Electro-Harmonix Micro Metal Muff TOP Boost vs Electro-Harmonix Triangle Big Muff Pi
The Electro-Harmonix Micro Metal Muff TOP Boost and the Electro-Harmonix Triangle Big Muff Pi are both pedals sharing scooped, saturated, full. The Electro-Harmonix Micro Metal Muff TOP Boost leans high gain and transparent. The Electro-Harmonix Triangle Big Muff Pi leans sustaining and smooth. Current prices: $68.70 vs $84.35.
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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.35% — somewhat different
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Genres both listings are associated with.- Rock
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Derived from overlapping tonal signals across both listings.- scooped
- saturated
- full
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Citation/mention fame — how often this gear is cited across artist rigs and gear discussion.$68.70via Reverb
$84.35via Reverb
The Electro-Harmonix Micro Metal Muff with Top Boost is a compact high-gain metal distortion pedal from EHX, building on the Metal Muff circuit with the addition of a Top Boost switch that adds a clean gain-boosted signal blend above the distorted output for enhanced upper-frequency clarity and presence. The Micro Metal Muff delivers extreme saturation suited to heavy metal and modern rock rhythm playing, with a three-band EQ and a Scoop switch for the standard modern metal scooped frequency curve. The Top Boost addition addresses the common issue of metal distortion losing clarity at high gain by adding a clean presence layer.
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
- Classic Rock
- Experimental
- Blues Rock
- high gain
- transparent
- bright
- sustaining
- smooth
- dark
- fuzzy