It's a Big Muff. Except -
I took out the single Tone control and put in separate Treble, Mid, Bass. These were modelled on a 'Civil War' tone control, so that if you put the Treble and Bass at about 2 o'clock and the Mid at about 10 o'clock, you get exactly the same scooped response.
With all controls at noon, the response is totally flat. Mids up for Mids up, etc. This is a very very versatile arrangement and I was happy with it.
The right stomp was bypass.
The left stomp was a momentary switch for feedback. You know there are two well known feedback loops in the Muff that each have a different effect? One way makes it self oscillate and do weird noises, controllable with the guitar's volume. The other way is more polite and has the very cool effect of sustaining indefinitely. (Well, until you take your foot off the stomp).
The centre toggle changed that feedback mode.
The two other toggles remove each set of diodes. One of these has a subtle effect on the distortion. The other makes the pedal a lot louder as well as affecting the distortion character.
These diode options were easy to add because the muff circuit was built on the Wilson Effects Dirty Beaver PCB, which already has those functions built in. You should buy all of Wilson Effects' pedals. They're great and he's great (and I designed the Beaver PCB and also designed his "Mycelium"

).
The strip board part is for the Mids control. The Treble and Bass were built kind of point to point on the pots.
The etch was based on an obvious reference to a famous album cover. The bamboo and C code was symbolic to the customer since he was a programmer from Korea. The code is a repeated obfuscated C code to approximate Pi.
The LED in the prism changes colour, just like a prism splitting light.
This was a really fun pedal to build and I was happy with how it came out. I would definitely use TMB controls in a muff again. Really useful.