Basierend auf meiner Lieblingsversion des Ram's Head hat das Violet Menace einen zusätzlichen Mittenregler, der von einem gescoopten Ton bis hin zu einem Mittenbuckel reicht, um in einer Live-Situation zu helfen. Mit dem zusätzlichen Mittenregler hast du mehr Möglichkeiten, deinen eigenen Sound zu formen und zu kreieren. Der Gesamtsound des Violet Menace ist sehr ausgewogen mit einem weichen Fuzz, der viele Obertöne und Sustain hat. So erhält man druckvolle Akkorde und süße, singende Leads.

Based on my favorite version of the Ram's Head, the Violet Menace has an added mids control going from a scooped tone all the way up to a mid hump to help cut in a live situation. Adding the mids control allows you more options for shaping and creating your own sound.
The overall tone of the Violet Menace is very balanced with a smooth fuzz that has a lot of harmonics and sustain. This gives you punchy chords and sweet, singing leads.

Stomp Under Foot

Demo by Jack Fossett

Demo by Brett Kingman

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Review by guitar pedal X

Review by Talk Bass

Violet Menace version 1

Die Triangles von 1969 sind die allerersten Versionen des Big Muff. Ursprünglich wurden sie auf Perf-Board gebaut und es gibt mehrere verschiedene Versionen in dieser Serie. Ich bin durch alle verschiedenen Versionen gegangen, die ich die Möglichkeit hatte, zu verfolgen, und dieses ist mein Favorit. Diese frühen Pedale sind ein bisschen mehr geschöpft als spätere und sie wurden mit Teilen hergestellt, die nie wieder verwendet wurden. Der Gesamtsound des Pedals ist ziemlich ausgewogen, mit einem kleinen Extra an Bässen, und der Fuzz hat einen riesigen, knorrigen Sound mit einem lockeren Break-up im Fuzz in den unteren Saiten.

The 1969 Triangles are the very first versions of the Big Muff. Originally they were built on perf board and there are several different versions in this series. I have gone through all of the different versions I have had the opportunity to trace out and this one is my favorite. These early pedals are a bit more scooped than later ones and they are made with part values that were never used again. The overall tone of the pedal is pretty balanced with just a little extra low end throughout and the fuzz has a huge, gnarly sound with a loose break-up in the fuzz on the lower strings.

1969 Tri-Muff V1

This is what a muff is! My favorite version of the Triangle era fuzzes.

The biggest, meanest, grittiest and smoothest sounding Triangle.



Monstrous fuzz with a throaty, wooly, gritty break-up on the lower notes and a sweet, full, blooming, smooth fuzz on leads. The tone of the pedal is balanced with a little extra low end throughout that gives it a meaty fullness. 

Demo by gearmanndude

Demo by Tone Tailors

Review by The Gear Page

1970 Tri-Muff V1

Durch die Verwendung der gleichen Widerstände und Kondensatoren wie beim originalen Triangle hat das 1972er V6 einen grindigen, düsteren, wolligen Fuzz bei Akkorden und eine süße, cremige Weichheit bei Leads. Der Ton des Pedals hat ein straffes und volles Low-End und ein dickes und klares High-End. Die 1972er Pedale sind dafür bekannt, dass sie eine Menge Gain haben, was erstaunliche Obertöne erzeugt, die vom Griffbrett abspringen.

Using the same type of resistors and capacitors as an original Triangle, the 1972 V6 has a grindy, gritty, wooly fuzz on chords and a sweet, creamy smoothness on leads. The tone of the pedal yields a tight and full low-end with a thick and clear high-end. The 1972 pedals are known for having a lot of gain which produces amazing harmonics that jump off the fret-board.

Demo by Shawn Hatfield

1972 Tri-Muff V6

Originally inspired by Black Sabbath's Vol. 4, I wanted to make a pedal that could get every guitar tone off that album. I got that a more.

The overall tone of the Electric Warlord is huge. The velcro-like fuzz is tight and has lots of clarity. This is great for all tunings and lots of styles from rock to stoner to doom to shoegaze.
The gain section has been designed so you can hear the ripping, velcro fuzz on every string. The pedal has a great range on the fuzz knob and when you turn the gain all the way down, you can get a gated-like fuzz on leads. 
The pedal has a perfect mix of bass and treble where you can feel the thump of the low end under the fuzz so it does not over-power the overall tone yet, you still know the low end is there. 