Wanna talk about rabbit holes? Well, few are deeper or darker than one that awaits when you compare the virtues, shortcomings, and construction peculiarities of Big Muffs. Make no mistake, I love the things. And studying real, audible differences among Big Muff variants is fun. But I would happily take back many hours I’ve spent contrasting Ram’s Head, Triangle, and Sovtek versions, and their clones—all to arrive at the conclusion that they all sound awesome in their own right. One dude that has spent about a million hours dissecting Muff tone minutiae is EarthQuaker Devices founder Jamie Stillman. Hisefforts to reverse engineer his pal Dan Auerbach’s unique-sounding Sovtek Muff begat theHoof, which remains among EarthQuaker’s most enduring and successful products.
Just as Auerbach’s Muff possessed a certain something missing in otherwise identical Sovteks, so it was with a Version-6 (V6) Electro-Harmonix Big Muff used by James Murphy of LCD Soundsystem for his band’s fuzz-bass tones. As 40-something pedals will, Murphy’s V6 Big Muff got a bit fussy for tour life, so Stillman and EQD were tasked with crafting a replacement. But like so many vintage pedals that have become notorious and legendary, Murphy’s V6 Big Muff is distinguished by construction inconsistencies that made it a quirky and unique thing.
EQD’s interpretation of this formula—made manifest here in the Chelsea Low End Fuzz Driver—is a Big Muff-style voice that leans more Ram’s Head than Sovtek. In strictly sonic terms, that means lots of grind, presence, and a delectable balance between air and aggression that make the Chelsea soar. Like a vintage V6 Big Muff, it features a tone-bypass switch which removes the tone pot entirely. The midrange-heavy result is appealing and impressive in its own punky way. But the rangeful tone control, and the oxygenated sounds that live in its treblier zones, in particular, are highlights of the pedal’s vocabulary that make it distinctive.
As the “Low End Fuzz Driver” handle and Murphy’s historically bass-oriented usage suggest, the Chelsea’s tone profile is a great tool for crafting gnarly, nasty, bottom-end sounds that have a trace of almost saxophone-like honk and grit on top of mere mass—a sound composite that gives bass and baritone riffs lift and definition. But as sweetly and swaggeringly as the Chelsea gels with bass, guitarists will find it a source of rich and blistering tones, and a distinctive alternative to early Triangle-, Ram’s Head-, and V6-style Big Muff sounds.
The all-star producer invites John Bohlinger to his home studio for a glimpse of his most treasured gear.
Veteran producer and behind-the-scenes guitar superstar Dann Huff released his debut solo album, When Words Aren’t Enough, on May 30, but his career began long before that. He’s been making records and playing guitar for roughly 50 years, working with everyone from Taylor Swift to Rodney Crowell to Michael Jackson.
His home studio is where the magic happens, and for this Rig Rundown, he invited PG’s John Bohlinger over to talk about his career, his new record, and the best bits of gear he’s played along the way. Keep an eye out for our feature on Huff online and in our August print issue.
Huff had hardly played this 1964 FenderStratocaster for 20 years when he walked by it before recording his latest solo album and deciding it was time to reconnect. It was heavily modded by builder James Tyler.
The lower tone knob is also a push-pull switch to modify the pickup configurations; the middle tone knob is a mid-boost circuit, which can be toggled on or off with a push-pull function; and the volume pot is, well, just a volume pot. Huff explains the series of three switches, each assigned to one of the three pickups: “Down is louder, up is softer.”
Tyler Tone
This James Tyler Strat, built specially for Huff by Tyler, is an exacting copy of his ’64 Strat, complete with Tyler’s signature mods.
Revv Your Engine
Derek Eastveld, owner of Winnipeg, Manitoba-based amp company Revv, brought this Dynamis D40 head for Huff to try out, and it clicked instantly; Huff wrote a song on it for his solo record. It runs through a Little Walter 2x12 open-back cabinet.
Dann Huff’s Pedalboard
Huff doesn’t need a spaceship to get where he needs to go. Along with a TC Electronic PolyTune and a Lehle volume pedal, he runs a Vertex Effects Steel String (Slight Return Edition), Vertex Ultraphonix Mk II, Boss SD-2, TC Electronic Corona, Boss VB-2w, Mr. Black SuperMoon, Strymon Brigadier, and Line 6 M9 Stompbox Modeler.
It’s easy to characterize Chase Bliss' Joel Korte and “Analog” Mike Piera as pedal-designer opposites. Piera’s work is rooted in understanding what makes great vintage circuits special and building improved, refined, better-quality versions. Korte is often a maximalist (many sounds, many knobs, many possibilities) and an envelope-stretching modernist (unorthodox tones, digital control). But the two builders share much in common. Both are gifted designers, and each is tireless—perhaps obsessive—about chasing specific sounds. The intersections in their methodologies are embodied in the Brothers AM, a Chase Bliss/Analog Man collaboration based on the scarce and much-coveted Analog Man King of Tone dual-gain device.
The Brothers AM nails the creamy, clear, and agreeable essence of the KOT—at least what I know of it. Like many of you, I do not own a KOT and rely on the effusive raves from fellow musicians and what I’ve heard live and in the video sphere. But you don’t need a KOT to hear how good the Brothers AM is. It’s an excellent drive pedal by any comparison. The seamlessly integrated dual-circuit design means it moves readily from very subtle to very vicious tones. It’s even more versatile than its inspiration, thanks to the inclusion of an addictive, dynamite 2-position treble booster and DIP switches that expand the pedal’s tone palette and control options.
Rock-Solid Foundation
The original King of Tone pedal was inspired by a moddedMarshall BluesBreaker which an Analog Man client bought as a less-compressed, less-midrangey Ibanez TS9 alternative. By the time Piera completed the King of Tone, it didn’t sound much like a BluesBreaker. But it achieved other aims: It sounded natural and open and felt touch responsive. As the KOT evolved it effectively became two drive pedals in one—each of which could be configured as a boost, drive, or distortion. This KOT iteration is the foundation for the Brothers AM.
The many controls on most Chase Bliss pedals induce panic among some players. If you’re among them, Brothers AM won’t do much to calm your nerves—at least at first. In reality, though, the Brothers AM is easy to know. The six knobs are two identical sets of gain, volume, and tone controls for the two circuits. You switch each circuit between boost, OD, and distortion using two dedicated toggles on either side of the 3-position treble booster switch. The DIP switches on the pedal’s crown make it possible to add extra gain, reconfigure the footswitches for momentary bypass, repurpose volume and tone knobs as master volume and presence controls, save and switch between two additional presets, assign expression pedal control, and more.
Manifold Monster
One of the Brothers AM’s great strengths is its agreeable nature. It doesn’t seem to give a hoot what guitar or amp you throw in the pool with it. This easygoing personality makes it a great backline-surprise coping tool. Got a Telecaster and an AC15 conspiring to run you through with treble daggers? A dose of the Brothers AM’s soft-clipping OD and a dark tone setting will turn those sharp ends to honey without sapping too much energy. Need to slice through humbucker fog? A dollop of top end and a bump from the treble boost will cut through pea soup. Finding these agreeable baseline tones for a given guitar/amp combination is easy. But what’s most satisfying is shaping, refining, and recombining the Brother AM’s two basic voices into so many completely different identities.
Another great thing about the Brothers AM: You know how a lot of overdrives turn to mud at low amp volume? The Brothers AM sounds and feels great in this role. The range and interactivity between the tone and gain controls enables hot, lively tones and touch-responsive playing dynamics. The Rangemaster-voiced booster shines in this context, too. I got full-bodied, sparkling sounds from a 35-watt Fender Vibrolux whilst leaving room for an unamplified acoustic and voice in the same room. And it's easy to hear how Brothers AM will excel in small or home studios just as readily as it does in big rooms with big, loud amps.
If the Brothers AM has a drawback, it’s the heavily colored compression at the highest gain levels. But if the Brothers AM doesn’t shine brightest at these settings, the relative headroom and kinetic bump at most others underscore how you don’t need maximum gain to make your tone as hot as the hinges of Hades.
The Verdict
The Brothers AM makes almost any guitar or amp feel more alive and muscular, in shades ranging from a hint of heat and mass to fuzzy, fierce, and very loud. Though many stompbox clockers categorize the Brothers as a transparent overdrive, it does possess a compressed coloration throughout its range. It’s less cramped in the midrange than a vintage TS9, just as its creators intended. But if super-oxygenated boost-to-light-overdrive tones are the goal, you still might be better served by a good Klon clone or a preamp pedal that mixes in a clean signal. For anyone else, the Brothers AM is full of delights. It lends extra body and fullness to any tone recipe without stripping away instrument or amp personality. It’s effective in small rooms where you still want big-amp sound, but the visceral way it elevates a louder amp—especially with the thrilling treble booster in the mix—can make a player giddy. The Brothers AM, as suits its name, is like the kid at school that gets along with everyone. It doesn’t matter if you have a Rickenbacker and a Vox, an SG and a Deluxe Reverb, a baritone and a Marshall, or a decrepit old lipstick-pickup Silvertone and a Champ—all of them can sound and feel extra exciting along a spectrum that spans a gentle push and raging roar.
Previously, John Bohlinger was curious about what active pickups could do for his anemic 1994 Stratocaster and EMG offered their drop-and-go Steve Lukather SL20 Pickguard set. JB was floored with the guitar's fresh voice and responsive dynamics he wanted to expand the active experiment to his beloved 2003 GibsonLes Paul. So we got a set of EMG Fat 55 Retro Active Humbuckers that required a full install and our luthier friend Dave Johnson walks us through the whole process before John got to test out his old friend's tonal makeover.
Learn more about EMG Fat 55 Retro Active Humbuckers here.
The Irish post-punk band’s three guitarists go for Fairlane, Fenders, and a fake on their spring American tour.
We caught up with guitarists Carlos O’Connell and Conor Curley from red-hot Dublin indie rock outfit Fontaines D.C. for a Rig Rundown in 2023, but we felt bad missing bassist Conor “Deego” Deegan III, so we’ve been waiting for the lads to make their way back.
This time, riding the success of their fourth LP, 2024’s Romance, we caught up with all three of them at Nashville’s Marathon Music Works ahead of their April 30 gig to see what they brought across the pond.
Curley’s go-to is this Fairlane Zephyr, loaded with Monty’s P-90s and a Mastery bridge. It mostly stays in standard tuning and, like his other axes, has Ernie Ball Burly Slinky strings.
Blue Boy
Fender sent Curley this Jazzmaster a couple of years ago, and since then, he’s turned to it for heavier, more driven sounds. It’s tuned to E flat, but Curley also tunes it to a unique shoegaze-y tuning for their tune “Sundowner.”
You can also catch Curley playing a Fender Johnny Marr Jaguar.
Twin Win
Fender Twin Reverbs are where Conor Curley feels most comfortable, so they’re his go-to backline. The amps are EQ’d fairly flat to operate as pedal platforms.
Conor Curley’s Pedalboard
Curley’s pedalboard for this tour includes a TC Electronic PolyTune3 Noir, Strymon Timeline, Boss RV-6, Boss PN-2, Boss BF-3, Keeley Loomer, Death by Audio Echo Dream, Fairfield Circuitry Hors d'Ouevre?, Strymon Sunset, Strymon Deco, DigiTech Hardwire RV-7, Electro-Harmonix Nano POG, and Lehle Little Dual.
Fake Out
Connor Deegan didn’t own a bass when Fontaines D.C. began, and his first purchase was the black Fender Jazz bass (right)—or so he thought. He later discovered it was a total knock-off, with a China-made body, Mexico-made neck, and a serial number that belongs to a Jaguar. But he fell in love with it, and its sound—nasal on the high strings, with cheap high-output pickups—is all over the band’s first record, Dogrel. Deego plays with orange Dunlop .60 mm picks, and uses Rotosound Swing Bass 66 strings.
Deegan picked up the Squier Bass VI (left) for its “surfy vibes,” and upgraded the pickups and bridge.
Also in his arsenal is this 1972 Fender P-bass (middle). (He’s a bit nervous to check the serial number.)
V-4 You Go
Deego plays through an Ampeg V-4B head into a Fender 6x10 cabinet.
Conor Deegan’s Pedalboard
Deegan’s board includes a Boss TU-3, Electro-Harmonix Hum Debugger, Boss TR-2, modded Ibanez Analog Delay, Death by Audio Reverberation Machine, Boss CE-2w, Tech 21 SansAmp Bass Driver DI, Darkglass Electronics Alpha Omega Ultra, and Dunlop Volume (X) Mini pedal. A GigRig QuarterMaster helps him switch sounds.
Mustang Muscle
Carlos O’Connell favors this 1964 Fender Mustang, which has been upgraded with a Seymour Duncan Hot Rails pickup since Romance. It’s set up so that the single-coil pickup is always on, and he’ll add in the Hot Rails signal for particular moments.
Ghost of Gallagher
Mustang Muscle
After getting to play a number of Rory Gallagher’s guitars thanks to a private invitation from the guitarist’s estate, O’Connell picked up this Fender Custom Shop Rory Gallagher Signature Stratocaster. The jangly, direct tone of this one is all over tunes like “Boys in the Better Land.”
More Fender Friends
O’Connell runs his guitars, including a vintage Martin acoustic which he picked up in Nashville, through a Fender Twin Reverb and Deluxe Reverb.
Carlos O’Connell’s Pedalboard
The gem of O’Connell’s board is this Soundgas 636p, an imitation of the infamous Grampian 636 mic preamp’s breakup. Alongside it are a TC Electronic PolyTune, Ceriatone Centura, Strymon Volante, Eventide H9, Orchid Electronics Audio 1:1 Isolator, Vein-Tap Murder One, MXR Micro Amp, Moog MF Flange, MXR Smart Gate, and Freqscene Koldwave Analog Chorus. A Radial BigShot ABY navigates between the Twin and Deluxe Reverb.
![Fontaines D.C. Rig Rundown [2025]](https://www.premierguitar.com/media-library/image.jpg?id=60290466&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
Mustang Muscle
