ilovefuzz.com

I can't be the only one who has zero interest in this?

I can see the immediate appeal, and I'm surprised nobody has really done the switching thing (especially in a really compact form) before, so that's neat I guess, but I've tried a few types of muff over the years and there's never a huge difference between any of them. Their might be one I'd prefer if given the choice, but that's it. Maybe this will be useful for recording, but even then I don't see the point in say, recording two or more muff tracks, each in a different 'mode' like it's going to matter. And even if you did that, how many times are you going to do that, and how would you replicate it live, unless you multiple muffs, but then that negates the point of one compact muff.

frigid midget wrote:Versatile as in 'not just an extra mids/eq control or two', but actually all different muff types crammed in one small pedal.

I'd much prefer an extra tone control or two so that it might work better with bass and/or in a live mix or whatever or switch between maybe 2 'types' of muff sound if there's a very specific reason to do so.

Snufkino wrote: but I've tried a few types of muff over the years and there's never a huge difference between any of them.

I'd much prefer an extra tone control or two so that it might work better with bass and/or in a live mix or whatever or switch between maybe 2 'types' of muff sound if there's a very specific reason to do so.

I have two Muff clones on my board, a Rams Head and a Bubble Font Green Russian. I believe those two are vastly different enough to have on the same board and not sound the same. Each have their own uniqueness.
But you are spot on about having features like extra tone shaping ability like mids controls, and even diode selection switches an give them much more versatility. Perhaps a clean blend for the bass players too.

From the website:

"The Pi - “1977-1978 V3” The Pi Muff gets its name from the instantly recognizable red Pi symbol on the top. This is not to be confused with the later redesigned NYC version released much later in 2000. It is best known for a more aggressive sound. Famous users include Frank Zappa, Billy Corgan (Smashing Pumpkins), Jack White, The Edge (U2), Beck, and Pete Townsend (The Who)."


This is a little confusing. I love v4 and v5 IC Muffs (I have a v5 and it's my favorite fuzz ever), and it sounds like they're getting the different versions confused. For instance, we all know Crazy Man Corgan used a v4, not a v3.

Are they talking about the IC version here or what?

Sounds like marketing-speak to me, but, yeah, kinda sounds like they mean the IC Muff.

Snufkino wrote:I've tried a few types of muff over the years and there's never a huge difference between any of them.

Snufkino wrote:I can't be the only one who has zero interest in this?

I can see the immediate appeal, and I'm surprised nobody has really done the switching thing (especially in a really compact form) before, so that's neat I guess, but I've tried a few types of muff over the years and there's never a huge difference between any of them. Their might be one I'd prefer if given the choice, but that's it. Maybe this will be useful for recording, but even then I don't see the point in say, recording two or more muff tracks, each in a different 'mode' like it's going to matter. And even if you did that, how many times are you going to do that, and how would you replicate it live, unless you multiple muffs, but then that negates the point of one compact muff.

frigid midget wrote:Versatile as in 'not just an extra mids/eq control or two', but actually all different muff types crammed in one small pedal.

I'd much prefer an extra tone control or two so that it might work better with bass and/or in a live mix or whatever or switch between maybe 2 'types' of muff sound if there's a very specific reason to do so.

When I think about it, I actually agree with you there after all

Rihgt now, I can't really decide which basic muff circuit I like best, so the Muffuletta seemed like a nice way to not having to choose at all.
But If I had the choice between four *slightly* different sounding muffs all in one pedal...I'd probably eventually dial it to the one I like most and leave the switch there for all eternity. I can't really imagine anyone thinking "hmmm, this songs needs an opamp muff, but the next want is begging for some triangle muff"

Too many controls are bad for me though, when using overly tweakable pedals I tend to spend more time tinkering with controls than actually playing my guitar. Which is basically why I sold my Elements. 29 really nice fuzz/dist sounds all in one small package. Awesome, but when there's just one switch and no way to select a couple other presest on the fly, I end up fucking around with the controls every 5 minutes...

As far as muffs go, I should probably just grab a Hoof and call it a day.

[youtube]http://www.youtube.com/watch?v=WXc3kRH_RXs[/youtube]

Aside from jwar, I don't know if anyone dislikes JHS more than I do, so I figure I should spell out why. First, and foremost, I can't in good conscience, give money to a company that will turn around and tithe to the International House of Prayer. They are a dangerous cult that preys on the less fortunate and uses intimidation tactics to get their way. I will include links. When I lived in Kansas City, I had the misfortune of working with multiple IHOP members and their Apocalyptic, Revelation based theology is disturbing. Nothing like being a captive audience to a supervisor who tells everyone in earshot that they are damned and that the end is truly nigh. There have been numerous documented cases of abuse and at least one murder.
http://www.rollingstone.com/culture/new ... r-20140121
http://www.solasisters.com/2011/06/form ... -ihop.html
http://www.renewamerica.com/columns/mwest/140909
http://www.thebereancall.org/content/br ... -direction


They are relentless cloners who use misleading ad copy. https://www.jhspedals.com/products/guit ... superbolt/ is the page for the Superbolt. At the bottom is the bullshit origin story of said pedal:

“The SuperBolt is the result of me becoming slightly obsessed with old Supro/Valco amps from the 60’s. Years ago, I was working with an artist that had a Super at the heart of his live rig and I fell in love with the overdrive/distortion that sounded so old but somehow fit perfectly in any style of music. I remember, during a sound check, strumming a chord through that amp with the volume on 8 and being floored by the biggest rock tone I had ever heard, coming from a 1 knob amp with an 8” speaker. I started collecting Supros and other Valco amps like the Gretsch, National, Airline and Vega, finding them all over the country and building a modest collection that allowed me to understand the brand and designs as a whole. From my Thunderbolt, that I found in a Mississippi barn loft and totally restored, to my Supreme, which I saved from a garage sale in Kansas, I gathered about 10 of these amplifiers in a 2 year period. My goal was simple: I wanted to create an overdrive pedal that recreated this tone and feel in any amp.”
–Josh Scott/Owner of JHS

Nice story, but it is a lie. http://freestompboxes.org/viewtopic.php ... lt#p207194 The Superbolt is a ripoff of a RunoffGroove pedal, the Supreaux Deux. Just like he stole the Hyperion. Just like his Klones. Just like every other JHS pedal is a theft. He steals designs and lies about where they came from, taking credit for things he didn't do. I have nothing against standing on the shoulders of giants, but I resent being told you made it to the clouds without them.

The pedals are all aesthetically boring. Seriously, just lazy and ugly visually.

Finally, a personal run-in I had. Back in the Bent Soundlabs days, we made a Distortion+ clone called the Pepperbox. It was pretty standard stuff, with NOS components and Reed's incredibly clean wiring. One that we sold to a buddy on mine ended up in the hands of his bass player, who wrecked the LED. Instead of bringing it to us, the bass player took it to JHS for repairs. Not only did they charge more than we charged for the pedal, to begin with, but they replaced the ICs with boring, cheap modern ones. The solder job was sloppy and amateurish. My buddy got his Pepperbox back and it sounded like shit. When Reed was sent pics of the internals, he almost cried. They butchered it.

JHS are a disreputable business who are kept in business because of their Praise and Worship reputation and marketing. They could build the second coming of the Lovetone Meatball and I would still deny them.

D.o.S. wrote:

Snufkino wrote:I've tried a few types of muff over the years and there's never a huge difference between any of them.

Slight differences yes, BUT just not enough to warrant the JHS style multi-mode. At least in a live context. Like you'd flick from muff 1 for one song then muff 2 for another. I can imagine it's great if you're producing something and want loads of muff guitar layers, to get different nuances.

chuckjaywalk wrote:Aside from jwar, I don't know if anyone dislikes JHS more than I do, so I figure I should spell out why. First, and foremost, I can't in good conscience, give money to a company that will turn around and tithe to the International House of Prayer. They are a dangerous cult that preys on the less fortunate and uses intimidation tactics to get their way. I will include links. When I lived in Kansas City, I had the misfortune of working with multiple IHOP members and their Apocalyptic, Revelation based theology is disturbing. Nothing like being a captive audience to a supervisor who tells everyone in earshot that they are damned and that the end is truly nigh. There have been numerous documented cases of abuse and at least one murder.
http://www.rollingstone.com/culture/new ... r-20140121
http://www.solasisters.com/2011/06/form ... -ihop.html
http://www.renewamerica.com/columns/mwest/140909
http://www.thebereancall.org/content/br ... -direction


They are relentless cloners who use misleading ad copy. https://www.jhspedals.com/products/guit ... superbolt/ is the page for the Superbolt. At the bottom is the bullshit origin story of said pedal:

“The SuperBolt is the result of me becoming slightly obsessed with old Supro/Valco amps from the 60’s. Years ago, I was working with an artist that had a Super at the heart of his live rig and I fell in love with the overdrive/distortion that sounded so old but somehow fit perfectly in any style of music. I remember, during a sound check, strumming a chord through that amp with the volume on 8 and being floored by the biggest rock tone I had ever heard, coming from a 1 knob amp with an 8” speaker. I started collecting Supros and other Valco amps like the Gretsch, National, Airline and Vega, finding them all over the country and building a modest collection that allowed me to understand the brand and designs as a whole. From my Thunderbolt, that I found in a Mississippi barn loft and totally restored, to my Supreme, which I saved from a garage sale in Kansas, I gathered about 10 of these amplifiers in a 2 year period. My goal was simple: I wanted to create an overdrive pedal that recreated this tone and feel in any amp.”
–Josh Scott/Owner of JHS

Nice story, but it is a lie. http://freestompboxes.org/viewtopic.php ... lt#p207194 The Superbolt is a ripoff of a RunoffGroove pedal, the Supreaux Deux. Just like he stole the Hyperion. Just like his Klones. Just like every other JHS pedal is a theft. He steals designs and lies about where they came from, taking credit for things he didn't do. I have nothing against standing on the shoulders of giants, but I resent being told you made it to the clouds without them.

The pedals are all aesthetically boring. Seriously, just lazy and ugly visually.

Finally, a personal run-in I had. Back in the Bent Soundlabs days, we made a Distortion+ clone called the Pepperbox. It was pretty standard stuff, with NOS components and Reed's incredibly clean wiring. One that we sold to a buddy on mine ended up in the hands of his bass player, who wrecked the LED. Instead of bringing it to us, the bass player took it to JHS for repairs. Not only did they charge more than we charged for the pedal, to begin with, but they replaced the ICs with boring, cheap modern ones. The solder job was sloppy and amateurish. My buddy got his Pepperbox back and it sounded like shit. When Reed was sent pics of the internals, he almost cried. They butchered it.

JHS are a disreputable business who are kept in business because of their Praise and Worship reputation and marketing. They could build the second coming of the Lovetone Meatball and I would still deny them.

Snufkino wrote:

D.o.S. wrote:

Snufkino wrote:I've tried a few types of muff over the years and there's never a huge difference between any of them.

Slight differences yes, BUT just not enough to warrant the JHS style multi-mode. At least in a live context. Like you'd flick from muff 1 for one song then muff 2 for another. I can imagine it's great if you're producing something and want loads of muff guitar layers, to get different nuances.

Dude there are a shit ton of muffs that sound different. LOL. Now they sound inheriently similar but it's all in how they are tweaked and made. For instance. The Megalith is based off of a muff from what I understand and there is literally no other muff on the market that sounds like it. The Pickle Pie B, Caprid and Box of War are all muff based and all sound different.

The muff is probably one of the most tweakable circuits around. You can change so many different things with it and make it sound amazing or like shit.

I don't like JHS but I am very curious about this pedal. I'd like to hear it in person.

Inherently similar is what I mean regarding the JHS pedal specifically. The variations in the pedal are all based on the original, unmodified EHX muff circuits, so there can't be all that much difference between them in that compact form. Just slightly different tones and perhaps tone control response, but it's not like having a Megalith, Caprid etc available at your feet with all sorts of tweaking options available. What I mean is, the JHS seems to just offer the option of choosing between those original, unmodified inherently similar sounds, so while it's a neat, well executed idea, - that I'm surprised hasn't been done before actually- I just think it's not as versatile as the price makes it look. I'd rather have a muff variant tweaked to perfection with a few bells and whistles.

I know the megalith was apparently based on a muff, but it's kind of unfair to regard it as such.. as far I know, alan basically created a new circuit for the megalith and that thing sounds like it's on fire or shooting lasers vs any other muff I've tried

and what I mean by unfair is deterring people away from it or luring them in for those reasons. just saying! the megalith is it's own beast

Muffs that aren't really muffs are the best muffs.

Snufkino wrote:Muffs that aren't really muffs are the best muffs.

That's not what she said.