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Pete considers this superior to his P-1 likely for that reason, though I prefer the darker sounding P Compared to the P-1 I reviewed above, the P-2 is considerably smoother sounding, with less mids scoop, and a bit fatter when the tone is dialed on the bass side. The treble side of the tone control is completely different from the P-2 or a typical Big Muff however. The mid range increases the higher it is dialed, rather than increasing the harsh treble of a typical Big Muff tone circuit.
This allows all tones on the treble side to be useful, even when dilaed completely clockwise. It is very similar to the P-1 in all other respects. Since that pedal is a favorite among Gilmourish Muff enthusiasts, and reviewed above, I thought I would examine and compare the two. Noise - Noise level is practically identical. The P-2 is a bit noisier but not by much.
Crank the sustain to max and the Beaver is definitely the quietest. That is likely because the buffer in the P-2 adds some gain to an already noisy Muff circuit, which is just noisy by nature. Not a lot of difference here though. Sound - These pedals do not sound identical, but in the David Gilmour tone range they are pretty darn close when the Beaver is in mids position 1.
Here are the differences. The Beaver has a four position EQ knob - scooped, flat mids, boosted mids, and a tone circuit bypass setting. The Beaver wins in the versatility area over the P-2, but the P-2 tone circuit is more usable than a standard Big Muff in that turning the knob fully clockwise still gives usable tones, rather than the typical harsh trebly tone. The P-2 has more mids and a slight bit less bottom end than the Beaver when the Beaver is in stock EQ positon.
Switch the Beaver to mids position 1 and they are almost identical, but the P-2 still sounds a bit sweeter. In the extreme tone ranges 1 or 10 tone knob positions the P-2 has more usable sounds than the Beaver does in EQ position 1 or 2. Both clean up about the same at low guitar volumes. When you go brighter on the P-2 tone and max the sustain it is more nasaly sounding than the Beaver , which I like. The Beaver is a bit fatter sounding, like a typical Ram's Head. Clarity of notes and cut through in a band mix is very close, but the P-2 is slightly better in this area than the Beaver Ram's Head.
Compared to my Beaver Triangle Muff spec it is about the same. The P2 seems very uniform and consistant in its tone. The Beaver seems to have a bit more wildness to it, more organic. Buffer - The P-2 has a class A buffer preamp that helps clean up and brighten anything else that comes after it in the signal chain. It keeps your signal steady and drives it through other bypassed pedals that follow it in the signal chain with an output buffer that keeps the signal from dropping. It also means you may have to adjust all your gear settings if you don't want everything sounding brighter, but that's not a big deal if it stays on your pedal board, and if you have a lot of pedals in your chain, this pedal will definitely improve the fidelity of your sound, even when off.
There is no buffer in the Beaver. Both have a cast aluminum box. Foot switches are about the same. I like the jacks much better on the P-2, but I think both will hold up for a very long time. Knob pots are better on P But Pete will fix it if it breaks. The Beaver is user accessible with schematics online, and releatively easy easy to replace components. I don't see any big difference in circuit board component quality, though Pete Cornish uses slightly higher quality components than what you will find in a Beaver.
Both have standard DC power jacks. You have to take the back off the Beaver to change the battery. P-2 has a cool little pop out tray on the side. You don't even have to plug it in. Just drop it in the tray and close it. The P-2 is sort of the Ferrari of Big Muffs, so you are paying for the rugged enclosure, pcb build quality, better daylight LED, improved power supply, and buffering system.
This pedal is expensive, but built for the touring musician and will last a very long time. If you are on an extreme budget, the BYOC is the way to go for a very similar tone. See this page for more P-2 sound clips. Here are clips comparing the P-2 to some other popular Muff clones. Black Strat and Fender Twin. Comparison Demo for Note Clarity - Here is the same, but comparing the clarity of individual notes with a slightly dirty boost.
First is a light boost for each pedal, then a dirty boost. I turn the guitar volume down at end to show how each cleans up. Beginning with the Skreddy Maynonnaise, which was a straight clone of a particular triangle era Big Muff, the Muffs that followed it were tuned around the sounds of anything from the Smashing Pumpkins to Ernie Isley's Big Muff tones, and even a few designed around David Gilmour's Big Muff tones. One thing about the Skreddy line is that Marc is never satisfied just doing the exact same circuit for more that a few years.
When NOS transistors became scarce the Skreddy muff variants became scarce, with the occasional Mark II version of some discontinued pedals appearing here and there when small batches of NOS transistors were acquired again. After an absence of a permanent muff in the line Marc decided to try one using modern parts in , which became the Pig Mine. Now that pedal has had its run and Marc retired it in The P19 was designed as its replacement look at it just right and P19 reads like Pig.
Marc decided to build a less gainy version of the Pig Mine, with more bottom end, less mid range, less noise, and a bit of Pete Cornish inspiration thrown in for good luck. The P19 tone is still on the bright mids side like the Pig Mine, but not as extreme. It has a really nice balance between mid range and bottom end. It's not too fuzzed out or flabby at all on low notes, like you find with some of the more scooped and bassy Big Muffs.
Overall the P19 blends a vintage Ram's Head Big Muff tone with the mid range and articulation of a Sovtek Big Muff, but with much less bottom end than either. It still has that unique compressed sound most of the Skreddy muffs have, but this one actually works well when blending with overdrive boosters or a compressor, whereas many of the earlier Skreddy muffs worked better as stand alone pedals.
As with most Skreddy muffs, the articulate mid range means this will not get lost in a band mix like a typical Big Muff can. It has a great tone for leads and power chords. This pedal should not be considered a Pink Floyd pedal however. It can do anything from classic rock to modern.
This is definitley nothing like the more "doomy" boutique muffs with monster lows or over the top sustain, but it can handle some of that Pumpkins and Queens of the Stone Age material just fine. The maximum distortion is less than the Pink Flesh and Pig Mine, but this still has plenty of distortion on tap, and letting it feedback at really high volume is a sweet sound.
It is more in line with the Sovtek Big Muffs as far as the amount of distortion available. With the sustain dialed back and tone dialed up it does a nice dirty rhythm tone, and with the sustain below noon the tone is still quite usable. Muffs do not typically clean up nicely when backing the guitar volume down like a good fuzz face or overdrive pedal does, but this one does far better than a typical Big Muff on low sustain cleanup.
A standard feature on Skreddy muffs is the tone selector switch, which allows you to switch between "flat" and "hump" positions, with flat having slightly less range than hump position. The switch punches the mids up in "hump" position quite a bit, more so than previous Skreddy muffs I have played. The flat position works just fine with my gear and sounds most balanced to me at high volume. When playing at low bedroom volumes switchng to hump position really adds clarity to the tone, and if you are getting lost in a band mix which I would find hard to believe with this pedal , that boost helps separate you from the other instruments.
I rarely play at low volume, so I would have been happy with a mids scoop switch rather than a boost, but it is still a very usefull thing to have for most players. As indicated by the name and the stencil font used, the P19 was inspired somewhat by the Pete Cornish P1 and P2 modified Big Muff circuits, but this is not a clone of either one.
In fact, Marc said he has never actually played either, but looked at the circuit traces of both for ideas, then went in his own direction from that. As far as how it compares to the actual P1 and P2, since I have both I gave them a side-by-side demo.
The P19 is nothing like a P-1, but it does have similarities to the P2. The P1 is much more mids scooped than the P19 and has a bigger sound with more bottom end, just like a good Ram's Head Big Muff. The P2 has even more bottom end than the P1, and much more than the P19, but the P19 has tighter control of the lows than the P2, meaning, you don't have to use your thumb as much when picking the lows to get that harmonic punch.
The reduced lows don't give it quite the same BIG sound that the P2 has, but in a band mix it is able to stand out more than the P2. The mid range tone of the P19 is where it is really similar to the P2. It is almost the same in that area.
Marc said he worked to try and reduce the noise as much as possible. Noise is slightly less than average for a muff in a similar gain range. Considering the Pink Flesh and Pig Mine are on the noisy side when the sustain is dailed high, this is an improvement. The P19 comes in the same small MXR sized enclosure like the previous Skreddy muffs, with a rough brushed aluminum finish and a Cornish inspired logo font. The circuit features BCC and BCC transistors, carbon comp resistors, ceramic and film caps, and Marc's special clipping diode mix.
Runs on a 9v battery or standard Boss AC converter. These clips are with the mids switch set to flat and the tone around Sound Clip 1 - Some chords and riffs. Not dark enough for some of the stuff I play here, but gives you an idea of what it can do.
Sound Clip 2 - Pink Floyd's Mother solo. P19 and delay. TC Nova delay. Sound Clip 5 - Same solo, but this time I just used the Electric Mistress straight in the signal chain, no chorus. It has a sweet feedback. For each riff, P19 first, then P2. The primary difference is that the P2 has more bottom end. Harder to hear the differences on low notes, so listen loud, but the P19 has no flab at all.
The mids scoop is almost identical to the P2. Same setup as above. Marc's Muffs have a unique sound you cannot get with a standard Big Muff. They work as stand alone units, where most Muffs used for Gilmour tones sound better when combined with a booster, compression, or EQ. The Pink Flesh sound is thick, compressed, and creamy, like a Big Muff with some overdrive and compression added, with much more midrange than an old Triangle or Ram's Head Muff.
The PM has less bottom end, so it does have that BIG scooped sound you get from a vintage Big Muff by itself, but it works in a band mix really well because it won't get lost with the bottom end bass guitar. It has more gain than a typical Muff, but also much more noise at high gain settings. Overall, this is a great pedal for Gilmour tones, but it is more of a mix of the mids heavy Pulse era Gilmour Big Muff tones and the Wall era. More of a modern sound to me, but very unique.
Sadly, this pedal is no longer made due to the scarcity of the out of production transistors. You can find them on ebay occasionally, but at rediculously inflated prices. Pink Flesh sound clip 1 - David Gilmour on an Island solo. Marc says he tuned this one to have the sound of the solos in Dogs, from Pink Floyd's Animals album.
It is made from all modern parts but Marc has made it sound amazingly close to the sound of his Pink Flesh. I don't know if it is any closer to David Gilmour's tone on Animals than a vintage Muff is. These solos were likely just the Muff, though the live performances of this materila in sound like the Power Boost was running behing the Muff. Gilmour may or may not have used a real Big Muff in the studio for these solos at the time, but since the Cornish custom fuzz was almost an exact clone of a Big Muff circuit it would have been hard to tell them apart.
The custom fuzz was later renamed the the P-1 and sold in pedal form, reviewed above. A stock Big Muff will not give you exactly those same tones heard on the studio recording however. There was modulation from rotating speaker cabinets, artificial double tracking, and other things done in the studio to give it that unique tone. It is much brighter, with more mids. Compared to the Pink Flesh, it has more dirt in the tone, and sounds better at mid to low gain than the Pink flesh.
Very smooth, articulate and versatile. Very much that unique Skreddy mids-heavy Big Muff sound. It cuts through in a band mix more easily than a vintage mids scooped Big Muff. It has more gain than a typical Muff, but it abit noisier too. It does have less less noise at high gain than the Pink Flesh and some of Marc's earlier Muffs.
Pig Mine sound clip 2 - Same as above but with fat switch on. Pig Mine sound clip 3 - "wet" sound with chorus and delay. Pig Mine sound clip 6 - Pink Floyd Dogs solo. From Wikipedia, the free encyclopedia. Guitar World. Archived from the original on 24 July Retrieved 29 July Guitar Player.
Retrieved 15 January Getting great guitar sounds. Hal Leonard Corporation. ISBN Guitar World Presents Guitar Gear Alfred Publishing. Categories : Living people British musical instrument makers Guitar makers British music biography stubs.