Muffolution: The Evolution of the Big Muff

I fell in love with the Big Muff around 1988. While most players were chasing glam and hair metal tones through Marshall stacks, I was drawn to underground bands like the Pixies, Dinosaur Jr., and Mudhoney. A big part of that sound was the Big Muff.

After finding two Big Muffs in a bargain bin at a local music store, I realized they sounded completely different. That discovery sent me down a long road of opening them up, tracing circuits, comparing components, and searching for “the one.”

Over the years, I have collected well over a hundred Big Muff schematics spanning 1969 through the early 1990s. In this series, I will share the history of the circuit and detailed insight into how each version sounds.

The information in this blog is the result of many years of hands-on research, playing, tracing circuits, and direct comparison. I have done my best to ensure accuracy, but revisions and undocumented variations exist. If you have verified information that differs from what is presented here, I welcome the input.

To keep this series clear and useful, I will focus on versions within each year that show meaningful circuit or tonal differences rather than minor component changes. Based on years of testing and comparison, I will also identify the versions I find most usable and best sounding.

Although pot codes, knob styles, and hardware details are commonly used to date these pedals, they are not always definitive, and production years can overlap. Electro-Harmonix often purchased components such as potentiometers in bulk, adding new stock to existing inventory. As a result, older parts could remain in use for years. Because of this, a pedal assembled later may still contain earlier dated components.

In the early days of Electro-Harmonix, parts availability could directly influence the circuit. If a specific resistor or capacitor value ran out, a replacement might be sourced locally, sometimes with a slightly different value. Even small changes in certain areas of the circuit can noticeably affect the sound.

Over time, and based on the many pedals I have examined, I developed my own dating approach. While I consider pot codes, I place equal weight on circuit layout, component types, and overall construction details.

Spanning from 1969 to about 1972, the first wave of Big Muff pedals became known as the “Triangle” due to the knob layout. During these years, the circuit evolved from huge, wooly, gnarly tones to warmer lows and creamier highs.

1969 – The First Muff

The earliest versions are extremely rare and, unlike later models, were built point to point on perfboard, a material commonly used for prototyping electronic circuits.

I am not sure how many of these early pedals exist, but I have examined five different circuits. While they are very close to one another, each has subtle tonal differences. This suggests that Mike Matthews and Big Muff designer Bob Myer were making small refinements as they worked toward a finalized production version.

Another notable detail is that some of the 1969 component values were never used again after the transition to printed circuit boards.

The 1969 Muffs have a classic wooly, gnarly low end with a slightly broken texture at the tail of the fuzz, paired with a sweet, violin-like sustain on the high strings. The tone section differs from later versions and is more mid-scooped, with a touch more low end throughout.

Of the five perfboard versions I have built and tested, V1 stands out as the most balanced, delivering the fullest fuzz and strongest overall tone.

1970–1971 – First Production Muffs

The first printed circuit board production models carried over the core 1969 design with slight changes, likely due to parts availability and standardization.

The 1970 Muffs retain the huge, wooly, slightly broken-up character of the earlier pedals but are less mid-scooped than the 1969 versions, with a more balanced sweep in the tone control. The lower notes still have that gritty breakup with a slightly throaty low end, while lead tones bloom more easily and maintain a smooth, creamy feel.

The 1970 pedals show noticeable inconsistencies and can vary significantly from one another.

Early versions are relatively close, with differences mainly in overall tonal balance. Some are slightly brighter in the tone section. To my ears, the one I make, the V1, stands out, delivering a monstrous, throaty, wooly fuzz with strong breakup on the low notes and a clear, full, smooth lead tone.

There are some versions that are overly bass-heavy, while others are more open with gritty fuzz.

A couple of standouts are the V7 which is a rare version that uses unusually large capacitors, resulting in a huge, open, gnarly tone that is slightly brighter than the others. V8 features unique resistor values that produces an incredible amount of fuzz and V9 uses large capacitors throughout, creating a massive, overblown fuzz tone.

Out of all of these, V1 stands out to me as the most musical and enjoyable to play.

1972 – End of the Triangle Era

The 1972 Big Muffs mark the final year of the Triangle era and, for the most part, the first year with real consistency. Toward the end of the year, the circuit begins to change and gradually transitions into the 1973 Ram’s Head era. While there are some component differences, the 1972 versions are very close in sound, with only slight variations.

Unlike the openness of the 1970–71 Muffs, the 1972 tone is tighter and bassier, with a wooly low-end fuzz and a sweet, creamy smoothness on leads.

Of all the 1972 pedals I have played, V6 remains one of the best sounding and clearly defines this era. It continues to be a fan favorite.

One of the most interesting discoveries I have made over the years is a rare transition pedal that bridges the Triangle and Ram’s Head eras. At first, I believed it was a late 1971 or 1972 version, but further research and comparison revealed it to be a true transitional circuit, possibly reaching into early 1973 production.

These Triangle-era transition pedals are very close to the Violet Ram’s Head versions, with slight capacitor differences that give them a warmer, fuller tone. It stands as one of my all-time favorite Big Muff circuits.

One thing worth mentioning is that although the Triangle-era pedals are not as widely celebrated as the Ram’s Head versions, they have been used by some notable players.

While no single artist made the Triangle a definitive “must-have” version, it has appeared in the rigs of several influential musicians. David Gilmour also used a Triangle briefly.

Notable Triangle users include:

• Robert Fripp (Triangle era Guild Foxey Lady)
• The Carpenters
• Wata of Boris
• Kevin Shields of My Bloody Valentine
• Steve Howe of Yes
• Carlos Santana
• John Lennon

The Triangle may not carry the same mythology as the Ram’s Head, but it has clearly played a role in some very important recordings.

1973 – Start of the Ram’s Head Era

Before continuing, I need to clarify something. As with the earlier correction regarding the late 1971 Triangle transitioning into 1972, further research and examination have led me to revise my understanding of the Ram’s Head circuits. What has commonly been referred to as the 1973 version also includes the Violet, Blue, and Black Ram’s Head pedals that were once thought to belong to the late 1974 to early 1975 period.

Bigger Change, Bigger Enclosure, Different Sound

I have never fully understood the nickname Ram’s Head. The name comes from the small graphic in the lower right corner of the redesigned enclosure. To me it looks more like a little elf than a ram, but interpretation is subjective.

What is not subjective is how different these pedals are from the 1972 Triangle versions. The enclosure is significantly larger, and the sound changes dramatically. The large, loose low end is gone. The fuzz becomes smoother and more controlled in the bass, resulting in a warmer, more balanced tone.

Most 1973 Ram’s Head pedals are fairly consistent, offering high gain, rich sustain, and smooth, harmonically complex lead tones. For many players, this is the sound associated with “Comfortably Numb” by Pink Floyd, played by David Gilmour.

While the majority share an even tonal balance, a few versions deviate noticeably from the core design. Two notable examples are V1, often called the Brick Muff, and V6, sometimes associated with the Astoria or Gilmour versions. Both use a larger capacitor in the gain section, producing a fuller, warmer fuzz response.

Late 1973 pedals also begin to show signs of the upcoming 1974 transition. Among these, one version stands out as particularly unusual and highly sought after.

The 2247, named after a friend who sold his original for $2,247 on eBay, was at the time the highest price paid for an original Big Muff circuit. It remains one of the most interesting versions I have encountered. Built with unusual capacitor values rarely seen in other models, it produces a lower gain circuit with a huge, open, gritty fuzz. The low end is substantial but stays clear and avoids muddiness.

Having spent extensive time with the many 1973 versions, it is difficult to choose a single favorite. That said, the standouts for me are the Violet, the Blue, the V1 Brick Muff, and the rare “Ultra 47,” which takes the 2247 character even further.

1974-1975 – Another Circuit Change

The 1974–75 Ram’s Head pedals are often overlooked and rarely discussed, yet they are among the best sounding Muffs made. They combine the strongest qualities of earlier versions into a powerful, well-balanced fuzz.

There also appears to be some circuit experimentation during this period. Certain versions feature tone section changes that result in flatter mids or even a mid-hump. Whether intentional or not, these variations allow some of these pedals to cut through a mix more effectively while still retaining fullness and weight.

The lead tones carry the smooth, sustaining character of the 1973 versions, with rich harmonics and long, singing sustain.

The low end reflects the influence of the 1969 and 1970 Triangles, but with smoother edges. Chords have a strong, wooly growl with added refinement, avoiding the extreme roughness of the earliest Triangles. This combination creates one of the most balanced and musical Big Muff circuits of the era.

As you move through late 1974 and into 1975, you begin to see the circuit gradually shifting toward what would become the final Ram’s Head design in 1976.

Out of all the Muffs from the 1974–75 period, V11 stands out as the version that best represents this era. It is fuller and smoother than the others, with an overall warm character that gives chords a fat, full tone and produces thick, juicy lead tones.

1976 – Feel the Pain, End of the Ram’s Head

What began in 1973 as the Ram’s Head era concludes in 1976 with a final version that sounds very different from the earlier models. This last iteration is also the one I have the most schematics of, and I continue to uncover new variations each year.

The final run of Ram’s Head pedals introduced another circuit revision, resulting in a more open, mid-forward sound with substantial gain. These lean closer to a distortion than a traditional fuzz.

While there are minor variations during this period, with some versions offering slightly more low end or a bit more brightness, the overall character remains fairly consistent.

There were also numerous transistor substitutions at this time. However, because of the circuit design and supporting component values, these changes had relatively little impact on the core tone.

Many players recognize the sound of the 1976 version because one of the most influential guitarists of the 1990s built his tone around it: J Mascis of Dinosaur Jr. fame.

Out of all the variations I have of this version, V1 is my overall favorite. A few capacitor changes give it a slightly warmer and more balanced tone than the others.

Mike Matthews, founder of Electro-Harmonix, wanted to develop a Big Muff that used op-amps instead of transistors and tasked designer Howard Davis with creating the new circuit. Because of the characteristics of op-amps, this version produced a very different fuzz tone. It was gritty and gnarly, yet the lead voice carried a smoother quality with an almost clean layer beneath the notes.

The 1977 version featured an on/off tone switch. The final 1978 version replaced this with a tone bypass switch that completely removed the tone section from the circuit, increasing output and adding more gain. The op-amp design was also used in the Deluxe Big Muff.

The op-amp Big Muff later became widely known through The Smashing Pumpkins, as it was the primary fuzz used on Siamese Dream.

According to Billy Corgan, he first recognized the power of the Big Muff after stopping by a rehearsal for Catherine, led by Kerry Brown. Sharing rehearsal space with them, he walked in one night and heard what he described as a tremendous roar. Each of the three guitarists was using a Big Muff, creating a massive, Sabbath-like low drone that filled the room. While he knew bands like Mudhoney used Big Muffs, he felt Catherine pushed the sound further.

Though he found the pedal difficult to use live due to clarity issues, it became central in the studio. The specific op-amp Big Muff used on Siamese Dreambecame the defining fuzz of that record. Nearly all of the heavy tracks, including solos, were recorded through that one pedal, with some songs layering as many as eight fuzz guitars at once. It was difficult to capture properly, but when it worked, it created an enormous sound.

Corgan also experimented with running the pedal on battery rather than a power supply, believing it improved the tone. The combination of his Bat Strat, the Big Muff, and a Soul head into a Mars cabinet became unmistakable.

If you listen to Catherine’s album Sorry!, you can hear the influence that sound had on Siamese Dream.

Black & Red and Reverse

Produced from 1979 to 1984, these are among the best sounding and most consistent Big Muffs made up to that point.

Typically finished in the black and red paint scheme, printing variations led to what are now referred to as Reverse Logo Muffs. Some were printed entirely in red with no black, others were black with red printed over them, creating a rusted brown appearance, and a few were done in blue and red.

What makes these versions especially interesting is how they seem to capture elements from earlier eras.

They carry some of the grit of the 1974 Ram’s Head, the even and full character of the early Ram’s Head versions, the gain structure of the 1972 Triangles, and the strong harmonics and sustain of the 1976 models.

Despite drawing from these earlier traits, the Reverse Logo pedals have a voice that is distinctly their own, capable of searing lead tones and thick, heavily saturated chords.

After Electro-Harmonix went bankrupt, Mike Matthews founded New Sensor Corporation in Russia around 1988 and eventually brought the Big Muff back into production.

One important thing to note is that the Russian Muffs are very close to the 1972 Triangle circuits. With biasing adjustments and a few capacitor changes, they produce noticeably lower gain than their predecessors.

Since the Russian circuits are largely similar, I will give a general description first, then outline the differences.

Overall, the Russian Muffs have a big, smooth low end with full bass, a touch of grit, and creamy lead tones. They also have the lowest gain of all the Muff circuits, which helps distinguish them from earlier versions.

1991–1992 – Red Army

The first Russian-made version was the Mike Matthews Red Army Overdrive. Despite the name, it is a Big Muff, not an overdrive. It is one of the rarest Muff versions and, in my opinion, the best sounding of the Russian models.

1993–1994 – Civil War

Nicknamed the Civil War due to its blue and gray paint scheme, which later transitioned into green and black. It has more low end than the Red Army and the most out of all the Russian era pedals.

1995 – Tall Font

The same circuit as the Civil War, but with a redesigned graphic using a tall, narrow font and in a new green enclosure.

1995–1998 – Green Russian

A slight circuit revision. Tonally, it sits between the Red Army and the Civil War.

1998–2009 – Black Russian

The same circuit as the Green Russian, with a couple of different changes in transistor types.

Here is the quick reference description I send to customers:

Red Army V1 – the least amount of low end with a gritty fuzz character.

Red Army V2, Civil War, and Tall Font – the same circuit, offering the most low end and the smoothest fuzz.

Green Russian and Black Russian – identical circuits except for the transistor changes in the Black Russian. These sit between the Red Army V1 and the Civil War, with more low end than V1 but retaining a slightly gritty texture.

Electro-Harmonix also produced Big Muffs for other companies in rebranded enclosures. These were not alternate circuits, but the same pedals EH was manufacturing at the time, simply screen printed for specific companies or music stores.

One of the most well-known examples is the Guild Foxey Lady, which included both Triangle and Ram’s Head era circuits. Based on the units I have traced, these are identical to their Electro-Harmonix counterparts.

Other OEM versions worth noting include the Wabash, Lyle, and Marveltone. These are rare and difficult to find.

Throughout the 1970s, several Japanese companies began cloning Big Muff circuits, often modifying them in the process. In some cases, those modifications were improvements.

Below are some of the most notable examples.

HOHNER TRI DIRTY BOOSTER

In the mid-1970s, Hohner released what I consider one of the finest interpretations of the Muff circuit ever made.

There is still uncertainty surrounding this pedal, including who manufactured it for Hohner, which exact circuit it was derived from, and why certain changes were implemented. Based on the circuits I have examined, the Tri Dirty Booster appears to be derived from a late 1972 Triangle, likely a transitional circuit leading into the early 1973 Ram’s Head models.

However, this is not simply a clone.

The circuit refinements result in a remarkably balanced pedal. The low end is full without becoming boomy or muddy. The low notes retain a touch of grit for definition, while the leads bloom with rich harmonic content. The overall feel is fluid, sweet, and extremely musical.

It captures the strongest qualities of the best Muff circuits and refines them into something exceptional.

SEKOVA SE-2015 BIG MUFF

Manufactured in Japan by Shin-Ei and distributed by Sekova, the SE-2015 is a rare and formidable fuzz released around 1972–1973. The circuit is rooted in the early 1972 Triangle design but introduces meaningful voicing changes that give it a distinct identity.

Tonally, it separates itself from its American counterpart with a deeper low-end presence and a darker, louder, more aggressive character. The high end retains a gritty edge without sacrificing weight or body.

Among collectors, the SE-2015 is often regarded as a “holy grail” Japanese Muff variant and remains one of the more sought-after early interpretations.

MIRANO EF-1 EXCITING FUZZ

The Mirano EF-1 Exciting Fuzz is another rare Japanese reinterpretation of the Big Muff circuit.

Produced in the early 1970s by Katayama Electric Instruments Co., this design moves beyond simple cloning and establishes its own voice. It delivers a warm, punchy fuzz with strong gain and notable clarity.

Chords retain harmonic complexity while staying well defined. The tone control sweep is smooth and usable across its entire range, avoiding harsh highs and muddy lows.

Because of its unique voicing and limited production, the Exciting Fuzz has earned a strong reputation among collectors.

ELK GAKKI CO. SUPER FUZZ SUSTAINAR

One of the earliest Japanese Muff interpretations was the Super Fuzz Sustainar, produced around 1973 by ELK Gakki Co., also known as Electro Sound Co.

Based on early 1972 Muff circuits, it became known for its thick, growling saturation and long sustain. The pedal was produced under multiple names throughout the 1970s, including:

• Super Fuzz Sustainar – Elk Incorporated
• Big Muff Sustainar – Electro Sound Co.
• Big Mag Sustainar – Electro Sound Co.
• Big Muff Sustainar – Elk Gakki Co.

The pedal gained wider recognition through Wata of Boris, further cementing its status among fuzz enthusiasts.