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The mid range was very "scooped", or removed, making the sound get lost in a band mix when playing live with certain amps and playing certain types of music.

The bass and treble frequencies varied slightly from one V2 circuit variant to another. Shown above - On the left is an early first edition V3 Big Muff from around with wood box and warrantly.

Some rare first edition V3s have no power jack. On the right is another V3 with no AC graphic thanks to edkoppel for pix on right.

Shown above - Electro-Harmonix magazine and catalog ads promoting the V3 Big Muff from , February , and a large ad circa Values were much more consistent than the V1 and V2 circuit, but still varied from unit to unit.

These two have slightly different component values from the common V3. Note the positioning of the potentiometers which caused the three knobs to each start with zero in a different position.

The K pot on the right side of first circuit is not original. None of the three control knobs start at zero in the same place on V3 Muffs.

This is due to the potentiometers pots being mounted to the circuit board with the leads wrapping over the edges of the board, a common feature of all V1, V2, and V3 Muffs.

They changed to an inline configuration in or Shown above - Second edition V3 with AC marked on top of enclosure and pots dated This is the most common version of the V3 circuit.

Note the rarely seen blue diodes. Shown above - Various second edition V3 circuit boards with the common V3 circuit. Shown above - A V3 circuit board with BC transistors and box caps, pots dated Also note the rare blue diodes found in this version.

Mick Eckers, author of the upcoming book Zappa's Gear took these photos in Frank's storage space in Los Angeles in Pots and switches were mounted on the front panel.

Frank had two Big Muffs in his rack. Mick found some of the boards in a dusty old flight case labelled 'Junk', including this V3 pcb. Components and values match the ,ost common V3 circuit variant, but this one has large 47k limiting resistors, a value I have never seen in any stock Big Muff.

Shown above - A "Tone Bypass" V3 third edition with circuit board, non-aligned pots dated , tone bypass switch, "AC" graphic, and "hockey puck" knobs.

This edition was apparently in production simultaneously with the V5 tone bypass op-amp version. Note the circuit and component values are identical to the example shown below, and both include MPSA18 transistors, rarely used in Big Muffs.

This example has had all of the wiring replaced, but all other components are original production. It has a very agressive, hairy, and fuzzy sound, slightly different than the earlier V3 Big Muffs I have played, although the schematic is nothing unusual.

It is idetical to the standard V6 Big Muff schematic. Interestingly, this version has component values that exactly match a certain guitarists favorite Ram's Head Big Muff.

Shown above - Another "Tone Bypass" V3 third edition with circuit board. Note the circuit and component values are identical to the example shown above, which are also the same as the V6.

By the late s Electro-Harmonix pedals were being sold around the world, including several Eastern Bloc countries.

This was the first time Western companies were being allowed to attend a Russian trade show. Apparently the band was a big hit at these shows. This relationship with Russia would pay off later in Matthews' career.

In labor union organizers invited Matthew's to unionize his workers, which he declined. His workers seemed to have great benefits and work conditions with Electro-Harmonix and saw no need.

Saying no to these New York labor union racketeers would become a major problem for E-H in the future. This is reverse polarity of typical pedals so use an E-H power supply or use a converter adaptor like the 1 Spot C35 3.

For Version 6, the V3 tone bypass transistor circuit was reworked into a smaller board size, incorporating the tone bypass switch into the trace.

The board also allowed for an alternate volume knob position, so this same circuit could be used in the Little Big Muff. This is sometimes called the "reverse logo" or "reverse graphic" Big Muff, due to the various reversed color combinations used.

Based on the knobs used and the pot dates seen, these were likely manufactured simultaneously with the V5 Big Muff.

In total, there were six color graphics variations that I know of , including the original, all shown below.

Circa Circa and These "reverse logo" variants were produced from around through I think that was one of the best color combinations E-H ever used on a Big Muff.

I suspect these color variants changed back and forth over the production run. For example, the version with the red Big Muff graphic and no printing at all on the lower half can be found with both pot dates and pot dates.

These had four rubber feet on the bottom as on previous versions, but I have one that has the rubber skid pad seen on V1 and V2 Big Muffs.

It shipped in a corrugated cardboard box. Those same knobs were also used by E-H on many other pedals. HD Porn. Red Head. Small Tits. Incredible girls are munching each other's hairy muff and moaning.

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My Vagina Love. Tufted pube! Women's Hairy Armpits. It seems this V3 version with the tone bypass won in the end, because it became Version 6.

These had four rubber feet on the bottom and shipped in a corrugated cardboard box. For those reasons most of clones sound different from each other.

Since the circuit variations were the same as the late model V2 Ram's Head BMP circuit variations, see that section for clones and similar pedals.

The circuit continued to evolve, but there were less circuit variants inside the V3 box than the V2. By the circuit had evolved into an unchanging standard schematic, as in the "Tone Bypass" V3.

Most V3 circuit variants had more sustain and sounded slightly more aggressive than the typical V2 Big Muffs.

The examples of V3s I have played that included the tone bypass switch were very agressive and fuzzy in normal mode. In general, most had a fairly tight and controllable low end.

The mid range was very "scooped", or removed, making the sound get lost in a band mix when playing live with certain amps and playing certain types of music.

The bass and treble frequencies varied slightly from one V2 circuit variant to another. Shown above - On the left is an early first edition V3 Big Muff from around with wood box and warrantly.

Some rare first edition V3s have no power jack. On the right is another V3 with no AC graphic thanks to edkoppel for pix on right.

Shown above - Electro-Harmonix magazine and catalog ads promoting the V3 Big Muff from , February , and a large ad circa Values were much more consistent than the V1 and V2 circuit, but still varied from unit to unit.

These two have slightly different component values from the common V3. Note the positioning of the potentiometers which caused the three knobs to each start with zero in a different position.

The K pot on the right side of first circuit is not original. None of the three control knobs start at zero in the same place on V3 Muffs. This is due to the potentiometers pots being mounted to the circuit board with the leads wrapping over the edges of the board, a common feature of all V1, V2, and V3 Muffs.

They changed to an inline configuration in or Shown above - Second edition V3 with AC marked on top of enclosure and pots dated This is the most common version of the V3 circuit.

Note the rarely seen blue diodes. Shown above - Various second edition V3 circuit boards with the common V3 circuit.

Shown above - A V3 circuit board with BC transistors and box caps, pots dated Also note the rare blue diodes found in this version. Mick Eckers, author of the upcoming book Zappa's Gear took these photos in Frank's storage space in Los Angeles in Pots and switches were mounted on the front panel.

Frank had two Big Muffs in his rack. Mick found some of the boards in a dusty old flight case labelled 'Junk', including this V3 pcb. Components and values match the ,ost common V3 circuit variant, but this one has large 47k limiting resistors, a value I have never seen in any stock Big Muff.

Shown above - A "Tone Bypass" V3 third edition with circuit board, non-aligned pots dated , tone bypass switch, "AC" graphic, and "hockey puck" knobs.

This edition was apparently in production simultaneously with the V5 tone bypass op-amp version. Note the circuit and component values are identical to the example shown below, and both include MPSA18 transistors, rarely used in Big Muffs.

This example has had all of the wiring replaced, but all other components are original production.

It has a very agressive, hairy, and fuzzy sound, slightly different than the earlier V3 Big Muffs I have played, although the schematic is nothing unusual.

It is idetical to the standard V6 Big Muff schematic. Interestingly, this version has component values that exactly match a certain guitarists favorite Ram's Head Big Muff.

Shown above - Another "Tone Bypass" V3 third edition with circuit board. Note the circuit and component values are identical to the example shown above, which are also the same as the V6.

By the late s Electro-Harmonix pedals were being sold around the world, including several Eastern Bloc countries. This was the first time Western companies were being allowed to attend a Russian trade show.

Apparently the band was a big hit at these shows. This relationship with Russia would pay off later in Matthews' career.

In labor union organizers invited Matthew's to unionize his workers, which he declined. His workers seemed to have great benefits and work conditions with Electro-Harmonix and saw no need.

Saying no to these New York labor union racketeers would become a major problem for E-H in the future. This is reverse polarity of typical pedals so use an E-H power supply or use a converter adaptor like the 1 Spot C35 3.

For Version 6, the V3 tone bypass transistor circuit was reworked into a smaller board size, incorporating the tone bypass switch into the trace.

The board also allowed for an alternate volume knob position, so this same circuit could be used in the Little Big Muff.

This is sometimes called the "reverse logo" or "reverse graphic" Big Muff, due to the various reversed color combinations used. Based on the knobs used and the pot dates seen, these were likely manufactured simultaneously with the V5 Big Muff.

In total, there were six color graphics variations that I know of , including the original, all shown below.

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Furry muff shot

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