Dave Gilmour's Guitar Equipment

Dave Gilmour's Guitar Equipment

How To Gilmour-ize Your Strat, equipment technical info & images

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 4x12'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 4x12'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 4x12 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 4x12 cabinet with Celestion speakers.

(B) WEM 4x12 cabinet with Fane Cresendo speakers.

(C) Custom Doppola rotating speakers.

Further info/images from Webpage by Murray Browne

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Re: MXR Dynacomp

It was his first compressor, so I'd assume he used it for both things, I hear it works quite well with the
muff.

Floyd

: I'm sure this has been brought up before but can someone tell me if the dynacomp would improve my tone? Would i use it clean or with the Big Muff or both? Anyifo is appreciated.

Re: MXR Dynacomp

Anyone had this problem? I can't get enough output from my Dyna. I need a volume boost plus the compression when I use mine, but the output just isn't enough. I've gone thru 5 of these in the last 30 years, and the newer ones just don't have enough output. Help!!!

Re: MXR Dynacomp

The effect is very subtle, but once my ears adapt, I can no longer live without it. For me, the pedal is on ALL the time, regardless of what I'm playing. The pedal especially shines when you are playing Shine On because it adds the signature "clicky" sound.

: It was his first compressor, so I'd assume he used it for both things, I hear it works quite well with the
: muff.

: Floyd

: : I'm sure this has been brought up before but can someone tell me if the dynacomp would improve my tone? Would i use it clean or with the Big Muff or both? Anyifo is appreciated.

70'S STRAT REISSUE!

How do I find out if the 70's reissue strat from the musician's friend catalog is American or Japanese?
Also is their any difference from this with the mexican strat? Pickup or playability wise?

Re: 70'S STRAT REISSUE!

Nevermind, it's a mexican.

Re: 70'S STRAT REISSUE!

japanese strats are no longer brought to the U.S., but the mexicans are just as fine, if you replace the electronics. Nevermind people that say they suck, theyre almost equal to the americans.

Re: 70'S STRAT REISSUE!

The Mexican Strats are way better than the American Standards, you just have to get one from 1995 or earlier.

Re: 70'S STRAT REISSUE!

all Fenders are cut in Corona, some just happen to be assembled in Mexico, sorry to tell ya the Mex strats are far better

ABITW 1

Do you guys use cs-2 compression combined with the delay. I think it sounds like what hes doing, iam just wondering if iam right. thanks, mark

Re: ABITW 1

Yeah I usually use it for that triplet set too...

Floyd

: Do you guys use cs-2 compression combined with the delay. I think it sounds like what hes doing, iam just wondering if iam right. thanks, mark

Digitech GNX series

Has anyone ever used one of the digitech gnx series to reproduce Gilmours sound?

Re: Digitech GNX series

Yes, I´m just tryin´ to ...

Orange boost

Anyone out there know on what songs we can hear the Orange Treble/Bass Boost used? I'm building a Dallas Rangemaster Treble Booster (very similar) and would love to be able to tune it to a Gilmour tone.

Re: Orange boost

I think it was mainly used with the muff in the early days later replaced with a GE-7.
I saw a schematic once but haven't gotten around to ever making one.

Floyd

: Anyone out there know on what songs we can hear the Orange Treble/Bass Boost used? I'm building a Dallas Rangemaster Treble Booster (very similar) and would love to be able to tune it to a Gilmour tone.

Re: Orange boost

: I think it was mainly used with the muff in the early days later replaced with a GE-7.
: I saw a schematic once but haven't gotten around to ever making one.

: Floyd

That's interesting; I guess you already know most British guitarists used these types of devices so they could crank
their amps without the tone getting too muddy. The Rangemaster certainly has its own kind of distortion thanks
to the germanium transistors, as I'm sure the Orange did as well, and would color the tone much more than the fairly transparent GE-7. Once I get my Big Muff made, I'll have to try it with the booster. Thanks Floyd, you da man.

Herco

where can I buy Herco heavy flex 75 picks ?? Dunlop's web-site lists them but no way to purchase thru them... internet searches producing zip.

thanks in advance

Re: Herco

http://www.bmusic.com.au/category822_1.htm
Herco Flex 50 and Flex 75 in any quantity

Re: Herco

clarification: less than box of 100 flatpicks?

: where can I buy Herco heavy flex 75 picks ?? Dunlop's web-site lists them but no way to purchase thru them... internet searches producing zip.

: thanks in advance

Re: Herco

Try stopping in at Guitar Center, or various music stores. If you search the internet you can find the boxes
of them running around 35$ You may be able to find them selling seperately...

Floyd
: clarification: less than box of 100 flatpicks?

: : where can I buy Herco heavy flex 75 picks ?? Dunlop's web-site lists them but no way to purchase thru them... internet searches producing zip.

: : thanks in advance

about setup

Ok, this is my equipment. From Strat with EMG to dynacomp, ts9, rat, USA big muff, ge7, phase100, mistress, univibe to marshall tsl 122.Intellifex Rocktron, for chorus and delay, in the effect loop.What about this order? Why the big muff is so different from money, comfortably ecc.? What's the phaser in the wall live, Phase 90 or 100? Tank you and remember: one of these days i'm going to cut you in a little of pieces

Re: about setup

set up sounds fine, depending what you use the GE-7 for I'd put it at the end. Maybe phaser and mistress could
be switched. other than that it looks good-its all your personal prference. Setting may be off with the big muff,
you may experiment. I'd say mistress is the most used, but I'd say 90-but don't sell the 100, its not really worth
getting a new one, try it out at a local guitar store?

Floyd

: Ok, this is my equipment. From Strat with EMG to dynacomp, ts9, rat, USA big muff, ge7, phase100, mistress, univibe to marshall tsl 122.Intellifex Rocktron, for chorus and delay, in the effect loop.What about this order? Why the big muff is so different from money, comfortably ecc.? What's the phaser in the wall live, Phase 90 or 100? Tank you and remember: one of these days i'm going to cut you in a little of pieces

What is a backline?

Anybody know what "backline" means? Having to do with live sound.

Re: What is a backline?

: Anybody know what "backline" means? Having to do with live sound.

Backline means any amps/speakers that are used by the band. Not the actual PA out front but the actual amps that a band uses.
www.gargantuansound.com

Re: What is a backline?

: Anybody know what "backline" means? Having to do with live sound.

backline means the club provides amps, drums etc..

American vs Mexican strat ?

This may be a dumb question but.. As far as playability and sound/tone
what are the differences beetween the american and Mexican strats??
I have 2 mexicans. I cant seem to use the tremelo without the thing going way out of tune. Also when playing with a band, even if my marshall stack is cranked I sometimes get a real wimpy sound when playing the higher strings. Can this be fixed by adjusting the pickups closer to the strings? Also when I went from string gauge .09 to .10 the entire guitar went wack! It seems a real pain in the ass to have to change strings on the thing, like it has to be setup everytime. I understand it's a bad idea to change the string gauge on a start but isn't that stupid? What's the deal with this thing? I need a strat! I play Floyd, I play out alot. I need to be able to change my strings without messing up the setup. I need to use the whammy and keep it in tune! I need to be able to play my solos on the high strings and have them powerful and punchy, i mean we are talking about gilmour here. I play mostly older floyd so I really would rather not go with active pickups, even though that is an option.
How are the 54 reissue pickups. Can someone help me please!
peace

Re: American vs Mexican strat ?

Hmm,
I have an 87 USA Made Strat Plus with Sperzel Locking Tuners and Wilkinson Rolling nut that never seemed to stay in tune.... Solved the problem and blocked the trem like on the Clapton Strat. LOL....

Re: American vs Mexican strat ?

I know exactly what you are going through, over the years I have had 4 different Mexican strats and they all did what you are describing,I was so pissed that I bought an American Standard and continued to have the same problems, fnally I sold them all and put my cash into the 57 Reissue, now it never goes out of tune. I tried every possible resource without actually spending the big bucks, stretching the strings, playing with the screws and springs in the bridge . I am not going to tell you to go out and get a 57 Reissue but maybe if you are inlcined buy a older vintage style bridge and see if you can install it or have it done. That might cure your problems.

: This may be a dumb question but.. As far as playability and sound/tone
: what are the differences beetween the american and Mexican strats??
: I have 2 mexicans. I cant seem to use the tremelo without the thing going way out of tune. Also when playing with a band, even if my marshall stack is cranked I sometimes get a real wimpy sound when playing the higher strings. Can this be fixed by adjusting the pickups closer to the strings? Also when I went from string gauge .09 to .10 the entire guitar went wack! It seems a real pain in the ass to have to change strings on the thing, like it has to be setup everytime. I understand it's a bad idea to change the string gauge on a start but isn't that stupid? What's the deal with this thing? I need a strat! I play Floyd, I play out alot. I need to be able to change my strings without messing up the setup. I need to use the whammy and keep it in tune! I need to be able to play my solos on the high strings and have them powerful and punchy, i mean we are talking about gilmour here. I play mostly older floyd so I really would rather not go with active pickups, even though that is an option.
: How are the 54 reissue pickups. Can someone help me please!
: peace

Re: American vs Mexican strat ?

i have played both the mexican and american strats quite a bit and i like the mexican much better. its got a better tone and playability. also, as far as the strings, i play 11's on both my mexican strats and they dont go outta tune cause i set them up for the increased tension. you have to tighten the screws in the back, under the plastic cover, and it is best to put 5 springs on the back instead of the 3 that come on the mexican. the guitar works great after that. -stevo

Re: American vs Mexican strat ?

as for the tremelo making your strings de-tune:
Go to fret 12 and lift the strings up enough to put significant tension, but without breaking
release, and repeat-then tune, then repeat a few more times. This will prevent it, same thing
happens with mine.

As for strings
I switched mine right when I got my strat, and I've done boomers, and ernies...I think what your talking
about is the tremelo bridge comes way out, you can change the screws to make it go in, I still haven't
taken it to a tech to get it re-alligned.

As for the thinness
it may be its too close to the fret, and is causing a slight palm mute feel to it, it happened to me
on my G-String. When I'd play like anything above 12 I'd get this terrible tone out of it, so I raised
the screws on the bridge part where the string comes out of and haven't had a problem since.

And finally for pickups:
EMG's are great, active yes, but I can still nail the tones. I hear vintage noisless are good
or maybe 57 reissues, I considered changing my neck pickup to a passive, but never put much more
thought to it. Go to harmony-central and check out some reviews on them.

(I use a 2000 mexican strat with the DG20, tonally I don't notice much except weight)
The differences are the body material primarily from poplar to ashwood I think it was
but I always thought with a few tweaks the mexican was just as good as the american. I hear
the japanese ones have had problems though. The bridge may be different too-tremelo system.
But I'd stick with the mexicans.

Floyd

: This may be a dumb question but.. As far as playability and sound/tone
: what are the differences beetween the american and Mexican strats??
: I have 2 mexicans. I cant seem to use the tremelo without the thing going way out of tune. Also when playing with a band, even if my marshall stack is cranked I sometimes get a real wimpy sound when playing the higher strings. Can this be fixed by adjusting the pickups closer to the strings? Also when I went from string gauge .09 to .10 the entire guitar went wack! It seems a real pain in the ass to have to change strings on the thing, like it has to be setup everytime. I understand it's a bad idea to change the string gauge on a start but isn't that stupid? What's the deal with this thing? I need a strat! I play Floyd, I play out alot. I need to be able to change my strings without messing up the setup. I need to use the whammy and keep it in tune! I need to be able to play my solos on the high strings and have them powerful and punchy, i mean we are talking about gilmour here. I play mostly older floyd so I really would rather not go with active pickups, even though that is an option.
: How are the 54 reissue pickups. Can someone help me please!
: peace

Re: American vs Mexican strat ?

Thanks floyd for all your help.

: as for the tremelo making your strings de-tune:
: Go to fret 12 and lift the strings up enough to put significant tension, but without breaking
: release, and repeat-then tune, then repeat a few more times. This will prevent it, same thing
: happens with mine.

I'll give that a try, I usually bend the shit out of the strings before hand and retune a couple times but it hasn'rt helped greatly.

: As for strings
: I switched mine right when I got my strat, and I've done boomers, and ernies...I think what your talking
: about is the tremelo bridge comes way out,

Yes totally
you can change the screws to make it go in, I still haven't
: taken it to a tech to get it re-alligned.

Yeah I messed with that and everytime i get the bridge where it's good (like a half inch raised)
the tension of the strings gets terrible, so I also adjusted the the springs until It got better, but I can't seem to get that perfect tension.
The strings seem tight and like I said the tone in places is just gone.
I have a les paul and I love it. I can change the strings whenever and it stays in tune has great tone and great feel.
The problem is it dosen't have that strat tone I need for the Floyd stuff. It seems that the strat has to be taken in and set up whenever I need new strings.
I was wondering if the American strat would fix all that since they are so much more expensive?

: As for the thinness
: it may be its too close to the fret, and is causing a slight palm mute feel to it, it happened to me
: on my G-String. When I'd play like anything above 12 I'd get this terrible tone out of it, so I raised
: the screws on the bridge part where the string comes out of and haven't had a problem since.
It's more of a note mutted but just dying. Like in "have a cigar" I play the rythm and it's nice loud and clear then i'll go for one of the little riffs at the 12th fret
during the verse and you can barley hear it and it just sounds weak. Strange.

: And finally for pickups:
: EMG's are great, active yes, but I can still nail the tones. I hear vintage noisless are good
: or maybe 57 reissues, I considered changing my neck pickup to a passive, but never put much more
: thought to it. Go to harmony-central and check out some reviews on them.

Cool, I'm thinkin about it. Just for curiosity why were you thinking of changing your bridge back to passive?
: (I use a 2000 mexican strat with the DG20, tonally I don't notice much except weight)
: The differences are the body material primarily from poplar to ashwood I think it was
: but I always thought with a few tweaks the mexican was just as good as the american. I hear
: the japanese ones have had problems though. The bridge may be different too-tremelo system.
: But I'd stick with the mexicans.

: Floyd

: : This may be a dumb question but.. As far as playability and sound/tone
: : what are the differences beetween the american and Mexican strats??
: : I have 2 mexicans. I cant seem to use the tremelo without the thing going way out of tune. Also when playing with a band, even if my marshall stack is cranked I sometimes get a real wimpy sound when playing the higher strings. Can this be fixed by adjusting the pickups closer to the strings? Also when I went from string gauge .09 to .10 the entire guitar went wack! It seems a real pain in the ass to have to change strings on the thing, like it has to be setup everytime. I understand it's a bad idea to change the string gauge on a start but isn't that stupid? What's the deal with this thing? I need a strat! I play Floyd, I play out alot. I need to be able to change my strings without messing up the setup. I need to use the whammy and keep it in tune! I need to be able to play my solos on the high strings and have them powerful and punchy, i mean we are talking about gilmour here. I play mostly older floyd so I really would rather not go with active pickups, even though that is an option.
: : How are the 54 reissue pickups. Can someone help me please!
: : peace

Re: American vs Mexican strat ?

It may be time to take it to a tech, I can only say to try things...try lifting the strings, it works great for me, I normally
do it when I put strings on. Also it takes awhile to change the saddle height, and it WILL de-tune your instrument
its just trial and error.

now for the notes dying, is it on both strats? It may be a patch cord, or certain fx pedal...you could also try lowering the
string to the pickup alittle more...theres alot of things that could cause that...

Floyd

: Thanks floyd for all your help.

:
: : as for the tremelo making your strings de-tune:
: : Go to fret 12 and lift the strings up enough to put significant tension, but without breaking
: : release, and repeat-then tune, then repeat a few more times. This will prevent it, same thing
: : happens with mine.

: I'll give that a try, I usually bend the shit out of the strings before hand and retune a couple times but it hasn'rt helped greatly.

: : As for strings
: : I switched mine right when I got my strat, and I've done boomers, and ernies...I think what your talking
: : about is the tremelo bridge comes way out,

: Yes totally
: you can change the screws to make it go in, I still haven't
: : taken it to a tech to get it re-alligned.

: Yeah I messed with that and everytime i get the bridge where it's good (like a half inch raised)
: the tension of the strings gets terrible, so I also adjusted the the springs until It got better, but I can't seem to get that perfect tension.
: The strings seem tight and like I said the tone in places is just gone.
: I have a les paul and I love it. I can change the strings whenever and it stays in tune has great tone and great feel.
: The problem is it dosen't have that strat tone I need for the Floyd stuff. It seems that the strat has to be taken in and set up whenever I need new strings.
: I was wondering if the American strat would fix all that since they are so much more expensive?

: : As for the thinness
: : it may be its too close to the fret, and is causing a slight palm mute feel to it, it happened to me
: : on my G-String. When I'd play like anything above 12 I'd get this terrible tone out of it, so I raised
: : the screws on the bridge part where the string comes out of and haven't had a problem since.
: It's more of a note mutted but just dying. Like in "have a cigar" I play the rythm and it's nice loud and clear then i'll go for one of the little riffs at the 12th fret
: during the verse and you can barley hear it and it just sounds weak. Strange.

: : And finally for pickups:
: : EMG's are great, active yes, but I can still nail the tones. I hear vintage noisless are good
: : or maybe 57 reissues, I considered changing my neck pickup to a passive, but never put much more
: : thought to it. Go to harmony-central and check out some reviews on them.

: Cool, I'm thinkin about it. Just for curiosity why were you thinking of changing your bridge back to passive?
: : (I use a 2000 mexican strat with the DG20, tonally I don't notice much except weight)
: : The differences are the body material primarily from poplar to ashwood I think it was
: : but I always thought with a few tweaks the mexican was just as good as the american. I hear
: : the japanese ones have had problems though. The bridge may be different too-tremelo system.
: : But I'd stick with the mexicans.

: : Floyd

: : : This may be a dumb question but.. As far as playability and sound/tone
: : : what are the differences beetween the american and Mexican strats??
: : : I have 2 mexicans. I cant seem to use the tremelo without the thing going way out of tune. Also when playing with a band, even if my marshall stack is cranked I sometimes get a real wimpy sound when playing the higher strings. Can this be fixed by adjusting the pickups closer to the strings? Also when I went from string gauge .09 to .10 the entire guitar went wack! It seems a real pain in the ass to have to change strings on the thing, like it has to be setup everytime. I understand it's a bad idea to change the string gauge on a start but isn't that stupid? What's the deal with this thing? I need a strat! I play Floyd, I play out alot. I need to be able to change my strings without messing up the setup. I need to use the whammy and keep it in tune! I need to be able to play my solos on the high strings and have them powerful and punchy, i mean we are talking about gilmour here. I play mostly older floyd so I really would rather not go with active pickups, even though that is an option.
: : : How are the 54 reissue pickups. Can someone help me please!
: : : peace

Re: American vs Mexican strat ?

Sorry this line should have said "not muted" guess that why i should proofread.

It's more of a note mutted but just dying

phase100&90

So is better phase 90 or phase100?
The sound is the same? And what about Gilmour?

Re: phase100&90

As for sound, I hear the 90 is more rich and full than the 100, however the 100 has
more versatility. I've heard conflicting reports, the 100 is said to be used in the animals tour
according the PF encyclopedia, but I've read articles of it being a 90.

I like the 90 just fine, plus its a classic. I can get the nice effect of it, I leave it on around 10, 11 o'clock
and 12 for hendrix, it almost sounds like leslie...

Floyd

: So is better phase 90 or phase100?
: The sound is the same? And what about Gilmour?

Backwards wah, does it ruin the wah pedal?

I wonder?

Re: Backwards wah, does it ruin the wah pedal?

: I wonder?

you sir, are a fag
get a life and get common sense
no publius enigma here, just your nonsense
fuck you!

Re: Backwards wah, does it ruin the wah pedal?

: : I wonder?

: you sir, are a fag
you sir are a total jewbag moron
: get a life and get common sense
i have a life you loser geek, I screw your ugly mom for kicks, and your grandma
: no publius enigma here, just your nonsense
: fuck you!
lick my hairy sweaty balls and learn how to play the guitar you pissdingler fuckhead loser!

Re: Backwards wah, does it ruin the wah pedal?

: : : I wonder?

: : you sir, are a fag
: you sir are a total jewbag moron
: : get a life and get common sense
: i have a life you loser geek, I screw your ugly mom for kicks, and your grandma
: : no publius enigma here, just your nonsense
: : fuck you!
: lick my hairy sweaty balls and learn how to play the guitar you pissdingler fuckhead loser!

There is no room is this newsgroup for Flammers like you, there is only classy upstanding individuals in here, if you can't say something good then get the F**K out. No question is too stupid to be asked.!!!!!!!!!How did you get in here AMPF not nasty enough for you.???

Re: Backwards wah, does it ruin the wah pedal?

You know this isn't a board of flaming-if people got a question we answer it, we don't need fuckers
who think they can come and do this shit, so leave.

Floyd

: : : I wonder?

: : you sir, are a fag
: you sir are a total jewbag moron
: : get a life and get common sense
: i have a life you loser geek, I screw your ugly mom for kicks, and your grandma
: : no publius enigma here, just your nonsense
: : fuck you!
: lick my hairy sweaty balls and learn how to play the guitar you pissdingler fuckhead loser!

Re: Backwards wah, does it ruin the wah pedal?

By the way, no I don't think it does. There may be some, but i have never heard of a pedal dying because of it.

Floyd

: You know this isn't a board of flaming-if people got a question we answer it, we don't need fuckers
: who think they can come and do this shit, so leave.

: Floyd

: : : : I wonder?

: : : you sir, are a fag
: : you sir are a total jewbag moron
: : : get a life and get common sense
: : i have a life you loser geek, I screw your ugly mom for kicks, and your grandma
: : : no publius enigma here, just your nonsense
: : : fuck you!
: : lick my hairy sweaty balls and learn how to play the guitar you pissdingler fuckhead loser!

Gilmour's Slide Technique?

I don't beleive Dave ever uses standard slide techniques. I know most of the stuff is played on the lap pedal but.. what would be the best way for me to learn his slide work quickly and effectivly. What fingers would I use the slide on, does he even put the slide over his finger or does he just hold it? How to keep the best control so the slide is not flying all over the place? Any tips anyone can give me would be great. In other words if you see a reply to this and you have a tip that would be useful please leav it. I would gain much from everyones input. Thanks

Re: Gilmour's Slide Technique?

lap steel guitar (Jensen) eg. D G D G B E tuning
standard steel bar style (ie. not a 'tube' as for standard 'slide guitar') volume pedal to swell the notes in, delay effect, nice amp, a steady & accurate hand, and a good pair of ears.

There's a DVD on 'The making of Dark Side of the Moon' where he displays use of all the above; simple, but inspiring, very musical.

Regards,
Guy

Re: Gilmour's Slide Technique?

Well he uses a metal slide. (Syd and in the early days Gilmour used a zippo on its side)
Anywho-he puts his pointer finger on top of the slide to control it, and the rest behind the slide
and on the strings for muting and such. He doesn't put his fingers in it.

So put the slide in between your middle finger and thumb-now put your pointer finger on top of the slide-and bend it over to hold
the top end of it in place-its natural placement, you should get it.
hope this helps.

Floyd

: I don't beleive Dave ever uses standard slide techniques. I know most of the stuff is played on the lap pedal but.. what would be the best way for me to learn his slide work quickly and effectivly. What fingers would I use the slide on, does he even put the slide over his finger or does he just hold it? How to keep the best control so the slide is not flying all over the place? Any tips anyone can give me would be great. In other words if you see a reply to this and you have a tip that would be useful please leav it. I would gain much from everyones input. Thanks

Have A Cigar Solo effects.

Whomever plays this one out, do you use distortion on the solo?
I have tried it without as that's how it sounds on the record but it just sounds too wimpy unless I hit the rat. What do you all use to play this?

Re: Have A Cigar Solo effects.

well I use phaser at 11 or 10...then I like to use the big muff, and some delay.
I also switch my pick to its side (Herco heavy gauge) so it has that scratchy texture, and
adds a bit of bite to the tone...depending on my mood I'll add the rat. Played live the song
is boosted and is alot more distorted than the studio. If you only have the rat, use that I guess
whats your fx setup?

Floyd

: Whomever plays this one out, do you use distortion on the solo?
: I have tried it without as that's how it sounds on the record but it just sounds too wimpy unless I hit the rat. What do you all use to play this?

Re: Have A Cigar Solo effects.

 Have A Cigar Solo effects.

This popular thread has been given its own page : Re: Have A Cigar Solo effects.

Cybaline and Green is the Color solos

Anyone know em?

Re: Cybaline and Green is the Color solos

I know alittle bit of the Green is the Colour one-well its off a live bootleg, so it may not be accurate
but its a major penatonic I forget what key its in, they mixed it with careful with that axe
great song, I think I'll pay it a listen later tonight....

Floyd

: Anyone know em?

question

do you know how does david guilmour makes the "uink" sound of the pig on "pigs 3 different ones" with the talkbox . i would apreciate you to send me a message :)

Re: question

I've never used one, but I'd assume the talkbox does most of the work, he inserts it into his mouth, probably makes
oik noises, maybe some phasing, delay, flanging too

Floyd

: do you know how does david guilmour makes the "uink" sound of the pig on "pigs 3 different ones" with the talkbox . i would apreciate you to send me a message :)

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