EarthQuaker Devices Hizumitas vs Electro-Harmonix Triangle Big Muff Pi
The EarthQuaker Devices Hizumitas and the Electro-Harmonix Triangle Big Muff Pi are both pedals sharing fuzzy, saturated, full. The EarthQuaker Devices Hizumitas leans mid-forward. The Electro-Harmonix Triangle Big Muff Pi leans smooth and scooped.
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Blended from circuit-archetype lineage, dynamic feel, tone-signal overlap and tone-vector distance — the tone vector itself is derived from editorial description text, not a measured acoustic signal, so this reflects how similarly the catalog copy describes the two, not a lab measurement. Shown only within a gear class, and only where there's enough evidence to be meaningful.48% — somewhat different
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Derived from overlapping tonal signals across both listings.- fuzzy
- saturated
- full
- sustaining
- bright
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Citation/mention fame — how often this gear is cited across artist rigs and gear discussion.$92.08via Reverb
The EarthQuaker Devices Hizumitas is a Big Muff style fuzz sustainer created with Boris guitarist Wata, recreating the sound of her favorite vintage fuzz, the Japanese Elk BM Sustainar, after EQD studied her actual pedal. It delivers heavy saturation with a gritty edge and a massive bottom end, yet keeps enough mids and top end to stay clear and dynamic and cut through sludge, with tons of sustain ranging from smooth distortion textures to ripped speaker fuzz. Its three-knob layout is familiar to Big Muff users but behaves unusually, with a hot output reaching unity around nine o'clock and a sustain knob that starts hot with no clean tones, and a reversed-feeling tone control that is brightest fully counterclockwise. Built for noisy, slow, and low sounds, it suits doom, sludge, stoner rock, and heavy psychedelic players chasing thick, sustaining fuzz with clarity.
The Electro-Harmonix Triangle Big Muff reissues the original early-1970s V1 Muff, named for its triangular knob layout, delivering the thick, creamy fuzz that defined late-1960s and early-1970s rock with massive sustain and rich harmonics. Compared to other Muffs it is toppier, often raspier and more slicing, with a very scooped midrange and typically more sustain and brightness, which helps it cut through a band mix and stay articulate for leads while giving a nice crunch to power chords and palm muting. It nails the creamy, violin-like sustain and stringed-instrument bloom associated with soloists like David Gilmour and Carlos Santana. A thick, smooth fuzz-distortion hybrid that stays musical even at extreme gain, with Volume, Tone, and Sustain controls, it suits psychedelic, classic rock, and lead playing.
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Genres this gear is documented as being used in.- Metal
- Stoner Rock
- Noise Rock
- Rock
- Classic Rock
- Experimental
- Blues Rock
- mid-forward
- smooth
- scooped
- harmonically rich