Less-corpulent, Big Muff-style tones that cut in many colors.
Unique, less-bossy take on the Big Muff sound that trades excess fat for articulation. Nice build at a nice price.
Some Big Muff heads may miss the bass and silky smooth edges.
$149
Evil Eye FX Warg
evileyefx.com
Membership in the Cult of Big Muff is an endless source of good times. Archaeologically minded circuit-tracers can explore many versions and mutations. Tone obsessives can argue the merits of fizzier or fatter tone signatures. The Ace Tone FM-3 is one of the less famous branches on the Big Muff evolutionary tree, but one that every true Big Muff devotee should know. It came out around 1971 and it was among the first in a line of often-imaginative Japanese takes on the circuit.
Evil Eye Warg Fuzz - MAIN by premierguitar
Listen to Evil Eye Warg Fuzz - MAIN by premierguitar #np on #SoundCloudEvil Eye’s Warg Fuzz marks another generation in this evolution. It uses the FM-3 as a design foundation and inspiration, and shares many of its tone characteristics. It’s most overtly a buzzier, less bass-hefty take on the V1 “Triangle” Big Muff, which serves as the FM-3 design’s launch pad. But the Warg also adds a midrange boost switch that makes the pedal better suited to mixes and environments where a little extra presence serves the musical setting.
Close Cousins
If you look at schematics for a V1 Big Muff and an Ace Tone FM-3 (minus its largely superfluous “boost” circuit) side by side, you’ll see a near-mirror image. But the small differences are significant. On the Ace Tone and Evil Eye Warg, the volume pot is positioned before the output gain stage rather than after, as it is on a Big Muff. A few filter and feedback capacitor values are smaller than those on the Big Muff, and there are a few extra resistors and an extra capacitor. Those changes aside, the two circuits would be hard to differentiate at a glance. But as we’ll hear, the audible differences are often profound.
Though Evil Eye was careful to replicate the Ace Tone circuit as closely as possible, the company added a second path for reshaping the output in the form of the “scooped and flat” toggle. Big Muffs are generally pretty scooped in the midrange, which is one of the breed’s distinguishing qualities, no matter the version. But that doesn’t keep newer manufacturers, like EarthQuaker and Stomp Under Foot, to name a few, from building Big Muff clones that add a midrange boost. Here, a variable boost knob is replaced by the flat-switch setting, which still offers ample tone reshaping utility.
“In a band mix, there’s more contrast with a burly bass.”
Build quality on the Philadelphia-made Warg is very nice. The circuit board is tidy, arranged along four rows of components that make the circuit relatively easy to trace. Input and output jacks as well as the footswitch are mounted to the chassis rather than the circuit board. The footswitch is a soft-relay unit. The pedal also looks bitchin’ (though the namesake wolf beast on the enclosure looks a little slender for a mythical, massive Warg). Given the careful, high-quality execution, the $149 street price is an especially good value.
Less Woof in This Wolf
Situating the Warg alongside any Big Muff makes the sonic family resemblance very clear. For comparison, I used a Sovtek Big Muff as well as really nice Ram’s Head and Triangle Big Muff clones. And while the Triangle is very clearly the closest cousin, in an audible sense, in the mid-scooped setting, the Warg shares a powerful, thick, high-gain profile and feel with all three Big Muff types. Where it’s most pronouncedly different is in its relatively light bottom end. For Big Muff hounds that savor the unique, bassy Big Muff ballast, the difference will probably sound pretty stark. But there’s lots of upside to the Warg’s less fat and sprawling profile. In a band mix, there’s more contrast with a burly bass. It will inhabit a much more individual space in a mix, too, which can open up mixing and arrangement options once you’ve laid down your tracks. And for this Big Muff fan, the less-bass-forward profile meant I could coax thick, grindy tones that were a touch more evocative of mid-to-late-’60s fuzz tonalities and felt less shackled to fat stoner-rock templates or late-Gilmour butter-sustain cliches without sacrificing a Big Muff’s sense of wide-spectrum chord aggression.
In the flat frequency mode, I found that the closest sonic likeness to the Warg was an EarthQuaker Hoof with an enhanced mids setting. The EQD probably offered more range on the traditional, bassy side of the Big Muff spectrum. But almost none of the pedals I tested against the Warg could match the Evil Eye’s high-mid clarity in chording situations and melodic leads.
The Verdict
Ascertaining how the very apparent, but sometimes subtle, differences between Big Muff types and the Evil Eye Warg fit your tone ideals and musical needs will probably take a shootout of your own. But if, like me, you’re a Big Muff user that sometimes wearies of that pedal’s smooth, fat, bluster, Evil Eye’s alternative is attractive and intriguing. It’s a great study in how different the basic Big Muff architecture can sound. And at just less than $150, you don’t have to feel too scared about taking a chance on this very interesting fuzz
Passive pickups, active electronics, and acoustic-electric guitars with dual-pickup sources all require different types of output jacks. Do you know how to wire them up?
There are many different types of output jacks, including mono, stereo, TRS, barrel, and power types (Photo 1). Ultimately they all have the same job: transfer the signal from your guitar to the instrument cable. Output jacks can eventually wear out, causing the signal to be intermittent—usually at the worst possible time. Ever been onstage and heard a crackling sound or even silence when you jiggle your guitar cable in the jack? No fun.
When it's time to replace a cranky output jack, there are several things you need to know before firing up the ol' soldering iron. The first step is to identify what kind of jack you have and what will make the best replacement.
Form and function.
Almost every type of output jack used on both acoustic and electric guitars is referred to as "a 1/4" jack," but as gearheads we have to be more specific. Here's a list of the most common types of 1/4" output jacks:
- Mono: Used in most acoustic and electric guitars with passive pickups.
- Stereo: Used in acoustic and electric guitars with stereo outputs or active electronics.
- TRS (tip-ring-sleeve): Used with active electronics, active pickup systems, or acoustic-electric guitars with two independent sound sources (such as an under-saddle transducer and onboard mic).
- Power: This is usually a stereo or TRS jack attached to a preamp.
Each of these can be found in different forms, including the open or skeleton jack, the enclosed or panel jack, the barrel jack, and the flange jack. Let's take a closer look.
Electric guitars with passive pickups typically have open jacks. I prefer the Switchcraft brand, because they have heavy-duty construction.
When it's time to replace a cranky output jack, there are several things you need to know before firing up the ol' soldering iron.
Imported guitars, especially budget models, usually come with enclosed or panel jacks. Often encased in plastic, these jacks are inexpensive and tend to wear out faster than a well-made open jack.
Acoustic-electric guitars often have a cylindrical barrel jack that passes from the inside of the instrument through the tailblock. Secured externally with a nut and threaded strap button, this jack replaces the guitar's endpin. Barrel jacks can have mono, stereo, or TRS configurations.
Takamine acoustic-electrics, as well as some other acoustic-electrics, use flange jacks. These have integrated endpins and structurally resemble barrel jacks. They too come in mono, stereo, and TRS styles.
Guitar applications.
The most common output jack for electric guitars is the mono jack. It has two lugs: One is the ground, and it's part of the jack's interior or case. The other lug is the hot or primary lead. This lug is part of the long, bent flange that connects to the tip of your instrument cable.
A stereo jack is similar to a mono jack, but it's equipped with a third lug and a second (shorter) bent flange. The latter acts as a power switch for active pickup systems by connecting and disconnecting the third lug when a standard 1/4" plug is inserted or removed from the stereo jack. For example, when the black (negative) wire of a battery snap is soldered to the third lug, inserting a 1/4" plug into the jack engages the battery by connecting the negative battery wire to ground and completing the circuit.
The TRS jack functions like a stereo jack with the addition of a fourth lug and third flange that allow you to add a second pickup source. By using a stereo cable and TRS plug, you can independently control these two sources. This is useful when you want to send each to its own preamp, direct box, or amplifier.
A common use for a TRS jack is in an acoustic guitar that has an under-saddle pickup, as well as an onboard microphone or a body sensor. For electric guitars, the TRS jack works great for using magnetic pickups in conjunction with a bridge configured with piezo-pickup saddles, like the L.R. Baggs X-Bridge.
Power jacks attach directly to a preamp and can have either a stereo or TRS configuration, and some preamps are housed within a barrel jack. Power jacks are found in many different systems, including the L.R. Baggs Active Element, Fishman Matrix, and Taylor ES1 and ES2. Because most power jacks are soldered to a printed circuit board, they are difficult to replace without damaging the electronics. If a power jack fails, your best option is to replace the entire unit.
How do I wire this thing?
Photo 2
With the exception of the power jack, all of these are simple to wire if you take the time to map them out. All of them will have a ground and a primary lead, but they differ in other ways. Here's a breakdown of those details:
- Mono jack: The ground lug is attached to the case and the primary lead lug connects to the bent flange (Photo 2).
Photo 3
- Stereo jack: The ground lug attaches to the case; the primary lead is the short lug that connects to the longer bent flange, and the long lug is the power/battery switch that connects to the short bent flange. Photo 3 shows the wiring for a stereo open jack.
Photo 4
And Photo 4 is a stereo barrel jack.
Photo 5
- TRS jack: The ground lug attaches to the case. The primary lead is the short lug connected to the bent flange, and the medium power/battery lug connects to the short bent flange. The longest lug connects the secondary pickup to an isolated output (Photo 5).
Okay, got all that? Great—someday there will be a test ... and you'll be ready.
[Updated 9/9/21]