Will the Triangle ever sit at the popular table?
Before I get into the 1972 Muffs I want to talk a bit about the, somewhat, lack of popularity of the Triangle pedals. Yes, I know they aren’t as desirable as the Ram’s Head (thanks to Pink Floyd’s David Gilmour and Dinosaur Jr.’s J. Mascis) or the Russian Muffs (again, Gilmour, Black Keys and almost every 90’s band) but they should be. They deserve it. They were the first Muffs, the ones that paved the way for the rest. You can see similarities between the older ones and the newer ones. The Russian Muffs are clearly lower gain versions of the 1972 Triangles as they are almost the same.
I know there may not be players that have made the Triangle a “must have” but there are a lot of good ones. By the way, Gilmour did use a Triangle for a short time.
Some Triangle users:
- Robert Fripp
- The Carpenters
- WATA of Boris
- Kevin Shields of My Bloody Valentine
- Steve Howe of Yes
- Carlos Santana
- John Lennon
Let’s get on the Triangle train!
The 1972 Big Muffs are the last year of the Triangle and the first year with some real consistency. Even though there are some component differences between them, the following are very close to each other in sound with very slight differences.
The tone of the 1972 Muffs combines a grindy, gritty, wolly fuzz on chords and a sweet yet biting smoothness on leads. The fuzz is also a lot tighter and bassier than the earlier Triangles making them a newer sound, for the time, than their predecessors.
Even though they are all somewhat similar, I will do my best to describe what I hear between them.
1972 V1: Bassy low end with a gritty bloom on the end of the notes. Leads are very tight and smooth with a lot of clarity.
1972 V2: Almost the same as V1 with just a tiny bit less low end which slightly decreases some grit in the fuzz making it a little smoother on low notes.
1972 V3: A little more low end than V1 making the bass notes sound a bit overblown and slightly flubby. The lead tones are incredibly powerful with some bite on the high strings that really cut through.
1972 V4: Very close to V2 with a little more open tone throughout the pedal making it a little more balanced on the lower notes and the lead tones are a bit smoother and more rounded than biting.
1972 V5: Pretty much the same as V2 with a little more gain throughout the pedal.
1972 V6: A Stomp Under Foot favorite, the V6 is almost the same as V4 with a tiny bit more low end and a growl on chords.
1972 V7: Very close to V4 but has a little more low end flabbiness in the lower notes
1972 V8: The most open and brightest of all the 1972 pedals, the V8 has a lot of grit to it that even cuts through on the higher strings.
1972 V9: Very close to V4 with a slight increase in fullness throughout the pedal giving it a massive, grindy, rumbling fuzz on the low end and huge, blooming smooth leads.
1972 V10: More low end than V1 with huge grittiness on the low end but a lot smoother on leads.
1972 V11: Almost the same as V1 but has a little more wooly-growl on chords. Compared to the V6 it is very similar but has a little less low end with a lot of clarity. Lead notes are full of sustain.
My favorite of the 1972 pedals is V6 for its wooly fuzz, growling chords and punchy lead tones with a lot of sustain and harmonics.
Perfect for: Huge riff rock, stoner, blues or anything where you need a huge, smooth lead tone.
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