Hello everybody again!

After a long period (over three years more or less), I’ve completely updated my pedal boards. While some of them have had minor changes, others have been drastically reworked or arranged for new projects. Let’s start!.

I’m currently playing with three different bands. Each one has its own guitar, amp & FX setup as follows: 1 amp, 2 guitars (each one has a different tuning) and 3 pedal boards per band (I tag them “I”, “II” and “III”). What I usually do is trying different combinations – a total of six possibilities per band.

This is what I use when I play with “ZARAPOLIS” (pop-rock, similar to U2, Pink Floyd, and some 80’s and 90’s bands). I use a pair of modified Jazzmasters with D Standard and C Standard tuning:

I:

[img]https://7fa54g.blu.livefilestore.com/y2pD6Rxag5A6GrlfkwtBXHA8N6lRUoyA5dVjI7BrX-6LXvjEPwLNi9C1OJCrSdPAYJbzg6R__orauifahWx9RJdIq1EGVIW0dRl3ShI6jB6kI0/Zarápolis I (FINAL VERSION).JPG?psid=1[/img]

Signal path: Guitar -> VoodooLab Sparkle Drive -> Boss TU-2 -> EH DMM RI (131 BPM version) -> EH SMM/Hazarai -> Amp (Sovtek MiG 100 + Framus 2 x 12″ cab).

II:

[img]https://7fa54g.blu.livefilestore.com/y2p5CxzCJx5NTcWOvUK_O0BxV7hfnrsg1_kkajOmbJD7Cpw6jny94QvHZ0QDKHvWVHnnLFUhGJtiIcPBXeBKCnVks4U8Iv5_5aT1dmp9heZaKw/Zarápolis II (FINAL VERSION).JPG?psid=1[/img]

Signal path: Guitar -> Boss TU-2 -> MXR Distortion+ -> EH DMM RI (120 BPM version) -> Maxon AD-999 Analog Delay -> Amp (Sovtek MiG 100 + Framus 2 x 12″ cab).

III:

[img]https://7fa54g.blu.livefilestore.com/y2pICf25uMnJeYq-TTddIMkU_SYW2giAVCTUSjYHuVSfITdr-SP7pcRZ9vX2hLNoLqg-8Necg9M8s9c_lEBdWnACkPTtknxVA0-l7lVr4HpKMM/Zarápolis III (FINAL VERSION).JPG?psid=1[/img]

Signal path: Guitar -> Boss TU-2 -> EH Octave Multiplexer RI (early 2000’s) -> EH Big Muff Pi USA RI v9 (first RI from 2000’s) -> EH Stereo Polychorus RI (early 2000’s) -> MXR Carbon Copy Analog Delay -> Dedalo FX Maquina del Tiempo Delay -> Amp (Sovtek MiG 100 + Framus 2 x 12″ cab).

This is what I use when I play with “LANA LEE” (instrumental psychedelic rock). I use another pair of modified Jazzmasters with E Standard and C Standard tuning:

I:

[img]https://7fboha.blu.livefilestore.com/y2pWfd6SOFtoxq6GxMBaru6SQ7FpSc6FYq3_mwatNwqPzai5IiI16Q8muAG3PrwjhxsorQqxy9sLadzbzo7bBIGDWX8Bdaeo7ADBhSZSBuaBQY/Lana Lee I (FINAL VERSION).JPG?psid=1[/img]

Signal path: Guitar -> Boss TU-2 -> EH/Sovtek “Green Russian” Big Muff Pi -> EH Small Stone v1 (placed in a loop) -> EH POG -> Boss DD-2 Digital Delay -> Boss DD-20 Digital Delay -> Amp (Sovtek MiG 100 + Sovtek 4 x 12″ cab).

II:

[img]https://7fboha.blu.livefilestore.com/y2pVxazXp5OyqJW4GfDFfGIPbMUzuocTIqdH-zJv72yF8leRLiHtIS2xO4Wm0AD9pUvCk-tjC_9tpwx0PQgiUJ1_qJ4kcYJD5xhPxQqdJScHOI/Lana Lee II (FINAL VERSION).JPG?psid=1[/img]

Signal path: Guitar -> Boss TU-2 -> EH Hot Tubes Overdrive (early version) -> EH Small Stone v2 -> Boss DD-2 Digital Delay -> Boss DD-7 Digital Delay -> Amp (Sovtek MiG 100 + Sovtek 4 x 12″ cab).

III:

[img]https://7fboha.blu.livefilestore.com/y2pJ6gbbKlBQXIJJtIbIQ5m3yyVFOJZOFKZMN-a-ladkoKKvwKBfgnSGpm7FFEs158mQYWkCKlEI3GGkN8k52j8SMTsrW93kLD02ordhUBcZds/Lana Lee III – FINAL VERSION.JPG?psid=1[/img]

Signal path: Guitar -> MXR Blue Box-> Boss TU-2 -> EH NYC Big Muff Pi USA v5 (Op-amp version w/Tone Bypass, dating from 1978) -> EH Frequency Analyzer RI (later RI) -> EH Small Stone USA v4 (RI from early 2000’s) -> EH DMM RI (142 BPM version) -> Boss DD-7 Digital Delay -> Amp (Sovtek MiG 100 + Sovtek 4 x 12″ cab).

This is what I use when I play with “CAMILLE” (post-rock/hardcore). I use a heavily modified Stratocaster (E Standard tuning) and a modified Jazzmaster (D Standard tuning):

I:

[img]https://fljk5a.blu.livefilestore.com/y2ptZUthGQk7-1WVoMmm2KXt7vdGnMlyO0R6aVbfv9QstUCe6OdAgMmoQPR5QiWQtOhCtaJKUC4x8O-wZsBVVUTqZpHkqo-5sFM_kb7nmt_iNQ/Camille I – guitar (FINAL VERSION).JPG?psid=1[/img]

Signal path: Guitar -> Boss TU-2 -> Crybaby GCB-95 (Red FASEL+TBP) -> EH Frequency Analyzer RI (early 2000’s RI) -> EH Big Muff Pi USA RI “Rev A” (early version) -> EH Deluxe Big Muff Pi “Blend On/Off version” (1977) -> EH Micro Synthesizer RI (early 2000’s RI) -> EH Pulsar Tremolo -> EH DMM (160 BPM version) -> Amp (Sovtek MiG 100 H + Sovtek 4 x 12″ cab).

II:

[img]https://fljk5a.bn1301.livefilestore.com/y2p1uk0TCrJ6-yKolZe6vR5fBPkf5l6yVyf2qsjNXc2cmx2vlIBI7gI9eGIJEZ8_KGwyxDdE2BuxaBkbp1m6AqrjctAIDrNsgsVujW_dPlEOd0/Camille II – guitar (FINAL VERSION).JPG?psid=1[/img]

Signal path: Guitar -> Boss TU-2 -> EH Octave Multiplexer RI (later big box RI) -> EH Big Muff Pi USA RI “Rev A” (later version) -> EH Big Muff Pi USA RI “Rev E” -> EH Pulsar Tremolo -> EH DMM (142 BPM version) -> Amp (Sovtek MiG 100 H + Sovtek 4 x 12″ cab).

III:

[img]https://fljk5a.bn1.livefilestore.com/y2pSPW6jb4cHI84BjltkBoQw5ec4Srg4ADRoGQ8ia8BF-J3GRl1cc2Il09Aem8L4oAZt-4Ift9BDKrMghXHFEdt62jS5IKUyC7gpe__dEgB-GQ/Camille III – guitar (FINAL VERSION).JPG?psid=1[/img]

Signal path: Guitar -> Boss TU-2 -> EH Deluxe Big Muff Pi “Parallel/Series version” (1978) -> Aramat Green Machine Overdrive -> Aramat Tubular Tremolo -> EH DMM (158 BPM version) -> Amp (Sovtek MiG 100 H + Sovtek 4 x 12″ cab).

… And this is what I use when I’m playing at home or without a band:

[img]https://fliiiq.bn1304.livefilestore.com/y2polOgoBdrFMdvh5k5TpSaor__gXwipPzedcYlUmiGY_nVpYGgDYiD-BfYrkCt58Be6RyGS1FW8xfVCG4A695RHtzyGToyK8U309t8ZYVYh2Q/Solo Board.jpg?psid=1[/img]

Signal path: Guitar -> (tuner if used) -> EH Octave Multiplexer (original from 1975) -> Fulltone ’70 -> EH 16 Second Digital Delay -> Amp/line/or whatever.

Regards!

Nacho.

I bought an Stereo Polychorus RI (Early 2000’s) past year and I feel the same “love”.

This is an amazing multi-effect unit. You can go from subtle to over the top with the twist of a knob.

I’ve managed to make an “all-star team” combining it with a big box DMM. I’ve invited to record some guitar parts for the next album of a band, and I’ll perform one of the songs with EH SP + EH DMM.

I’ll give you the setting once I have finished the rec. session.

Here’s mine:

[img]http://public.blu.livefilestore.com/y1pyhITE_QUtejAu2rIGPjO0odmVI6Q-hmGLWdgAVEaIvUZrAcH0Hfusx0DoHP4QP4rguQ8SRIRHJZtqh2ZThfuNQ/EH Stereo Polychorus (Wooden Box Version).JPG?psid=1[/img]

Regards.

S.W.

Hello:

I purchased an EH Memory Boy last year to fit into one of my pedal boards.

The previous rig was: (guitar) -> Boss TU-2 -> MXR Distortion + -> MXR Micro Amp -> EH XO Stereo Pulsar -> Maxon AD-999 -> Toadworks Redux.

Redux Delay was OK (despite it has some volume issues at certain settings) but I decided to replace it with the EH Memory Boy. As a result, the delay section was 100% analog.

I usually place the longest-time delay at last position for having more control over delay times.

The final rig is: (guitar) -> Boss TU-2 -> MXR Distortion + -> MXR Micro Amp -> EH XO Stereo Pulsar -> Maxon AD-999 -> EH Memory Boy -> (amp).

but in this case the MB is the last one. Why?…

… Well, AD-999 has more delay time (up to 900 ms) and it’s very warm sounding (also, it reacts very well to self oscillation), so I use it for rhytmic patterns. But the MB at last position allows me to:

a) Tweaking the other delay performance with modulation – subtle, extreme and everything in between.
b) Leaving it engaged all-time with “reverb like settings” (short time, low blend and deep feedback, modulated or not). As a result, it brings a nice color to the sound.
c) As MB boosts the signal when engaged, it’s cool for guitar solos.
d) Constructing complex patterns using both delays at the same time.

… and more.

The only feature I don’t use is the expression pedal (not enough room at the board) but as I’ve watched at demos is really outstanding.

About the “EH MB vs. MXR CC” discussion: I own both pedals (at different boards, each). They sound good but are quite different. The MB has more capabilities and wider ranges for modulation. CC is an classic style analog delay with a mellow modulation (adjustable via two internal trimpots) added.

Maybe some people consider them “rivals” but not for me, despite they compete in a similar price and feature range. I think the key is not in terms of “better/worse”, it’s just a kind of sound preferences (at least to me). You may prefer one, the other… or both :thumb:.

Regards.

S.W.

Hi again!:

Here’s my review after almost ten years using Big Muffs:

* ORIGINALS: I currently own three different units but they are IC instead the 4-transistor circuit. These are the following:

– OP-Amp Big Muff Pi w/Tone Bypass (v5 maybe?): This version is certainly different. I find it less bassier and seems to have more definition. About the so called “cutting through the mix” issue, I think this version performs quite well no matter you set it from lower to brighter sounds (but a bit raspy at max. tone values).
When playing at home with an small tube amp + 1×12″ cab. I liked more the bypassed tone position than the standard one. But when used at rehearsal space with bigger amps & cabs (much louder volume settings, of course), it’s just the opposite: Bypassed tone position is just OK while the “stock” tone control provides much more possibilities.

I purchased it with a “True-Bypass” switching mod, the standard DPDT wiring (“Carling” type switch) without LED.

– Deluxe Big Muff
a) EH-1330 (Blend On-Off version): Pretty cool sounding. The addition of the compressor helps to make the Big Muff sound clearer. As I play in mono, I use always the Blend position. It has enough output and gain to crank any amp. It’s fine for riffs but it goes better for solos. I remain it “all-original”, with the AC-cord (125 volts) – but I use it with an external transformer (for European voltage).

b) EH-3054 (Parallel/Series 2nd version): Like the other Deluxe Big Muff I own. This one is less brilliant than the “Blend On-Off” version. After many hours tweaking and switching between Parallel and Series, I like it more on Series than Parallel: The former is more aggresive while the latter is a little bit “dull” unless you crank it up. This version was changed to “True Bypass” (the usual 3PDT); an AC cord was re-installed again instead a 9-volt socket that previous owner installed.

Both Deluxe BM are pretty cool, but I think i’ll have to take much more time to experiment with them in studio (espceially the use of both output at the same time).

* AMERICAN RI’S: Also, I currently own three USA Big Muff Pi RI’s

a) First Reissue (Early 2000’s): I own two of these. One of them is completely original, and the other has been wired to “True Bypass” using the stock (“Carling” type) DPDT switch + Millenium circuit. It has lots of bass, and not as amazing when more tone is dialed in (i find it too raspy past 3 o’clock). But is quite nice. This version makes a good team with the Octave Multiplexer RI.

b) Second Reissue (2.003 – 2.006?): This is one version with the “A” letter carved in the circuit board. Supposedly, almos identical to early 2.000’s reissues but I find a slight difference in the tone pot performance. Also they feature “True-Bypass” with a 3PDT switching. This version (at least the one I own) has a narrower range at tone comparing it with early RI’s, so it is less “versatile”. Tt works better at low tone values (bassier). I used it with guitar for almost 4 years (2005 to 2009) but I began to use it with bass, which I found mor useful (leaving early RI’s for guitar). Also, it pairs well with the Octave Multiplexer RI. Now I have come back to use it on guitar as I’ve found another Big Muff more suitable for bass frequencies.

* RUSSIAN VERSIONS: Also, I currently two russian-made Big Muff Pi RI’s

a) “Military Green” Sovtek/EH Big Muff Pi: The “thick graphics” version. Well, this has been one of my favs. It’s rather a distortion than a fuzz because it has lots of definition and the tone range is extremely wide. In fact, is the only BM which I can set tone past 12 o’clock without getting raspy and poor. It’s my “little secret weapon”, green, heavy and amazing. I keep using it but a friend of mine had rebuilt it again but housing the new circuit board into the original case. Also, the original “tank-like” switch has been wired to “True Bypass” using DPDT + Millenium system. I regard it as one of the best BM’s I own.

b) “Black Russian” Big Muff: This is one of the latest RI’s (with 3PDT switch for “True-Bypass”. I made it to be modified. First, adding a Boss type 9 volt-socket to get rid of batteries. Second, “reversing” the jacks again, so they are now like most pedals.

I always disliked it for guitar, but the reason for owning one of these is that the “Black Russian” Big Muff is KILLER with bass guitar. And as I’m beginning to use bass more frequently for supporting my side (studio/experimental recs) projects, it’s a key piece to get a huge fuzz sound. A good friend of it is the amazing EH Hog’s Foot Bass Booster from the 70’s.

Yes!, take a Fender Bass, plug into an Ampeg full-stack, place the BRBM and … wow!

I’ll keep it updated for some more Big Muff experiences.

Regards to everybody.

S.W.

Ah! The Octave Multiplexer…

… It’s one of my favorite monophonic octavers along with the MXR Blue Box (one of their rivals from the 70’s)

I own three big-boxed units of this: An original from 1975 and two RI’s (early 2000’s and a later RI – after 2005 I suppose).

It has a 70’s hard-rock & funk vibe, which was on vogue when it was designed – I’ve noticed that the original has a bit more gain than RI’s.

The “Bass” mode of the original performs really good for guitar and bass while the “Sub” mode of RI’s is not as versatile on guitar but really outstanding with bass.

It’s also very funny how it works on vocals.

About blend control, maybe at some settings, especially if you go past 50%. With more octave present in the mix, you may notice a volume “drop” comparing with the bypass volume. This can be solved readjusting the High & Bass filter values or changing between Normal and Sub. It depends on the instrument you’re using. I noticed that this “drop” sensation is caused because some notes on extreme ranges (lowest or highest) cannot be tracked properly, but it can be solved as I comment above, just tweak the filter knobs and here it goes.

The XO version, as it has two outputs may let you experiment with blend-knob at max, while you can get the dry sound going through the other output. That could be especially useful for studio recording (two tracks at a time – one with the dry signal and the other with full-octave signal), and with the status LED (but I don’t really miss it on the big boxes).

I suggest some possibilities:

Guitar – EH Big Muff Pi USA/Russian – EH Octave Multiplexer – (whatever) – Amp. Here, the OM may tame a bit the roar of the Big Muff while you can get a nice octave-down-fuzz for soloing or heavy riffing – which I find very Melvins/Boris-like.

You may place instead, the OM first and Big Muff after if you want to use “more wet” settings (I mean, the blend control going past 12 o’clock) so you can boost and fuzz the deep octave sound.

This rig can make your 4-string bass sound like a 5-string bass, deep and powerful:

Bass – EH Octave Multiplexer – EH Q Tron (LP mode) – whatever – Amp

Another cool rig could be: Guitar or Bass – EH Octave Multiplexer – EH Doctor Q – whatever – Amp:

This is very responsive to playing dynamics, a super funky sound. And a bit synthy on some settings (listen to the song “Madison Ave.” of Tortoise and you can have an idea of what I’m talking about).

Regards!

N.