RatingsPros:Sweet, smooth, mid-forward, and super-rich Big Muff tones. Super-accessible price. Cons: Some high gain settings can sound sizzly and extra-compressed. No violet graphics! Street: $99 Electro-Harmonix Ram's Head Big Muff ehx.com
| Tones:  Ease of Use: Build/Design:  Value:  |
Big Muff enthusiasts tend to be a bunch of freaks. For starters, most like their fuzz deafeningly massive and impolite, making it fair to classify at least a few as pathologically anti-social. But Electro-Harmonix gave the Big Muff cult other reasons to be obsessively odd—primarily by creating dozens of iterations of the circuit that engender, shall we say, robust opinions and loyalties, even over the subtlest differences.
But if there's one thing that almost every Big Muff fan can agree on, it's that a great Ram's Head—the colloquial name given to a generation of Muffs from the early-to-mid-'70s—is a magical thing. It's taken a while for Electro-Harmonix to get around to a formal reissue of the Ram's Head. But after a few very satisfying weeks with this pedal, it seems plausible that the time was spent getting it just right. It possesses most of the virtues that make a Ram's Head great. And when you consider the sub-$100 price, it's hard to not be impressed at what the Ram's Head Big Muff delivers.
Blue Mood Muff
EHX says the new, nano-sized Ram's Head is based on the now-legendary “violet" iteration—a variant built around 1973 and distinguished by vivid colors (a striking violet among them) and a particular component mix that generates a smooth, detailed, and slightly mid-forward voice.
A peek at the circuit reveals few overt clues about how the new Ram's Head differs from other mass-produced, four-transistor Big Muffs, or how it might achieve any special Ram's Headiness. There's four prominent but generic BC547 transistors arrayed on a through-hole printed circuit board. And if it weren't for the handsome reproduction of original Ram's Head graphics on the circuit board and enclosure, you'd have little reason to suspect it was special.
But you need to only plug in the new Ram's Head alongside a bunch of classic Big Muffs and first-rate clones to hear how impressively it generates the sounds, textures, and tactile response that distinguish the Ram's Head.
Towering Tones
I don't own an original Ram's Head Big Muff, though I've had the pleasure of playing a few. I do have a few very nice Ram's Head clones, however: an original bubble-font Sovtek Big Muff, several Sovtek clones, and a few triangle Muff clones. My favorites among these were used as reference for this review of the new Ram's Head.
Old Big Muff circuits are notoriously inconsistent, making pursuit of a perfectly representative specimen folly and a game of chance. But one of the most striking things about the Ram's Head—both in legend, and in this newest version—is how often it seems to borrow the best attributes of each Big Muff version.
In general terms, the new Ram's Head is growlier in the midrange than most Russian-style Muffs (which are famously extra-scooped and wooly) and “triangle" versions (which are often more focused, fizzier, and white-hot in the high-mids). Sustained single notes are smoother and more sonorous than the output from triangle versions, and tend to split the difference between a triangle's silicon fizziness and a Russian-type's cabernet-smooth contours. It marks an absolute sweet spot, in my opinion, and a reason for Animals-era Gilmour fans to take note.
Fuzz Flights and Muffy Pairings
One of the unsung virtues of most Muffs is how adaptive they are to wildly divergent gear pairings (an uncommon quality among vintage fuzzes). The Ram's Head prominently bears this distinction. Lead lines positively sing with thin single-coils, and become smoother and more vocal still when paired with humbuckers. It's quite happy with either pickup type, even at the highest gain and tone settings.
With respect to amps, some of the Ram's Head's most distinctive qualities, particularly the detail and air in the midrange, are less distinctive in Fender-style pairings. (Many Ram's Head tones were made downright Russian with a Bassman downstream.) With a brighter Marshall in the mix, though, you can more distinctly hear the Ram's Head's midrange sparkle and throatier voice.
Stacking the Ram's Head with boost and overdrive, meanwhile, can yield fantastic-to-messy results. The Ram's Head's intrinsic midranginess can make some compound Muff/OD tones cluttered and compressed, where a Tube Screamer and a Russian Muff might dovetail into a balanced whole. On the other hand, more dynamic overdrives and boosts with flexible EQ options can help you sculpt very precise fuzz tones that leverage the Ram's Head's even, well-rounded voice.
The Ram's Head's balanced and blazing lead tones also cut beautifully through thick modulation, situated both up and downstream from the Muff. (I used a Moog flanger and vintage Small Stone for these tests.) And though the Ram's Head doesn't lend the same oomph and definition to detuned guitars that you get from a mid-scooped Russian version, it still lends explosiveness to throbbing low-D and C-string tones.
To the extent the Ram's head does lower-gain distortion tones, it excels. Placing the Ram's Head's gain control at noon yields some of the smoothest high/mid-gain fuzz you'll hear from the Muff family. (I often use such settings to tame the high-mid spikes that can plague Big Muff/Marshall combinations, and, in this context, this Ram's Head shines.)
The Verdict
At 99 bucks, the EHX Ram's Head Big Muff is a steal. It handily approximates the sound and feel of much more expensive clones and is surprisingly versatile for a fuzz that many regard as inflexible. Whether you are an experienced Muff user or a newbie eager to explore the myth of the Ram's Head, this new nano-version is both an impressive performer and a representative point of departure.
Watch the First Look:
Phat Machine
The Phat Machine
The Phat Machine is designed to deliver the tone and responsiveness of a vintage germanium fuzz with improved temperature stability with no weird powering issues. Loaded with both a germanium and a silicon transistor, the Phat Machine offers the warmth and cleanup of a germanium fuzz but with the bite of a silicon pedal. It utilizes classic Volume and Fuzz control knobs, as well as a four-position Thickness control to dial-in any guitar and amp combo. Also included is a Bias trim pot and a Kill switch that allows battery lovers to shut off the battery without pulling the input cord.
Silk Worm Deluxe Overdrive
The Silk Worm Deluxe -- along with its standard Volume/Gain/Tone controls -- has a Bottom trim pot to dial in "just the right amount of thud with no mud at all: it’s felt more than heard." It also offers a Studio/Stage diode switch that allows you to select three levels of compression.
Both pedals offer the following features:
- 9-volt operation via standard DC external supply or internal battery compartment
- True bypass switching with LED indicator
- Pedalboard-friendly top mount jacks
- Rugged, tour-ready construction and super durable powder coated finish
- Made in the USA
Static Effectors’ Street Series pedals carry a street price of $149 each. They are available at select retailers and can also be purchased directly from the Static Effectors online store at www.staticeffectors.com.
Galloup’s Plek tech Adam Winarski preps a Yamaha acoustic for the machine.
Presently, many certified guitar-repair specialists possess the expertise required to deliver an instrument that both sounds and plays wonderfully. The standards set by manufacturers and distributors have significantly risen, safeguarded by rigorous quality protocols to guarantee the best possible acoustic experience for customers. Additionally, lutherie training has raised the bar for critical processes, and one of the most tricky is fretwork.
Traditional fretwork once involved manual labor, with technicians utilizing sandbags or similar supports to steady the neck as they straightened it with a truss rod during the filing process. A notable advancement in this field came in the mid 1970s when Don Teeter, an author and repair expert, imposed a new method: fixing the guitar body to the bench and using blocks to maintain the neck in a playing position. This refinement was one of many in the continued quest to produce superior instruments by standardized methods.
An example of the Plek’s readings from an acoustic guitar.
Photo courtesy of Galloup Guitars
In the late 1970s, another pivotal innovation was introduced by Dan Erlewine. He created an advanced fret jig with a specialized body-holding system and neck supports, adding another layer of precision to the repair process. During my collaboration with Dan in 1985, we developed a rotating neck jig that counterbalanced the forces of gravity, keeping the instrument in its playing orientation while adjusting the neck supports. This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry. By 1986, our approach had evolved into a freestanding workstation coupled with a sophisticated hold-down mechanism and enhanced neck supports, culminating in increased accuracy, efficiency, and consistency. Over the decades, the Erlewine/Galloup rotating neck jig has become a benchmark in numerous shops, enhancing fretwork performance.
"This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry."
By the 1990s, automated and computerized technologies permeated the guitar manufacturing and repair sectors. Initially applied by import companies in the mass production of guitars, the technology, although expediting processes, did not immediately achieve high execution standards. However, the tech dramatically improved over time, with computer-driven systems eventually transforming the industry. Contemporary automated production utilizing such advancements meets exceedingly high standards of precision. Some bespoke guitar manufacturers, such as Steve Andersen, were pioneers in adopting these methods, but it was companies like Taylor that established them in the modern era.
Inevitably, the progression of technology extended beyond the mere production of parts. Around 1995, German engineer Gerd Anke envisioned the integration of computer-assisted technology into enhancing instrument playability, giving rise to Plek technology, which uses computers to precisely measure and analyze the various components of a guitar, like neck relief, fret height, nut and bridge specs, and more. Nashville guitar-repair tech Joe Glaser was among the first to recognize the machine’s value, followed by San Francisco luthier Gary Brawer. When Heritage Guitar Inc. invested in a Plek machine, the guitar industry could no longer disregard the significance of this innovation.
“The machine’s scanning data confirmed that there was one nature of an ideal fret plane, done by hand or machine, and unsurprisingly, it conformed exactly to what physics predicts, not personal mojo.”
In the spring of 2022, Galloup Guitars obtained its first Plek machine. Promptly, our technician Adam Winarski paved the way for the Plek’s integration in our shop. Now, it’s a rarity for an instrument to leave our shop without having undergone Plek analysis and machining. Impressed by the results of our integration, we created “Intro to Plek” as a course for all students enrolled at the Galloup School of Lutherie, offering our students a practical introduction to this technology. We furthered this educational initiative with a comprehensive one-week intensive “Plek Certification Training Course” for both students and the public. This advanced Plek course serves those seeking to boost their knowledge base and employability in this high-precision field.
Plek is rapidly becoming an industry standard for major manufacturers and smaller shops alike. However, this does not mean that those without access to this technology cannot execute proficient fretwork. Personally, I continue to use my Erlewine/Galloup neck jig—not only out of nostalgia, but also because it remains an excellent method for delivering accurate and reliable guitars. Still, it’s undeniable that the process of fretting, fret dressing, and analytics of fretted instruments has undergone significant transformation, resulting in better sounding—and playing—guitars. And ultimately, that’s what it’s all about.