The Big Muff π Page
The Definitive Big Muff Resource and History
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THE LEGENDARY DAVID GILMOUR / PINK FLOYD RAM'S HEAD BIG MUFF - In the long list of great rock and roll guitarists assiciated with the Big Muff, Pink Floyd guitarist David Gilmour is one of the more well known users. USA made V2 "Ram's Head" models seem to be the Muffs he preferred to use most, both in Pink Floyd, and in his solo recordings. A Big Muff was prominently used on Pink Floyd's The Wall double album, including the legendary Comfortably Numb solos, as well as the massive and aggressive Big Muff tones heard on the 1977 Animals/In the Flesh tour. David's gear tech, Phil Taylor, said he introduced David to the Big Muff in 1974, although I do not believe David started using one regularly until around 1975 or '76. USA Big Muffs appeared on many notable Pink Floyd / David Gilmour works:
1976-77 - Animals album and Animals/In The Flesh tour
1978 - David Gilmour's first solo record, David Gilmour
1979-81 - The Wall studio recordings and live shows
1983 - The Final Cut studio recordings
1984 - About Face album and tour
Mid 1980s - early 1990s - Likely many of Gilmour's guest solos on other artists songs from this period used a Big Muff, though he often used a Boss HM-2 in this period as well
1987 - the Momentary Lapse of Reason studio recordings and 1987 leg of the tour
1993-94 - the Division Bell studio recordings
2001-02 - the Meltdown concerts
2006 - the On an Island studio recordings, and the 2006 On an Island tour
*Note - for a very thorough and comprehensive guide to all of the gear David Gilmour used in these periods, look no further than Gilmourish.Com
David Gilmour Big Muff Sound Clips - Here is a selection of various Gilmour solos using the Big Muff Pi, in this order: Dogs solo live from Oakland California, Dogs solo from Animals in (both 1977), Mother solo, Young Lust solo, and Comfortably Numb solo (all from The Wall 1977), Final Cut solo and Fletcher Memorial Home solo (from The Final Cut in 1983), and the On an Island second solo (from On an Island 2006).
MP3 Soundclip David Gilmour Big Muff Pi Solo Selections 3.9MB
According to Phil Taylor, this first Big Muff he gave David "has often been preferred for most things" over all others David owned. This #1 unit was likely David's main recording Muff, though David owned several other different V1 and V2 Big Muffs in the late 1970s. It goes without saying that Big Muffs from the early to late 1970s, came in a very wide variety of sounds. Though all had a distict character that identified them as Muffs, they could sound clear or muddy, fuzzy or crunchy, high gain or low gain, deeply scooped mids or brighter flat mids, chunky bottom end, or fat, thundery lows. This was due to the wide variety of component values used and the large tolerances of individual components, making it rare to find any two that sounded exactly alike. Out of the many Ram's Head Big Muffs I have played, one of the few that really stood out among the others to me, and that sounded exceptionally Gilmourish, was one with similar component values to the Violet Big Muff circuit, manufactured sometime in 1974 through 1975. This was one of the few times Electro-Harmonix actually repeated the exact same circuit numerous times. It has the typical huge, dark V2 sound, crunch and grit, but a clarity unlike many typical Ram's Heads, and not too thick and bassy. Perhaps David's #1 Muff is similar to this?
In 1975 or '76 David's backline tech, Phil Taylor, purchased a second V2 Big Muff for David to use on tour. Pink Floyd had already been the victims of stolen gear when touring. In one instance an entire truckload of gear was stolen! Presumably David did not want to take his favorite #1 Muff (the one Phil gave him in '74) out on the road. However, David found this #2 Muff did not sound the same as the #1. Phil later became aware that the component values of Big Muffs were not consistant from unit to unit. Here is a quote from Phil in the January 2009 edition of Guitar Player.
"I introduced David to the Electro-Harmonix Big Muff Pi in 1974. He liked it, and he has continued to use one ever since. David has tried many of the different incarnations and models over the years, but his original has often been preferred for most things. Finding another that sounds the same is not easy, I have even placed six in a row that externally appeared to be identical to his original, and they all sounded different. Often, when you look inside, some components and values are different..."
Why were there different variations of the circuit, you may ask? Well, Electro-Harmonix bought circuit components like capacitors and resistors in bulk to get the best prices, and often the value of the components from one bulk purchase were not exactly the same as the next. To accommodate this, they would simply revise the schematic to work with components EHX had on hand. Even though the topology of the circuit pathways (those silver lines you see on the back of the circuit boards) were exactly the same on all Big Muffs, it is the value of the components on that circuit that define the sound. This resulted in numerous versions of the circuit: over ten variants for the Triangle Big Muff and over 15 for the Ram's Head. Hundreds to thousands of each circuit variant were made. Some sounded only marginally different from the others, but several of these were significantly different sounding from the others. So which one was in David's Big Muff? There were at least five variants in 1973, and four in 1974, so we can't know that without actually seeing the circuit.
THE CORNISH MODIFIED RAM'S HEAD BIG MUFFS - Effects rig legend Pete Cornish was creating a new touring pedal board for David in 1976, shown above in a late 1976 London photo taken during rehearsals for the In the Flesh tour (from the Animals song book). Pete was asked to modify David's #2 Big Muff to match the sound of his preferred #1 Big Muff. He changed the component values to get a matching sound, replaced the potentiometers and foot switch, and added a buffer to make it compatible with the routing system he designed and built into the pedal board. This #2 Big Muff is the one shown in the photo above. If you look closely, you can see extra screws on top to hold the buffer in place inside the pedal. The photos below all show this exact same #2 Big Muff was used on many tours from 1977 through 2006. It was seen in the '77 and '87 touring rigs, as well as the Bray studio rehearsals for David's 2006 On and Island tour. I asked Pete Cornish if this was the same Big Muff he modified in all these photos, and he confirmed it was. Thirty years and still going strong! You will also note that this #2 Muff features unique skirted knobs, similar to knobs used on the old Dallas Arbiter Fuzz Face pedal. No, these are not just one of the many odd knobs types E-H used for production Big Muffs (there are at least 10 knob types). Pete replaced the stock Big Muff potentiometers with higher quality pots, but these new pots had round shafts. The original E-H knobs fit D shaped shafts, so they could not be used. Pete was using Fuzz Face style knobs that fit the round shafts, so David's Big Muff was fitted with those. Pete also used the same knobs in Brian May's Queen gear, and various other pedal boards built for other guitarists at the time.
Shown above, left to right - David Gilmour's Pete Cornish modded #2 "Ram's Head" Big Muff and Electric Mistress from the 1977 In The Flesh/Animals touring board, the same Ram's Head from his revised 1987 tour rig, and same Ram's Head and a Triangle Big Muff on top of his On an Island 2006 tour board at the Bray Studios rehearsal in 2006. Cornish modded this Big Muff to sound identical to David's original #1 Big Muff, given to him in 1974. The extra screws on top are to mount the pcb of the Cornish buffer built into the pedal
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Shown above, left to right - The Fuzz Face style, skirted grub screw knobs seen on David Gilmour's #2 Big Muff are replacements added by Pete Cornish when he modified this Big Muff to sound like David's #1. They were also used on Pete's custom pedal boards from the late 70's. The middle photo is another Pete Cornish pedal board from this time with the same knobs (thanks to Rafal and Pete for identifying the knobs)
THE PETE CORNISH "CUSTOM FUZZ" BIG MUFFS - David has occasionally used Pete Cornish Custom Fuzz pedals in his touring rigs. These are sometimes referred to as the Precision Fuzz, Cornish Fuzz, PC Fuzz, or PC Big Muff in various Gilmour gear articles and books. These were essentially custom made, modified Big Muff circuits. Pete had some prior experience with a Big Muff before working on Gilmour's pedal boards. In September 1973 he built a pedal board for King Crimson guitarist Robert Fripp that included a Guild Foxey Lady circuit, which was simply a rebranded Triangle Big Muff made by Electro Harmonix.
According to Pete, around 1974 or 1975 he was sent seven Big Muff pedals from David Gilmour. Some of these were version 1 "triangle" Big Muffs and some version 2 "ram's head" Big Muffs, with a variety of different the circuit variants inside them. Out of this group, Pete was asked to select the one he (Pete) considered to be the best to reproduce, but with the following improvements: add power supply de-coupling, add input/output buffers to maintain a constant high impedance signal, and to improve the reliability and reduce PCB size, using the best components that were available at the time. It was one of the first "boutique" custom Big Muff circuits ever made. Pete built the first Custom Fuzz into David's touring pedal board in 1976 and it was used on the first leg of the '77 tour. In 2006 Pete made a pedal version of the original Custom Fuzz to sell to other musicians, called the P-1. It included a high quality double buffer, and a sturdier enclosure than the stock Big Muff. Although Pete does not like to call what he makes "clones", the P-1 is very much a mid 1970's Big Muff circuit at it's core. Pete's pedals have a plain, industrial look, rather than the more stylish looking factory EHX pedals or boutique hand made pedals, but they are perfect for the hard life of a touring musician's gear, where all that matters is sound and durability.
Shown above, left to right - The pedal version of the original '76 Pete Cornish Custom Fuzz. This one is owned by John Roscoe (ToneFromHeaven.com), and labeled "Custom Design". This was the first pedal version of the Custom Fuzz, built in 2006, and offered for sale to the public later that year as the P-1, shown on the right.
How much the P-1 was actually used by David for the 1977 tour is unclear. It was installed into his '76 pedal board, but a photo from the In the Flesh rehearsal taken in late '76 shows the #2 Electro-Harmonix Big Muff pedal on top of the pedal board, connected to the send/return jacks, along with an Electro-Harmonix Electric Mistress. Tour photos from January through March 1977 also show that David was still using a Rams Head Big Muff on top of the board, likely the same #2. This seems to suggest David preferred the sound of the real Big Muff over the Cornish Custom Fuzz for that tour. David may have used both at different settings, but in late 1977 the Custom Fuzz was removed from the pedal board and replaced with a real Big Muff circuit. Some reports state the #2 Muff used on top of the board was the one built into the board. I doubt this, considering the #2 has been seen intact, in it's original enclosure repeatedly for over 30 years. Pete does not just stick a pedal into his pedal board and plug it in. He removes the circuit from the enclosure and wires it into his pedal board power supply, buffers, and switch system. Pots have to be desoldered, power section altered, et cetera. I think it highly unlikely he took the guts out of this Muff to place in a pedal board, then returned them to the original #2 enclosure at a later time. My guess is this replacement was another stock Big Muff, with a circuit modified to match the #1 sound, or simply a similar sounding stock Big Muff.
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Shown above - Photos from January and March 1977 form Pink Floyd's Animals/ In the Flesh tour. The "Ram's Head" Big Muff and Electric Mistress spotted in the London '76 rehearsal photo can clearly be seen on top of David's Cornish pedal board during the subsequent tour of Europe. This Big Muff is likely the same #2 Big Muff seen in the rehearsal, modified by Pete Cornish to sound like David's preferred #1 Big Muff. The pedal board also included the Cornish Custom Fuzz built inside.
Even though the Cornish P-1 did not last long in David's board, and seems to have been absent for close to 30 years, it made a triumphant return in the 2006 Cornish board used for David's stellar On and Island concerts, Documented in the Remember that Night DVD and Live in Gdansk CD and DVD. Having played the Cornish P-1, I have found it to be remarkably similar in tone to my original Violet Big Muff circuit, so I think it likely that the component values may be similar. The only notable difference was that the P-1 has significantly more gain on tap than my violet. Big Muff replicas like the TopTone DG-1 (base on the Cornish P-2), Stomp Under Foot VRH, and MJM Foxey Fuzz (both violet Big Muff clones) have a similar sound.
Shown above, left to right - The 1989 Momentary Lapse Gilmour pedal board with hand made Pete Cornish Custom Fuzz, the Custom Fuzz simply labeled "Big Muff", the 1994 Division Bell rig with Custom Fuzz, the Custom Fuzz seen in the Pink Floyd Interstellar Exhibition, an early Pete Cornish P-2 Fuzz, as the Custom Fuzz would later be known, and a modern P-2 in a slightly different enclosure. Offered for sale to the public, the P-2 versions on the bottom included a built in double buffer and a larger enclosure. Pete considered this an improvement over his original 1976 Custom Fuzz, the P-1.
Pete also created what he considered an improved version of the Custom Fuzz, with an improved tone control, less mids scoop, and thicker lows. This evolution of the Custom Fuzz was called the Precision Fuzz in its early incarnations. It was featured in a small box pedal form in David's giant 1989 Momentary Lapse of Reason touring rig during the second leg of the European Pink Floyd tour, replacing the #2 Big Muff. It appeared again for the Division Bell tour in 1994. Simply labeled as "Big Muff", the pedal was probably used as a backup for David's Sovtek Big Muff in '94. It did not include Pete's buffer system as David's custom pedal board already included the necessary buffers. Around 1992 Pete made a version for Lou Reed and re-named it the P-2 Fuzz. This version was also offered for sale to the public with Pete's dual buffer system, and is now simply known as the P-2. There was yet a third evolution of the Big Muff circuit created by Pete, the G-2 Fuzz. This version sounded very different from the P-1 and P-2, utilizing Germanium diodes rather than Silicon found in most Big Muff circuits, and Pete's superb double buffer. Even though the circuit architecture is Muff based and uses the same pcb path as the P-2, I would not even classify it as a Muff. The component values are heavily modified, giving the G-2 more of a very unique overdrive dirt pedal tone, with a very smooth and warm, amp-like distortion. It was used prominently by David Gilmour from 1999-2006. I believe most of the distortion guitar solos heard on Gilmour's Remember That Nght and Live In Gdnask DVDs are the G-2.
It is worth noting that each of these pedals originally included 'Fuzz' in the name, but after a debate began online about what constitutes a pedal as a fuzz, muff, or distortion, Pete dropped the word Fuzz and kept his simple alpha-numbering nomenclature as the name. Different people have different impressions of what a "fuzz" sounds like, but these circuits are simply each different ways of amplifying and distorting sound.
Shown above, left to right - The Pete Cornish G-2 Fuzz, and a later G-2 version in a different enclosure, with "fuzz" removed to simplify the name
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A CONFUSION OF MUFFS - It seems clear that David's original #1 Big Muff and the #2 touring Big Muff sound the same. It is not clear if the Custom Fuzz/P-1 sounds similar to the #1 model, since Pete stated the Custom Fuzz was not built as a replica of the #1 circuit. According to Mike at AnalogMan, when he met with Phil Taylor (Davd's gear tech) in 2006 at one of Gilmour's On An Island concerts in New York, he got the straight scoop about David's Big Muffs. According to what Phil told Mike, the Custom Fuzz built into the Animals pedal board sounded exactly like David's original #1 Big Muff. This info is a bit confusing however. If the #1 Big Muff, the #2, and the Cornish Fuzz all sound the same, why were both the #2 and the Custom Fuzz used on the '77 tour, and why was the Custom Fuzz replaced with a Big Muff in the board shortly after that tour? David possibly used both for the tour, with different settings for each, or one was set specifically to run with the Electric Mistress and/or the Colorsound Power Boost.
I do think it likely that Gilmour did not think the Custom Fuzz and #2 sounded the same, or the Custom Fuzz would not have been replaced so soon. I have an idea that the #1 and #2 Big Muffs probably sound more aggressive than the smoother P-1. There are also several other Big Muffs listed in the effects chains of David's later Cornish made pedal boards. The revised '78 Animals board, The Wall studio board, the small Wall touring board, and the Cornish Mk I all-tube buffered board, all list Big Muffs as built in effects. These are usually labeled "Big Muff" in the effect chain lists from Pete Cornish and other sources, and labeled "Muff" on the pedal boards, so we do not know if these are more modified EHX Big Muffs made to sound like the #1, or different sounding stock Big Muffs. Any Big Muff at this time could have been modified to sound like any other. It simply requires using the same value resistors and capacitors. Granted, the components had sloppy tolerances at the time, so to make an exact clone, each component needed to be measured to get the exact values. Even using the values marked on the components without measuring, one would get very close. The circuit components were all common, relativey inexpensive electronic parts. Phil could have had any number of stock Big Muff circuits modded in this manner for David, all having his preferred sound. One would assume that if David preferred the sound of his #1 best, that these were likely all stock Big Muffs modified to #1 specs, but that is just a guess.
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Shown above - At the top is the large Pete Cornish built Animals pedal board, modified for The Wall shows with a built in Big Muff, and below is the small The Wall front stage pedal board, also with a built in Big Muff. Note the "MUFF" labels attached to the boards were sometimes used to describe the Pete Cornish custom fuzz pedals with circuits based on the Big Muff. We do not know if these were stock Big Muff circuits in these late 1977-1981 boards, or circuits modified to sound similar to an existing Big Muff. Settings on the top photos are most likley not accurate, but note the tick marks on the small Wall board, bottom right, used for the in-front wall stage songs during the second half of the show. The low volume and sustain settings seem to indicate the pots may have been wired in reverse of standard.
Shown above - Bob Bradshaw photos of David Gilmour's 1987 touring rig with a Ram's Head Big Muff on the upper right of the pedal board. This is the same #2 Big Muff seen on top of the Animals pedal board in 1977. (Thanks to John Roscoe, host of Tone From Heaven for the photo on the left).
Shown above, left - A video capture of the #2 Big Muff from some a 1987 back stage tour film. Note the white tic marks indicating David's settings. All three original EHX pots were aligned differently from eachother on the original Big Muffs, so based on these settings, Pete Cornish must have aligned all of them the same when he replaced the pots (potentiometers) and knobs. The tick marks indicate David's tone pot was set at 1:00/60%, and Sustain at 10:30/35% for the Momentary Lapse of Reason tour. If Pete kept the tone pot connections of the original pedal, the tone pot is wired with treble left and bass on right, the reverse of modern Big Muffs and clones. That means the correct tone setting would be around 11:00/40%, which makes more sense.
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Shown above - The photo on the left is from the 1988 Pink Floyd tour, showing the #2 Ram's Head. In the middle is a blurry screen capture from DavidGilmour.com of what appears to be a Ram's Head Big Muff, spotted on the floor of Davids Astoria floating recording studio during the On An Island sessions in 2006. Could this be David's preferred #1 Big Muff from 1974? To the right is another 2006 screen grab of David's Triangle Big Muff from the Remember That Night DVD.
THE "PULSE" BIG MUFF - Electro-Harmonix, the USA company that manufactured the original Big Muffs David used, went out of business in the early 1980s. Prices for old Triangle and Ram's Head models began to skyrocket on the used pedal market. Around 1990 EHX founder Mike Matthews, now in the Russian vaccuum tube and IC chip business, decided to resurrect a few of his old Electro-Harmonix pedals. One of the first he brought to market was the Big Muff, under the brand Sovtek/Electro-Harmonix. Manufactured in St. Petersburg Russia, these pedals used the original Big Muff circuit design, but the component values chosen gave these a slightly smoother sound than the American counterparts, and a fatter bottom end. These early Sovtek Big Muffs were made in several different color schemes, but one particular version assumed the nickname "civil war", for its blue and gray colors, reminiscent of the US Civil War uniform colors. Later versions had a slightly grittier and more gainy tone, and were often in all green enclosures.
Shown above - The Sovtek "civil war" Big Muff Pi, manufactured from around 1991-1994 in St. Petersburg Russia
David Gilmour was gearing up for a new Pink Floyd record around 1992 or '93, and naturally among his new gear was one of these new Sovtek "Civil War" Big Muffs. David had one during the recording of Pink Floyd's Division Bell studio album in 1993 and '94. Alhough it is unknown if it was actually used on any of the studio tracks, it was heavily used on the subsequent Division Bell tour in 1994. An enormously popular live CD and film of the tour was released as Pulse. David's signature distortion tone from this tour, known as the 'Pulse' tone, was very different from his previous Big Muff tones, and much sought after among Gilmour enthusiasts. As with David's previous setups, this tone was achieved with a mix of different amps and pedals: the civil war Sovtek Big Muff, lightly driven/blended with a BK Butler Tube Driver for a slight gain boost and smooth coloring, a Boss GE-7 equalizer set for a very slight mids boost to recover some of the "scooped" mid range lost on the circuit, a long delay from a TC Electronics 2290 delay, a Boss CE-2 chorus, and occasional use of a Boss CS-2 compressor for added clarity and sustain. This setup went into an Alembic F-2B preamp (a Fender Showman/Black Face Twin Reverb preamp circuit). The preamp drove Hiwatt DR103 heads (pre-amp stage removed) into David's WEM speaker cabinets running Fane Crescendo speakers, and Doppola rotating speaker cabinets. Gilmour used Fender Strats fitted with EMG-SA active pickups, utilizing the unique mid boost from the SPC tone control. That seems like an enormous rig to create one tone, but the core of that tone was simply the Sovtek Big Muff combined with the SPC tone control of David's EMG pickups. The rest was just the icing on top. You can hear this "tone from heaven" on the songs Comfortably Numb, Sorrow, Time, On the Turning Away, and other tracks from Pulse. Of course, without David's fingers and signature style, none of that gear would have mattered. A very in depth examination of this rig can be found on the Tone from Heaven website.
David Gilmour Sovtek Big Muff Sound Clips - Here is a selection of various Gilmour solos using the Sovtek Big Muff Pi, from the Pulse CD and various 1994 bootlegs of the Division Bell tour. Clips in this order: Hey You, Sorrow, Time, Money, Comfortably Numb first solo, One of These Days, On the Turning Away, Comfortably Numb second solo, Sorrow outro solo.
MP3 Soundclip David Gilmour Sovtek Big Muff Pi Solo Selections 7.8MB
Shown above - Photos of Pink Floyd's massive Division Bell stage from the 1994 tour, featured on the Pulse CD and DVD. This was the final Pink Floyd tour.
Shown above - David Gilmour's giant Division Bell effects rig. Customized by Pete Cornish, this complex effects rig was required to produce the wide variety of tones from the large catalogue of Pink Floyd songs played on the '94 tour. The core of David's lead distortion tones was the Sovtek Big Muff and EMG-SA fitted red Stratocasters...and David's fingers, of course. The Pete Cornish Precision Fuzz (P-2), minus the buffers, also appeared on this board (top right), likely as a backup for the Sovtek Big Muff
THE GILMOUR BIG MUFF SOUND - Gilmour gear fanatics and tone chasers (like me!) have always wondered what David's #1 Electro-Harmonix Big Muff may have sounded like. We are lucky enough to have the exact Pete Cornish custom Big Muff pedals David used available to us, but having a superb vintage Electro-Harmonix Big Muff that has that Animals, David Gilmour solo album, and The Wall tone is another story. It is very difficult to determine David's actual #1 Big Muff sound by listening to studio recordings. If the #1 was "preferred for most things" as Phil Taylor stated, one would assume this is the Big Muff heard on all of these recordings. That is one legendary Big Muff! Was there something extra special about this particular Muff that made it sound so incredible on those records? Probably not, although I do not doubt this Muff had one of the better sounding circuits, just as I do not doubt David had one of the better sounding Fuzz Face pedals prior to this period. The man obviously has a very good ear, and a great staff capable of locating the best equipment. It is likely several examples were tested to find the one that sounded best.
I think what made this Big Muff sound so unique was that you are not simply hearing the Big Muff through an amplifier on these records. David often played through a combination of several amps, one of which was usually sent into a rotating speaker cabinet. David was also likely using the Colorsound Power Boost in conjunction with the Big Muff in this period, notably heard on the Animals/In the Flesh tour bootlegs, and possibly a few tracks on David's first solo album. There were also times when David used an Electric Mistress/Big Muff combo. This blend of amps and pedals gave David some very unique, but very hard to replicate tones. Most of that tone comes from the way he plays, not the gear, but the Big Muff is very responsive to the subtlelties of good playing and good control of harmonic tones. David is the master in that area. Like the best illusions performed by the master magicians, we will probably never know exactly how David achieved these magic Big Muff tones, but they continue to be a source of enjoyment for those of us who like to puzzle them out, or use them as a starting point in creating our own tones.
Thanks to Pete Cornish, Bjorn Riis, John Roscoe, Rafal Zychal, and Mike, for your vast knowledge of David Gilmour's gear, addional info, and pix. For more information about David Gilmour's Cornish pedal boards and other gear, please visit the excellent Tone from Heaven and Gilmourish.Com websites. For some great Gilmour gear discussion, please vist the Gilmour Gear Forum.
Article written in 2010. Updated 2011.
CONTINUE - RETURN TO THE HISTORY OF THE BIG MUFF PART 1 (Vintage USA)
HISTORY OF THE BIG MUFF PART 2 (Russian)
HISTORY OF THE BIG MUFF PART 3 (modern USA)
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