SKU: 51817715705
big muff mini pedal

big muff mini pedal EHX by JHS – BIG MUFF 2

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Description

big muff mini pedal EHX by JHS – BIG MUFF 2For 50 years, a forgotten schematic sat buried in dust and time a concept waiting to be born. Now, its moment has come. The EHX Dual Op Amp Big Muff 2 is here, delivering a completely new Big Muff voice unlike anything youve heard before. THE PAST & PRESENT In 2021, while on a research trip that led to the creation of the book Made On Earth For Rising Stars: The Electro Harmonix Story, we had the privilege of digging through decades of materials,

For 50 years, a forgotten schematic sat buried in dust and time – a concept waiting to be born. Now, its moment has come. The EHX Dual Op-Amp Big Muff 2 is here, delivering a completely new Big Muff voice unlike anything you’ve heard before.


THE PAST & PRESENT

In 2021, while on a research trip that led to the creation of the book Made On Earth For Rising Stars: The Electro-Harmonix Story, we had the privilege of digging through decades of materials, memorabilia, devices, and prototypes in the workshop of Bob Myer, the inventor of the EHX Big Muff. It was there we discovered it: a loose sheet of paper with a hand-drawn schematic labeled “BIG MUFF USING (2 DUAL OP AMPS)”.

This wasn’t just another circuit. It was Bob Myer’s own attempt to reimagine the original transistorized Big Muff circuit using the new cutting-edge Op-Amp technology that had emerged later in the 1970s.

For nearly 50 years, this “Lost Big Muff” design sat forgotten in his notebooks — until now.  We found it. We built it. And have brought it to life.


WHAT MAKES THE BIG MUFF 2 DIFFERENT?

Once discovered, we breadboarded the circuit exactly as Bob drew it, and immediately knew we had something worth making.  We found that Bob’s design is unique when compared to the now famous late 70s Op-Amp Big Muff designed by Michael Abrams. Different clipping arrangement, an extra gain stage and various other elements that made this lost version extremely special. 

Where the original Big Muff delivers that iconic "sweet violin-like sustain," Bob's two dual Op-Amp approach pushes into more aggressive, cutting territory. It's the Big Muff DNA with a sharper edge, more volume, and the most pronounced low-end and midrange of any EHX Big Muff ever. It expresses Bob's vision of aggressive sustain and cutting presence, with the familiar Big Muff control layout you know and love.  It’s the sound of what almost was.

Mike Matthews himself, after hearing our prototype, admitted it had "something special" even though it strayed from the traditional Big Muff voicing he typically preferred. Sometimes the best creations are the ones that don't follow the rules.


VOLUME - Controls the output volume. Left is less, right is more.

SUSTAIN - Controls the amount of fuzz, which increases the sustain when turned up. Left is less, right is more.

TONE - Controls the overall tone. Left is darker, right is brighter.

POWER - 9VDC center negative, 18mA


AN ALTERNATE TIMELINE BIG MUFF

The collaborative result between JHS Pedals, Electro-Harmonix, and official EHX archivist Daniel Danger represents more than just a new pedal — it's a piece of lost music history resurrected for today.  


THE STORY CONTINUES

This pedal is directly connected to the book "Made On Earth For Rising Stars: The Electro-Harmonix Story,” the definitive visual history of Electro-Harmonix, spanning 1968 through the 2020s.  A historic collaboration between EHX, JHS Pedals, Third Man Books, and artist/archivist Daniel Danger.  This expansive book explores everything from Mike Matthews himself to the production floor — from circuit designers to the manic pursuit of curing death, from flying machines to disco towers.  Packed with never-before-seen prototypes, unreleased pedals, vintage documents, and rare photographs, this book captures the chaos, creativity, and genius that made EHX a legend — from the circuit bench to the world stage.  


From Bob Myer's original forgotten workshop to your pedalboard — the Big Muff 2 is the sound of history reborn.*

 

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SKU: 51817715705

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4.2 ★★★★★
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Product Reviews
J
Verified Purchase
JR
Omaha, US
★★★★★ 4
Must Read for Novice Litigators
Format: Paperback
This book is a great starting point for developing the skill of storytelling for lawyers as was intended by the author. The author gives you the basics for developing the plot, characters, style, setting, and narrative for your trial with excellent examples. The author is a law professor and the book seems geared for the law student or novice lawyers getting into litigation. I only gave the book 4 out of 5 stars because of a couple of minor problems. However, the chapter on narrative needs further exposition and appears to be written in rushed manner. In addition, the physical binding of the book is of poor quality requiring me to glue the cover back on. Finally, the author missed the point that the lawyer's job is to look at his case as a giant puzzle to be solved and then explained as a story.It is not enough to understand your case but equally imperative that you communicate your case which is best done through the storytelling technique. This is a must read for lawyers getting up to speed on litigation. For further exposition on legal storytelling for lawyers after reading Meyer's book on Storytelling for Lawyers, I recommend the following: ABA webinar available with an internet search for "Storytelling for Lawyers"
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on July 25, 2018
T
Verified Purchase
Tahoeman
Dallas, US
★★★★★ 5
Much needed guide to narration in law practice
Format: Paperback
Meyer’s “Storytelling for Lawyers” is an important contribution to the literature on narration in law practice. We know that successful courtroom rhetoric can best be viewed through the prism of storytelling. But the literature does not contain a practical and detailed analysis of the elements of narration as used in law practice—that is, plotting, characterization, point of view, style, and settings in place and time. Meyer’s book fills this gap. It is blessedly free of jargon and full of practical examples of good legal storytelling. But the importance of this book goes well beyond providing practical assistance to litigators. It serves as a much-needed introduction to the principles of narration for teachers and students of literature, creative writing, and popular culture, who have lacked a readable introductory guide to the elements of successful storytelling.
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Reviewed in the United States on February 10, 2014
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David R. Papke
Lexington, US
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
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Reviewed in the United States on May 7, 2014
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DoubtfulReader
Port Orchard, US
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers ISBN: 978-0-19-5396638 Read June, 13th-27th, 2017. This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book. After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time. Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person. Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma. Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision. The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
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Reviewed in the United States on June 27, 2017
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Matt M.
New York, US
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 19, 2021

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