Dave Gilmour’s Guitar Equipment

Signal Flow
The Guitars Gilmour’s main stage guitar is a USA 57 Vintage Reissue Strat fitted with EMG-SA pickups. He has also installed the EMG-EXG expander & SPC midrange presence controls. Apart from the electrics, the only other custom feature is a shortened tremolo arm so that he can keep it in his picking hand more comfortably while playing. Other guitars used live are an Esquire Telecaster in dropped D tuning for Run Like Hell, two Jensen lap steel guitars one tuned to E B E G B E for One Of These Days & the other tuned to D G D G B E for The Great Gig In The Sky. He also uses two Gibson J-200 Celebrity acoustics one tuned in standard & the other in D A D G A D for Poles Apart & a Gibson Chet Atkins Electro Classical. Both the Jensen Lap Steels & the acoustic guitars are fitted with EMG-H pickups. (These are basically a single coil pickup in a humbucker cap). Strings On the Strats Gilmour uses GHS Boomers with a customized gauge of (.010 .012 .016 .028 .038 .048) On the acoustics he uses Ernie Ball Earthwound Light’s. How To Gilmour-ize Your Strat To go along with David Gilmour’s taste for pristine Strat tone is his use of EMG active electronic (i.e. battery powered) pickups. Each of his Stratocasters is loaded with low impedance EMG-SA single coils, which he beefs up with two more tone modules: the EXG mid-cut/expander & SPC mid booster. As far as the SA pickups go, they have Alnico magnets which have a little more mid range than the ceramic S magnets. He also has the SPC midrange boost control on there which produces more of a singing humbucker tone. Finally, theres the EXG which David uses alot for rhythm, since it really helps define the notes, especially when there’s a little distortion on and he’s moving chord voicings around. The EXG works like a V configuration on a graphic EQ when you turn it up, the midrange gets cut, while the bass & treble get boosted. The SPC is where you really here the Gilmour sound emerge. Turn the SPC all the way up & you get that thick bluesy sound used in Shine On. The Analogue Footpedals
Footpedals

(A) Boss CS-2 Compression/Sustainer.

These are no longer available new from Roland. You can only purchase the CS-3 which (to my ear) does not sound as smooth as the CS-2.

(B) Pro Co. Rat II Distortion.

The first generation Rat’s distortion, filter & volume knobs yield various Marshally distortion tones.

(C) Cornish Big Muff.

Pete Cornish custom Big Muff. (looks like Pete has taken an original Big Muff and housed it in a custom box). I don’t know if this has been modified in any other way.

(D) Boss GE-7 Graphic Equalizer.

This GE-7 has been set to be used in conjunction with the Rat distortion pedal.

(E) Cornish Soft Sustain.

This is obviously a Pete Cornish custom effect. Notice the combination of the GE-7 graphic EQ sliders & the knobs for sustain & volume.

(F) Sovtek Big Muff II.

The Big Muff is a very heavy-vibed fuzz with volume, tone & sustain controls. The muff sounds huge & powerful despite it’s feeble tone control range & is looser & more gargantuan than say a Pro Co. Rat II.

(G) Chandler Tube Driver #2.

The Tube Driver offers lots of tight girthy gain and has an openness that sets it apart from other distortion boxes. Features high/low EQ, tube drive & output controls. These later became known as Tube Works Tube Driver.

(H) MXR Dynacomp Compressor.

The Dynacomp has a natural sounding expansion & a nice bright tone to it.

(I) Ibanez CP-9 Compressor.

(J) Boss Metalizer.

No longer available new from Roland.

(K) Chandler Tube Driver #1.

The Tube Driver offers lots of tight girthy gain and has an openness that sets it apart from other distortion boxes. Features high/low EQ, tube drive & output controls. This later became known as Tube Works Tube Driver.

(L) Boss GE-7 Graphic Equalizer.

This GE-7 has been set to boost the top & bottom ranges. Labelled T&B

(M) Boss GE-7 Graphic Equalizer.

This GE-7 has been set to boost the bass ranges. Labelled BASS

(N) Boss GE-7 Graphic Equalizer.

This GE-7 has been set to boost the mid ranges. Labelled MID The Rack
With Dave Gilmour’s rack system we meet a marriage of technologies, old & new. He has always exhibited a preference for older, analogue effects but has had Pete Cornish create a switching system which guarantees ease of use with optimum, low noise performance. The Rack

(A) Furman PL-8 Power Conditioner And Light Controller.

I can only guess that this controls the lights on top of the rack so Dave can see the pedals.

(B) TC. Electronics TC-2290 Dynamic Digital Delay + Effects Control Processor.

This is Dave’s primary delay unit. He uses this on most songs.

(C) Uni-Vibe.

The Uni-Vibe unit featues volume & intensity controls, a chorus/vibrato switch & sepearate speed controls for the slow or fast speed options. It also requires a seperate foot switch pedal for fast or slow. Gilmour does not use the chorus option! This effect was originally a footpedal, however Gilmour had his longtime technician Phil Taylor make a rack system out of it. He even had the old logo embossed on the face plate of the new rack.

(D) Digitech IPS-33B Super Harmony Machine.

Diatonic pitch shifter.

(E) Lexicon PCM-70 Digital Effects Processor.

Dave uses the PCM-70 to store the circular delay sounds you hear in Shine On & Time. Because it has a multi tap function it can pretty accurately duplicate the kind of echo Dave used to get from his old Binson echo unit.

(F) MXR Delay System II.

This is another rack system that began life as a footpedal. Phil also added a digital readout that he says is really nowhere close to being an accurate indication of delay time.

(G) Phil Taylor Custom Rack.

This is yet another custom made rack from footpedals. It contains the following effects.

Boss CE-2 Chorus

The original chorus from Boss has rate & depth knobs & sounds sweet, rich & dynamic. There are two CE-2’s loaded into this rack one is marked Mono Chorus & the other Left Chorus. (The left chorus is inserted in the signal path for the left channel of Dave’s amp setup).

Electric Mistress

The Electric Mistress has rate, range & colour controls, plus a filter matrix switch. This is sort of a bizzarre sounding flanger that gets extremely detuned & twisted.

Tremulator

The Tremulator has speed and depth controls.

(H) Dynachord CL5222 Leslie Simulator.

(I) Samson UHF Dual Receiver.

(J) Peterson Strobe Tuner.

Other Effects & Equipment
There are a few footpedals & other items which are not pictured or part of Dave’s current live rig but have been and still are used by him in the studio.

MXR Phase 90

This was MXR’s first effect and only has a speed knob that yields complex, swirly phase textures with silky highs & lots of vocal inflection. Also does decent rotating speaker imitations at higher speeds.

Arbiter Fuzz Face

The classic of classic fuzzes sounds big, deep & bad. The Fuzz Face takes you from clean to insanity with a mere twiddle of your guitars volume knob.

Boss HM-2 Heavy Metal Distortion

An 80’s classic Gilmour used on About Face (notably at the end of Murder). It delivers incredibly gutsy grind & tons of deep bass boost. Features low/high and colour mix controls.

Maestro Rover

The Maestro Rover looks like a late 1950’s NASA satellite (I will try and get a scan of this thing) but it’s a rotating speaker designed to go between your guitar and your amp. This sure fire attention getter has amp & instrument inputs & features volume, speed, slow & fast controls. A crossover routes the upper frequencies through the Rover’s amplifier to the rotating speaker, while the lower frequencies are sent to your stage amp.

Orange Treble/Bass Boost.

Heil Voice Box

The Midi Foot Controller
This Bob Bradshaw designed pedalboard is used to select individual or different preset combinations of effects. This doesn’t do the actual switching though. The left side of Dave’s rack unit contains his Pete Cornish custom built switcher, which has 24 sends & returns & uses gold plated relays to turn individual effects on and off. In addition to this, it also sends standard MIDI program numbers to the various MIDI processors that are contained in his rack (such as the Lexicon). It can also send almost anything he wants to the rack, such as a delay time or whatever. I’m not sure if he uses any of these features, but it’s there.

For information on a similar type of pedalboard designed by Rocktron/Bradshaw. Footboard

(A) TC. Electronics TC-2290 Digital Delay + Effects Control Processor. On/Off

(B) Lexicon PCM-70 Digital Effects Processor. On/Off

(C) Doppola’s. On/Off

(D) Leslie. On/Off

(E) Left Chorus (Rack Mounted Boss CE-2). On/Off

(F) Acoustic. On/Off

This seems to be a switch Dave uses to toggle between electric & acoustic setups.

(G) Midi.

(H) Store.

(I) MXR Delay System II. On/Off

(J) Graphic B (Mid). On/Off

(K) Graphic A (Bass). On/Off

(L) Graphic C (T & B). On/Off

(M) Tremulator (Rack Mounted). On/Off

(N) Chorus (Rack Mounted Boss CE-2). On/Off

(O) Univibe. On/Off

(P) Electric Mistress. On/Off

(Q) Chandler Tube Driver #2. On/Off

(R) Sovtek Big Muff. On/Off

(S) Cornish Soft Sustain. On/Off

(T) Pro Co. Rat II. On/Off

(U) Chandler Tube Driver #1. On/Off

(V) Pete Cornish Big Muff. On/Off

(W) Hyper. On/Off

This toggles the Boss Metalizer

(X) Ibanez CP-9 Compressor. On/Off

(Y) Digitech Whammy. On/Off

(Z) Bank Switch.

Selects the bank number for preset sounds.

(1) Preset Numbers. 1/0

(2) Preset Numbers. 2

(3) Preset Numbers. 3

(4) Preset Numbers. 4

(5) MXR Dynacomp Compressor. On/Off

(6) Boss CS-2 Compressor. On/Off

(7) Doppola’s. Slow/Fast

Selects which speed the doppola’s rotate at.

(8) Leslie. Slow/Fast

Selects the speed of the Dynachord CL5222 Leslie Speaker Simulator.

(9) Univibe. Slow/Fast

Selects the speed of the univibe rotating speaker simulator.

(10) Ernie Ball Volume Pedal.

(11) Digitech Whammy Pedal.

FX Facts
Despite the apparent complexity of Dave Gilmour’s set up, the actual contents of each track may come as something of a surprise. Essentially his sound is fairly clean, choosing different distortion units to add their characteristic sound to his signal. As an example, to reproduce the track Money from Dark Side Of The Moon live in concert, Gilmour uses this effects combination.

Main Riff: Pete Cornish Soft Sustain with Chandler Tube Driver #2.

Solo: Boss CS-2 Compressor with Chandler Tube Driver #1, Sovtek Big Muff & TC Electronics digital delay.

Solo (Dry Sound): Chandler Tube Driver #1 with Pro Co. Rat II Distortion. The Amplification

Preamp

After journeying through the rack system the signal meets an alembic F2-B bass guitar preamp. This has been modified with an extra tube, lowered output impedance & a different capacitor to help cut the low end.

Amps

Gilmour has always been a fan of Hi-Watt amps, tending to use AP-100 watt heads on stage and combo’s in the studio. Live three of the heads are used as power amps & another three are used as slaves. All use Mullard E-34 valves which are desperately difficult to get a hold of these days, but Floyd head of backline Phil Taylor still has a cupboard full!

(A) Right channel output to 4×12’s 1+10 8 ohm.

I am guessing that (1+10) refers to channel inputs on a mixer i.e. channel 1 left, channel 10 right.

(B) Left channel output to 4×12’s 2+9 8 ohm.

Again (2+9) could be channel 2 right, channel 9 left. If this is the case then Dave could have, for instance, channels 1+2 as a stereo pair for the Marshalls & channels 9+10 as a stereo pair for the WEM’s.

(C) Spare AP-100.

(D) Output to Heil Voice Box via Pete Cornish Dummy Load Box 8 ohm.

(E) Output to Doppola’s 87, 88 8 ohm.

(F) Output to Doppola 89 8 ohm.

Speaker Cabinets & Doppola’s

Speaker Cabinets

The right channel Hi-Watt powers a WEM 4×12 which is loaded with Fane Cresendo speakers and a Marshall loaded with Celestion speakers. A second Hi-Watt does the same thing for the left channel which also carries a chorused signal from a Boss CE-2 Chorus. (See Footpedals Incorporated Into A Rack Space). In the second rack, one AP-100 feeds the Jim Dunlop Heil Voice Box, another feeds Doppola’s 87 & 88 (8 ohm) & a third feeds Doppola 89 (16 ohm).

Doppola’s

These rotating speaker units were designed by Phil Taylor & Paul Leader to provide Gilmour with that ‘Leslie’ effect on his guitar. Leslie cabinets themselves might have seemed the obvious choice, but Gilmour was after a slightly different sound. In the studio he had been using Maestro Rover units which are revolving full range speakers but they are too low powered for live use and so the Doppola’s were born. Three units are used on stage each loaded with two six inch 100 watt drivers.

(A) Marshall 4×12 cabinet with Celestion speakers.

(B) WEM 4×12 cabinet with Fane Cresendo speakers.

(C) Custom Doppola rotating speakers.

Further info/images from Webpage by Murray Browne

1,494 thoughts on “Dave Gilmour’s Guitar Equipment”

  1. wem
    Spiros Panagiotou

    hi..i am from greece and i want to buy a wem cambinet 4×12 300 watts with fane cresento speakers…..i would like to know the price….could you help me ??thanks..

  2. Gilmour sound
    Joe Cav

    i have a marshall MG100HDFX half stack, any suggestions on how to get the settings on my amp to sound close to comfortably numb (solo 2) on pulse….i understand that he uses a ton of pedals and effects also, but i just need to get my amp to sound better first

    1. Re: can anybody tell me which multifx he uses on stage?
      Stefan Flemming

      Hi,

      first, Dave Gilmour uses an old plexi Marshall with 4×12 1960 Marshallbox, The Guv´nor as Booster and some Compressions for Solosounds, and an old Hiwatt 100 Signature with WEM 4×15 Box for clean sounds.

      The special sound on comfortably numb is a light distortion sound from marshall with compressor. frequency justiring, maybe with an eq., on 500 Hz, 1000 Hz and 250 Hz for the Boddy. Please reduce the trebble so, that you mean, it´s a little to much. On Stratocaster switch on the middle on the last pickup and I´m shure you will be lucky.

      Best regards
      Steve

      1. Re: can anybody tell me which multifx he uses on stage?
        Shannon

        : Hi,

        : first, Dave Gilmour uses an old plexi Marshall with 4×12 1960 Marshallbox, The Guv´nor as Booster and some Compressions for Solosounds, and an old Hiwatt 100 Signature with WEM 4×15 Box for clean sounds.

        : The special sound on comfortably numb is a light distortion sound from marshall with compressor. frequency justiring, maybe with an eq., on 500 Hz, 1000 Hz and 250 Hz for the Boddy. Please reduce the trebble so, that you mean, it´s a little to much. On Stratocaster switch on the middle on the last pickup and I´m shure you will be lucky.

        : Best regards
        : Steve

        I’m not doubting that the above person managed to get a decent Gilmour sound with the rig he listed but it is absolutely not a David Gilmour rig.

        Gilmour uses (live) Hiwatts as amplifiers and a combination of WEM cabinets loaded with Fane Crescendo speakers and a Marshall cabinets loaded with Celestion speakers. The Hiwatts are used very clean….something that these amplifiers do exceptionally well!

        For effects: over the years it has changed dramatically at times. A strat is his guitar of choice and the distortion is created by use of a Big Muff Pi or Fuzz Face almost exclusively. Overdrive tones have been created using either a Butler Tube Driver, Colorsound Power Boost or sometimes in the past via an Ibanez TubeScreamer (though this effect is not a stable of the rig). Additional colour of the sound is created using various effects including (but certainly not limited to): Uni-Vibe, Phase 90, Dynacomp, EH Electric Mistress and delays and a handfull of others. Oh and there is always a mix of the above cabinets along with a special custom made "Dopola" speaker which is simply a rotating speaker.

        As for multieffects, David generally doesn’t use any. However, in todays market there are various ones that can get you the same basic effect layout. On occasion I’ve been known to throw a Line 6 Pod XT on the floor in front of my amp, especially when stage space is limited. The resulting tone is pretty darned near perfect. If you are looking for an all-in-one box I’d recommend either the Pod or possibly a Vox Tonelab. Hope that helps…..even if it is almost a year after the original post. 8^)

      1. Re: can anybody tell me which multifx he uses on stage?
        Pete

        He doesnt use a multi effects proccessor, he uses a custom made Pete Cornish Pedal board, (search pete cornish there are detaisl of what its made form on his site) and the rack a variety of rack mounted effects and other goodies. everything to my knowledge is analog and tube driven.

  3. Guitar on "Near the End"I love the tone of the acoustic which is double delayed. I can still remember seeing Gilmour play during the About Face tour and using what appeared to be a black thinline acoustic-electric.
    What was it?

  4. How can I get the tape effect on Dsotm
    Wes

    I’m doing a tribute to pink floyd at my school and I would like to have the tape effects but I just don’t know where to get them.If someone could tell me please…(I’m searching for Dsotm and wish you were here’s tape effects)

    Thank you

    1. I have recently been learing lots of Floyd fer guitar. I have a squire strat and an behringer 212. The amp has 99 presets with all the classics liek flanger, phaser, delay, reverb… all in all ther are 99 different presets on it. The only downside is that i can use 2 of the simutaniusly ,

      so my question is …… in the song time, what different petals does gilmore use in this song. Ive read he jsut put his fuzz into his clean channel for the solo.

      1. I tend to prefer the live solo from Pulse (the CD one is better than the DVD). This is easily achieved by big muff, delay and a touch of Phase 90 (script) at around 11 o’clock. The phase 90 helps get that fizzing type sound you hear.

    2. Re: How can I get the tape effect on Dsotm
      Matt Hecker

      : I’m doing a tribute to pink floyd at my school and I would like to have the tape effects but I just don’t know where to get them.If someone could tell me please…(I’m searching for Dsotm and wish you were here’s tape effects)

      : Thank you

      You dont wanna hear this, but the tape effects are all done by doing exactly what it sounds like: playing it slow, speeding it up and dubbing onto another recording.

    1. Re: Guilmour's guitar on Live 8
      Peter

      : What’s the guitar Gilmour used on Live 8?

      Which one???? The Electric, is a Fender Stratocaster (original 70’s body, 57 reissue neck, shortened tremelo arm
      and single coil pickups which he got from seymour duncan, which where rewound, though im not sure if they where build by him or if they where a set he had removed from a guitar, by Mr Duncan himself)

      The acoustic is a very limited edition Gibson J200 artist custom (i think there where 100 of them built)

      The lap steel is a fender (i think a champ, but im not sure on that)
      i think thats all he used….
      Be warned though dont make the mistake of thinking owning the same guitar will make you sound and play like him…:)

  5. David gilmour Pulse DVD gear
    Steve

    I am looking to get about 4-5 pedals, and really like the sound gilmour gets on the pulse DVD. Any reccomendations for the key pedals to get?

    1. Re: David gilmour Pulse DVD gear
      David

      Try getting a PodXT from Line 6 (www.line6.com). It models more effects than you’ll want to buy pedals for. There’s also an extensive online community with different guitar tones and you should be able to get sounds very close to Gilmour’s.

      : I am looking to get about 4-5 pedals, and really like the sound gilmour gets on the pulse DVD. Any reccomendations for the key pedals to get?

      1. Re: David gilmour Pulse DVD gear
        brian myers

        the pod xt live does not have all the answers. if your playing live i feel it sound awful. the tone sounds not real. so i sold mine!! GO WITH STAND ALONE EFFECTS

    2. Re: David gilmour Pulse DVD gear
      Peter

      : I am looking to get about 4-5 pedals, and really like the sound gilmour gets on the pulse DVD. Any reccomendations for the key pedals to get?

      With 4 or 5 pedals???? you’ll be lucky, lol, i think Mr Gilmours pedal boaard comprises of about 12 different pedals not including volume, and whammy pedals, and then theres the whole issue of amps and THE RACK, which add different things, and the fact he has EMG active pickups which cost a tidy sum, However if you want too start getting a few bits together i would suggest a volume (if you dont have one) a distortion pedal try the boss ds-1, a chorus, a muff and a rotating speaker simulator (okay so he uses the real thing, but if you can even find a leslie in good condition let alone at a reasonable price i’d be amazed)he also uses a Whammy pedal here and there (digitech make a very nice one)and a rat and reverbs are used extensively, my suggestion would be too go and try a few different pedals see how they work, how they sound and how you like them.

      1. Re: This popular thread has been given its own page :... steve (Blink Floyd)
        steve (Blink Floyd)

        : I am looking to get about 4-5 pedals, and really like the sound gilmour gets on the pulse DVD. Any reccomendations for the key pedals to get?
        Hi try this first as it will give you abig tone.
        replacing stock pickups with EMG-SAs
        replacing the two tone controls with –
        EMG-SPC Presence Control – which boosts the mid range effectively converting single coil sound to that of a humbucker.
        EMG–EXG Guitar Expander – which reduces the mids while boosting bass and treble
        The EMGs are used because of their internal preamp which reduces the signal loss from the extensive path of Daves setup.
        Pedals….Boss CS-2 Compressor
        ProCo Rat II overdrive
        Pete Cornish Big Muff
        Boss GE-7 graphic EQ dedicated to the Rat
        MXR Dyna Comp
        Ibanez CP-9 compressor
        BOSS Digital Metaliser
        Chandler Tube Driver No1
        Sovtek Big Muff Pi
        Chandler Tube Driver No2
        BOSS GE-7 graphic EQ – 3- T&B treble and bass boost
        BOSS GE-7 graphic EQ – 1 – Bass boost
        BOSS GE-7 graphic EQ – 2 – MID boost
        Take your pick, but just remember dave plays alot with a clean sound with delay on it (TC2290).

    1. Re: what kind of guitar?
      shawn

      he plays a black fender strat with a chopped trem bar-for easy hand use- dimarzio bridge pick-up abd middle and neck prck-ups 1960 stock pick-ups. the guitar is a 1971 strat with a black pickguard.

      1. Re: what kind of guitar?
        Si Martin

        He will be using a Martyn 6 string accoustic guitar I suspect, at least that’s what it looked like last week at Manchester ! The guitar will be mic’d with a piezo pickup at the soundhole to give an authetic sound. I suspect there is some reverb in the final mix …

        There are actually 2 guitars playing with the the lead / fill played by by Gilmour. I have seen a twelve string play the strum part before but the last time I saw him play I think there were two 6’s. If you want to play this solo try using some chorus and play the fills between beats – sounds really nice. Would recomend a digital recorder for such tunes, you can record the basic strum then sing and play the fill over it – again, most enjoyable !

        1. Re: what kind of guitar?
          Peter Baldwin

          : He will be using a Martyn 6 string accoustic guitar I suspect, at least that’s what it looked like last week at Manchester ! The guitar will be mic’d with a piezo pickup at the soundhole to give an authetic sound. I suspect there is some reverb in the final mix …

          : There are actually 2 guitars playing with the the lead / fill played by by Gilmour. I have seen a twelve string play the strum part before but the last time I saw him play I think there were two 6’s. If you want to play this solo try using some chorus and play the fills between beats – sounds really nice. Would recomend a digital recorder for such tunes, you can record the basic strum then sing and play the fill over it – again, most enjoyable !

          The guitar he uses was a special edition version of the gibson J200, there where only 100 (from what i remember) made though, its fully acoustic though as has been mentioned theres a soundhole mounted pezio, rather than it being miked up, thouhg he also uses CF Martin D35’s and Taylor 714ce’s amongst others

      1. Re: which pedal for the 1st comfort numb solo??
        David Waters

        : Actually the correct answer is, Big Muff, electric Mistress "Flanger" and Neck and Bridge pickup at the same time, "Gotta add a switch to your guitar.

  6. which delay?
    karl

    whats the best delay for the gilmour sound?
    iv got a boss dd6 is that good enough or is there anything better? but i need a backwards effect for my own personnel project

  7. which flanger?
    karl

    hi iv got a holy grail reverb pedal by electro harmmonix which you can put flanger on it is that ok to use or do i need the electric mistress?
    thanks

    1. Re: gilmour effects
      Brian

      Basic setup to do Gilmour depends on what all songs you want to play. There’s certain effects he used in periods. The basics is a good overdrive and a fuzz of some sort (IE…Boss BD-2 and a Big Muff) and delay/echo. Any delay will work but digital ones tend to sound Brassy to most ears. An analog delay or echo pedal is usually the better way to go. In the 70’s he used an old echo box. But Ibanez makes a cheap delay/echo that if you use the echo setting sounds really great! Ibanez DE-7 is the model number. But again any delay will work…

      As for other effects…it just depends on what songs you want to play. The only time he used a wah back then was really for the song ECHOES…and he actually hooked it up backwards to make the seagull sounds in the middle of the song. He didn’t actually use it as a wah though to make wah sounds.

      Phasers he really only used on like Have A Cigar and parts of Shine On.

      Flanger he used mostly on The Wall. If you’ve got Reverb on your amp and want to use the flanger side of the EH Grail. That’s fine. If your amp has no reverb then you might need to consider a different pedal.

      Compressor. He used here and there but in general he only used it from around 1975 Wish You Were Here till present day…so anything older like Dark Side he didn’t use it on.

      He used a Uni-Vibe on Dark Side of the Moon for Breathe, Brain Damage and Eclipse.

      That’s about it. A chorus pedal here and there I think but mostly that’s it.

      Up until 1975’s Wish You Were Here he used:
      Vox Wah (Ran Backwards for Echoes)
      Orange Treble Booster (To overdrive the amp…which any good Overdrive will simulate.
      Fuzz Face
      And a Binson Echo.

      That’s basically all he had up through Dark Side Of The Moon. On Dark Side of The Moon he added the Univibe. For Wish You Were Here he picked up the Compressor, and Phaser. For Animals he switched to a Big Muff from a Fuzz Face. He also used a Talk Box on Pigs. Finally on the Wall he added a Flanger. That’s basically it. But it all depends on what songs your playing really…

      : what effects do i need to sound like gilmour from ther arly 70s to ther early 80s
      : iv alreafy got or am getting:
      : cry baby wah
      : mxr dnyacomp
      : mxr phase 90
      : rat 2
      : big muff
      : boss bd2
      : boss dd6
      : holy grail reverb with optional flanger
      : that it what else do i need?
      : thanks

      1. Re: gilmour effects
        fredian

        and how does he set one’s delay? and which effects does he use when he plays his beautiful bottleneck’s part on "saucerful of secrets" at pompei?

    2. Re: This popular thread has been given its own page :... karl
      karl

      what effects do i need to sound like gilmour from ther arly 70s to ther early 80s
      iv alreafy got or am getting:
      cry baby wah
      mxr dnyacomp
      mxr phase 90
      rat 2
      big muff
      boss bd2
      boss dd6
      holy grail reverb with optional flanger
      that it what else do i need?
      thanks

  8. which big muff?
    karl

    which big muff shall i get usa or russian? and iv seen one called sovtec big muff is that russian vintage one?
    iv hered he used a vintage one but do i need a vintage one what shall i get?
    thanks karl

    1. Re: which big muff?
      rich

      : which big muff shall i get usa or russian? and iv seen one called sovtec big muff is that russian vintage one?
      : iv hered he used a vintage one but do i need a vintage one what shall i get?
      : thanks karl
      : i have the "big green box" big muff pedal. it has the russian writing on it. splendid pedal if i say so. i bought it back in 1997 and it sounds great. yes theyre hard to find but if you do you will be glad you made the purchase.

    2. Re: which big muff?
      Brian

      The Sovtec’s were the original Russian Models. They are the old GREEN one’s and they are the best, but they are normally expensive and hard to find. They are currently still making 2 models…One is the CHROME one that is the made in USA one and I’ve heard they are pretty much junk. The BLACK Russian model is the other one currently made and I’ve heard those are better than the USA models. I personally haven’t used either one so I can’t say for sure. Up until 1977 Gilmour used a Dallas Arbiter Fuzz Face. I’ve heard the reissues of those are sketchy as well. I actually use an old Boss FZ-3. Boss made 2 Fuzzes back in the 90’s but they are both out of print now. I picked one up off ebay for $50 and it works good for me. If you can I’d recommend ordering one from a place that will give you 30 days to try it out. Order like the Russian Model and a Fuzz face or something and see which one works better for you, because depending on your guitar and amp setup both will sound totally different. Dunlop is also making a modified Fuzz Face called the Jimi Hendrix Classic fuzz…looks like an MXR DynaComp but it’s RED in color and Says Classic Fuzz. That one I have tried and I think it works really good. To each his own though. If at all possible…try out a few different ones and see what sounds best with your equipment.

      : which big muff shall i get usa or russian? and iv seen one called sovtec big muff is that russian vintage one?
      : iv hered he used a vintage one but do i need a vintage one what shall i get?
      : thanks karl

  9. when and where ?? COMPRESSOR
    karl

    when and where does gilmour use the compressor and which one? solos only.
    my guess is shine on and brick in wall but where else??
    thanks

    1. Re: when and where ?? COMPRESSOR
      Brian

      He uses them all over. Sometimes just for solo’s but many times for rhythms too. You have to understand that the reason he uses a compressor is because generally when you’re playing your bass notes on your heavier strings stick out and are Louder when you’re playing, then your high notes and light strings are. David wanted to even that out.

      It’s just a matter of taste. Sometimes he ran 2 or 3 compressors at the same time. He did that on Run Like Hell. It’s just a matter of playing around with it and seeing what you like. You also have to remember that in the studio they use compression on the recordings and can do all sorts of studio tricks. And even on like the PULSE live album there is extra compression from the PA and recording equipment and such. Your best bet is to find old bootlegs. David sounds like David but it’s different in a truly LIVE setting. He also plays extremely loud through a TUBE amp, which changes your tone a lot as well. Play through a little amp with a Big Muff…then through a large amp cranked with a Big Muff and you’ll get a totally different sound.

      : when and where does gilmour use the compressor and which one? solos only.
      : my guess is shine on and brick in wall but where else??
      : thanks

  10. when and where ??rat or muff??
    karl

    when and where does gilmour use the rat and the big muff my guess is rat for time, big muff for second solo of comfortably numb im i right??.

    1. Re: when and where ??rat or muff??
      Brian

      I don’t know so much about the Rat but the Big Muff he uses all the time for solo’s. The end solo of Comfortably Numb is just 1 example. Pretty much any solo from Animals or the Wall or Final Cut or Momentary Lapse or Division Bell he is using the Big Muff on. Only dirty solo’s though. Like the first solo for Comfortably Numb is just either an Overdrive or Clean Boosted signal. He didn’t get the Rat pedal until the late 80’s if I remember correctly and he only uses it to get 1 kind of sound for the Time solo or Money or something like that. 99% of the time for solos it was a Big Muff or a Pete Cornish moddified version.

      : when and where does gilmour use the rat and the big muff my guess is rat for time, big muff for second solo of comfortably numb im i right??.

      1. Re: when and where ??rat or muff??
        karl

        thanks mate which muff shall i get iv hered the both bad do you need vintage.
        also what pedal would do for the first solo of comfortably numb?
        someone mentioned a boss blues driver would that do it??
        thanks
        karl

  11. vintage or not
    karl

    is it possible to get the gilmour tone without vintage or even the same gear. i want to get the mxr dynacomp after what iv hered but will i still get the sound with a new one.

    1. Re: vintage or not
      Brian

      You don’t need a vintage compressor for a similar tone. A new one will work just fine.

      : is it possible to get the gilmour tone without vintage or even the same gear. i want to get the mxr dynacomp after what iv hered but will i still get the sound with a new one.

  12. tube driver
    karl

    could anyone one tell whats the next best thing to the chandler tube driver as i live in the uk and there are only usa ones out there. also is that what hes using on shine on with gain turned down?
    thanks
    karl

    1. Re: tube driver
      Brian

      On the original recording of Shine On You Crazy Diamond from wish you were here he used an old powerboost pedal to overdrive the signal. Only in the 90’s did he start using the Chandler Tube Driver. Any good overdrive pedal will work fine in general for those slightly overdriven solos. A BOSS BD-2 Blues Driver is a good one (in my opinion of course). But pretty much any good name brand overdrive/booster pedal will work.

      : could anyone one tell whats the next best thing to the chandler tube driver as i live in the uk and there are only usa ones out there. also is that what hes using on shine on with gain turned down?
      : thanks
      : karl

      1. Re: tube driver
        karl

        many thanks brian i cant believe i was going mad for the chandler tube driver as im only into early 70s to early 80s.
        so the boss bd2 is definelty the one? with a little compression maybe depending on which solo
        karl

        1. Re: tube driver
          Brian

          No problem Karl,
          A Boss Blues Driver would work just fine for a dirty sound. The 70’s and early 80’s Gilmour has 3 basic setups:
          1. Clean – Straight signal to the Amp.
          2. Slightly dirty overdrive for some rhythms and some solos.
          3. Super dirty which is basically fuzz for full blown solos.

          Then he would of course add effects on top of it for different sounds and feels but in general he’s using one of those. So all you need is a clean signal on your amp. If you want a little dirty sound or just a little boost for a fairly clean solo…like the first solo in Comfortably Numb…just stomp on an overdrive and like I said, The Boss is a good place to start. Then for a really cranking solo. Switch to the fuzz.

          : many thanks brian i cant believe i was going mad for the chandler tube driver as im only into early 70s to early 80s.
          : so the boss bd2 is definelty the one? with a little compression maybe depending on which solo
          : karl

  13. Gilmour's Use of Dimarzio FS-1 on Pompei or Dark side of the moon
    Salem Gilmour

    Well on my quest to nailing the famed DSOTM sound I’ve noticed Gilmour gets alot done with the Bridge pickup.

    now does he use the FS 1 on the whole Pompei – Dark Side of the moon on the Bridge ?

    Anyone have any info on this ? I have the pickup so might as well put it to good use.

    1. Re: Gilmour's Use of Dimarzio FS-1 on Pompei or Dark side of the moon
      Brian

      In every article I’ve ever read with Dave the pick-ups on all those early albums in that era were Fender Stock. He didn’t start using the FS-1 until "Animals". As far as using the Bridge pick-up he usually used it for solos and then usually the neck or middle pick-up for rhythms. Hope that helps…

      : Well on my quest to nailing the famed DSOTM sound I’ve noticed Gilmour gets alot done with the Bridge pickup.

      : now does he use the FS 1 on the whole Pompei – Dark Side of the moon on the Bridge ?

      : Anyone have any info on this ? I have the pickup so might as well put it to good use.

  14. Gilmour's sound on Pigs (Three Different Ones)
    R.Gordon

    I can’t find this question anywhere on the forums so far, so mainly I was wondering if anyone knows what amps,effects or guitars he uses to get the strange "clean" sound in Pigs(Three different Ones)? Does anyone know how to emulate it without going overboard and buying the exact gear? He repeats the chords in a strange way, almost like it’s an echo but I’m almost positive it isn’t. The sound I’m talking about mainly is the main rythem guitar at the beginning all througout the main verses. Can anyone help me at all? The sound itself to me is most perplexing.

    1. Re: Gilmour's sound on Pigs (Three Different Ones)
      G. Heeren

      In the middle of the song there are chords (a bit like Dogs chords) played with his Strat, sound like the neck pickup. It’s played through Dave’s Yamaha rotating speaker (sounds like a phaser or Univibe). Like it’s documented everywhere, it seems that Roger played the chords with a Strat and Dave the bass and lead guitar for Pigs and Sheep. While Roger played the clean chords on Pigs, Dave did a "screaming pig" with his Talkbox.

    2. Re: Gilmour's sound on Pigs (Three Different Ones)
      L.P.

      Gilmour used smaller amps in the studio. He never used his 100watt heads. He has many amplifiers. He used a Fender Twin Reverb in the studio. The Guitar is a Fender Deluxe Telecaster with a Humbucker in the neck. Light overdrive is used to get to get "Dirty Clean". I don’t know what he used to get the overdrive on the song. He plays that guitar on most of Animals.

    3. Re: Gilmour's sound on Pigs (Three Different Ones)
      John H. Wellington

      Gilmour’s tone on that song is extremely extravagant. I love the rich soft sustain and the lush overtones that his guitar makes. He uses a Fender Les Paul with a Vox British Bloke Amp with Roger Water’s ego-maniac distortion and Symphonic pedal. A really popular effect is when he sticks a tube up his butt and he farts into his Fender single coil pickups. The sound is super fabulous. I also like it when Nick and Rick play patty cake and drink LSD tea with each other. It’s fun to watch them finger paint psychedelic renditions of Rembrandt paintings and learn how to master the hungarian minor scale on a kazoo. I also like it when Roger sticks his fat chin in cheddar cheese and dances around in womens’ clothes on Saturday morning at the Macy’s parking lot while wearing leather go-go boots. Overall I like it when Syd rubs his palms on Nick’s cymbals and gives all of his drum pieces names and calls them his "pet children." The movie version of the wall is about his arranged meeting with a cross-dressing Australian named Gina. It’s not about his deteriorating mental health or anything like that, it was his adventures with "her" one night after drinking Abstence and a little Jagermeister.

    4. Re: Gilmour's sound on Pigs (Three Different Ones)
      Brian

      He used a lot things throughout that song. He was using a Strat or course and usually either a Hiwatt amp or Fender Twin Reverb. I’m not sure exactly which part you’re talking about, but:
      The main riff over the verses is just a fuzz face with mild fuzz using the bridge pickup on the stratocaster.

      The little fills are a clean signal with delay in which he uses the volume knob to swell into them.

      Later on he uses a clean signal with a leslie speaker.

      Solo’s he uses a talkbox a fuzz and delay depending on the part.

      But that’s the basic run down of Pigs…

      : I can’t find this question anywhere on the forums so far, so mainly I was wondering if anyone knows what amps,effects or guitars he uses to get the strange "clean" sound in Pigs(Three different Ones)? Does anyone know how to emulate it without going overboard and buying the exact gear? He repeats the chords in a strange way, almost like it’s an echo but I’m almost positive it isn’t. The sound I’m talking about mainly is the main rythem guitar at the beginning all througout the main verses. Can anyone help me at all? The sound itself to me is most perplexing.

    5. Re: Gilmour's sound on Pigs (Three Different Ones)
      Fat Chants

      : I can’t find this question anywhere on the forums so far, so mainly I was wondering if anyone knows what amps,effects or guitars he uses to get the strange "clean" sound in Pigs(Three different Ones)? Does anyone know how to emulate it without going overboard and buying the exact gear? He repeats the chords in a strange way, almost like it’s an echo but I’m almost positive it isn’t. The sound I’m talking about mainly is the main rythem guitar at the beginning all througout the main verses. Can anyone help me at all? The sound itself to me is most perplexing.

      Well first of do some strong clean acid 😉
      Second, tho to be honest, I don’t have a clue what he was doing as far as guitar sound, I believe it to sound like he’s wearing fingerpicks (Jorma Kaukonen style..) and plucking the chords, which might give way to the ‘echoing’ sound you’re referring to, which I’d never thought of.. nice..
      Wish I knew more about it.. or he’s playing with his fingers without fingerpicks, with some serious limiting and maybe gating going on

      I’d like to hear what you think

      Dave

      1. Re: Gilmour's sound on Pigs (Three Different Ones)
        ben n

        I think he is just hitting the chord each time and using a volume pedal to fade those repeats out. It is a cool pseudo-delay effect.

        Ben

    1. Re: David Gilmour kind of strap
      David

      The strap I think you are talking about was actually Jimi Hendrix’s. It’s the strap Hendrix used at Woodstock. It was bought for Gilmour by his wife for his birthday or something. I’m sure you could find something like it on ebay

      1. Re: David Gilmour kind of strap
        newswede

        Close…It was owned by Hendrix and used at the isle of wight festival as well as the Atlanta Pop Festival among a few other shows. It was bought at auction by Mrs. Gilmour a birthday present and he has coninued to use it live.

        I’m glad he uses it. He is certainly worthy and it’s great to see such a historical item being used instead of sitting behind a glass case.

    2. Re: This popular thread has been given its own page :... cody
      cody

      I have seen many pictures of david gilmour and every time I see him playing a guitar he uses one kind of a strap.
      It looks like a really comfortable strap, because of the fabric.
      (Probably Leather/Suede)
      Does anybody know where I can get such a strap?

      Thanks Already

    1. Re: Strange box with light inside
      michael athens greece

      : In the David Gilmour in Concert we can see a little box behind him with light inside what is that???

      it is a peterson tuner

  15. acoustic guitar
    Fernando

    What guitars uses David Gilmour in DVD "David Gilmour in Concert"??
    specific in "Meltdown concert: Shine on your crazy diamond" and first songs.

  16. David Gilmour Guitar Tone in NI Guitar Rig
    Erock

    I came across a magazine that featured creating David Gilmours sweet guitar tone with NI guitar rig. Trouble is I cant remember which magazine it was in. Anybody know anything about that article or how to mimic a similar setup to the one mentioned above?

  17. A Suggestion for Good Gilmour Distortion
    J. Hart

    Hey guys, I just wanted to add the suggestion of using a Tech 21 ‘Comptortion’ pedal to get a good distortion when playing Pink Floyd tunes. I bought one when they first came out a few years ago, while I had a band going with some friends. We weren’t a cover band, but thanks to alcohol and pot, we did spend the majority of our rehearsal time playing early Floyd songs (BBC version of Embryo, Breathe, Echoes, A Saucerful of Secrets, etc…)…I always thought the Comptortion sounded great, and then one day it died. Probably my fault – I had recorded a bass solo through it the night before. Long story short, now being drug free for about four years, and having replaced my Comptortion earlier this year, I can honestly say that with a decent amp and a nice short delay, the Comptortion really does the job. I sold the Strat that I had installed the DG-20 EMG set in after I bought my Parker Fly, so having played a number of guitars through it, I can honestly say that the Comptortion is one of the most versatile distortion/sustainers out there. I gave away my Big Muff, and now I’m selling the rest on Ebay to buy a Line 6 Podxt Live.
    http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=7362220819

  18. Roland Space echo RE201 - best for pink floyd tape echo sound FOR SALE: used-guitar.gear.xf.cz
    Premek

    Hello I´ve got vintage Roland Space echo RE-201 for sale. The condition is great, sound even better. + One original new spare tape loop. Increadibly usefull for early Pink Floyd echo/delay effects… Follow the web page:

    http://used-guitar.gear.xf.cz

    or mail me…

  19. im purchasing a 57 reissue soon, i love the sound of the vintage fender pickups, do u think i can still get the floyd 70’s era sound with them? I don’t really want the emg’s. Im sure dave used many strats with standard vintage pick ups back then.

    1. Re: pick ups
      filmour

      If you want the ’70 gilmour sound, keep your vintage pick-ups
      : im purchasing a 57 reissue soon, i love the sound of the vintage fender pickups, do u think i can still get the floyd 70’s era sound with them? I don’t really want the emg’s. Im sure dave used many strats with standard vintage pick ups back then.

    1. Re: Does anyone has Pete Cornish effects? Looking for schematics.
      Bah (via moderator)

      (Originally posted 05:34:02 2/01/06)

      Re-read finkfloyd’s post; the circuitry is coated. Pete’s warranty expires after a year, so feel free to crack them open if you’d like… You will find all the components well protected from thievery. I have the P-2, SS-3, G-2, NG-2, LD-2, TB-38 EXTRA and a TES. All quality products, and well worth the cash. Pete’s quality can’t be matched, schematics in hand or not…

    2. Re: Does anyone has Pete Cornish effects? Looking for schematics.
      finkfloyd

      Hi, Goodluck reverse engineering these! haha i too would like to see schematics for these pedals but unfortuntely Mr.Cornish uses some sort of Red Spray over the components to prevent schematics being drawn up – I forgot the name of the mystical spray he uses, but I beleive they use it in aeroplane electronic engineering etc.. which Pete cornish once used to be himself

    3. Re: Does anyone has Pete Cornish effects? Looking for schematics.
      Tigrar

      : Does anyone has Pete Cornish effects?

      : I´m looking for schematics of Pete cornish effects, SS-2, and the others… Does anyone have some? Of at least photos of inside? Thanx

      I wish I had. Specialy of the P-2. But the boxes are sealed and a broken seal means the loose of waranty. 🙁

      plz contact me if U find any schematic from Petes Schematics. THX a lot

      Tigrar

      1. Re: Does anyone has Pete Cornish effects? Looking for schematics.
        Premek

        I don´t have, I want to build it myself, because Pete isn´t cheap:-( But I can´t find any of his schematics on the internet… If you find, tell me.. Thank you… Premek

    4. Re: This popular thread has been given its own page :... Premek
      Premek

      Does anyone has Pete Cornish effects?

      I´m looking for schematics of Pete cornish effects, SS-2, and the others… Does anyone have some? Of at least photos of inside? Thanx

    1. Re: DYNACORD CLS 222 FOR SALE! (Gilmour´s leslie)
      Angelo Cappello

      : Hello, I´ve got Dynacord CLS-222, analog leslie simualator which Dave uses on Pulse for Any Colour, Brain Damage, Eclipse etc… FOR SALE! The price is 170 euro + shipping. Mail me.

      Hi,
      I am interested in your CLS-222. A few questions:
      1) Is it still available ?
      2) Is it technically perfect ?
      3) 220 volt supply ?
      4) The operation and service manuals are included ?
      5) Can you send me a photo ?
      6) Can you deliver to Italy ?
      Thank you very much in advance
      Best regards
      Angelo Cappello
      Bologna, ITALY

      1. Re: DYNACORD CLS 222 FOR SALE! (Gilmour´s leslie)
        Dylan

        Wondering if you bstill have the Dynacord–I’m interested in buying it. If not, do you know of anyone that does?

      2. Re: DYNACORD CLS 222 SOLD! (Gilmour´s leslie)
        Premek

        : : Hello, I´ve got Dynacord CLS-222, analog leslie simualator which Dave uses on Pulse for Any Colour, Brain Damage, Eclipse etc… FOR SALE! The price is 170 euro + shipping. Mail me.

        : Hi,
        : I am interested in your CLS-222. A few questions:
        : 1) Is it still available ?
        : 2) Is it technically perfect ?
        : 3) 220 volt supply ?
        : 4) The operation and service manuals are included ?
        : 5) Can you send me a photo ?
        : 6) Can you deliver to Italy ?
        : Thank you very much in advance
        : Best regards
        : Angelo Cappello
        : Bologna, ITALY

        Thanks for immediatelly payment, it was pleasure to deal with you Angelo… Premek

    2. Re: This popular thread has been given its own page :... Premek
      Premek

      Hello, I´ve got Dynacord CLS-222, analog leslie simualator which Dave uses on Pulse for Any Colour, Brain Damage, Eclipse etc… FOR SALE! The price is 170 euro + shipping. Mail me.

  20. Orange Treble & Bass Booster
    David Waters

    I’m a huge Floyd fan, and guitarist. I read on ALOT of sites he uses a Orange treble and bass booster for Darkside. Does anyone know where I could get one. Or Does anyone know where I can see a picture of one at. I don’t even know what the orginal looks like. All I see is the BSM OR Pedal (clone) If anyone has one please send me a picture or sell it to me. Price is not a issue!([email protected])
    Thanks!

    1. Re: Orange Treble & Bass Booster
      karl

      alright mate not an expert need a lot of answers myself but iv seen an bsm pedal the exact one your on about on ebay. was intrested myself but will a boss bd 2 do it?
      thanks karl

  21. fuzz face vs big muff
    gerald

    I just got the reissue version of the fuzz face from dunlop (last year)and i found out it laks of volume…i have to boost it with another pedal in order to raise the vol for leads..what abaout the big muff..would be the same history???is better thant the fuzz face???…sound voulumen tone????
    thanks

    1. Re: fuzz face vs big muff
      filmour

      Your FF has some problems.
      Mine has tons of volume and if I set it at 3/4 I have to play in another room…

      : I just got the reissue version of the fuzz face from dunlop (last year)and i found out it laks of volume…i have to boost it with another pedal in order to raise the vol for leads..what abaout the big muff..would be the same history???is better thant the fuzz face???…sound voulumen tone????
      : thanks

  22. cry baby pedal
    benz

    ok what do i need to have this pedal work for my guitar amp, all i have is one slot to put the power cord in and another for headphones on my amp and im just wonderi how the cry baby will work.

    1. Re: cry baby pedal
      DWaters

      1st of all you need a Vox wah wah not a crybaby, and how to hook it up is, from guitar take cord and plug it to input on pedal, and from output take that cord and plug it to your amp. If your going for the gilmour sound you need alot more pedals than a Vox

  23. What tube is used in Chandler Tube Drive???
    Barão

    Mr. Gilmour uses a Chandler Tube Drive in his solos and main riffs, I have a question.

    What tube is used in Chandler Tube Drive??? I want to make a copy…

    Thanks,

    Barão

    1. Re: What tube is used in Chandler Tube Drive???
      Tigrar

      : Mr. Gilmour uses a Chandler Tube Drive in his solos and main riffs, I have a question.

      : What tube is used in Chandler Tube Drive??? I want to make a copy…

      : Thanks,

      : Barão

      It seems as if the tube doest change much of the sound.

    2. Re: What tube is used in Chandler Tube Drive???
      John

      : Mr. Gilmour uses a Chandler Tube Drive in his solos and main riffs, I have a question.

      : What tube is used in Chandler Tube Drive??? I want to make a copy…

      : Thanks,

      : Barão

      12ax7

  24. Gear Question Amp Thingy
    PWaters

    Has anyone seen the DVD David Gilmour in concert. Well theres this "thingy" right behind him, I want to know what its called and what it does. Its a little amp looking thing, it has a big circle on top with somekind of orange light in it, and on both there are 4 knobs. Does anyone know whats this called!

    1. Re: Gear Question Amp Thingy
      Pwaters

      : Has anyone seen the DVD David Gilmour in concert. Well theres this "thingy" right behind him, I want to know what its called and what it does. Its a little amp looking thing, it has a big circle on top with somekind of orange light in it, and on bottom there are 4 knobs. Does anyone know whats this called!

      1. Re: Gear Question Amp Thingy
        John

        : : Has anyone seen the DVD David Gilmour in concert. Well theres this "thingy" right behind him, I want to know what its called and what it does. Its a little amp looking thing, it has a big circle on top with somekind of orange light in it, and on bottom there are 4 knobs. Does anyone know whats this called!

        Its a Peterson Strobe Tuner

        1. Re: Gear Question Amp Thingy
          joe

          : : : Has anyone seen the DVD David Gilmour in concert. Well theres this "thingy" right behind him, I want to know what its called and what it does. Its a little amp looking thing, it has a big circle on top with somekind of orange light in it, and on bottom there are 4 knobs. Does anyone know whats this called!

          : Its a Peterson Strobe Tuner

          it’s a CONN strobe tuner

  25. Gilmour settings for different equipment?
    Chris

    So for Christmas, I recieved the Boss BF-3 flanger, PH-3 phaser, and DD-3 delay. I’m attempting to recreate that Gilmour sound found on Breathe and Us & Them. Any recommendations as to settings within the pedals? For the flanger you can adjust the depth, rate, mode can be either ultra standard or gate/pan, and also there is an adjustment saying "res" and "manual". For the phaser you can adjust the rate, depth, res, and set for step, rise, fall, 12, 10,8, and 4 for the stage. Lastly, the delay can adjust the e.level, feedback level, delay time, and also under mode there us 50ms, 200ms, 800ms, and hold. Any recommendations at all? Greatly appreciate it.

    1. Re: ..and Rick's instruments ??
      victorio

      como sei? sono di sao paolo, alora il italiano che io parlo non e veramante il mismo che e parlato adesso in italia (mia famiglia e italiana ma sono venuti di bolzano a brasil 110 ani fa, cosi il mio italiano e il parlato dal tempo della unificazione…) ma ci possiamo capire…
      me piace molto scrivere in italiano, non sai como, perche tuta la mia famiglia solamente parla il portoghese, e cerco per qualcuno italiano che vogliat sentire a me.
      bene, io ho lavorato con Rick veinti ani fa, ma ancora so tutta la instrumentazione:
      -organ hammond h-customized 2-deck
      -mellotron m400 standard
      -rolands (molti!!!)
      -kurzveil, korg e yamaha (once in a while)
      -marshall amps
      se ha alcuna dobta, pregunta-me.
      ciao

      : Hi, vorrei avere info circa la strumentazione di Rick !!!
      : Grazie

  26. SCC 700 pedalboard
    Filmour

    I’d like to create a second pedalboard based on boss effects.
    I have some boss gilmoresque pedals (hm2, mz2, flanger and chorus…) and I would like to known what kind of pedals where in the SCC700 pedalboard used by gilmour during about face tour and for the recording in the studio.
    The pink floyd enciclopedya do not give a lot informations….

    Filmour

    To Riis: finally I’ve found "the stompbox" book
    Very very coooool!!!!!!!!!!!!!!!!!!

  27. gilmour metallic sound
    daniele

    Gilmour gets a cool metallic sound, I think from electric mistress…
    I tried to reproduce it by using my boss bf-2 but I ear a very strong sweep effect.
    Does the filter matrix of the mistress eliminate this effect and help to achieve the tipical gilmour sound?Thanx!!!

    1. Re: gilmour metallic sound
      Tigrar

      : Gilmour gets a cool metallic sound, I think from electric mistress…
      : I tried to reproduce it by using my boss bf-2 but I ear a very strong sweep effect.
      : Does the filter matrix of the mistress eliminate this effect and help to achieve the tipical gilmour sound?Thanx!!!

      Try the Boss MZ-2

      Tigrar

    2. Re: gilmour metallic sound
      Filmour

      The electric mistress is what you need for the gilmour sound.
      The filter matrix isn’t used by gilmour and in the wall (live and studio)you can hear the "swooooosh" sound like at the end of thin ice before the delayed guitar of brick part 1

      Filmour

      1. Re: gilmour creamy sound
        daniele

        Ok, I have another question for you.
        Dave’s distorsions are never "noisy", the sound is never fuzzy, dirt, he achieves the same CREAMY sound with any kind of stomp box(rat, muff,…),from 70s to 90s.
        I can recognize that sound in any album.
        When I turn on the Muff the sound is very dirt,orrible also with low amount of distorsion.
        How can you explain it? Does the soft sustain do this?

        1. Re: gilmour creamy sound
          nico

          : Ok, I have another question for you.
          : Dave’s distorsions are never "noisy", the sound is never fuzzy, dirt, he achieves the same CREAMY sound with any kind of stomp box(rat, muff,…),from 70s to 90s.
          : I can recognize that sound in any album.
          : When I turn on the Muff the sound is very dirt,orrible also with low amount of distorsion.
          : How can you explain it? Does the soft sustain do this?

          Gilmour uses muff and rat, boosted with a GE7 pedal, for heavy distortions.
          For light and very clean od sounds he uses both a Soft sustain and a Chandler Tube Driver. You could reach results very similar to the Chandler with a Tonebone Classic Distortion…

        2. Re: gilmour creamy sound
          filmour

          Firs of all I agree with Riis (www.gilmourish.com): the gilmour sound is in his fingers.
          He can use the muff, hm-2, rat, tube driver ecc but he achieves the magical tone.
          In general remember that you have to put the volume at 10.
          For the lead parts gilmour plays with a lot of feedback (listen to the old bootlegs…) and that helps to achieve a CREAMY sound.
          Besides he uses clean amps (hiwatt and fender) so he can have a strong distortion (I say a "clean distorted sound").
          For the muff and for your distortion in general, try to set the tone at 9:00 o’clock and to use a pedal equalizer for boosting bass.
          Rememeber gilmour use a bass preamp (alembic) and boss ge-7.

          Filmour

  28. gilmour metallic sound
    daniele

    Gilmour gets a cool metallic sound, I think from electric mistress…
    I tried to reproduce it by using my boss bf-2 but I ear a very strong sweep effect.
    Does the filter matrix of the mistress eliminate this effect and help to achieve the tipical gilmour sound?Thanx!!!

    1. Re: gilmour metallic sound
      David Waters

      To get the perfect Gilmour sound, without alot of other pedals. Go Boss Dig.Metalizer. Trust me I have Fuzz Face (darkside) and Big muff (Wall) But the boss metalizer is my favorate and don’t get to fuzzy!

    1. Distortion solos in "Delicate sound of thunder"
      Daniele

      Listening to the album "Delicate sound of thunder" (LIVE),
      I can’t understand if Gilmour is still using the Big Muff for his main solos in songs like
      Comfortably numb, Sorrow, On the turning away, or he achieves this sound by using
      the Chandler tube driver.

      Can anybody help me, please?Thanks.

      1. Re: Distortion solos in "Delicate sound of thunder"
        filmour

        : Listening to the album "Delicate sound of thunder" (LIVE),
        : I can’t understand if Gilmour is still using the Big Muff for his main solos in songs like
        : Comfortably numb, Sorrow, On the turning away, or he achieves this sound by using
        : the Chandler tube driver.

        : Can anybody help me, please?Thanks.

        What you hear is the big muff.
        During the delicate sound tour gilmour didn’t use the chandler.
        Filmour

        1. Re: Distortion solos in "Delicate sound of thunder"
          Barao

          Momentary tour, Gilmour use a Ibanez Tube Screamer!!!

          Division Bell Tour, he used a Chandler Tube Drive!!!

          : : Listening to the album "Delicate sound of thunder" (LIVE),
          : : I can’t understand if Gilmour is still using the Big Muff for his main solos in songs like
          : : Comfortably numb, Sorrow, On the turning away, or he achieves this sound by using
          : : the Chandler tube driver.

          : : Can anybody help me, please?Thanks.

          : What you hear is the big muff.
          : During the delicate sound tour gilmour didn’t use the chandler.
          : Filmour

          1. Re: chorus or mistress in delicate sound of thunder?
            filmour

            : In this concert gilmour is still using the electro harmonicx Mistress or a chorus?thanks.

            No, it’s a chorus.
            Filmour

      1. Re: anyone have a Cornish Soft-Sustain?
        Ralph

        : I’m considering this pedal because I’ve read really great reviews on it, has anyone here tried one?

        I have a P-2 Precision Fuzz and only 1 word describes it AWESOME! So incredibly dymanic and sensitive to touch. I loved it so much that I ordered a Soft Sustain . I sold all my dirt to get these my RAT , Big Muff, Chandler Tube Driver and most of my other pedals but in the end it’s more than worth it. They are really pricy but they are truly a professional sound . I highly recommed these pedals not only to Gilmour fans but also to those looking for true tone. You really don’t need all the gear listed above to achieve a tone similar to Gilmour, alittle reverb, delay, Boss Ce-2 and Cornish pedals and you are there.

        1. Re: anyone have a Cornish Soft-Sustain?
          catfamily

          : : I’m considering this pedal because I’ve read really great reviews on it, has anyone here tried one?

          :
          : I have a P-2 Precision Fuzz and only 1 word describes it AWESOME! So incredibly dymanic and sensitive to touch. I loved it so much that I ordered a Soft Sustain . I sold all my dirt to get these my RAT , Big Muff, Chandler Tube Driver and most of my other pedals but in the end it’s more than worth it. They are really pricy but they are truly a professional sound . I highly recommed these pedals not only to Gilmour fans but also to those looking for true tone. You really don’t need all the gear listed above to achieve a tone similar to Gilmour, alittle reverb, delay, Boss Ce-2 and Cornish pedals and you are there.

          Contact the Amp Shop on Ventura Boulevard in the Los Angeles area, probably Studio City. They only carry the best equipment and have some Cornish pedals.

        1. Re: Distortion sound on "TIME"
          Mainge Rover

          : I am curious to know how David achieves that grinding gritty distortion for his solo on Time. Any suggestions?

          I was told that it’s the result of a Dallas-Arbiter Fuzz Face. I bought one the reissues from Dunlop, sent it straight into the clean channel on my Carvin Legacy head, and viola, Time. What’s particularily cool about the Fuzz Face is the way it kind of bottoms out (clips and compresses?) when you hit bassy chords, such as the F#m that finishes off the Time solo. Give it a try.

        2. Re: Distortion sound on "TIME"
          Neal

          : I am curious to know how David achieves that grinding gritty distortion for his solo on Time. Any suggestions?

          I play that song sometimes with my band…awesome song. I use a 1972 Fender Telecaster Custom (humbucker) and I use a Japanese Boss super OD (with gain just under half way) I also use the Boss DD3 (delay) not sure what the settings are, but you just have to figure it out til it sounds right. I play out of a 1978 Fender Twin Reverb, so I get a really warm tone, oh yeah and I use 10 gauge strings. Hope this helps.

    1. Re: The Division Bell chords needed
      Floyd

      Hey guys,
      Sorry for the no responses lately-but pretty busy.

      I’d like to hear any ideas or things you’d like to hear about it in the next article.

      Floyd

      : Who has the division bell songbook ?
      : I need a chords to cluster one, marooned and poles apart

      1. Ideas on new artcles
        riis

        Hi,Floyd
        I have never really studied Gilmour’s work with other artists. It would be interesting to get a list of wich guitars he used on different gust appearances and collaborations. One that I really love is his solos and sound on No more lonely nights with McCartney on his Broadstreet album.
        Riis

        1. Re: Ideas on new artcles
          squanto

          I am so glad to see someone recognize. That solo on "no more lonely nights" has got to be one of my favorite solos ever…and i’m not a huge fan of that song. BUt i swear, ever note in that end solo was picked by gods…i always suspected it was gilmour

      1. Comment on new article from Floyd
        Riis

        Again, thanks for a great article! Playing in a Norwegian tribute band myself ,I have never really studied the sound Gilmour has on the albums. I know all the solos ofcourse, but for the equipement and sound I tend to use the old bootleggs. Nice to have an article that clearify the studio Gilmour.
        Still I would like to comment on a couple of things; and this is just my opinions.
        What I, and my fellow bandmembers, have always had as a motto is that album Floyd and live Floyd is more or less two completely different bands. I have heard a couple of Floyd tribute bands that nails the albums to the tiniest detail, but it still sounds dull and uninspired. And if you listen to boots from the 70ies Floyd are more aggressive and rough sounding than any studio recording. The same goes for Dave’s guitar. On pretty much all the albums, his sound is rather dry and clean and he’s much more delicate in his playing. You can hear his blues influences. Have you ever tried to compare Animals the record and a boot from the 77 tour? I love Dave’s crisp, earpinching sounds on the record, but live you can hear him stomping on every box he ever had and his plaiyng is so aggressive at times that I can only imagine him playing out his rage towards Waters.
        I think this is very important. And for all of you Gilmour clones; trying to do the intro solo on Shine On with the same sound on the record doesn’t do it live. You’ll drown on stage. Listening to the very first attempts the band made in late 74 and trough 75, Dave used a very dry amp overdrive for nearly all of the new material (WYWH) He used some delay and for most of Shine On he used the MXR Phase 90. When they toured with WYWH for the first time in 77 Dave has a more sloppy sond to his guitar. I think this is the first time when he really uses compression to colour his sound. For the Shine On intro and second solo he use lots of compression and the EH mistress. When they indtroduced WYWH songs in 74-75 Dave used a modified Tele (w/DiMarzio picups) and sometimes a Fat-Tele (a humbucker for the neck pick up). He continued to use Fender Telecasters for the 77 performances of Shine On 1-5. On the record it sounds like a Strat, but with the Tele he got that crisp tone and a sloppy bottom. A perfect match with lots of compression.For the slightly overdriven sound I believe he just crancs his amps. My set up for this 77 live version is; Fender Tele, MXR Dynacomp (V 13:00/ S 13:30) and HM Mistress (R 22:00/ C 23:00/ Range off). For the third solo I’m pretty sure he use the EH Big Muff (V 80% / T 20 % / S 100%).
        Dave’s using alot of reverb. Delay wise he tends to stick with one rate (different from tour to tour in the early days) and ajusting the feedback form song to song. I don’t know what settings he used on the WYWH album, but listening carefully to the boots I discovered that he use a slightly faster delay than I can remember him using on the albums, try 370ms and a rather long feedback (mostly used on Syd’s theme).
        For the distortion units I don’t believe he started to use the Muff until the In the Flesh tour of 77. Remember that the Muff is a sustain pedal and not a fuzz. The Big Muff has a very smooth sound, but trying to obtain a warm overdrive is nearly impossible. The Fuzz Face however is much more versatile. But listening to the third solo on Shine On and the solo for Cigar I belive he is using a amp type distortion. Comparing this with the live versions he used just a mild overdrive in 74-75 but in 77 you can clearly hear the Muff with lots of compression and a crisp tone for the third Shine On solo.
        What I find most interesting in with this new article is the discussion on what kind of pick Dave’s using. I have always tried to underline the importance of using the right tecnique. It doesn’t matter how many pedals you got or how fancy and modified your guitar is, if you don’t use your fingers right. What I’ve learned is that Dave is always holding a tone close to the frets almost on the metal. This toghether with a heavy pic, you’ll get that crisp clicking sound. I also notised that he tend to hit the strings harder when he’s playing with an overdrive. This adds a more dynamic style and is great for solos as Wall part 2, Coming Back to Life and Shine On (2. solo). The best example of technique is Dave’s solo on Coming Back to Life on the new DVD. He plays with an acoustic guitar and it stills sounds like a Strat! That’s because of his technique, the right use of his fingers…. and of course because his Guilmour.

        OK this became a little longer than I expected.
        Shine On and Merry Floydmas!
        RIIS

        1. Re: Comment on new article from Floyd
          Floyd

          Heh, its a working web board, I’m for posting on my site 😉

          Anyways, thanks RIIS
          I’d like to post this if you don’t mind?

          You brought up several great points. First his live sound and studio sound are two different things, and people who follow the equipment charts often get mislead, this is all his live gear, in the studio he is much more experimental, but often uses some of the same gear.

          As in the Shine On solo’s I too have fumbled playing, because too much reverb, delay, and general ambience by the guitar makes it clutter, and screw the sound. I also find I had to be too gentle, and closed with my playing, to make sure everything was right. I also collect bootlegs, although I prefer 70-72. I have a few from WYWH and Animals, I really never found one I liked till I think 07/18/77 came to me in the mail, where I finally heard great versions of the songs. I often would think Gilmour himself was trying to play studio like, but after that and stellar symphony (another roio) I noticed a trend. He began relying less on effects, and more playing while live, and was alittle more free. I’d agree with you on the effects and all that as well, you ever notice the intro to dogs, he is using a mistress?

          I’m don’t think I said he used a Muff in Shine On, but rather and overdrive, or treble and bass boost. It could have been a fuzz with the fuzz down as well. I noticed, that when he hit tours in 77 have a cigar was much more distorted, I liked it alot. As well as Shine on, which began overdriven. I firmly believe Gilmour is one of the top improv players of the century.

          I get a bit tired of the pick arguement, but agree in a heavy one, lightly picken. I researched for hours upon hours to figure out where he plays with his fingers (closest to the next fret as possable) it also creates a slightly sharper tone. And finally you nailed it, his tone is in his fingers, there is no doubt about it. From his vibrato, to finger location, to picking motions…no one can simulate him perfectly, but we’ll always try. Of course I like adding my own bits in too.

          Good Day,
          Floyd

      2. mistress for floyd
        filmour

        Hello Floyd!
        I have seen the picture about dave’s rack, and i’ve noticed that the three knobs of the mistress are (from left to right): 11, 1, 1 o’clock.
        I’m enough sure that it’s for rate, range and color (in this order)
        So i remember your mistress set up is rate 12, range and color 11 o’clock, and if i’ve to replicate the wall live sound i’ve to increase range and color at 1.
        But in this case i hear the flanger’s exxagerate wave:
        it’s so olso for you?
        And what about Gilmour setting? Why I don’t hear that trublesome sound but only the chorusly depth?
        Tanks for your answer

        : got the new article up
        : http://www.geocities.com/floydianatom/

        : BBS is up as well

        : Floyd

        1. Re: mistress for floyd
          Floyd

          Well after trying it, I’ll be damned, it does sound more like the Wall sound. I stand corrected, thanks from bringing that up. Can you confirm he has an original mistress rather than the deluxe?

          I’m not sure really what the question was, although it sounds much more right with my mistress to use the settings you just said. However, I think in live performances such as the ITAOT, and Wall Live bootlegs he uses the settings abit higher to give it a more pronounced tone.

          Thanks again,
          Floyd

          : Hello Floyd!
          : I have seen the picture about dave’s rack, and i’ve noticed that the three knobs of the mistress are (from left to right): 11, 1, 1 o’clock.
          : I’m enough sure that it’s for rate, range and color (in this order)
          : So i remember your mistress set up is rate 12, range and color 11 o’clock, and if i’ve to replicate the wall live sound i’ve to increase range and color at 1.
          : But in this case i hear the flanger’s exxagerate wave:
          : it’s so olso for you?
          : And what about Gilmour setting? Why I don’t hear that trublesome sound but only the chorusly depth?
          : Tanks for your answer

          : : got the new article up
          : : http://www.geocities.com/floydianatom/

          : : BBS is up as well

          : : Floyd

    2. Comfortably Numb sound on a PXR4? Anyone?
      Gorham Miscall

      Does anyone have any experiece with the Korg PXR4? I would like to get as close as possible to the final solo sound on Comfortably Numb (Pulse Version) and the intro solo to Coming Back To Life (Division Bell). I realize that Gilmour’s equipment is extensive, but if someone has already figured out the setting for the PXR4, I would really appreciate them.

      Thanks.

      Gorham

      1. Re: Comfortably Numb, Pulse
        Leo

        Personally, I don’t hear the Electric Mistress effect on Comf Numb on Pulse. EM is not a subtle effect – if it was there, I’m sure we’d hear it obviously…like in the Wall Live. I’m not a big fan of the EM anyway, since I think it really takes away the warmth, depth and thickness of my sound.

        : Did Dave use the electric mistress when he played Comfortably Numb on Pulse? anyone knows which effects he used there?

        1. Re: Comfortably Numb, Pulse
          Floyd

          Well I don’t think he used it on pulse, it sounds much more like the Pete Cornish P-2 Fuzz, perhaps a mix of some of his other distortions in there as well, as he didn’t use reverb on it because the stadium would create enough.

          I agree somewhat with the EM pedal leo. I have a vintage Deluxe mistress, and I find it takes out alot of dynamics, highs especially, then blurs the sound alittle…however if the amp is powerful enough, or the distortion strong enough its not generally a problem I see, maybe throw an eq afterwords…

          Floyd

    3. Orange Treble and Bass boost
      Floyd

      If your like me, most of you have heard if this…I am beggining to think it is more of a essential peice, until the GE-7 took its place…if you listen to songs like Shine on, or Pigs (3 Different ones) or Have a Cigar, you’ll notice that his tone has that small bite to it…part of which I say is the Herco Heavy-Pick as an interview said, I’m not sure if he still uses it, and I’m sure people will argue with me, but you can hear the scratch of when he picks, convincing me he’s using that pick, or did. The other part is, his overdrive, which is most likely a fuzz face, or overdriven amp–and those scratchy high’s I’d like to attribute to the Orange Pedal, pay attention to the second and third solos of Shine On, you should be able to hear something similiar…Tell me what you think. Oh yes, never underestimate the power of reverb, he uses tons of it with generally a 4 repeat delay of probably 2-400 ms as a solo, then I noticed for rythem on say Pigs or Have a Cigar there is no reverb or delay, but same tone…food for thought.

      Floyd

        1. Re: floydianatom bbs
          Floyd

          : When BBs is going to be ready on floydianatom

          It should be-although it closed due to inactivity…I’ll need to re-register, although tonights not the night.

      1. Re: Replacement for Mistress?
        filmour

        : Can’t get the Electric Mistress, which flanger could be used as a good replacement?

        if you want to achieve gilmour’s tone, nothing can be over the mistress…

        1. Re: RAT2 or BIG MUFF?
          BURGERMAN

          BIG MUFF 3 – THE NEWEST VERSION AVAILABLE IN BIRMINGHAM -SOUNDCONTROL, JUST OFF NEW STREET STATION, ENGLAND
          WHERE HAS MIKE GOT 2…HMM…MUST GO… AND … PLAY… WITH… MY….MUFFF…

      1. Distortion Pedals, big muff??
        MongooseDoormat

        Sorry, this is really another question for all you floyd maniacs rather than an answer…

        I’ve made my own guitar with pickups all EMG with an EMG 89, two EMG SA’s, SPC, EXG and phase inversion switch on the middle pickup. My amp is a laney lc-30 and I was just looking to find the best distortion pedal to start on my way to the perfect floyd sound.
        I’m looking at the 1970’s floyd – shine on, comfortably numb… that sort of thing.
        Would a big muff be most appropriate?
        I would buy all his pedals – but being a poor student I would prefer to find one or two that would be most important
        cheers

        1. Re: Distortion Pedals, big muff??
          Miguel angel

          The best distortion for Pink’s song is the Dirty Dog From Peavey, i was playing the guitar in a pink floyd tribute band, and it’s amazing!!!! perfect for Leads and Riffs

          I tasted the Bigg Muff, but Dirty Dog is better for a pink sound

      2. Re: The Animals Distortion sound
        Vince Paglione

        : I am trying to learn the "Dogs" solos and was wondering what kind of Distortion Gilmour is using. Any Ideas?

        I don’t know exactly how he gets the sound, but I do have an idea. In his pedal board in 1976 and 1977, he had:
        – Dallas Arbiter Fuzz Face
        – Pete Cornish Custom Fuzz
        – Electric Mistress Flanger
        – Big Muff

        I’m sure he used a combination of those pedals, plus most likely his MXR Dynacomp.

        1. Re: The Animals Distortion sound
          John

          Animals was when he made the transition from the Fuzz face to the Muff as his primary solo distortion.

          : : I am trying to learn the "Dogs" solos and was wondering what kind of Distortion Gilmour is using. Any Ideas?

          : I don’t know exactly how he gets the sound, but I do have an idea. In his pedal board in 1976 and 1977, he had:
          : – Dallas Arbiter Fuzz Face
          : – Pete Cornish Custom Fuzz
          : – Electric Mistress Flanger
          : – Big Muff

          : I’m sure he used a combination of those pedals, plus most likely his MXR Dynacomp.

    4. DAVE and the PF ON DVD
      NEO

      Hey guys,

      I am writing to let you know of a guy in England who can provide to you Early PINK FLOYD Footage and whole shows from Daves last few concerts in London and PAris. Its good footage and I use them to watch to help me immitate some of Gilmours style. Note, the Wright back in London with Richard Wright is the best. as well as the 72 interview
      MY buddies (the guy who gets these things) Address is:
      [email protected]

      1. To all who might help !!! -
        NEO

        Hello All,

        I am just writing to ask for suggestive help.
        I am a student guitarist, amateur at best and have been playing bass for 4 1/2 years and guitar 3 years – I’m 19 now. I play by myself in my old garage on a shitty amp and am getting pretty depressed. I have friends who are buying guitar processors and new equipment(My opinion – SHIT ) and i am left playing an old arbiter fuzz and am working on getting a binson echorec TE-7 -They are blowing me away with learning. I really have a problem with reading notes being that I am a loner so I can’t pick up songs as fast – i do it by ear. But it seems I have developed a style where I can express myself and what I am feeling – I like the old sound – Gilmours Shine on Solo – High Hopes – Echoes -. It seems though I am coming to a standstill. I can’t seem to progress, I have been playing around an hour a day for a long time now – but it doesn’t seem to get better.

        Shortly said, I know i’ll never be Mr.Gilmour (and rightly so I want my own style) but what would I have to do to maybe be worthy of playing his material without F.U.B.A.R.ing it?

        I really appreciate any feedback you might leave#:)

        1. Re: To all who might help !!! -
          John

          I’d have to agree with Floyd’s Post, but you might try this and its something that will show you that Gilmour really wasn’t "great" in the beginning. Listen to all of the floyd stuff from the begining. Listen to Ummagumma etc and figure out those solos. Some of them (green is the color etc) seem to not flow as well as well as the later stuff. No meaning in the soloing etc. Learn from that. You can also pick up the tabs on the net. Though you will have an idea of where the notes are being played, they will help you also develop your ear. Then try figuring out the scales that are used.

          One thing with Gilmour is that he repeats certain riffs alot, but vibrator and inflection in his playing make them different!

          Hope this helps a bit.

          Develop your style before you infuse the effects with it!

          : Hello All,

          : I am just writing to ask for suggestive help.
          : I am a student guitarist, amateur at best and have been playing bass for 4 1/2 years and guitar 3 years – I’m 19 now. I play by myself in my old garage on a shitty amp and am getting pretty depressed. I have friends who are buying guitar processors and new equipment(My opinion – SHIT ) and i am left playing an old arbiter fuzz and am working on getting a binson echorec TE-7 -They are blowing me away with learning. I really have a problem with reading notes being that I am a loner so I can’t pick up songs as fast – i do it by ear. But it seems I have developed a style where I can express myself and what I am feeling – I like the old sound – Gilmours Shine on Solo – High Hopes – Echoes -. It seems though I am coming to a standstill. I can’t seem to progress, I have been playing around an hour a day for a long time now – but it doesn’t seem to get better.

          :
          : Shortly said, I know i’ll never be Mr.Gilmour (and rightly so I want my own style) but what would I have to do to maybe be worthy of playing his material without F.U.B.A.R.ing it?

          :
          : I really appreciate any feedback you might leave#:)

        2. Re: To all who might help !!! -
          Floyd

          Hey,
          We all come to that spot, and new gear nececsarily won’t help you at all, although an echorec will inspire to learn, as new gear sometimes does.

          As a begginer you learn things and have revolutions ever months or so, figuring out how to hammer on, pull off-bend
          but they get farther and farther apart-you have to realise that.

          What I can suggest is that you try and maybe learn a new scale, practice improvising alittle more with these scales–I think improv is one of the greatest things to learn to do…listen to some other people, find some tunes that inspire, and learn them-can you read tablature?

          Most modern guitarists (amatuers) do not respect quality over quantity, thus playing slow isn’t everyones favorite thing, but as you get older it gets more impressive. Perhaps listen to some jeff beck, I find that inspiring occasionaly, specifically brush with blues, off the Who Else! album.

          We all hit ruts, but finding something new to learn is essential…maybe start trying to finger pick, or create your own music…keep listening around and you’ll find something to inspire you

          Floyd

      1. Re: What do you want from me?
        Filmour

        : DOes anyone know what combination of effects produce this tone In the Pulse and studio versions?

        : thanks mark

        compression,an overdrive unit (try a tube driver or the ts9, a little of chorus and mistress, long delay and strat in neck position.

        1. Re: What do you want from me?
          John

          MXR Dyna Comp, Big Muff, Mistress, Delay Long and saturated

          : : DOes anyone know what combination of effects produce this tone In the Pulse and studio versions?

          : : thanks mark

          : compression,an overdrive unit (try a tube driver or the ts9, a little of chorus and mistress, long delay and strat in neck position.

    5. Electric Mistress Seting
      Renato

      Hello!
      I need the patche of Electric Mistress for
      the Distorcion of David Gilmour.
      The Filter Matrix is crazy and very dificult to control.
      Thanks.

      1. Re: Electric Mistress Seting
        matt

        Try having the color and range on 4 and the rate on 3 on the flanger setting, as opposed to the filter matrix setting.

        : Hello!
        : I need the patche of Electric Mistress for
        : the Distorcion of David Gilmour.
        : The Filter Matrix is crazy and very dificult to control.
        : Thanks.

    6. BRITTANIA message board new article
      FLOYD

      Hey guys, thanks for the input! I fixed some stuff and changed some too-I now have Article 2 up, entitled Ancient Days-and have included a backing track to Com. Numb in the download section, its alittle tricky to play it, because geocities doesn’t allow mp3’s, so I changed its file format to .x, and well-there’s instructions there. Also, in light of this weird message board problem here, I made on at the site, if you want to use that one go ahead, I don’t think this ones lasting much longer.
      If you use that message board, you don’t need to register; it will just call you "guest" but you can if you want.

      Floyd

      : Who has the division bell songbook ?
      : I need a chords to cluster one, marooned and poles apart

      1. : Hey guys, thanks for the input! I fixed some stuff and changed some too-I now have Article 2 up, entitled Ancient Days-and have included a backing track to Com. Numb in the download section, its alittle tricky to play it, because geocities doesn’t allow mp3’s, so I changed its file format to .x, and well-there’s instructions there. Also, in light of this weird message board problem here, I made on at the site, if you want to use that one go ahead, I don’t think this ones lasting much longer.
        : If you use that message board, you don’t need to register; it will just call you "guest" but you can if you want.

        : Floyd

        :
        : : Who has the division bell songbook ?
        : : I need a chords to cluster one, marooned and poles apart

        I’ve got a lot of stuff I can conribute, e-mail me and I’ll let you know what I have.

        John [email protected]

    7. Brittania Article 2 Up, plus Info new message board
      FLOYD

      Hey guys, thanks for the input! I fixed some stuff and changed some too-I now have Article 2 up, entitled Ancient Days-and have included a backing track to Com. Numb in the download section, its alittle tricky to play it, because geocities doesn’t allow mp3’s, so I changed its file format to .x, and well-there’s instructions there. Also, in light of this weird message board problem here, I made on at the site, if you want to use that one go ahead, I don’t think this ones lasting much longer.
      If you use that message board, you don’t need to register; it will just call you "guest" but you can if you want.

      Floyd

      : Who has the division bell songbook ?
      : I need a chords to cluster one, marooned and poles apart

    8. Brittania Opened Kind OF.....
      Floyd

      : Who has the division bell songbook ?
      : I need a chords to cluster one, marooned and poles apart

      Well, heres the start of it, article one is up, and thats about it-in time once I can find a place to host MP3’s I’ll put backing tracks, ROIO’s and other stuff up….
      http://www.geocities.com/floydianatom/
      floyd

      1. TO; FLOYD!!!
        riis

        Hi, can’t seem to find where to make a new posting…?
        Anyway, looking forward to see your site up and running. Quite impressed so far. However reading your first article, Overview and basic ideas, I have some minor comments. When talking about overdrive/distortion units you say that everything post-Final Cut is a Tube Driver. I assume you’re only trying to give a tip about an affordable set-up? He used a Dallas/Arbeiter Fuzz Face from 68-75, used both Fuzz Face and the Big Muff on the In the Flesh tour of 77 and most likely just a amplifier distortion for the album (HiWatt?). He used the Big Muff on all of the Wall album and tour and also on his first solo album. Now you can clearly hear the Muff on the Final Cut solos (which I think is among his finest). Then on About Face he started to use Boss HM2 and continiued with Boss and the Muff for Momentary. I believe he didn’t start using the Tube Driver before the Division Bell sessions in 93.
        As you stated you will confirm everything with Cornish and this is not by any means ment as critisism.
        I loved what you said about the RAT. That’s one of my favourites. I try to use it as much as I can, and it can quite well emulate a Fuzz Face (it is in fact a hot wired Fuzz Face made by Steve Kiraly in ’76). It makes a good OD as well, maybe not as warm as the Tube Driver. And most of all, effectprosessors sucks big time! A final tip. If you are a stompbox fanatic, you should get a hold on "Stompbox" by Art Thompson. I bought mine at Amazon and it has the most amazing pix and interviews with the guys behing MXR, Electro Harmonix, Boss just everyone.

        I’m in an Animals Tour period and my favourite set up at the moment is
        Fender Tele=MXR Dynacomp=Big Muff=Electric Mistress=DD3=Sound City amp. I can sit for hours just playing the Shine On intro solo. Wonderful isn’t it?
        Again thanx for your enthusiasm for Gilmour and I will enjoy your site a lot!
        RIIS

        1. Re: TO; FLOYD!!!
          John

          Yeah Excellent site so far….

          As for the comment about the HIWATT, Gilmour gets his tones and OD sounds from the stomp boxes. The beauty of the HIWATTS are that they are Crystal clear and do not break up at high volumes.

          : Hi, can’t seem to find where to make a new posting…?
          : Anyway, looking forward to see your site up and running. Quite impressed so far. However reading your first article, Overview and basic ideas, I have some minor comments. When talking about overdrive/distortion units you say that everything post-Final Cut is a Tube Driver. I assume you’re only trying to give a tip about an affordable set-up? He used a Dallas/Arbeiter Fuzz Face from 68-75, used both Fuzz Face and the Big Muff on the In the Flesh tour of 77 and most likely just a amplifier distortion for the album (HiWatt?). He used the Big Muff on all of the Wall album and tour and also on his first solo album. Now you can clearly hear the Muff on the Final Cut solos (which I think is among his finest). Then on About Face he started to use Boss HM2 and continiued with Boss and the Muff for Momentary. I believe he didn’t start using the Tube Driver before the Division Bell sessions in 93.
          : As you stated you will confirm everything with Cornish and this is not by any means ment as critisism.
          : I loved what you said about the RAT. That’s one of my favourites. I try to use it as much as I can, and it can quite well emulate a Fuzz Face (it is in fact a hot wired Fuzz Face made by Steve Kiraly in ’76). It makes a good OD as well, maybe not as warm as the Tube Driver. And most of all, effectprosessors sucks big time! A final tip. If you are a stompbox fanatic, you should get a hold on "Stompbox" by Art Thompson. I bought mine at Amazon and it has the most amazing pix and interviews with the guys behing MXR, Electro Harmonix, Boss just everyone.

          : I’m in an Animals Tour period and my favourite set up at the moment is
          : Fender Tele=MXR Dynacomp=Big Muff=Electric Mistress=DD3=Sound City amp. I can sit for hours just playing the Shine On intro solo. Wonderful isn’t it?
          : Again thanx for your enthusiasm for Gilmour and I will enjoy your site a lot!
          : RIIS
          :

          1. Re: TO; FLOYD!!!
            mark

            Floyd,

            Very impressed so far with the article. I too, enjoy very much the three Shine On solos. I use a little delay out of my dd-5 and Boss CS-2…level at 3 o’clock…Sustain at 3 o’clock and attack at 3 too. I also use my MXR phase 90 on the third solo.

            Here is something worth stating. When picking for those solos, especially the first one, I advise strongly NOT to "force" the picking i.e. do not pick the string hard…instead loosely hold the pick using the opposite side (this is for a scrachy tone) and gently let the bend make the note. Let the volume do the work for you people. I just learned this…sounds much better.

            Actually, you can tell when gilmour does this, you can almost hear and overdriven tone when he picks the note hard.

            What do you guys think about this????

            Peace and Noise

            mark

    9. Re: The Division Bell chords needed
      John

      Cluster one – Am, Dm7, Em7, G
      Marooned – Bm(add9), GMaj7, Em7, Bm, ends on CMaj7
      Poles Apart – G, D, C(Sharp)m11, D/G, E, Bm11,

      These are the chords listed used in the songs. Hope this helps

      : Who has the division bell songbook ?
      : I need a chords to cluster one, marooned and poles apart

      1. Re: The Division Bell chords needed
        mark

        Does anyone know where i can find the tabs for the solo in "Great day for Freedom"? Sites like fatoldsun and astoria just give the chords. It would be much appriciated. thanks in advance.

        mark

  29. I cant seem to get the sound of Marooned. I am using a Smack LS – 11 Strat ( with Single Coils ) and Jackson DKMG ( 2 EMG’s ) and DigiTech RP300

    1. Re: Marooned
      john

      What are you trying to get the over all tone or the pitch shifting?

      For tone, Live he uses a whammy pedal and the pete cornish p-2 fuzz with delay. You can also get the tone with the Muff

      : I cant seem to get the sound of Marooned. I am using a Smack LS – 11 Strat ( with Single Coils ) and Jackson DKMG ( 2 EMG’s ) and DigiTech RP300

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