The Texas-bred band has released five records since 2008. (They're currently working on their sixth.) Through those handful of albums, the country-leaning rockers refined their from-the-gut songwriting and heartfelt performances eventually earning them a No. 1 record on both Billboard's U.S. Country and Indie charts with 2019's Whiskey Myers.
During the recording process of the forthcoming album, Whiskey Myers' cofounding guitarist John Jeffers virtually welcomed PG's Perry Bean into his Texas-based tone bunker.
In this episode, the self-taught guitarist shows off his main Gibsons (including some rare finds and classic reissues), breaks down his Vox pillars, and details the smattering of stomps he kicks on for a wide-range of tones covering the rock and the roll.
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1994 Gibson Les Paul Standard
Pro players typically graduate from their first love. In John Jeffers' case, one of his main axes—the above 1994 Gibson Les Paul Standard—was the electric that started it all. It was a gift from bandmate Cody Tate's uncle. Before it became his sweet baby, the stock pickups were swapped out for a Seymour Duncan SH-4 JB (neck) and DiMarzio Super Distortion (bridge). All of double-J's guitars take Ernie Ball Power Slinkys (.011–.048).
2011 Gibson Les Paul Custom Blonde Beauty
A key backup would be this 2011 Gibson Les Paul Custom Blonde Beauty that Jeffers says is rare because only a few hundred were made. This was a gift from one of the band's longtime fans that used to help fill up their gas tank to ensure they could make it to the next gig.
Gibson ES-339
No your eyes aren't deceiving you, this Gibson ES-339 looks like a 335, but is actually comparable in size to a Les Paul. Other differences from its big brother is the implementation of the Memphis Tone Circuit that reverts back to simplified '50s-style wiring where the tone control is connected to the volume control rather than the pickup. It results in a less-obvious tone-control sweep.
2004 Gibson Les Paul Junior
Now he'll play slide on anything you hand him, but Jeffers does prefer to get greasy with this 2004 Gibson Les Paul Junior because it rides well in modal-G tuning for songs like "Home" and "On the River."
1992 Gibson 1967 Reissue SG Custom
Here's something Jeffers' had been lusting over for a long time—a 1992 Gibson 1967 Reissue SG Custom. He's always wanted an original '61 Les Paul (the first year of the SG shape), but this wonderful reissue will suffice until that day comes.
Handwired Vox AC30HWHD Heads & Matching Cabinets
All those Gibsons bark and growl through a pair of handwired Vox AC30HWHD heads and matching 2x12 cabs (all loaded with Celestion Alnico Blue speakers). In a typical live setup, Jeffers will run the left stack as a rhythm tone (mic'd with a Sennheiser MK4) and right stack is for lead tone.
John Jeffers' Pedalboard
Jeffers is a man of many tones requiring only a few pedals. Currently in his arsenal is a Hermida Audio Reverb, Skreddy Pedals Echo, Menatone Red Snapper Overdrive, Union Tube & Transistor More, Analog Man Sun Face Fuzz NKT 275, and a Dunlop SW-95 Slash Signature Cry Baby wah. Managing his AC30s are a pair of Lehle Mono Volume pedals, keeping the guitars in check is a Vox VXT-1 Strobe Tuner, and powering all the pedals is a Cioks DC7.
The Deluxe is Skreddy-mastermind Marc Ahlfs’ second attempt at perfecting Gilmour’s Fuzz Face sound. The first Lunar Module was rapturously received by Gilmour fanatics. And like the first Lunar Module, the Deluxe is the result of playing the “Time” solo over and over and tweaking the pedal’s response against it. The Deluxe, however, gives the player even more control over this notoriously hairy circuit with a variable-gain input transistor, as well as a tone control for added brilliance that’s helpful for tailoring the pedal to different guitars and amps.
Moon Unit
The sparkly casing of the Lunar Module Deluxe features the three knobs found on the standard version—Volume, Fuzz, and Body, with the latter being a pre-distortion bass control. Below this set of controls are two knobs, labeled Brite (presence) and Range (pre-gain). These two controls were also available on the standard Lunar Module as trim pots. But the ability to tweak these controls on the fly is key to the Deluxe’s performance, flexibility, and effectiveness in a variety of settings.
Taming the Beast
In their original incarnation, Fuzz Faces were finicky and temperamental, and also hard to manufacture consistently. While some units sound unbelievable, others border on awful. Fuzz Faces are also notorious for having impedance issues. Because of the Fuzz Face’s low input impedance, if any other pedals or buffers are placed between it and the guitar, the sound can get very harsh. And with a wah placed inline, the signal can even go into oscillation. Vintage Fuzz Faces were also notoriously susceptible to radio interference. The Skreddy circuit is light years more stable, and an extra input stage (controlled by the Range knob) makes the Lunar Module Deluxe friendlier to other pedals.
Flexible Fuzz
Though the Lunar Module Deluxe’s most direct inspiration is clear, that doesn’t mean it won’t do a whole lot more. To explore its capabilities, I tested the Skreddy using a Japanese Fender Strat and a Gibson Les Paul Standard through a vintage Ampeg Gemini II. I also added a Boss DD-2 pedal into the chain to get a little extra Gilmour vibe where appropriate.
Skreddy’s focus on Dark Side of the Moon tones was not in vain. Copping Gilmour’s simultaneously searing and singing tone was relatively easy with the Stratocaster’s bridge pickup and a little delay, which I added without experiencing any additional noise.
But it’s a killer pedal even if you’re not a Gilmour aficionado, and works equally well with single-coils or humbuckers. Using my Strat, and with the Fuzz knob less than halfway up, Brite at 8 o’clock, and Body at 3 o’clock, I got a smooth overdrive that inspired me to play with a Jimi-meets-Scott Henderson vibe. Just as impressive was how well the guitar cleaned up when I rolled back the volume on either guitar. With a quick flick of my Les Paul’s Volume knob, I transformed a Sabbath-like sludge into a gritty, but articulate clean sound.
While the Skreddy does an admirable job of taming the inherent squirreliness of a Fuzz Face-type circuit, that doesn’t mean it’s all buttery smooth. In loud settings this thing can still get raucous and verge on squealy. Be prepared to use your guitar’s volume knob judiciously.
The Verdict
Demand for the Lunar Module and the Lunar Module Deluxe have, at times, well exceeded supply. And it’s easy to see why. This pedal will help you nail one of the holiest tones in the rock canon, if that’s your obsession. But it’s a lot more than just a ticket to the Dark Side. The Lunar Module Deluxe is a great example of how a much-loved pedal design can evolve and be refined, and still deliver some surprises along the way.
Buy if...
you’re a Pink Floyd fanatic or just want a killer fuzz pedal.
Skip if...
you hate waiting lists.
Rating...
Street $235 - Skreddy Pedals - skreddypedals.com |
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