New Gear Review: Ram’s Head Big Muff Pi by Electro-Harmonix

Based on David Gilmour’s iconic implementation of the EHX Big Muff, the “Ram’s Head” iteration aims to scratch the itch of longtime Floyd devotees looking to obtain Gilmour’s signature sound.

When it comes to guitar effects pedals, the Electro-Harmonix Big Muff Pi—or simply the Big Muff, as it’s colloquially known—is about as iconic as it gets.

The pedal first debuted all the way back in 1969, and since then has set ablaze the signal of any guitar sent through it. The Big Muff is able to create anything from a smooth overdrive to a thick wall-of-fuzz sound that is as recognizable as it is gnarly. When you step on it, audiences will know. But unlike a lot of fuzz pedals, there’s a certain silky sustain to the Big Muff’s sound that is hard to find elsewhere.

Perhaps that is why guitarists like Ernie Isley, Billy Corgan, Jack White, J Mascis, and David Gilmour have all put the Big Muff to use in varying degrees, showing that despite its very identifiable character, it can be used in a variety of contexts. Gilmour in particular is one of the pedal’s most iconic users, and Electro-Harmonix fans have been clamoring for a version of the pedal that faithfully re-created the specs of the Muff that Gilmour used, nicknamed “the Ram’s Head” version because of the iconic drawing on the faceplate of the silver pedal.

According to various sources, Gilmour introduced the Big Muff into his guitar rig in 1974, just before the band hit the studio to record their acclaimed album “Animals”. Gilmour combined the Big Muff with his famous Fender Stratocaster‘s single coil pickups and a carefully-tuned Hiwatt amp to result in a smooth but fuzzy tone that perfectly complemented his unmistakable melodic playing style.

Luckily, Electro-Harmonix have announced a “faithful reproduction” of the Ram’s Head Big Muff that brings this circuit design into the modern world with very few tweaks. There are three other versions of the Big Muff that have recently been remade as well: The V1 Triangle Muff, based on the very first 1969 design; the Op Amp Big Muff, which comes with the approval of Billy Corgan; and the Green Russian Big Muff, an updated take on the Sovtek version of the pedal.

So how does the Ram’s Head Big Muff compare to other Big Muffs in the Electro-Harmonix range, as well as other boutique pedals that also seek to claim Ram’s Head territory? The differences may sound subtle to the layman, but if you’re obsessed with fuzz, not so much.

Features and Use

Like most Big Muffs, the feature set found on the Ram’s Head is quite simple. Just three knobs (Sustain, Volume, and Tone) and a footswitch make up the entirety of the pedal’s controls. The Ram’s Head is true bypass, and can be powered using an AC adapter or a 9V battery. Other than that, there’s an input and output, and that’s about all you’ll need to know!

I tested the Ram’s Head with a Fender Jaguar running directly into S-Gear’s Scuffham amp emulation software. If you don’t know it, S-Gear is an excellent alternative to more well-known amp software programs and definitely worth checking out.

The first thing I noticed was that, with the Tone knob set to noon, there seemed to be much less mid scoop than most other Big Muffs I’ve tried, making the need for another pedal to boost frequencies after the Big Muff less needed. I was also impressed by how wide the gain range was on the Ram’s Head—the first 30% of the dial has a lot of depth. And even though there are only three knobs on the Ram’s Head, a plethora of tones can be pulled from it, given how interactive the knobs are.

Turning up the Sustain knob results in not only more fuzz but also a thick saturation to the sound. Single-coil pickups will react quite differently than humbuckers, so it’s worth trying the Ram’s Head with your particular rig. Turning down the Sustain knob but cranking the Volume results in a gritty overdriven tone that gets grittier with harder strums. Unsurprisingly, the Tone knob has a lot of effect on the sound, giving you the ability to tame a lot of the harmonic overtones.

With the Tone knob set below 11 o’clock, its possible to get darker tones that will work well for grunge or stoner rock riffage. Turning the Tone knob past noon gives the Ram’s Head more bite and cut, though I found that when turned all the way up, the sound was a bit too brittle and piercing.

Another of my favorite uses for any fuzz pedal is on the aux send of a mixer, chewing up kick drums and hi-hats and spitting back out grizzled versions of their former selves. I’m very happy to report the Ram’s Head works wonders in this capacity as well, especially when using the Tone knob to tilt the EQ slightly towards the treble side.

To Be Critical

There’s very little to be critical of with the Ram’s Head. Perhaps the only critique is that it didn’t hit the market soon enough, forcing guitarists in search of those specific Gilmour tones to pay exorbitant vintage prices. With the Ram’s Head, this will no longer be the case.

Summing it Up

Electro-Harmonix have knocked it out of the park with the Ram’s Head Big Muff. Not only does it capture those 70’s-era Pink Floyd tones perfectly; it can also nail grunge, blues, and harder rock tones to match. A smart looking silver design and true bypass capability is really just icing on the cake.

The fact that guitarists can buy the Ram’s Head Big Muff brand new for just under $100 makes it an easy decision. Mine is certainly not going anywhere!

Leo Maymind is a producer, DJ, and writer living in Los Angeles, CA. He is obsessed with sound, and you can reach him at lmaymind@gmail.com.

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