
Lower gain adds up to a smoother, more nuanced Muff flavor—and a ticket to the main Mother's fuzz sound. The PG Stomp Under Foot Utility Muffin review.
An interesting and original take on the classic fuzz formula, offering warm, throaty, and expressive tonalities.
Lacks some of the hottest sounds you expect from a classic fuzz.
$195
Stomp Under Foot Utility Muffin
stompunderfoot.com
There are enough awesome, hyper-accurate re-creations of classic fuzz pedals that it's tempting to say we've seen and heard it all. But while legendary fuzzes like the Electro-Harmonix Big Muff (and most of their many permutations) have been copied to an exacting degree many times over, variations of those circuits—both accidental and deliberate—still reveal sonic surprises that bear re-examination. One such surprise led to the creation of the pedal reviewed here: the Stomp Under Foot Utility Muffin.
Recorded with Novo Serus J guitar with Amalfitano P-90s, into Friedman Mini Dirty Shirley head on low-gain setting, recorded via Mesa CabClone IR+ (4x12 with Greenbacks IR).
Clip 1: Pedal off, then on set to: Level and Tone at noon, Gain at 10 o'clock, Novo Serus J guitar with P-90s at middle position.
Clip 2: Level at noon, Gain at 3 o'clock, Tone at 1 o'clock, mostly on the Novo Serus J bridge P-90, then some on the neck at the end.
Clip 3: Novo Serus J guitar set to P-90 in neck position, tone control rolled all the way down to '0'. Pedal off at start, then set to: Level at noon, Gain at 3 o'clock, Tone at 1 o'clock
The Utility Muffin is not a replica of a Muff that came direct from the EHX factory, and its uniqueness is not down to some production line quirk. Rather, it pays homage to Frank Zappa's much-modified 1970 Big Muff. After being sent detailed photos of Frank's heavily tweaked V3 Big Muff, Stomp Under Foot's Matt Pasquerella came to the conclusion that critical modifications had been made to reduce the pedal's gain—yielding smoother, richer bass response, and transforming the stompbox into something closer to a medium-gain overdrive and low-gain fuzz. Stomp Under Foot built a limited run of Utility Muffins in 2016, naming the device after Zappa's Utility Muffin Research Kitchen recording studio. (The fact Zappa used a Big Muff and the word "muffin" to name his studio and one of his most famous song characters, "Muffin Man," is, as far as we know, pure coincidence.) Now, Stomp Under Foot has revived the pedal for a wider audience that may be as interested in its musical potential as much as its Zappa associations.
The pedal's controls will be little surprise to the initiated Big Muff devotee: gain, tone, and volume do much of what they would on any Big Muff. What matters most, of course, is what's inside, where Pasquerella hand-wires everything himself, including several NOS components in this cleverly reconfigured four-transistor fuzz circuit.
Do You Know the Muffin Man?
The Utility Muffin cooks up a fun, alternative breed of fuzz that's expressive and somewhat habit forming. It definitely leans toward the warm, creamy, and thick side of the tone spectrum—even by Big Muff standards. But while it might not have a Tone Bender's vicious top end, buzzy vintage-fuzz sounds are still easy to generate in isolation. And while the Muffin can be dark and murky with the tone knob set counterclockwise from noon, there's more than enough treble and sparkle in advanced tone and gain settings to slice your way through a dense or bass-heavy mix.
On the front end of Marshall and tweed Deluxe-style amps, and with P-90s driving the pedal, the Muffin sounded rich and full of texture—with just enough spitty attitude on top to keep it from sounding too smooth. There's also a slight bump in the midrange that gives the Utility Muffin a hint of cocked-wah voicing that adds honk and presence to the output. Needless to say, it really excels at throaty Clapton/Cream lead tones—particularly with guitar tone controls at minimum levels—while retaining a reedy quality that keeps the output from turning to mud.
The Verdict
The Utility Muffin pulls off the cool trick of retaining the wooly, warm side of the Big Muff voice—particularly the Sovtek breed—without sacrificing the feel and temperament of hotter, more piercing classic fuzzes. It's full of character and complex, overtone-rich colors. And it's instructive as a reminder of how a lower-gain version of classic Muff flavor is still powerful enough to knock you flat. It might not be the pedal to reach for if you prefer just one fuzz on your board and are inclined toward Fuzz Face, Tone Bender, or even old Triangle Big Muff tones. But if those burning-hot-and-toppy fuzz tones are a color you like in moderation, the Utility Muffin is a great alternative, with a buoyant and bubbly personality and a load of hot and smooth, sonorous sounds to mine.
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Building upon the foundation of the beloved Core Collection H-535, this versatile instrument is designed to serve as a masterpiece in tone.
The new model features striking aesthetic updates and refined tonal enhancements. Crafted at the iconic 225 Parsons Street factory, home to other world-famous models like the H-150, H-157, and H-575 - the H-555 continues to exemplify the very best of American craftsmanship.
The Core Collection H-555 features a set of Custom Shop 225 Hot Classic Humbuckers, meticulously wound in-house with carefully selected components, and voiced to deliver added punch and richness while preserving exceptional dynamics and touch sensitivity. Seamlessly complementing the H-555’s semi-hollow construction, they blend warmth and woodiness with refined, articulate clarity.
The Core Collection H-555’s aesthetic has been elevated with multi-ply binding on the body, headstock, and pickguard. Its neck, sculpted in a classic ’50s profile, delivers effortless comfort and is adorned with elegant block inlays, seamlessly blending style with playability. Gold hardware complements the aesthetic, exuding elegance while presenting the H-555 as a truly premium and versatile instrument for the discerning player.
Available in Ebony and Trans Cherry, each Core Collection H-555 is beautifully finished with a nitrocellulose vintage gloss that features a subtle shine and gracefully ages over time. An Artisan Aged option is also available for those seeking an authentically well-loved look and feel, achieved through a meticulous, entirely hand-finished aging process. The new Core Collection continues Heritage’s tradition of world-class craftsmanship, offering a true masterpiece in tone and design for discerning players. Each guitar is shipped in a premium Heritage Custom Shop hard case.
Key Features
- Finest Tonewoods: Laminated highly figured Curly Maple (Top & Back) with solid Curly Maple sides
- Heritage Custom Shop 225 Hot Classic Humbuckers: Designed and wound in-house
- Headstock: Multi-ply bound headstock, featuring a Kite inlay, 3×3 tuners laser-etched with Heritage graphics
- Neck Profile: Comfortable ’50s C-shape for a vintage feel
- Bridge: Tune-O-Matic with aluminum stopbar tailpiece for enhanced sustain
- Made in the USA: Crafted at 225 Parsons Street
For more information, please visit heritageguitars.com.
Ariel Posen and the Heritage Custom Shop Core Collection H-555 - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Watch the official video documenting the sold-out event at House of Blues in Anaheim. Join Paul Reed Smith and special guests as they toast to quality and excellence in guitar craftsmanship.
PRS Guitars today released the official video documenting the full night of performances at their 40th Anniversary celebration, held January 24th in conjunction with the 2025 NAMM (The National Association of Music Merchants) Show. The sold-out, private event took place at House of Blues in Anaheim, California and featured performances by PRS artists Randy Bowland, Curt Chambers, David Grissom, Jon Jourdan, Howard Leese, Mark Lettieri Group, Herman Li, John Mayer, Orianthi, Tim Pierce, Noah Robertson, Shantaia, Philip Sayce, and Dany Villarreal, along with Paul Reed Smith and his Eightlock band.
“What a night! Big thanks to everyone who came out to support us: retailers, distributors, vendors, content creators, industry friends, and especially the artists. I loved every second. We are so pleased to share the whole night now on this video,” said Paul Reed Smith, Founder & Managing General Partner of PRS Guitars. “I couldn’t be more proud to still be here 40 years later.”
With nearly 1,400 of the who’s who in the musical instrument industry in attendance, the night ended with a thoughtful toast from PRS Signature Artist John Mayer, who reflected on 40 years of PRS Guitars and the quality that sets the brand apart. “The guitars are great. You can’t last 40 years if the guitars aren’t great,” said Mayer. “Many of you started hearing about PRS the same way I did, which is you would talk about PRS and someone would say ‘They’re too nice.’ What’s too nice for a guitar? What, you want that special vibe that only tuning every song can give you on stage? You want that grit just like your heroes … bad intonation? The product is incredible.”
Be sure to locate your sample library where it can be quickly referenced on your DAW.
Improve your recordings using your own samples. Bryan Clark, house producer at Nashville’s Blackbird Studio, tells you how to take the final steps in building your own sample library.
Mastering the sample import process in your chosen DAW can significantly enhance your creativity and streamline your workflow. With a clear understanding of the tools and techniques available, you will be better equipped to bring your musical ideas to life and make your productions stand out.
This month, we finish up a three-part series on creating your own sample libraries. In this final installment, I’m going to give you the basic ways to import your samples into various popular DAWs. Each one has its unique workflow and user interface, but the fundamental process remains very similar. This Dojo guide will cover how to import samples into Ableton Live, LUNA, Logic Pro, Pro Tools, and Studio One.
Ableton Live
Steps to Import Samples
Drag and Drop: Simply locate the sample file in your computer’s file explorer, then drag and drop it directly into an audio track in the session or arrangement view.
Browser Window: Use Ableton’s built-in browser (on the left-hand side). Navigate to the sample’s location on your hard drive, then drag it into the workspace.
Create a Simpler or Sampler Instrument: Drag the sample into a MIDI track with Simpler or Sampler loaded. This allows you to trigger the sample using MIDI notes.
Tips: Use the warp feature for time-stretching and syncing samples to your project’s tempo.
Organize your samples into collections using the “Add Folder” option in the browser.
LUNA
Steps to Import Samples
Drag and Drop: Drag the sample from your file explorer directly into the timeline. Then hold the CTRL key down, click on the end of the loop, and drag it to the length it needs to be.
Browser/Workspace: Use the media browser to navigate to your sample’s location on your hard drive. Drag it into an audio track in your session.
Audio Track Import: Right-click on an empty area in the timeline or a track and select “Import Audio” to locate and add your sample.
Tips: Use LUNA’s built-in varispeed capabilities to match your sample to the session’s tempo.Logic Pro
Steps to Import Samples
Drag and Drop: Drag the sample from the Finder directly into an audio track in the workspace.
File Browser: Use the file browser (accessible via the media sidebar or “F” key) to locate and drag samples into the timeline.
Quick Sampler: Drag your sample onto a MIDI track with the Quick Sampler plugin loaded. This lets you play the sample chromatically.
Tips: Use Logic’s flex time feature to sync samples to your project’s tempo. Organize samples into Logic’s library for quick access.Pro Tools
Steps to Import Samples
Import Audio Dialog: Go to File > Import > Audio; then locate your sample and click “Convert” or “Add” to bring it into the session.
Drag and Drop: Drag the sample directly from your file explorer into an audio track.
Workspace Browser: Use the workspace (accessible via Window > New Workspace) to locate your sample. Drag it into your session.
Tips: Use the elastic audio feature for tempo matching and pitch adjustments.
Place your samples into playlists for efficient access during editing.
Studio One
Steps to Import Samples
Drag and Drop: Drag your sample directly from your file explorer into the timeline or browser.
Browser: Open Studio One’s browser (on the right-hand side), navigate to the folder containing your sample, and drag it into your project.
Sampler Track: Drag the sample onto a MIDI track, and use the Sample One sampler for additional manipulation.
Tips: Enable the “Stretch Audio Files to Song Tempo” option in the browser for automatic tempo synchronization. Create sample folders within Studio One’s browser for quick access.General Best Practices
Regardless of the DAW you use, it is important to maintain a smooth and efficient workflow. Organize your sample library with clear folder names and categories to make locating files easy (see last month’s installment for detailed strategies). Where possible, learn DAW-specific shortcuts for importing and editing samples to save time. Always check if your DAW offers a feature to sync the sample’s tempo to your project to ensure seamless integration. Finally, regularly back up your sample collection to avoid losing important audio files and preserve your creative assets! Seriously. Do it now.
Next month, we’re off to “console” land and I’ll be investigating console emulations (hype or not?), summing bus processors, and more to give you a more “studio” sound. Until then, blessings and namaste.
Stretching the boundaries of reverb’s realm through dynamic and pitch control.
Nice core reverb sounds. Invites cool compositional and arrangement directions. High quality.
If you lack patience, it will be hard to unlock its coolest secrets.
$329
Gamechanger Audio Auto Reverb
gamechangeraudio.com
When the first Moog synthesizer appeared, it freaked out a lot of musicians—not least for the way it blurred the divisions between instruments and their roles. Was it percussion? A keyboard? A reed instrument? Many effects makers build from this philosophical foundation. The Latvian company Gamechanger often seems to revel in it—an attitude that’s manifest in the company’s Auto Series pedals, which includes the Auto Reverb.
There’s no reason you can’t use the Auto Reverb in a very straightforward fashion. The plate, spring, and hall settings are all very nice digital representations of their analog inspirations—and I’d be perfectly happy playing an instrumental surf set with the spring mode, for instance. But because you can control the parameters like the reverb’s level, decay, tone, and the filter with changes in pitch and dynamics, the Auto Reverb can function in highly orchestral ways, transforming itself from subtle to outlandish as a musical piece shifts in intensity or rises from low to high keys toward a blurred, hyper-spacious climax. While these attributes make the Auto Reverb a great fit for prepared guitar and conceptual pieces—and invites many themes and compositional ideas within those forms—it can just as easily be configured to create an especially dynamic and dramatic pop song arrangement on stage or in the studio that might otherwise be relegated to automations within a DAW. It’s fun to use, if not always intuitive. But knowing its ways can expand your musical options significantly.