Official Skreddy Pig Mine Page HERE
Pig Mine (released January 2009, retired 1-25-12)(How many made?)(Highest known number – )
Marc Says (via TGP):? "FYI, the Pig Mine was designed for the lead tones in the song "Dogs" on Animals, which is why it has that peculiar aggression." "While the Pink Flesh has a saturated juiciness that no other Skreddies quite match, I think the Pig Mine is probably more "accurate" regarding certain circa 1977 recorded solo tones some folks might be after." "The Pig Mine is designed to be balanced, articulate, and as least fizzy as possible while achieving a deep, harmonic saturation and powerful sustain--all this and low noise too." "The Pig Mine is my first Big Muff type fuzz that actually comes alive in the lower settings of the sustain knob. Up till now they've always sounded best somewhere between about 2:00 o'clock and dimed to me. This one really opens up and sounds juicy and clear with the sustain knob rolled back to 11:00 o'clock and lower. You hear the guitar more than you hear the pedal in the low-gain areas, where it has a smooth, natural-sounding, almost transparent attack, but still a rich legato sustain." "The Pig Mine is dialed in to the Gilmour style all the way; articulate and with juicy mids." "So the Pig Mine isn't really "based" on any particular historic Big Muff as much as it seeks to nail a certain kind of tone--a tone that's not really easy to coax out of a Big Muff. They excel at super-agressive, "muffy", metallic, fizzy-boomy sounds and are prone to harshness and noise. Getting a smooth, articulate, singing lead tone that also works well with chords and isn't noisy or fizzy or boomy is what I'm going for here. It kind of transcends description as either a triangle knob or a rams head, though I personally think the basic tone of the triangle knob is the best one to shoot for (even if that means adopting some of the circuit tricks found in the rams head version)." "Recommended setting, though, is for your Pig Mine's sustain knob to be back at 9:00 o'clock. It has a treble bleed cap on the sustain pot, so it actually sounds usable with the knob low and is a good way of dialing in exactly the amount of aggressive fuzz you want in the tone. That configuration of the control is dialing out some of the pre-distortion bass frequencies when you back it down."
It is a Big Muff variant. I wouldn’t say “rams head” because it doesn’t use NOS/vintage transistors of the same type nor is it an exact clone of any particular rams head model (and there are probably dozens of variations that are all rams head models, so really that term is meaningless).
But its sound is that of a tight, high-gain Big Muff (modeled after the solos to “Dogs” on the Pink Floyd Animals album). It does not have much low-gain sounds in it (even with the sustain knob at 9:00 o’clock it is still pretty fuzzy), and it can tend to be a bit on the noisy side at high sustain-knob settings.
So the P19 is its replacement. It has a better range of low-gain sounds and is lower noise. It is modeled after the fuzz tones in “The Wall,” which are less extreme and more articulate than what the Pig Mine does (though Gilmour likely used the same Big Muff on both records).