Scott McKeon

McKeon builds his own fuzz pedals, also called SM fuzz. SM Fuzz is used by a variety of artists, including James Bay, Gary Clark Jr., Robbie McIntosh, and Craig Ross. McKeon recalls his experiences with creating his fuzz pedals:

It really was a stroke of luck that the pedal actually worked. I’d never been able to find a fuzz pedal that was readily available and sounded authentic, so i though i\’d have a go at making one myself. My soldering skills weren’t great, and after a few burns and frustrating hours i plugged it in. to my surprise it worked and sounded great. warm, fuzzy, saturated and yet when the guitar volume is turned down a little. It ended up being a main stay on my pedal board ever since. I got a fair amount of interest from different players who wanted to get a similar sound, and asked me if i could make them one.

Mentioned as one of the pedals in November 2022 Guitar World issue (the link to the article).

Mentioned as one of the pedals in November 2022 Guitar World issue (the link to the article).

Mentioned as one of the pedals in November 2022 Guitar World issue (the link to the article).

The first thing the guitar sees is the SM Fuzz (gray pedal near lower right corner), which is my own signature fuzz pedal, then the Vemuram Jan Ray overdrive. After that we’re into the first GigRig switcher, which has the Hudson Electronics Broadcast preamp, Donner Mini Dynamic Wah, Nobels ODR-1 overdrive and the Dawner Prince Pulse for amazing Leslie sounds. There’s also an old Fulltone Clyde Standard wah.

The first thing the guitar sees is the SM Fuzz (gray pedal near lower right corner), which is my own signature fuzz pedal, then the Vemuram Jan Ray overdrive. After that we’re into the first GigRig switcher, which has the Hudson Electronics Broadcast preamp, Donner Mini Dynamic Wah, Nobels ODR-1 overdrive and the Dawner Prince Pulse for amazing Leslie sounds. There’s also an old Fulltone Clyde Standard wah.

The first thing the guitar sees is the SM Fuzz (gray pedal near lower right corner), which is my own signature fuzz pedal, then the Vemuram Jan Ray overdrive. After that we’re into the first GigRig switcher, which has the Hudson Electronics Broadcast preamp, Donner Mini Dynamic Wah, Nobels ODR-1 overdrive and the Dawner Prince Pulse for amazing Leslie sounds. There’s also an old Fulltone Clyde Standard wah.

The first thing the guitar sees is the SM Fuzz (gray pedal near lower right corner), which is my own signature fuzz pedal, then the Vemuram Jan Ray overdrive. After that we’re into the first GigRig switcher, which has the Hudson Electronics Broadcast preamp, Donner Mini Dynamic Wah, Nobels ODR-1 overdrive and the Dawner Prince Pulse for amazing Leslie sounds. There’s also an old Fulltone Clyde Standard wah.

Then there’s the second GigRig switcher, which has the Origin Cali76 compressor, Blackout Effectors Cadavernous Reverb, Jam Pedals Delay Llama (which I set to slapback) and the Strymon Flint tremolo. From there I go into the Lehle volume pedal, which is placed after the drives and compressor so I can use it for swells and pedal-steel-type stuff.

Then there’s the second GigRig switcher, which has the Origin Cali76 compressor, Blackout Effectors Cadavernous Reverb, Jam Pedals Delay Llama (which I set to slapback) and the Strymon Flint tremolo. From there I go into the Lehle volume pedal, which is placed after the drives and compressor so I can use it for swells and pedal-steel-type stuff.

Then there’s the second GigRig switcher, which has the Origin Cali76 compressor, Blackout Effectors Cadavernous Reverb, Jam Pedals Delay Llama (which I set to slapback) and the Strymon Flint tremolo. From there I go into the Lehle volume pedal, which is placed after the drives and compressor so I can use it for swells and pedal-steel-type stuff.

Then there’s the second GigRig switcher, which has the Origin Cali76 compressor, Blackout Effectors Cadavernous Reverb, Jam Pedals Delay Llama (which I set to slapback) and the Strymon Flint tremolo. From there I go into the Lehle volume pedal, which is placed after the drives and compressor so I can use it for swells and pedal-steel-type stuff.

“Next up, there’s my Dawner Prince Boonar, which is an incredible Binson Echorec-style delay. With the Tom Jones band, I’m using the Strymon Timeline mostly for long atmospheric delays on the few tracks we play to a click, where it’s programmed with the bpm. Having the delays after the volume pedal allows the trails to continue. I’m using two Cioks DC10 power supplies to power the board, and there’s a little TC Electronic PolyTune 2 there too. This rig was built with the help of my friend and fellow guitarist Ben Jones.

“Next up, there’s my Dawner Prince Boonar, which is an incredible Binson Echorec-style delay. With the Tom Jones band, I’m using the Strymon Timeline mostly for long atmospheric delays on the few tracks we play to a click, where it’s programmed with the bpm. Having the delays after the volume pedal allows the trails to continue. I’m using two Cioks DC10 power supplies to power the board, and there’s a little TC Electronic PolyTune 2 there too. This rig was built with the help of my friend and fellow guitarist Ben Jones.

“Next up, there’s my Dawner Prince Boonar, which is an incredible Binson Echorec-style delay. With the Tom Jones band, I’m using the Strymon Timeline mostly for long atmospheric delays on the few tracks we play to a click, where it’s programmed with the bpm. Having the delays after the volume pedal allows the trails to continue. I’m using two Cioks DC10 power supplies to power the board, and there’s a little TC Electronic PolyTune 2 there too. This rig was built with the help of my friend and fellow guitarist Ben Jones.

“Next up, there’s my Dawner Prince Boonar, which is an incredible Binson Echorec-style delay. With the Tom Jones band, I’m using the Strymon Timeline mostly for long atmospheric delays on the few tracks we play to a click, where it’s programmed with the bpm. Having the delays after the volume pedal allows the trails to continue. I’m using two Cioks DC10 power supplies to power the board, and there’s a little TC Electronic PolyTune 2 there too. This rig was built with the help of my friend and fellow guitarist Ben Jones.