The Electro Harmonix Metal Muff Distortion w/ Top Boost is any metalheads dream offering complete versatility to ensure you have a full arsenal of rocking ability at the kick of a footswitch. Maximising your sound the pedal comes with a three band EQ which allows you to fully personalise your sound to get that unique metal destruction. Dynamic with incredibly high-gain distortion this pedal perfectly suits all your destructive needs whether thats chugging through palm-muted destruction or adding a lift to properly perfect your solos. This is the perfect pedal for obtaining that truly heavy metal sound.
Electro Harmonix Metal Muff Distortion w/ Top Boost
£95.00
This is a New Electro Harmonix Metal Muff Distortion w/ Top Boost from Electro Harmonix is in our Distortion Pedals category on Just Pedals. Read More below.
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Brand
Electro Harmonix
Founded by Mike Matthews in New York City in 1968, Electro-Harmonix became known for inventive effects that brought new sounds within reach of guitarists. Its first product was the LPB-1 Linear Power Booster; the company’s long-running catalogue ranges from fuzz and overdrive to delay, modulation, octave and experimental processing. JustPedals listings include the Small Clone chorus, Small Stone phaser, Memory Boy delay, POG 2 octave generator and Micro Q-Tron envelope filter. Check the exact version and power requirements when comparing EHX models, since familiar names often span different generations and formats.
Category
Distortion Pedals
Distortion clips the waveform more firmly than overdrive, generating dense upper harmonics, longer sustain and a more compressed response. Circuit topology and filtering decide whether the sound is tight and focused, broad and aggressive, smooth or deliberately abrasive. Gain sets the amount of clipping, while pre- and post-distortion tone controls strongly influence low-end definition, midrange presence and high-frequency texture.
Tags
Boost
Raises signal level and may also reshape the frequency balance before the next stage. A clean boost preserves the waveform until headroom is exceeded, while coloured designs emphasise particular frequencies or add mild clipping that changes how later gain stages respond.
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