Big Muffs comes in all shapes and forms and while some stick to cloning the original circuits others offer something new to the legendary design. Mach Analog Tone recently released the Morph â€“ a dual effect based on the ramâ€™s head and triangle Big Muffs. Hereâ€™s my review.
A couple of years back I did a review of the Mach Seagull/Clean Buffer. In addition to featuring a reversed wah circuit for those Echoes seagull screams, the pedal is a versatile buffer with a 0-30dB boost and EQ controls. Check out my review of the Mach Seagull/Clean Buffer here. Actually, the pedal has been a valuable companion in my home studio while recording guitars and that same studio quality mentality is the essence of the Morph.
The Morph is housed in a rugged die cast box aprox the size of a TRex. The circuit is 100% analog and the pedal features a bright stage ready led, 9V Boss-style adapter socket and a fully buffered design with 1 Meg ohm input impedance.
In addition to the familiar drive, tone and volume controls, the Morph feature two additional controls: pedal and middle. Setting the pedal and middle at fully counter clockwise, will produce a typically mids scooped ramâ€™s head tone, with a crispy top and fat lower end. With both controls fully clockwise you got yourself a triangle Muff, with more low end and mid range. The unique feature of the Morph however is that you can blend the two pedals for some totally new Big Muff sounds.
My favourite setting is with the Pedal at noon and the Middle at about 3 oâ€™clock. This way you get a bit of both worlds â€“ the fat low end and warm mid range of the triangle and the bright top and slightly more aggressive gain structure of the ramâ€™s head. Increasing the volume to about 3 oâ€™clock will also add a bit of that fat tube amp feeling and open up the pedal even further. Unlike other Muff clones with a mid range control that often colour too much, the Morphâ€™s middle is subtle and never too overwhelming.
The Morph is not an over the top aggressive Muff. Itâ€™s pretty tamed and some may find it to behave just a bit too nicely and lack some low end. It’s also a fairly bright sounding Muff and personally I would prefer it a bit darker. However, what I do like about it is that itâ€™s ideal for a studio setup where you donâ€™t want a wild monster rumbling and feedbacking all over the place. Itâ€™s dead silent and easy to control, even with the gain all the way up.
While fuzz pedals in particular, and some Muffs, react badly with buffers, the Morph is designed to operate perfectly with them and you also get a pedal thatâ€™s fully capable of driving your signal through your cables with a high quality buffer. The Morph covers all of David Gilmourâ€™s Big Muff tones from Animals to present and although the pedal is capable of operating alone, I recommend a transparent booster placed behind it for a bit more balls.
Mach Analog has succeeded in making a unique and versatile Big Muff that suits bedroom and studio setups particularly well. Check out Brett Kingmanâ€™s review for more on the different settings and tones. See MachAnalog.Com for more details.