boss ce-1 big muff the ibanez twins 4444 line6 dl4

BOSS CE-1
FAMOUS USERS
The Police
The Killers
John Frusciante (RHCP)
Chorus Ensemble
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he Chorus Ensemble CE-1 was published June 1976 and it is based on a circuit
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Compact Boss CE2
BIG MUFF
A pinch smoother than its American-made comrade, the Russian Muff exhibits slightly
less sustain, yet retains that unmistakable Big Muff sound. Prized by bass players for its
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Mike Mills (REM)
From Russia with fuzz comes the
FAMOUS USERS
Christopher Wolstenholme (MUSE)
David Gilmour (Pink Floyd)
Mike Mills (REM)
Carlos Santana
T
he following is a direct quote from Mike Matthews, Electro-Harmonix founder and president: “Back in 1969 I (Electro-Harmonix) was already selling the Muff Fuzz, which was a mild
overdrive circuit in an LPB-1 box. I wanted to come out with a three knob distortion unit in a
bigger box. I asked my buddy, Bell Labs designer, Bob Myer, to design a unit, one that would have
a lot of sustain. When I got the prototype from Bob, I loved the long sustain. This was done by
cascading the circuit into additional sections, each one clipped by twin diodes. However, when
you clip, the tone can be a bit raspy. So, I spent a couple of days changing capacitors to roll off
distortion in the highs, and eventually found that the best long sustaining tone that was a sweet
violin like sound was done by having three capacitors in different parts of the circuit rolling off
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Manny’s Music Store on 48th Street, NYC. About a week later, I stopped by Manny’s to buy some
cables, and Henry yelled out to me, ‘Hey Mike, I sold one of those new Big Muffs to Jimi Hendrix.”
The Big Muff was used by artists including David Gilmour and Carlos Santana. David Gilmour famously used the Big Muff on the Pink Floyd albums Animals and
The Wall and most recently on his 2006 On An Island tour. Electro-Harmonix
owner and founder Mike Matthews was friends with Jimi Hendrix and claims
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New York, shortly after they were released, and that he had one in the
Electric Lady Studios shortly before his death in 1970. Hendrix played
an integral part in the making of the Big Muff, as Matthews has often
stated that Hendrix’s guitar sound was the inspiration for the creation
of the Big Muff.
LINE6 DL44444
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his is it, folks; the fabled green box thats been igniting creativity, passion
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FAMOUS USERS
Kirk Hammet (Metallica)
Dave Knudson (Minus the Bear)
Eric Clapton
The Edge (U2)
Robert Smith (The Cure)
Omar Rodriguez (The Mars Volta)
Maestro EP-3
Roland RE101
Boss DM-2
The DL4 was based on
some of the most notorious vintage delays:
Memory Man
Dave Knudson 4 x DL4’s
THE IBANEZ TWINS
WH-10
T
he wah-wah pedal has a long and distinguished history. This is a truly classic
effect that controls the timbre of instrument sounds, making it one of the most important tools of many guitarists. The reason for this continued popularity is to be
found in the wah-wah’s unique capability of
letting the player express himself directly in
the quality of the effect sound he controls.
What makes the WH10 Wah Pedal evenmore unique is its ability to switch between
frequency ranges in order to accomodate
not only guitar, but bass as well. In addition,
a Depth knob lets you freely control the
intensity of the wah-wah effect for a whole
host of characteristic sounds from mild
wah-wah to a dramatic distortion wah.
WF-10
B
uilt just like it’s twin the Ibanez WH10,
the basic difference is a side switch that
turns an onboard fuzz effect on or off and
rotary knob that adjusts the amount of the
fuzz effect rather than the side switch being guitar/bass and rotary knob wah sweep
as with the WH10. There is also a jack on
the left for a external footswitch that will
turn the fuzz on or off with the WF10 pedal.
The WF10 also has hidden trimmers under
the unit, just remove the rubber bungs to
gain access, there are two trimmers in the
bottom of the unit w.d. = wah depth and f.l.
= fuzz level, these are adjustable with a small
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