and fuller fuzz, and a bit more wooly grit on the low end. The result is a massive, sustaining tone with rich harmonics and incredible lead tones.
V14: The beginning of the "47" series. The first half of the circuit is the same as V6, but the interesting part is that the second half swaps the typical capacitor values for larger "47" caps, giving the pedal a very distinctive voice. The result is huge, gnarly grit and punch on the low end, paired with a more open overall tone that still retains plenty of growl.
V15: The infamous "2247" Ram's Head. Before getting into the circuit, it's worth explaining the name. The first time I encountered this very interesting version, it belonged to a friend who wanted a copy made so he could sell the original. After I traced it, he listed the pedal online and it sold for $2,247, which at the time was the highest price I had ever seen paid for an original Big Muff. The name stuck.
One of the most interesting Big Muffs I have ever encountered, this version uses some very unusual capacitor values rarely found in other Muffs. The result is a sound that is quite different from a typical Big Muff. Lower in gain, it produces a huge, open, gritty fuzz with plenty of low end, yet never becomes muddy. The tone is airy and expansive, with a character that almost blurs the line between a Big Muff and a silicon Fuzz Face.
V16: The "Ultra 47" is a newly discovered circuit that really surprised me. At this point, I thought I had seen every variation of the Big Muff. Very similar to the 2247, this version uses large "47" capacitors throughout and produces an incredible sound. Despite the huge amount of signal flowing through the circuit, the tone remains surprisingly balanced. The fuzz is massive on the low end, yet never muddy. It is gnarly, wooly, and growls with amazing clarity, while lead notes are warm, punchy, and incredibly smooth.