THE BIG MUFF π - A HISTORY OF ALL VERSIONS - Part 1 Click on any Big Muff in the image below to go directly to that section
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VERSIONS 4 - 5 (1978-1980) and 2017 Reissue |
NOTE: Last update February 2024. This website is constantly updated as new information becomes available. Version, Edition, and Revision numbers listed here are not actual Electro-Harmonix identifiers. They are my categorizations, for identification purposes only. Permission required to repost any information from this site in any ebay listing. Website and contents ©Kit Rae. THE OP-AMP BIG MUFF π - VERSION 4 Circa 1978 (Pots typically date as early as 1976 and as late as 1978) Around 1978 Mike Matthew's Electro-Harmonix company was doing very well worldwide, with offices in Tokyo, London, and Toronto, in addition to the New York office. The 50,000 square foot Manhattan factory was generating five million in annual sales. The traditional four transistor Big Muff circuit was radically changed at this time to a new circuit that used op-amp chips and one less gain stage, in an effort to reduce manufacturing costs. Op-amps are operational amplifiers, also known as ICs (integrated circuits or chips). It is likely this version and the V5 tone bypass version listed below were made simultaneously, with the V4 version being phased out in 1978 or 1979. To economize production, two of the three circuit boards used in the V4 Big Muff were also used in the Little Big Muff pedal enclosure. They both used the same circuits, only the LBM was made with fixed resistors where the tone and sustain pots would be. I am including this as a legitimate Big Muff, even though it does not use the classic Big Muff four-stage transistor circuit. It was intended to sound like a Big Muff and was released in the same box as Version 3, so I feel it must be included. Plus, I, and many others like them. Though not quite the same as the organic transistor tone, it had a very unique tone. Supposedly only a few thousand of this version were made. GRAPHICS - The box, knobs, and graphics were identical to the second edition Version 3 BIG MUFF, and these V4 Muffs are often confused with the V3. The only way to tell is to look at the circuit board for the two distinct op-amp chips, or to turn the control knobs to see which way the pots are mounted, as illustrated below. V3s all have the pre 1978 configuration, and V4s have the post 1978 configuration. CONTROLS / KNOBS - Standard Volume, Tone and Sustian controls, with a power switch on the jack side. Version 4 had the same plastic Daka-Ware control knobs and on/off switch as version 3, but there were also identical knobs used marked HDCO on the underside, and some unmarked knobs used. One major change to note was the was the positioning of the potentiometers on the circuit board. They were changed so that each wrapped around the top edge of the circuit board, allowing each knob to start at zero in the same position (finally!). All Big Muffs prior to the V4 had each pot mounted in a different position from the others. This also changed the TONE knob orientation so that bass was on the left and treble was on the right, as it has remained on all subsequent Big Muffs. CIRCUIT - The V4/V5 circuit was about half the size of the V2/V3 transistor circuit, but there were at least five different pcb layouts used. Early versions of the op-amp circuit board were similar size to the V3 circuit and were marked with "EH-3003A" or B. Then a smaller size pcb was made, marked "EH-1322" and "EH-1322B." Later production changed back to the simple "EH-3003," the same number used on the V2/V3 versions. Three of the four circuit boards, the EH1322, 1322B, and 3003, included extra pads for another volume pot position. The extra pot pads were to allow the circuit board to fit sideways inside the Little Big Muff pedal enclosure, which used the same circuit but only had one control knob for volume. The V4 used two op-amp chips, one RC4558NB and one of several versions of the 741 chip, such as the UA741CP, UC741TC, LM741CN, and LM741CM. A modern equivalent of the old RC4558NB would be the JRC4558D. The volume pot was usually linear taper 100k, although I have seen one with a 50k pot. Tone and sustain pots were 10k. The tone cotrol design was similar to the transistor version, but uses very different values and had more cross over of the high and low frequencies. Howard Davis, Manager of Analog Circuit Design for E-H from 1976-1981, claims credit as the circuit designer for this version, as does former EHX designer Michael Abrams. Howard was responsible for over a dozen E-H pedal circuit designs, as well as most the the ”deluxe“ Electro-Harmonix models that appeared in the late 1970s to early 1980s, including the superb op-amp Deluxe Big Muff, Deluxe Memory Man, and Deluxe Electric Mistress. The op-amp Big Muff was assigned to Howard to fill a desire for a simpler, less costly product that would do all that the transistor version did. However, due to the differing distortion characteristics of the op-amps it turned out to have a somewhat "grungier" sound than the transistor design, an effect preferred by some musicians. The circuit was made with one of the popular 741 op-amps and one RC4558 dual op-amp, though occasionally V4 Big Muffs are seen with different chips. Howard's original design schematic, dated 4/6/1978, included the tone bypass switch, seen on the V5 Big Muff. He does not recall ever designing a non bypass version, but sometimes changes were made to his designs by others at E-H that he was not made aware of, which may explain why the V4 version did not include the tone bypass function. The feature was included on the Version 5, which was likely made at the same time as this version, based on the fact that they both share three of the four diferent circuit boards used, and similar pot dates. When I asked Howard about how the op-amp version originated and how he got involved in the redesign, he had this to say -
Howard was still involved with his E-H creations at the time this articel was written, doing custom mods and repairs to vintage Big Muffs, as well as his other E-H pedals. Here is an interview with Howard about his work on the Big Muff circuit from 2009. There was NO LED light on this version. Power was from a 9V battery or an AC power adaptor jack. The top had to be removed to change the battery. These had four rubber feet and shipped in a corrugated cardboard box. Most of the pots are dated 1977, though these were all likely made in 1978. CLONES OR SIMILAR PEDALS - E-H released a reissie Op Amp Big Muff in the nano sized enclosure in 2017. The Deluxe Big Muffs from the late 1970s also used a nearly identical circuit to the V4, as well as some of the Little Big Muff pedals Electro-Harmonic made in the same time period. Later replicas are the Euthymia ICBM, Stomp Under Foot Op-Amp Fuzz. See DiscoFreq's Effects Database for a thorough listing of all the Big Muff clones and variants throughout the years. THE V4 SOUND - This is a great distortion pedal with much of the same scooped mids character of the previous transistor versions. Very close, but not exactly the same sound. Overall the V4 has less gain and less bottom end than most of the V3 and V6 transistor versions, but the V4 is also much quieter than a V3 or V6 when the sustain is maxed. It sounds like it has a slightly flatter mid range than the V3 or V6, but the mid range notch actually dips a bit more into the lower mids than those. I think the transistor versions are more organic and reactive to pick attack, palm muting, and harmonics than the V4, but the V4 still sounds great for crushing, grungy, wall-of-sound distortion, heavy rhythm playing, and heavy leads. Dropped D tuning with humbucking pickups is where this version excels. The V4 fizz or buzz that is typical with a Big Muff has a slightly more machine-like, metallic feel in this one than the transistor versions. Compared to the hint of a revved motorcycle engine underlying the fuzz of the transistor versions, the V4 has more of the hint of a ripping chainsaw underlying the fuzz. As with the transistor versions, the scooped tone makes them easy to get lost in a band mix when playing live with certain amps. Unlike the transistor versions, the V4 tone is very consistent from unit to unit. Some units may have a noticable volume/gain boost when the pedal is switched off due to the fact that these old Big Muffs do not bypass the signal even when off. The signal still goes through and is amplified by the active op-amps, which can sometimes add a gain boost. Adding a true bypass switch can eliminate this problem. This is likely the primary Big Muff circuit heard on most of Smashing Pumpkins' Siamese Dream and Pisces Iscariot albums, so that should give an idea of the potential of this version. This is the rarest of the two op-amp Big Muff versions.
CLICK A PHOTO TO ENLARGE Shown above - V4 op-amp Big Muffs with pots dated 1977. The V4 features an on/off switch and the words ON and Off appear on the graphics, which are identical to the V3 Big Muff. The only way to tell the difference is to examine the circuit board, which will have two op-amp chips rather than four transistors. Shown above (left to right) - V4 op-amp Big Muff packaging, which was identical to the V3 Big Muff. There were various D-shaft knobs Electro-Harmonix used on the V4 Big Muffs, pictured above. (A) HDCO, (B) Daka-Ware made by Davies Molding of Chicago, (C) unmarked V4/V5 knob Shown above (left to right) - Big Muffs with the first op-amp circuit board, manrked 3003B, all with pots dated 1976 or '77. Shown above (left to right) - Another V4 Big Muff with 3003B circuit board and 1977 pot dates. Note the positioning of the potentiometers so that each wraps around the top edge of the circuit board allowing the knobs to start at zero in the same position. All Big Muffs previous to the V4 had each pot mounted in a different position from the others. Shown above (left to right) - V4 op-amp Big Muff with the second circuit board, marked EH-1322, and 1976 pots. Note the two black op-amp chips on the circuit board, each with eight connection leads. The V5 tone bypass version was made with this exact same circuit board at the same time. Note the three extra volume pot pads you can see on the populated side of the board. This was to accommodate the Little Big Muff, which shared the same pcb. The LBM only included a volume pot, and was mounted sideways in the enclosure, requiring the volume pot to be mounted differently. Shown above (left to right) - Two V4 op-amp Big Muffs with EH-1322 circuits, and 1977 pots. The V5 tone bypass version was made with this exact same circuit board at the same time. Shown above (left to right) - V4 op-amp Big Muff with the fourth curcuit board, marked EH-3003, 1978 pots, and hockey puck knobs. The V5 tone bypass version was made with this exact same circuit board at the same time. Note the extra volume pot pads, which allowed this board to be used in the Little Big Muff enclosure. The LBM only included the volume pot, and was mounted sideways in the enclosure.
V4 Big Muff Sound Clip - Cherub Rock - Les Paul played through a Marshall JCM800. CONTINUE - BACK TO THE HISTORY OF THE BIG MUFF PART 1 (Vintage USA)
THE OP-AMP ”TONE BYPASS“ BIG MUFF π - VERSION 5 Circa 1978-1980 (Pots typically date as early as 1978 and as late as 1981, though some have dates as early as 1976) This was basically the same as the V4 (listed above), but the power switch was changed to a tone-bypass control. When engaged, the tone control was completely disabled and bypassed, giving the tone a flatter EQ with more mids and more volume. The V4 version (listed above) and this V5 "tone-bypass" version were made and sold simultaneously. The V3 transistor based Big Muff with tone bypass switch was also made at the same time as this version, making it appear E-H had three version of the Big Muff Pi on the market simultaneously! Note that this is a "tone bypass", not "true bypass" which is something completely different. None of the vintage Big Muffs were true bypass. GRAPHICS - Identical to the V4 Big muff, except “TONE BYPASS” was labeled on the top of these V5 units instead of "OFF ON". CONTROLS/ KNOBS - Standard Volume, Tone and Sustian controls, with a tone-bypass switch on the jack side. The Daka-Ware style knobs that had been used since Version 2 were changed during production of the V5, and are also seen on tone bypass V3 models. After years of using knobs from other suppliers, E-H decided to invest tooling money to make their own injection molded knobs in Taiwan. These were the familiar flat-topped, hockey puck shaped knobs with white indicator marks that are still seen on the V9 NYC reissue versions being produced since 2001, and many other E-H pedals. Both knob types were used for the V5 version. CIRCUIT - Basically the same circuit as the V4, but switching the bypass on disabled the tone circuit. There was no on/off switch. The tone knob had no effect when in bypass mode. This same circuit design was also morphed into the original Deluxe Big Muff circuit, also using op-amps rather than transistors. There were four different circuit board layouts used for the V4 version, and three of those were used for this tone bypass version, indicating that both the V4 and V5 were offered for sale at the same time. Note that three of the four circuits required a .22uF/224k cap and two 47k resistors to be soldered point-to-point on back side of the circuit board for the tone bypass mod, but the fourth circuit layout incorporated this complete schematic into the circuit design so all components could be mounted on the populated side. Howard Davis' orignal circuit design for the op-amp Big Muff included the tone bypass function, and it is interesting to note that he thought the tone bypass feature was already in use on the V3 before he designed the op-amp version, which explains the V3 transistor Big Muffs I have seen that included this feature. To economize production, all three V5 circuit boards included extra pads for another volume pot position. The extra pot pads were to allow the circuit board to fit sideways in the Little Big Muff pedal enclosure, which used the same circuit, but only had one control knob for volume. The V5 used two op-amp chips, one RC4558NB and one of several versions of the 741 chip, such as the UA741CP, UC741TC, LM741CN, and LM741CM. A modern equivalent of the old RC4558NB would be the JRC4558D. The volume pot was usually linear taper 100k, although some had a 150k pot. Tone and sustain pots were 10k. The tone cotrol design was similar to the transistor version, but uses very different values and had more cross over of the high and low frequencies. There was NO LED light on this version. Power was from a 9V battery or an AC power adaptor jack. The top had to be removed to change the battery. These had four rubber feet and shipped in a corrugated cardboard box. Most of the pots I have seen are dated 1978, though I have been told these were still being made and sold as late as 1980. CLONES OR SIMILAR PEDALS - E-H released a reissie Op Amp Big Muff in the nano sized enclosure in 2017. The Deluxe Big Muffs from the late 1970s also used a nearly identical circuit to the V4, as well as some of the Little Big Muff pedals Electro-Harmonic made in the same time period. Later replicas are the Euthymia ICBM, Stomp Under Foot Op-Amp Fuzz. See DiscoFreq's Effects Database for a thorough listing of all the Big Muff clones and variants throughout the years. THE V5 SOUND - Practically identical sound to the V4 op-amp Big Muff described above, but there is subtle difference in the EQ of the V4s I have owned, making the V5 low end frequencies sound slightly less tight than the V4. The V5 also included a 'tone bypass' switch that completely bypassed the tone circuit, making for a huge, brighter, distortion tone. When bypassed the tone has a flatter EQ allowing slightly more mid frequencies to come through. The tone in non-bypass mode is very close to the traditional Big Muff sound. In bypass mode it has more of a heavy, classic rock sound. Note there is a slight 6-7 decibel volume boost when in bypass mode. This V5 the most common of the two op-amp Big Muffs. CLICK A PHOTO TO ENLARGE Shown above - V5 op-amp Big Muffs. The switch on the jack side, which was previously a power switch, was now a tone-bypass control. The example on the bottom includes the new flat-topped "hockey puck" knobs that E-H had manufactured in Taiwan. Pots date 1978. Many V5 Big Muffs were still made with the old Daka-Ware style knobs as you can see in the top photos. Shown above (left to right) - V5 op-amp with Big Muff with 1978 pots, using the second V4 circuit board marked EH-1322. Note the capacitor and two resistors mounted on the trace side of the pcb, common to three of thr four circuit boards used for the V4/V5Big Muffs. This was the tone bypass mod added for this version. This exact same circuit board was used for the V4 version, minus these components, and also for the Little Big Muff, minus these components and the tone/sustain pots. Shown above (left to right) - A few V5 op-amp Big Muffs with EH-1322 circuit boards, 1978 pots, and tone bypass cap/resistor components mounted on the trace side. Note the three unused pot pads on the left side of the populated side of the pcb, there to allow this same circuit to be used in the Little Big Muff Shown above - V5 op-amp EH-1322 circuit boards with pots dated 1978 and tone bypass cap/resistor components mounted on the trace side. The V5 op-amp EH-1322 circuit number later changed to EH-3003B, but still with tone bypass cap/resistor components mounted on the trace side. Shown above (left to right) - The op-amp Big Muff circuit board was changed again to this much cleaner circuit, now simply marked EH-3003. The cap and resistor components mounted on the trace side of the previous three pcbs for the tone bypass function were now incorporated into the complete circuit design. 1979 pots, and old style Daka-Ware knobs. This exact same circuit board was used for the V4 version made at the same time, and the Little Big Muff. Shown above - Late V5 op-amp Big Muffs with EH-3003 circuit board. Pots dated 1978 (top left), 1979 (top right) and 1980 (bottom). These also have the new "hockey puck" shaped knobs that all Big Muffs were transitioning into using after 1978. These were the last op-amp Big Muffs made before they were phased out around 1980 or '81 and the transistor version continued. Released December 2017 The 2017 Op-Amp reissue and an original V4 Op-Amp Big Muff Your Pumpkin Pi. In December 2017 Electro-Harmonix continued with their line of Big Muff reissues (following the Green Russian) and released the Op-Amp Big Muff. It was marketed as "our faithful re-creation of the late ‘70s circuit. The circuitry of the Op-Amp Big Muff – sometimes also referred to as the IC or V4 Big Muff – differs from the traditional transistor-based Big Muff circuit in that it uses operational amplifiers (op-amps) to achieve its signature sustaining distortion sound." As I understand it, this reissue was based on an original schematic, not traced or measured from an actual vinatge V4 or V5 Big Muff. The Op-Amp Big Muff reissue from 2017 Billy Corgan of the Smashing Pumpkins did a promotional video for Reverb.com in December 2017, discussing the Smashing Pumpkins use of the Op-Amp Big Muff, and demoing the pedal. Corgan and James Iha recorded many songs with a V4 Big Muff that appear on their landmark albums Siamese Dream and Pisces Iscariot, all recorded in 1992-93. Billy did not know at the time about the op-amp circuit or what made that particular Big Muff sound different from others. As a huge Pumpkins fan, I was chasing those same Siamese Dream tones other guitarists were. I had read that Billy used a Big Muff, but most people seemed to assume it was a transistor version. Having owned both versions of the op-amp Big Muffs, among many other versions in my collection, I believed that was likely what he used. In late 2009 Billy posted a photo of his actual Big Muff, showing the exact settings for Siamese Dream. That photo confirmed my suspicion was correct, as I identified it as a V4 Big Muff. The graphics match second edition V3 and V4 Big Muffs, but the tone and sustain pot sweep as Billy set them were only possible on a stock V4. I posted this revelation on a guitar forum at the time, not thinking anyone would care. Billy did not record with Big Muffs anymore, and the op-amp versions were looked down upon as inferior to the transistor versions at the time. They were cheap and easy to find if you wanted one, because no one wanted them. Unfortunately, once word spread, the resale prices skyrocketed and V4 and V5 Big Muffs soon became expensive and rare collectibles!
Billy Corgan of the Smashing Pumpkins with an original Op-Amp Big Muff and the reissue. (right) Billy with EHX founder Mike Matthews CONTROLS - Standard volume, tone, and sustain cotrols as on the classic Big Muff. The reissue included a Tone Bypass switch, just like the V5 Big Muff. It completely bypassed the tone stage of the circuit, making for a brighter and harsher sound, but missing the trademark mid scoop Big Muffs were known for. GRAPHICS AND ENCLOSURE - Housed in the standard EHX nano sized cast metal enclosure, 4 3/8" (L) x 1 3/8" (W) x 2 1/8"(H). The orange color in the graphics was in honor of the Smashing Pumpkins, who mastered the use of this pedal on their landmark album, Siamese Dream. The Op-Amp Big Muff reissue circuit. ICBM is printed in the middle on the PCB, in honor of the Euthymia ICBM CIRCUIT - The circuit uses normal through-hole style capacitors and diodes. All resistors are small surface-mount type. "ICBM" is printed on the circuit board, a reference the Euthymia ICBM, one of the first clones of the op-amp Big Muff. Long before the op-amp Big Muff was known to be the Siamese Dream Big Muff, the ICBM helped bring about a new interest for this somewhat underappreciated, and long discontinued, version of the circuit.
The Op-Amp Big Muff reissue packaging PACKAGING - The standadrd nano-sized corrugated cardboard box with 3-color priting. "Your pumpkin pi" is printed on the inside box lid flap, a reference to the band Smashing Pumpkins.
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CONTINUE - BACK 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) © Kit Rae. This page is not authorized, affiliated, or associated with Electro Harmonix in any way Website and contents ©2007 and ©2010 Kit Rae. All rights reserved. Linking to this website is allowed, but copying the text content is strictly prohibited without prior authorization. No part of this work may be reproduced, stored in a retrieval system, or transmitted in any other form, or by any means, electronic, mechanical, photocopying, recording, computer networking, or otherwise without prior permission in writing from the copyright holder(s). |
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