FUZZ

The P19 is awesome. I cant find a bad setting on it. The sustain control is excellent across the full sweep and there is a warmth to the circuit that reminds me of the ? Lady but with a bit of a rawer tone. Not harsh though. I love it and I hope you sell a billion of them.

TONS of volume, crisp, articulate, useable in all settings. I mean, in the very low settings I got pretty close to some AC/DC tones – talk about versatile. In the higher settings, it’s not over the top and there’s really good note clarity, but definitely a Muff. Sustained volume swells w/ reverb and delay – all day long! I’ll need to tinker some more to see about those big wall-of-sound-Smashing-Pumpkins sounds. For now, I wasn’t hearing that level of fuzz – which is fine for my needs. I can’t compare it to the other Skreddy Muff variants, but I can say that the P19 is for people that always wanted a muff, but didn’t want all the mud/woffiness. Can’t wait to get this in a band setting!

Thanks be to you and Cynthia!!!

http://chitarra.accordo.it/article.do?id=65148

Those who know me or have ever had the opportunity to read my journals, will have an idea of how much admiration I have for the brand Skreddy.
It is a line of pedals consisting almost entirely of fuzz, mostly inspired by the sound of Gilmour in its various evolutions. The manufacturer Ahlfs Marc has carved out a space for it in the circle of American craftsmen, thanks to the excellent quality of its products and excellent direct relationship that over time has been able to establish with its customers. The P19 is the latest arrival at Skreddy home, a silicon fuzz that's going to replace the Pig Mine now retired from production.
The name derives from the similarity P19 aesthetics with the English word Pig, as a final tribute to its predecessor. The construction is flawless, three solid aluminium knobs mounted on the box with brushed aluminium finish.
The writing P19 in aviation style refers to those "soaring tone", the gliding tone that (hopefully) will take our solos.
A small two-position Flat /Hump switch allows us to keep the sound unaltered, or give it a slight increase of mids, even isnt's a drastic change of equalization.
Marc via email told me that he designs pedals testing them in his Hiwatt '77 and this means they're are designed to perform well in a decidedly clean amplifier.

The three controls are Sustain, Volume, and Tone.
The amount of distortion (Sustain) available is more than enough to satisfy the most warlike intentions, and begins an overdrive to get all the way to full fuzz.
The tone control has a really workable in most of the range.
There is plenty of Volume, I personally feel that keeping it at noon and beyond opens up more distortion, make it more dynamic.
Contrary to what some might have done, my first thought wasn't to verify that the P19 approaches the sound of Comfortably Numb, because the samples I've heard on the web had already convinced me that this was definitely possible. I had wanted to feel powerful and direct notes coming out immediately, without even effects. I connected to a JCM800 and I recorded straight off the demo, unvarnished.

First impression: the background noise is very low, it struck me right away because I hardly heard such a silent Muff.
Chords got a great definition on the low strings, very detailed, crisp, full-bodied power chords.
In the video listen to, for example, a Em7add9 played in the first position with the maximum gain, which retains clarity in each string.

The single notes on the high frets are full, sinuous and full of sustain, with an attack that responds well to changes of touch. Dig with a pick in the strings and the notes scream. Conversely, play pianissimo and the attack may disappear almost swallowed by the thickness of the tone. With the Tone Control totally closed is amazing how much detail still remains.
The work of who creates sound with pedals, researched, ambition and expertise is clearly appreciated from tests like this.

The provision of feedback is very fun, it's easy to get under your fingers, long notes that turn into endless sustain, without too much compression.
It is known that the Muff does not shine for their clean-up and P19 in this case can't do miracles, but lowering the volume of the guitar can still get a clear sound.
Driven by curiosity, I pulled out my Les Paul to hear what happens with the humbuckers. Result: a huge, powerful and fuzz always focus in each note. Even with drop tunings, the P19 behaves very well, I have the clear impression that could also be a great fuzz for bass players.
All without unnecessarily boomy frequencies, and with a presence of highs which remains pleasantly brilliant avoiding any so-called high-end fizz.

The good news is that it sounds good even with little distortion, pulling out a tonal shade that I find particularly fascinating.
My second video in fact is based purely on this regulation and, as you can see, even with little gain sustain is excellent, the notes sound great, they bind to each other with great fluidity and feedback seems always ready to colour notes.

The addition of a few effects with GarageBand lets you imagine what would be the final result using professional software, without even changing the original sound. I have to restrain myself to not write like a fanboy, but let me say that I'm excited!

We're talking about a pedal that is not a pure Muff clone, so those looking for an exact replica of Gilmour's Rams Head will probably have to object.
The P19 is a reinterpretation of the classic circuit, also influenced by pedals as Cornish P1 and P2, the nuances and tonal characteristics dictated by personal taste of the manufacturer. Gilmour fans aside, who has in mind any other kind of music will find in this small size pedal a very huge sound, very bad and maybe even more versatile than expected.

On Skreddy site you'll get all the info about pricing and shipping, and very detailed charts about the Flat/Hump switch and Tone Control equalization.
And you'll find also these two videos of mine, so you can imagine how extremely pleased I am!