MM: Gate

This update strictly relates to the noise gate function of the MM. I plugged this in without other pedals, just a stand alone application. Guitar in use was an RG550 with a D'Activator X pickup on board. 

The threshold here was designed to accommodate other pedals in the lineup. In this application, the gate becomes ultra sensitive past 9 o'clock. In fact, any faint strumming would fail to get signals through. Past noon, the gate becomes super sensitive so this would benefit those who are using noisy, active pickups. Beyond this, you actually need a boost pedal or any drive-type unit (eg. Tube Screamer / OD-3) to push things through. If you are relying on an external noise gate unit in the mean time, it's unnecessary once you are set on switching to this MM as a primary distortion source. 

I will give this pedal a full appraisal as I pipped it against the HM-2w today & noted some interesting observations. 

EQMM

 

Had been wanting to get this for a while; the celebrated EHX Metal Muff in its mini format but featuring a full EQ section & a noise gate. There's nothing wrong with the previous incarnation with just a pair of knobs & a 3-mode EQ (flick switch). Just that some of us want a little more option when it comes to voicings. I've not tested this comprehensively, will update in due time. 

MM 2021

The EHX Nano Metal Muff gets a feature revision this year (actually, late 2020). The latest incarnation (left) features a 3-band EQ (yes!) & a noise gate. The previous version (right) was a bare 2-knob affair with a scoop midrange option. Thank you, EHX, for keeping it practical; a more editable EQ section is the way to go as metal heads out there are not about scooping the midrange exclusively. The noise gate also helps tame things down in high gain settings. On my list, definitely.

Metal to the pedal

Throughout the years, I've discovered that the best intense distortion that does not impede playing fundamentals come from the amplifier. It makes sense because signals are processed at the amp end, not before. I started out with BOSS' Metal Zone which is still the standard to beat in terms of intensity & EQ manipulations. What puts me off when it comes to the Metal Zone is that it sounds nasal at higher volume settings. My distortion formula ever since had been to trust the amp's distortion. Currently my EVH 5150 III does the job, my Marshall JVM has that as well but with a more British flavour while the Blackstar HT Metal lets me hear something in between. The story with the pedals you see above:

• Digitech/DOD Death Metal: These pedals, to me, still tell a semi-tragic tale of an attempt which turned stale. There should be no more attempts to capture a genre defined distortion. You cannot package derivative tones into a single offering. It fails because the proponents of death metal formulate their tones through the use of several implements, not a single pedal per se. Most of the time it's a match between an amp & a drive/distortion pedal to get a slightly more embittered heavy tone; that crucial excess which defines the tone rather than bringing intensity into the next level. This pedal in its initial incarnation was strictly a niche appeal. The treble excess was excruciating & the amount of distortion on board was fixed, no less, no more, it's just there. The subsequent incarnation, the Digitech version, did not fare any better. The treble offerings were still much to be desired for but they kept it in check. In use, I had to basically turn it down to ZERO. The MID/LOW sweeps were more acute than the DOD version in that they actually let you hear the difference. 
• EHX Metal Muff: I was in fuzz territory for a while & EHX had (they still do) what I was comfortable with; a fuzz tone that did not squash the low frequencies too much. Eric Johnson is arguably one of the very few guitar-inclined individuals who managed to make fuzzy bass notes very musical. When the MM was introduced, there were no official dealer/distributor here, but someone was bringing it in & was operating online as a small time enterprise. I just went with the pedal instinctively & it proved to be a worthy risk. The MM still offers the grizzly fuzz responses but with a a different EQ consideration which facilitated intensity. To me, this was a marked difference. The top end boost added some depth in terms of clarity when it comes to solos so to me the MM was it. 
• Blackstar LT Metal: This pedal is much overlooked. At the time of its release, it's over-shadowed by its other, tube-driven sibling, the HT series. I tested the HT version but couldn't come to terms with how fuzzy & Marshall-esque everything sounded. The LT version, on the other hand, is focused on distortion intensity. It has no other details in trying to fulfil expectations (namely the tubeless technology) & it sounded good despite not having dedicated EQ knobs to oversee proceedings. The Blackstar name itself is formidable in the amplifier front so people look up to Blackstar for amps, not pedals. This one will remain insignificant until you hear it out in person

I have since stopped hunting for that elusive heavy metal pedal to out-amp an amp because they  turned out to be second best in this aspect; the amp distortion is still superior in terms of voicing if intensity is factored in. In fact, pedals were there to emulate an amp's performance to begin with. However it's all down to preference- some of us prefer amps to handle our driven tones, some prefer pedals, some prefer both. Whatever it is, do not stop experimenting what works for you. 

Metal as it should be

I've been through too many metal type pedals. Some were bought, some are kept & others dismissed even before purchase. BOSS' Metal Zone is arguably the standard reference when this metal business comes to mind. I'm not going to mention it here because that one is a proven worth. The current breed of players are into other avenues of intense distortion reference. Thanks to the stores here, we have a healthy selection of such distortion to choose from. 

My flak with many of them is the fact that I have to reinforce the saturation on board with another pedal. This is sheer proof that the pedal concern is lacking in this aspect. For a good reason, we believe it was intentional. On the flip side, we know there's a lack of consideration for this. Let's face it, some manufacturers are not good at giving us a convincing metal type distortion, it's just not their thing. If you are in for such a pedal but wouldn't want to spend excessively (you're not the boutique type), I have two recommendations for you. These are metal type distortion units which are self-sufficient in terms of both saturation & intensity.

1. Blackstar- LT Metal

This is Blackstar's subsequent pedal range where things are trimmed down in terms of circuitry; no tubes on board unlike the initial HT range. There's more than enough intensity in this one & it's largely pick-sensitive. The strength of the LT Metal lies in the ISF & Tone controls. To sum it up, the ISF offers you a voicing variation (American vs British) & the tone control focuses on EQ. 

2. EHX- Metal Muff

Electro Harmonix had been on the fuzz forefront for too long before the Metal Muff showed the world what the manufacturer could do in this aspect. The catch here is that the MM has a trace amount of fuzz to it which is a like/hate affair with players. I personally like this pedal for its sheer intensity; it sounds like an angry amp rather than a polished pedal-type offering. The 3-Band EQ means you can vary your voicings to taste. The top boost here, according to the manufacturer, aims to enhance the upper frequencies when you solo. What I hear in use is very much like cascading intense distortion into a treble-rich light overdrive unit, in this case, the Klon Centaur would be a good reference. 

I own the pedals discussed here & they are my go to reference when comparing others of this ilk. Some boutique units are out there to stroke your ego more than getting the job done. My advice is for you to try them out because in boutique territory, it could be an expensive mistake.

Blacktar's LT Metal & EHX's MM are both available at Davis GMC.

Selling: EHX NANO Metal Muff (SOLD)

Clearing some pedals, starting off with this one :-)

• Electro Harmonix NANO: Metal Muff
• Condition: 9/10 (box included/ NO velcro at baseplate)
• Self-collect: CCK mrt stn
• Queries/ confirmation: dark1349@hotmail.com
• No reservations/ No trades
• Price: $69 (neg)

ATTENTION: Malaysian buyers

I've recently worked up a partnership with Bro Jo@noobaxe, you can contact him pertaining to any purchases here, he will arrange the shipping charges & delivery accordingly. I think this is the best arrangement I can work out in the mean time. My price for my Malaysian readers/ followers: RM170 (neg). 

Contact Brother Jo:

• http://www.facebook.com/NoobAxe
• http://www.facebook.com/JoNoobAxe
• http://www.noobaxe.com/index.html

PS: Still available- Jackson JS20 

UPDATE: Pedal SOLD 5.9.2012

NANO nano

To the senior members out there, you'd think I was referring to Mork & Mindy- that signature 'Nano Nano' blabbering; who'd forget that, right? I used to watch this show in monochrome... those were the days.

I'm actually referring to the NANO ditties by EHX which are my constant references for days when I need to travel light. The MUFF here isn't as fuzzy as its bigger siblings- the reason I like it. However, the NANO Metal Muff is as hard hitting as its full-sized counterparts but offering only fundamental tweaking as evident above. These pedals are battery-friendly as well. Love them.

MG Muff

I've been dabbling with my MG100HFX settings this week, the pleasant surprise was its pairing with the Metal Muff. This also highlighted the fact that indeed, the current generation of MG amps were given the revision they truly deserve in terms of drive definition.

The Metal Muff (NANO version) works best when hooked up to the MG100HFX's crunch channel; it's the case of a hard distortion pedal kicking a mild distortion channel into place. Saturations aplenty, definition was also kept in check. I'm rather fortunate to experience the development of the MG technology & witnessing the various refinements. I was never a fan of the previous MG series of amps.

Elsewhere, a gathering of heretics could be heard with this rant: BAH! It's still solidstate pariah! Tube is bliss!!

EHX: Metal Muff

I'm definitely a fan of intense distortion but my primary reliance are my amps' on-board drive. I hear better guitar-tone manifestation when I employ a straight-through set up but on days when I get bored, my pedals get me by creeping time...

Electro Harmonix has been too well known for its fuzz-type tone association, if you are a fuzz fan, the Big Muff is definitely an entry in your register. However, the manufacturer has a derivative of the fuzz which serves the proponents of intensity (aka: Metal) which are worthy of your set-up: the Metal Muff.

The primary incarnation consists of a 3-band EQ & an added feature which spikes your top end; the TOP BOOST function, as the manufacturer calls it. Before you ditch your current metal-type distortion, be informed that the Metal Muff still contain the fuzz quality in its overall voicing but it is in peppered amount because if you wish to acquire a fuzz-type drive, the Big Muff is still the way to go.

I have since bought the other 2 derivatives of the MM which are the MINI & Pocket MM; variations of the same theme, you could say that. In addition to the novelty factor, these other versions would serve to appeal to players who simply do not need the TOP BOOST function but are hooked on the original's distortion voicing. So for those of you in search of an alternative pedal to propel your metal, the MM could just make your day.