Fuzz Face vs Big Muff

December 20, 2012

by Daniel Brooks

A fuzz is a fuzz is a fuzz, right?

Well, no. There are more than a hundred different fuzz pedals on the market, each one achieving that distinctive, textured sustain in one of several possible ways, each with a claim to its own sonic territory in a surprisingly broad fuzzy aural landscape. And while there are certainly distinguishing features that define fuzz, the range of variation is great enough that no two fuzz boxes sound exactly alike.

Fuzz pedals were among the earliest effects, preceded only by reverb and vibrato. Originally it was an accidental effect of a damaged amplifier with a defective or poorly fitted tube or a torn speaker. Some blues guitarists found inspiration and a creative voice in the raspy sound, and by the time rock and roll emerged in the 1950s, it was a somewhat common practice for a guitarist to intentionally alter an amp by dislodging tubes or slicing, tearing or punching holes in their speakers in order to get “that” sound. By the early 1960s, inventors, designers and engineers began experimenting with ways to create the effect by way of an electronic circuit.

There have been a handful of iconic designs, like the Maestro Fuzztone and the Sola Tone Bender, for example, that have left an indelible mark on music and deserve special consideration in their own article. But none have had a greater impact on as broad a range of music as the Fuzz Face and the Big Muff.

The Fuzz Face was introduced in 1966 by Arbiter Electronics, Ltd. It has since been produced by Dallas Arbiter, Dallas Music Industries, CBS/Arbiter and, since 1993, Dunlop. Upon its introduction, the Fuzz Face became a favorite of Jimi Hendrix, who used it as one of his essential stage effects and recorded with it extensively on his debut album, titled “Are You Experienced?” and on most of the classic songs he recorded throughout his short but legendary career. Since then, David Gilmour, Pete Townshend, George Harrison, Eric Johnson and countless others used the Fuzz Face as a cornerstone in their sound.

The Fuzz Face is an extraordinarily simple design that uses a mere eleven components. Initially designed around a pair of Germanium transistors, the first’s output feeding into the second’s input and, in turn, having its bias controlled by the output of the second transistor in a series feedback circuit. The resulting signal is naturally asymmetrically-clipped and mimics the roughly square-waved fingerprint of an overdriven preamp or a damaged speaker. Of course, germanium transistors perform with notorious inconsistency at different temperatures, so the original design was adapted for newer, more dependable silicon transistors that created a brighter, edgier effect that some would say is noticeably harsher. But, obviously, the “new” tone has never been a deal breaker for most since it has been the sound of the Fuzz Face for all but the first few years of its decades of production. In recent years, the original germanium design has been made available.

The Big Muff is a far more ambitious design that, technically speaking, straddles the entirely imaginary line between distortion and fuzz. Introduced in 1969, Electro-Harmonix’ original signature pedal, the Big Muff Pi, is designed with four independent silicon transistor stages. An initial clean boost cascades into two consecutive clipping stages followed by a final stage that restores the lost tone and volume before outputting to the amp. Within weeks of its release, Jimi Hendrix picked one up and it soon became an immediate hit, lending its sound to the music of Kiss, The Isley Brothers, Thin Lizzy and David Gilmour, starting with Pink Floyd’s “Animals” album. It has since been used to shape the sound of rock guitar throughout the 80s, 90s and 00s by artists such as Dinosaur Jr., Smashing Pumpkins, Sonic Youth, the White Stripes, the Black Keys, Mogwai and countless gigantesque metal bands. Over the years, more than a dozen variations have been engineered and released, most famously the Sovtek editions crafted by Electro-Harmonix sister company, the Ram’s Head and the V1 Triangle, the Metal Muff and the Little Big Muff, all with noticeably different sounds. If you’re considering a Big Muff, it’s worth taking some time to find the one with the sound you seek. It is as much fun as “research” can be.

So, which is better, the Fuzz Face or the Big Muff? That depends. The simple design lends The Fuzz Face a much more transparent sound. Plug your Strat, Tele, Les Paul, or your old Ibanez Roadstar II into a Fuzz Face and it will sound like a fuzzy Strat, or a fuzzy Tele, or a fuzzy Les Paul, or a fuzzy old Ibanez Roadstar II. It doesn’t have any tone control but it does get progressively brighter as you turn up the gain, it cleans up with the volume knob on your guitar, especially the Germanium models, and it responds to your dynamics, your fingertips on the strings are still the primary influence on the quality of your sound. The Fuzz Face, however, does not deliver overwhelming amounts of gain. For that you need a Big Muff. Because it is a much more sophisticated series of circuits, the Big Muff will take anything you play into it and fundamentally transform the tone and character of your sound from the ground up. The inherent compression of the four stage effect will take a considerable amount of your guitar’s dynamic response out of your hands, but any bottom end of your guitar’s natural tone will become a deep, subterranean wall of seismic activity, and the tone control will give you considerable brightness on top of that for an overall massive sound. It is a huge effect, and it’s up to you whether or not you like it. When it comes to deciding which one to get, most guitarists seem to be instinctively drawn to one or the other, but, of course, there is no rule against having both. 


  1. Detroit Blues says:

    Tried both of them, very fuzzy tones indeed.  For a few dollars more, I suggest the Big Muff Pi with tone wicker.  Electro-harmonic is USA made, but significantly less then Dunlop’s.  Great tones by both.

    posted on December 21, 2012 at 3:22 am
  2. Jacques Mario says:

    Greetings, im mainly in Blues/Rock e.g Eric Clapton,Gary Moore, BB King. Playing on 3 guitars ( Fender Strat, Epiphone Les Paul, Epiphone the dot de luxe. I/m interested in The Electro Harmonix Big Muff, kindly advise if it will give me that bluesy sound. Thanks n Best Regards.

    posted on December 21, 2012 at 3:47 am
  3. Matt says:

    Jacques, the guitarists you mentioned don’t really use pedals to begin with. Their town usually comes from their amps. No 1 pedal will make you sound like Clapton or BB. Choosing between a fuzz face and a big muff the fuzz face may be your best bet. As the article says, they are more transparent. A big muff will give you too much gain. Try a Tonebender-like fuzz pedal (some versions use germanium transistors)

    You may also want to consider an overdrive pedal. This is meant so simulate the ‘natural’ breakup (distortion) of a cranked amp. The overdrive pedal didn’t come out til may years after the fuzz or distortion as it tries to straddle the ‘imaginary line’ between clean and fuzz (as mentioned in the article a bit).
    You can think of ‘dirt’ tones as a spectrum. Going from clean->overdrive->fuzz->distortion. There is not clear cut difference. A clapton “bluesy” sound will fall between overdrive and fuzz.

    Hope this helps. There are a lot of resources online if you want to learn more about this.

    posted on December 21, 2012 at 4:09 am
  4. Joe Collinsworth says:

    Jacques, a Fuzz Face might be a better bet for you, they’re used more often for blues-y stuff. In my mind, a Big Muff has always been that super-saturated rock tone that you hear on the solo on “Young Lust” by Pink Floyd. While the Fuzz Face is a little more unwieldy than the Big Muff, it’ll get you to that blues place you’re thinking of.

    posted on December 21, 2012 at 4:15 am
  5. Marcos Mendoza, Jr. says:

    Use both, the old EH are the best. Fuzz Faces are great too, just like a coloring book.

    posted on December 21, 2012 at 4:27 am
  6. FuzzFan says:

    So many flavours of Fuzz, but at the end of the day - and trying not to over-generalise - most (most!) fall into one of three camps - Fuzzface, Tonebender or Big Muff.
    Broadly speaking, albeit often tweaked offerings, or variations/close cousins.

    Fuzzface is sooooo dynamic, and simply likes -  needs - to be the first thing your guitar signal hits to work as it should. With nothing else between. A good FF is a gift from heaven. Every player should try one - first / only in the chain, and working the guitar vol pot and tone pot for endless shades of joy.

    Luv da Fuuuzzz!

    posted on December 21, 2012 at 4:42 am
  7. Howard FORTON says:

    I had a Black Russian muff which was cool and only sold to make waybforvthe far superior and more versatile mojohand colossus red guard special edition. A truly awesome muff clone!!!

    Great review btw

    Happy crimbo


    posted on December 21, 2012 at 5:47 am
  8. Alvaro says:

    Hola. Saludos desde Venezuela. Pienso que el uso de los pedales depende de la búsqueda del sonido del interprete. Yo usé el EHX Little Big Muff, el MXR Clasic 108 fuzz, el EHX Germanium OD,  el Fulltone Catalyst y el Germanium Four Big Muff. Me quedé con el Catalyst (para la pedalera de respaldo) y el Germanium four Big Muff (para la pedalera principal). Estos dos pedales me parecieron los más versátiles y sustanciales. Los combino con una Epiphone Casino (inspired by) y una fender american standar telecaster del 2001. Mi sonido particular es un set de fuzz octave (con el Germanium 4) en la Casino pero del siguiente modo: a full volumen en el mic del cuello y al 30% en el mic del puente. Saludos.

    posted on December 21, 2012 at 6:11 am
  9. Eddie says:

    For myself…..being a Hendrix disciple…i use BOTH of them!....I don’t think there should EVER be a “right vs. wrong”....or “better then the other” controversy when it comes to music. I think that ALL guitarists are great guitarists! From the ones in G.W.A.R. though to Mahavishnu Orchestra…...Zappa…....B.B…....Freddie…...Albert…..(the Kings!).....Blackmore…..Batio…..Mamlsteen….Clapton….Beck….Page…....West….Johnson…..(both Eric AND Robert!) the list of talented….gifted, players that have and that still continue to wlka the Earth is ENDLESS….and from each former generation….the magic of muci is carried over into the next generation. I have been playing guitar now since I was 16 years old….(I’m 41 now!) so I have been “blessed” to have been exposed to it ALL….from the blues records my Dad would listen to on Saturday mornings while he changed the oil in the Caprice Classic Chevy…..and the Chrysler Coronado….to the R&B hits of the greats….then came the psychadelic movement…..the trippy tie-dyed music that embodied America at the time…....and then the metal of the 70’s after that….followed by the New Age Movement….all synth and pop bands….but then the 90’s with the grunge and “alternative” movements…....sorry…..didn’t mean to go off on a tangent like that, lets just say that both pedals do what they are built to do…which is alter your sound so that you’re inspired enough to create seomthing that will touch others

    posted on December 21, 2012 at 6:18 am
  10. Antonio says:

    I would like someone had the idea of ​​creating a double pedal with both sounds, using the original components of each pedal. someone will read my prayers?

    posted on December 21, 2012 at 6:47 am
  11. luther says:

    I was listening to some early Kiss , Firehouse I believe, and thought to myself sure sounds like some fuzz Ace is using.  Nice, fat , breaking up tone.  I use the MXR BC 108 Fuzz and love it!  I have it after my Fulltone Fulldrive 2 and Lovepedal Les Lius overdrives. Alone or stacked with the Fulltone clean boost for solos the tonal possibilites are endless.  Great read!

    posted on December 21, 2012 at 7:03 am
  12. Matt says:

    Antonio, I make and sell custom pedal. Especially the 2-in-1 kind you are describing. email me at for more info.

    posted on December 21, 2012 at 7:14 am
  13. Steve says:

    I’ve been using the MXR BC-108 with good results and it didn’t take up a lot of Real-estate on my board. It’s described as having the Hendrix BOG sound but can get earlier tones when tweaked. However, if your looking for an accurate early Hendrix sound the Dallas Arbiter Fuzz, London Fuzz, or the Throbak Fuzz Haze with Germanium transistors will really get you there!

    posted on December 21, 2012 at 8:46 am
  14. plonker says:

    roland bee baa, i.c muff, shin-ei fy-2 and prescription electronics experience are the best fuzz pedals iv ever used and iv tried hundreds of fuzz’s, new and old. just sayin

    posted on December 21, 2012 at 9:15 am
  15. Eddie G says:

    @ Steve & Luther…..I’ve never heard of the MXR BC 108….is it really that great sounding?....gonna have to check out a few vis online…..I may have to add to my collection!...

    posted on December 21, 2012 at 12:52 pm
  16. lance fowler says:

    The fuzz face is one of the most musical fuzz circuits out there - I love how chewy and loose it sounds with single note, low register lines. Not a huge amount of gain, but saturates in a way that evokes glowing red hot transformers and a hailstorm of debris formerly known as your speakers…then back off just a hair of volume on your guitar and this beautiful rich jangle emerges from the swamp. A fuzz face just brings a certain way of playing out of you.

    posted on December 21, 2012 at 8:11 pm
  17. Eddie G. says:

    I think my favorite….is the low, sludge-like, thick-as-mud & maple syrup sound you get with a well dialed amp, and some humbuckers that are out-of-phase!. Throw in a wah pedal, and a bit of chorus…and it’s like having the BEST steak ever!...LoL!

    posted on December 21, 2012 at 11:52 pm
  18. Richard says:


    posted on December 22, 2012 at 7:29 am
  19. pinkjimiphoton says:

    big muffs and fuzzfaces are two completely different breeds. silicon fuzz faces are not anywhere near the same tonally as the original. ge’s are a pain in the ass, but there’s ways to compensate for them…a reverse biased ge diode between b and e (matched as close for leakage as possible to the q1 transistor…both must be germanium) can help to a point.
    i would reccomend taking the time to check out and among others, and learn to roll your own. they you can own the “perfect” fuzz for YOU.
    i don’t reccomend starting with a fuzzface as your first…it can be a pain to get to work right without luck or very low-gain transistors (shoot for 80-120 hFE)..and even then, bias adjustment is necessary.
    a big muff pi is a far different circuit, employing diode clippers (as used by many amp manufacturers too) that allow it to get a much more saturated distortion. a bmp is more than a fuzz per se, more of a distortion pedal…in that for all intents, it’s like cascading fuzzes. a great tone, indeed. but…
    the difference in the two comes down to the interaction of the guitar with the circuit. an early ram’s head bmp with a dead battery will clean up somewhat, but a bmp stays distorted thru most of the range of your guitar’s volume pot.
    a fuzzface, on the other hand, is different. the guitar becomes part of the fuzzface circuit, an integral part. a good fuzz face will clean up and let you dial in damn near any tone you can imagine, from clean to scream right from the knobs of the guitar. for a detailed explanation of the circuit, see “the technology of the fuzzface” by RG Keen at
    here’s wishing ya’ll some fuzzy goodness. peace.

    posted on December 22, 2012 at 11:29 am
  20. S J says:

    I’ll take a muff over a fuzz face anytime of the day no question asked . I hate fuzz faces .

    posted on December 22, 2012 at 7:15 pm
  21. エルメスコピー says:

    This is a nice post!

    posted on December 22, 2012 at 11:45 pm
  22. pinkjimiphoton says:

    sj, ever play a real one? nite and day to tha dunlop crap. if ya use the knobs on your guitar, a fuzzface is brilliant. if not, a bmp is likely abetter fit.
    i turn my ff on at the beginning of the nite,and turn it off at the end. average 4 hour show a nite, and i get everything i need just off the guitar.
    i have several huge pedalboards and a vast collection of effects from a ludwig phase II to common boss pedals, and rare obscurities many have never seen, i build and clone custon pedals for peeps.
    live? i run my toneblaster (think of it as a treble booster feeding a fuzzface with an added buffer stage at the end- normally i’d just run the fuzzface, but this one does a little more, while still totally responding to the guitar control,, will post a youtube of it) into a wah into my echoplex (if i even bother to bring it anymore) into my amp. cover everything from blues to country to rock to modern rock. and it’s all right from my guitar.
    i’ve built most of the stuff i use, including my amp.. but in this video, i’m using the fuzz into a fender cyberdeluxe cuz i was too lazy to pull my amp out. you can see what it can do…although a 4 transistor fuzz like the big muff, this is solidly in the fuzzface/tonebender school :
    enjoy, or flame. i’ll take an actual fuzz over a distortion any day of the week.

    posted on December 23, 2012 at 3:17 am
  23. pinkjimiphoton says:

    ps. ALL of MY designs are open source (tho not for commercial use) so if ya wanna build one after hearing it, let me know, and i’ll point you towards schematics/vero/pcb layouts if ya want.
    happy whatever floats your boaT!

    posted on December 23, 2012 at 3:19 am
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  25. Steve says:

    @ Eddie G ... Check out the demos here or YouTube. It’s a good sounding Fuzz and reacts well with the guitars volume control but is edgier due to the silicon transistors. It can also get thick with the Fuzz and Guitar volume dimed with fuzz about 80%. That’s how I run mine and use the guitars volume to clean things up. It also has a Buffer switch to help shape tone better especially when using Humbuckers. Check it out!

    posted on December 24, 2012 at 12:08 am
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  27. matt says:


    posted on December 24, 2012 at 3:58 am
  28. Eddie G. says:

    @Steve….thanks Dude! After checking out the vids online for this pedal…I’m SERIOUSLY thinking about adding it to my stockpile…(you can NEVER have too many Fuzz Pedals!..LoL!) But i want to be SURE that we’ll “get along” Strats & Teles with humbuckers in it are sometimes unforgiving…with their brightness and shrill tones!...gonna ahve to head to the closest GuiterCenter and audition this puppy!....

    posted on December 24, 2012 at 11:25 am
  29. Vincent H. says:

    The EHX Big Muff Pi was one of the first stomp boxes I ever owned, alongside a Dunlop Crybaby Wah. The Wah I’ve replaced as it crapped out, but the Muff still works wonders after 10+ years!

    The Muff is quite versatile when it comes to tone; thick for meaty STP sounds and searing thin for lead passages. The sustain it provides turns my Washburn WG-580 into a violin on steroids! I’ve not had the chance to play through a Fuzz Face, but I do have an Ibanez TS-9 Tube Screamer for that extra punch (coupled with a Ross compressor) during solos, and to give my tone that bluesy, overdriven crunch. I have two amps, a Hughes&Ketner; 20th Anniversary Edition Tube and a Marshall Artist 4203, each with a distinct voice, that I sometimes run with a A/B/Y switch. The Muff sounds best through the Marshall, especially in tandem with the natural gain channel on the amp!

    In any case, I’ve favored the Big Muff, and many other EHX pedals for that matter, in my sonic exploration as a guitarist. Oh, a neat studio trick is to run the vocals through the Muff… Makes for some interesting tones!!!

    posted on December 25, 2012 at 2:05 am
  30. Eddie G. says:

    @ Vincent H.: It sounds like you have an awesome setup there from the way you describe it! I have one of each, a Fuzz Face, and an EHX Big Muff, I also have two amps, unconventional thought they may be! I run the Big Muff through a Carvin VT50 Al ltube 50W head, and then through an Avatar Speaker cab with one Guv’nor & one Swamp Thing speaker, that usually gets most of the action along with my Strats. The Fuzz Face is usually played with my Tele that has a single coil in the neck and a humbucker in the bridge, and that’s pushed into a Peavey Penta amp that comes out of another Avatar speaker cab, with two Clestion Vintage 30’s. And Even though I don’t consider myself a “pro” guitar player, I WILl say that I sometimes amaze myself when it comes to the tones I can get out of these two setups. there’s just something about the aggressive tone that the Fuzz Face gives me…that WALL of FUZZ that sounds like it’s about to drown you! And the Big Muff….my “sustainiac”..LoL! I can hit notes….go get a sandwich and a soda, come bacj and it’s on its way into “Feedback Country”!...

    posted on December 25, 2012 at 3:28 am
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