The Figure 13 is inspired by the legendary Big Muff. Designed for the players who enjoy the maxed-out side of the Muff sound – the ones who don’t find themselves turning the sustain knob down past noon. The 13 achieves a bigger, meaner, fuzzier, and more dynamic take on the original. It removes both stages of diode clipping, which results in a more open and less compressed fuzz that hits closer to the sounds of the old, classic fuzz circuits. Similarly, the front end of the circuit is opened up to the incoming signal in the same way that the original fuzz circuits were. This adds a distinct, dynamic, living quality to notes that moves and ebbs in a way that other variants cannot. The Figure 13 shines with consonant, well-tuned chords and riffs and takes off for huge, singing lead tones. The upper octave content on many settings allows it the ability to cut through a mix in a way that the original Muffs often had a difficult time doing. The sustain is near limitless at many tone settings even at quiet volumes. At stage volume it will go on forever. Unlike the 11, the 13’s tone controls offer an enormous palette of sounds, from totally scooped-out and squeezed fuzz tones to the classic sound of the original Muffs. This comes by way of two separate controls that are highly interactive – giving you surgical precision over the exact shape and content of the signal. It was designed with an original tall font BMP by its side, and still holds on the solid low-end that made the Russian Pi such a fantastic choice for bass players looking to fuzz out their rigs without suffering any loss of the deeper frequencies. In the end, the Figure 13 offers an entire toolbelt of fuzz tones that all fit exceedingly well into modern taste – without abandoning the timeless nuance and spirit of the original fuzz boxes.