• Mach Analog Tone Morph review

    Mach Morph review

    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 – a dual effect based on the ram’s head and triangle Big Muffs. Here’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 ram’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 o’clock. This way you get a bit of both worlds – the fat low end and warm mid range of the triangle and the bright top and slightly more aggressive gain structure of the ram’s head. Increasing the volume to about 3 o’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 Morph’s middle is subtle and never too overwhelming.

    The Morph is not an over the top aggressive Muff. It’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 it’s ideal for a studio setup where you don’t want a wild monster rumbling and feedbacking all over the place. It’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 that’s fully capable of driving your signal through your cables with a high quality buffer. The Morph covers all of David Gilmour’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 Kingman’s review for more on the different settings and tones. See MachAnalog.Com for more details.

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13 Responsesso far.

  1. Brad Roller says:

    Hey you don’t have to appologize buddy. I know you are busy! I appreciate your help too. Don’t go out of your way to find some though, its not too big of a deal. I would like to send you pics of my red, cream and black strats though, and hopefully get them and my board on the gear gallery soon! Btw, I am still wanting to send you some sound clips of my groups songs if you would like to hear them. It may just be the guitar only for now but I would like to hear what you think about some of them. Anyways, thanks for your help man, you are the best and Im always telling people about your site and band. In fact just last night I directed my friend and rythm guitar player here because he can’t find a good vintage sounding fuzz, we looked at the buyers gear guide and I think he found one he wanted. Take care Bjorn! and thank you! God bless!

    [Hi Brad! Please send me pix for the gallery and I’ll post them! Send me some clips as well. I’ll have a listen :) Use my mail post(@)gilmourish.com. Cheers! – Bjorn]

  2. David says:

    hello bjorn! You know? i really want to nail the soloing (of the beginning) of Shine on you Crazy Ciamond but here is my doubt: When i hear the gilmour sound on the record or live versions, i realize that for me, the sound is very powerful altough very clean so… what setup does david use to achieve that “powerful, clean, and with lots of sustain” tone?? thanks Bjorn!

    [The album is all clean and was probably recorded just straight into the desk with a compressor. The PULSE tone is based on the Strat with the EMG active pickups with the mid range booster engaged, compressor, boost and delay and of course the powerful sounding Hiwatts. I think regardless of how you want to approach this, you should base your tone on getting the best tone from your amp and use a very few pedals, mainly delay, to add some colouring. See the amp setup feature for some tips. Cheers! – Bjorn]

  3. Brad Roller says:

    Hey Bjorn, I sent an email about the cream strat that David used from his 2nd solo album and momentary lapse of reason but realized you dont talk about that stuff over email! My bad haha but I was wondering if you were going to make a page for it like you did the black strat and red. I know its pretty much the same as the red but he did use it a good bit. I even seen it on Royal Albert Hall when Guy Pratt started playing it. If you werent going to make a page, do you have any pictures of it I could see? I have a replica of it, because I really like it and the color. So I would like to know more about it! If you know anything itd be appreciated! Thanks!

    [Hi Brad! Sorry for my late reply. Yeah, I don’t have the capacity to answer any e-mails anymore so I direct everyone here :) The blonde Strat is mentioned in the red Strat article. It’s pretty much the same story. They where bought at the same time and he seemed to favour the blonde during the first year up until 1987-88 when he settled for the red as his main. The current black Strat feature the neck of one of the two blndes that he own. There should be a feature on it on the site though. I’ll put it on the to do list :) I don’t have that many pictures of it other than what’s already published numerous times. I’ll see what I can find and send them your way if there’s anything interesting. Cheers! – Bjorn]

  4. Phill Macdonald - Mach Analog says:

    In response to Vadim comment… “A more practical option would be to combine a ram’s head and a civil war”. Great Idea Vadim… As a Launch promotion I am now glad to offer several “Custom” options, free when you order a MACH MORPH.

    You can specify a range of oprions now.

    1/ The standard Morph (a 72 Triangle and a 75 Rams head).

    2/ A Morph with a 72 Triangle and a 73 Rams head (This Rams head has more bass and a darker tone).

    3/ A Morph with a Civil War and a standard 75 Rams Head.

    4/ A Morph with a Civil War and 73 Rams Head.

  5. David says:

    hello once again bjorn! one doubt, can i cover my colorsound powerboost tones with this http://www.youtube.com/watch?v=LKQjus2buqA (Mooer Flex Boost)?? but i mean boosting fuzzes and muffs. have you tried it? thanks

    [Yep. It’s a clone of the Xotic RC booster, which is very similar to the old Colorsound. – Bjorn]

  6. Keith says:

    Hello Bjorn, my fine fiongered friend. I had a eureka moment today, and I’m posting here because it’s more likely to be seen sooner. I once wrote that I did a perfect Seagull effect with Cymbaline at the store, with a GCB-95, I may have been mistaken, and used a guitar from the store, as I recently tried Two Vox 847’s, and an earlier Crybaby, and could get any Fender off the shelf to do it perfectly, only to get it home, and my $2900 beauty would just squeal. I wrote once that I thought a .047 was the best cap for strats, and that I had that in Cymbaline. However, after much frustration, I took the guitar, and a early, yet mint Vox847 to Lindy’s shop, certain that Tom had not wired the guitar correctly. No matter how low I turned the tone down on the middle pickup, it continued to squeal. Lindy looked inside, and found everything wired to 1969 Fender specs, but the ..047 ,was a .022, which is stock for vintage Fenders, but he kept saying it shouldn’t matter, then he got a thought, and said I’ll try a .047, and changed it out,immediately it went from a horrible squeal, to a perfect laughing gull! So, some guitars, because of variations in pot values, a .022uf works fine, but for those of you who are having issues getting the gull to laugh, and cut out when you lower the tone, check the capacitor. If
    you have stock wiring, and standard Strat pickups, and it turns out your guitar just squeals, then change the. 022 ,to a .047uf capacitor. It cleared my problem up immediatly! Now, my guitar is as I wanted it! Also am picking up my thinline Tele from Fralin tomorrow, with new P-90 wind, and magnet configuration, and steel poles, they are full and warm, but on ten they get nice and gritty on a amp just at the edge of break up. Sorry for the length, but it’s been a red letter day for my guitars, and that cap change made the guitar sound even better! I didn’t think it possible. So, another solution, this one worked for me, for tbe much desired Seagull effect.
    Thanks, and Peace to all on this day of rememberence, Keith

    [Thanks for the info Keith! I never thought of that… – Bjorn]

  7. Marek says:

    Sounds really cool, sadly not available in Poland

  8. Carlos Brazil says:

    Hi Bjorn! In your hands all Muffs work 100% fine :-). I own a Big Muff Pi Wicker and I never got any tone without a huge distortion that, for me, as a beginner, turns the pedal absolutelly unuseful. In my opinion would be usefull an “intensity/volume” knob (that is present in this new clone) – it would be easier to obtain a “good distortion” along with a booster pedal… Regards!

    [Thank you Carlos! Muffs can be tricky and especially on smaller bedroom setups. Check out this feature for some Muff tone tips and this for some alternatives to your Muff tones. – Bjorn]

  9. Stephen Ford says:

    Wow nice Bjorn! Its A stripped down Royal Beaver, which in many ways is a bonus! Sounds great, nice work! Thanks for the review, I thought I had all the muff a man could want but you have once again proved me wrong!! Cheers

    [Thanks! Yeah, I like this one. Especially for recording. – Bjorn]

  10. David says:

    Hello bjorn!! lovely review!! look, i found this video yesterday fooling around in youtube, (https://www.youtube.com/watch?feature=player_embedded&v=fVkftOZH3vo#t=17). well, paying attention to the video, i noticed that he was playing a very strange strat (very weird pickguard too). could you tell me anything about it? also if you could tell me some info about the sound of that time for example: was he using flanger or chorus?? i´d be glad to know about it. thanks!!

    [That’s a 1983 Fender ´62 reissue that he bought in 84 with the red and yellow Strats. He used it stock on the About Face tour and modified it with a active Roland pickup driving a Roland GR7000 processor. – Bjorn]

  11. Vadim says:

    Hi Bjorn!
    Great review! Indeed, the sound of the pedal is impressive. I especially liked the “midds-scoup” function. Apparently, it can correct situation when the amp can not provide such tones. However, the combination of these two kinds of big muff can not be entirely appropriate, since they are very similar. A more practical option would be to combine a “ram’s head” and a “civil war”. What do you think about this? Wanted to ask, why are you lately delay is added to the logic and do not use the pedal?

    Yours Respectfully!

    [Yes, they’re very similar but then again, the triangle has a lot more mids, which the Morph is capable of. Although a single unit, the Jam Pedals Red Muck is a blend of the triangle and Sovtek. I always use delays and reverb in the mix. It’s just a different way of recording and it makes it easier to control the amount of the effect. – Bjorn]

  12. Shervin says:

    This is a great sounding pedal, Bjorn! I just have one question. How does this sound with a booster? I haven’t found a Muff that can boost really well yet.

    [Works nicely with boosters. For it to work it depends on your amp, guitar and what booster you use with the Muff. See this tutorial for some Big Muff tone tips. – Bjorn]

  13. Marc-André says:

    I’m not sure I like it… It seems to sound OK for both but not outstanding..? I think I’d rather stick to having two excellent units… Good review though!

    What do you think?

    [It’s pretyy good sounding but it’s fairly tamed and “clean” with studio use in mind. If you’re looking for a wild screaming Muff then this is not it. – Bjorn]

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