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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London 2002

Fuckin' hell! Excuse my language but I saw God last Friday (18th)
on his last London performance in Royal Festival Hall. First thing I did was to head for the stage and there it was. The cutomized Pete Cornish pedalboard. I almost fainted. I felt really stupid with tears in my eyes over this bigger than life experience but I wasn't alone. About 30 grown up men stood around me just 50cm from the Lord's sanctuary and we all sounded like we had the biggest orgasm of all time. One of the guards told us to step back and kindly behave ourselves. 10 min later He entered the stage. It all went blank and I had the time of my life. It's tough to be a Gilmour fan. I was totally exhaused.

Re: London 2002

Hey you're pretty damn lucky to be in that position. Can you tell us a little about the Cornish pedal board?

Re: London 2002

congrats, could you give a review of the show?

I was going to try and hit both of them when I saw that he was doing them, my
neighbor being a flight attendant, I could have gotten free tickets to london-however
after 9/11 they stopped allowing them, making my trip too expensive for me...your a lucky fan

Floyd

: Fuckin' hell! Excuse my language but I saw God last Friday (18th)
: on his last London performance in Royal Festival Hall. First thing I did was to head for the stage and there it was. The cutomized Pete Cornish pedalboard. I almost fainted. I felt really stupid with tears in my eyes over this bigger than life experience but I wasn't alone. About 30 grown up men stood around me just 50cm from the Lord's sanctuary and we all sounded like we had the biggest orgasm of all time. One of the guards told us to step back and kindly behave ourselves. 10 min later He entered the stage. It all went blank and I had the time of my life. It's tough to be a Gilmour fan. I was totally exhaused.

tube driver/RAT

I've posted a similar Q before, but this time I have bought myself a vintage RAT. It's great, the best distortion pedal I've ever heard!
(The Big Muff is a sustain pedal....). My problem is that it lacks a bit bottom when used as a overdive unit. Does any of you guys have a fav setting that can help me or do I have to by the Tube Driver as well?
Riis

Re: tube driver/RAT

I use it only as an overdrive, I keep the settings on 10, 10, and 5 (5 is volume)
I have quite a bit of bass to mine, it may be just my EQ, but it has almost too much bass
sometimes...but mixed with a muff oooohhh what a sound, add alittle mistress in there, beautiful

Floyd

: I've posted a similar Q before, but this time I have bought myself a vintage RAT. It's great, the best distortion pedal I've ever heard!
: (The Big Muff is a sustain pedal....). My problem is that it lacks a bit bottom when used as a overdive unit. Does any of you guys have a fav setting that can help me or do I have to by the Tube Driver as well?
: Riis

'Key' related question

Hello everyone. I realize that this is a effects message board, but i have a question that i am hoping someone can help me with. I am just starting playing guitar. So far i have the dd-5, mxr phase 90 and the cs-2. Effects arent my problem. I want to learn though how to improve, which means i need to learn the key of songs and scales i guess. can someone help me with what key some songs are in and what scales to use...Comfortably, Echoes, time, just to begin with...thanks a lot guys...i love this board...really informative.

Re: 'Key' related question

Comfortably Numb is in D Major and for the solo (outro) all you have to do is play a B minor pentatonic scale (which is still in the key of D). As far as Echoes goes, he uses a C# minor pentatonic for all of the soloing. In Time, Dave uses an F# minor pentatonic. Hope this helps!

Re: 'Key' related question

Comfortably Numb is in D Major and for the solo (outro) all you have to do is play a B minor pentatonic scale (which is still in the key of D). As far as Echoes goes, he uses a C# minor pentatonic for all of the soloing. In Time, Dave uses an F# pentatonic. Hope this helps!

Re: 'Key' related question

cool. thats helps alot. Could you help me out with ASTRONOMY DOMAIN, SORROW, AND DOGS. THANKS

Re: 'Key' related question

: cool. thats helps alot. Could you help me out with ASTRONOMY DOMAIN, SORROW, AND DOGS. THANKS

Astronomy solo, try starting on the high E string at the 12th fret, eighth notes then to the 11th fret, slide down to the 3rd fret same string then slide up to the 10th fret
back to the 3rd back to the 10th. that will get you started anyway? Dogs you have to drop your tuning down a step to D. I am planning on tabbing out the solo for this song soon
I will then post it.

To Floyd (the user) please read

Hi floyd
in one of the previous posts, you said you have a list of the mods done by gilmour (or rather, commisoned by him) on his hiwatts. Do you still have that list or know what he wanted modded? if you do, could you share please? thanks!

Re: To Floyd (the user) please read

I sent an e-mail to the guy, I'll post it once if arrives.

Floyd

: Hi floyd
: in one of the previous posts, you said you have a list of the mods done by gilmour (or rather, commisoned by him) on his hiwatts. Do you still have that list or know what he wanted modded? if you do, could you share please? thanks!

Re: To Floyd (the user) please read

Unfortuneatly the guys are unwilling to give this information out, their in england so it may have
been a different person I talked to, but they said no, but from memory, its a modified preamp,
linked stereo, presence control...thats all I can remember
;-(
Floyd

: I sent an e-mail to the guy, I'll post it once if arrives.

: Floyd

:
: : Hi floyd
: : in one of the previous posts, you said you have a list of the mods done by gilmour (or rather, commisoned by him) on his hiwatts. Do you still have that list or know what he wanted modded? if you do, could you share please? thanks!

Hiwatt dr-103s

I recently bought a dr-103s. It is a great sounding amp.I'm a little confused on the "stereo" thing.With a foot switch it will boost about 6dbs(about the difference between the bright & normal channels on a regular dr-103). The balance knob acts like a overdrive, taking it between the two. I see the uniqueness but shouldn't it have been called something else? They call it the "Gilmour" model.Is there something else that I might have not stumbled on?

Re: Hiwatt dr-103s

Well the 103S has the stacked stereo inputs, It also had some modifications to the preamp, as well as the presence control. The main reason they call it the S is because it was the modification ordered by Gilmour, or his tech. The CP-103 is the Townshend version. I wasn't exactly sure about your question but I hope this helps.

Floyd

: I recently bought a dr-103s. It is a great sounding amp.I'm a little confused on the "stereo" thing.With a foot switch it will boost about 6dbs(about the difference between the bright & normal channels on a regular dr-103). The balance knob acts like a overdrive, taking it between the two. I see the uniqueness but shouldn't it have been called something else? They call it the "Gilmour" model.Is there something else that I might have not stumbled on?

Re: Hiwatt dr-103s

: Well honestly I don't think he changes them at all unless in the early days...typically I'd
: say he leaves his effects on at one setting...I saw one on Ebay (103S) and was dying to get it
: unfortuneatly I'm a bit short, so I got a Sound City instead, but Hiwatt is the next amp-I'll probably wait
: out for a 103S-your one of two people I've talked to who has one. The others were just rumors
: Your lucky to have the amp alone, and with Mullards its gotta be priceless. I think the presense may be
: part of the modification, I had a list of all that was done-and a tech I know knew the specs for it, around 150 Pounds
: to get it modified.

: What other hiwatts do you have? I am currently starting work on building a Hiwatt SE-4123 cab copy
: (plexi-palace for the specs) And hopefully after a bit I'll probably sell the sound city for the hiwatt.

: Floyd

: : : Well the 103S has the stacked stereo inputs, It also had some modifications to the preamp, as well as the presence control. The main reason they call it the S is because it was the modification ordered by Gilmour, or his tech. The CP-103 is the Townshend version. I wasn't exactly sure about your question but I hope this helps.

: : :
: : : Floyd

: : : : I recently bought a dr-103s. It is a great sounding amp.I'm a little confused on the "stereo" thing.With a foot switch it will boost about 6dbs(about the difference between the bright & normal channels on a regular dr-103). The balance knob acts like a overdrive, taking it between the two. I see the uniqueness but shouldn't it have been called something else? They call it the "Gilmour" model.Is there something else that I might have not stumbled on?

: :
: : Thanks Floyd for the reply.The presense on this amp is more intense than my other hiwatts. This is a unique amp. I wish I could post a picture but I'm using a computer as old as the hiwatt (serial# 5005). It has 2 inputs that seem to be the same until I hit the foot switch. This thing has mullards and has the warmest sound.I wonder how Dave Gilmour uses these features.

This could very well be the one on ebay. Thats where I got it,about 2 weeks ago. It was called "must see". I (being a hiwatt fan since 1970} must spend. That was it! The last one(unless a cp-103 comes along). I have a old dr-103 and a ol-103(lead 100}. I (like you)need a 4x12 cabinet. I have a 71 fane loaded hiwatt I lucked into back in the 80's but need another. I thought the lead 100 was a versitol amp, but this 103s,w/ the footswitch is really unique! Is the sound city you bought still listed in the compleated items list on ebay under hiwatt? That is a clean amp! Good price too!

Re: Hiwatt dr-103s

: Well the 103S has the stacked stereo inputs, It also had some modifications to the preamp, as well as the presence control. The main reason they call it the S is because it was the modification ordered by Gilmour, or his tech. The CP-103 is the Townshend version. I wasn't exactly sure about your question but I hope this helps.

:
: Floyd

: : I recently bought a dr-103s. It is a great sounding amp.I'm a little confused on the "stereo" thing.With a foot switch it will boost about 6dbs(about the difference between the bright & normal channels on a regular dr-103). The balance knob acts like a overdrive, taking it between the two. I see the uniqueness but shouldn't it have been called something else? They call it the "Gilmour" model.Is there something else that I might have not stumbled on?

Thanks Floyd for the reply.The presense on this amp is more intense than my other hiwatts. This is a unique amp. I wish I could post a picture but I'm using a computer as old as the hiwatt (serial# 5005). It has 2 inputs that seem to be the same until I hit the foot switch. This thing has mullards and has the warmest sound.I wonder how Dave Gilmour uses these features.

Re: Hiwatt dr-103s what is stacked stereo?

: : Well the 103S has the stacked stereo inputs, It also had some modifications to the preamp, as well as the presence control. The main reason they call it the S is because it was the modification ordered by Gilmour, or his tech. The CP-103 is the Townshend version. I wasn't exactly sure about your question but I hope this helps.

: :
: : Floyd

: : : I recently bought a dr-103s. It is a great sounding amp.I'm a little confused on the "stereo" thing.With a foot switch it will boost about 6dbs(about the difference between the bright & normal channels on a regular dr-103). The balance knob acts like a overdrive, taking it between the two. I see the uniqueness but shouldn't it have been called something else? They call it the "Gilmour" model.Is there something else that I might have not stumbled on?

:
: Thanks Floyd for the reply.The presense on this amp is more intense than my other hiwatts. This is a unique amp. I wish I could post a picture but I'm using a computer as old as the hiwatt (serial# 5005). It has 2 inputs that seem to be the same until I hit the foot switch. This thing has mullards and has the warmest sound.I wonder how Dave Gilmour uses these features.

Re: Hiwatt dr-103s

Well honestly I don't think he changes them at all unless in the early days...typically I'd
say he leaves his effects on at one setting...I saw one on Ebay (103S) and was dying to get it
unfortuneatly I'm a bit short, so I got a Sound City instead, but Hiwatt is the next amp-I'll probably wait
out for a 103S-your one of two people I've talked to who has one. The others were just rumors
Your lucky to have the amp alone, and with Mullards its gotta be priceless. I think the presense may be
part of the modification, I had a list of all that was done-and a tech I know knew the specs for it, around 150 Pounds
to get it modified.

What other hiwatts do you have? I am currently starting work on building a Hiwatt SE-4123 cab copy
(plexi-palace for the specs) And hopefully after a bit I'll probably sell the sound city for the hiwatt.

Floyd

: : Well the 103S has the stacked stereo inputs, It also had some modifications to the preamp, as well as the presence control. The main reason they call it the S is because it was the modification ordered by Gilmour, or his tech. The CP-103 is the Townshend version. I wasn't exactly sure about your question but I hope this helps.

: :
: : Floyd

: : : I recently bought a dr-103s. It is a great sounding amp.I'm a little confused on the "stereo" thing.With a foot switch it will boost about 6dbs(about the difference between the bright & normal channels on a regular dr-103). The balance knob acts like a overdrive, taking it between the two. I see the uniqueness but shouldn't it have been called something else? They call it the "Gilmour" model.Is there something else that I might have not stumbled on?

:
: Thanks Floyd for the reply.The presense on this amp is more intense than my other hiwatts. This is a unique amp. I wish I could post a picture but I'm using a computer as old as the hiwatt (serial# 5005). It has 2 inputs that seem to be the same until I hit the foot switch. This thing has mullards and has the warmest sound.I wonder how Dave Gilmour uses these features.

Changing Pickups

Hey ya'll, I'm about ready to purchase an epiphone casino, but i need one thing answered. Can i change the P-90's in them to P-100's? They look slighty different, so i'm not sure...sorry, i know this ain't gilmour related, but who else do ya ask, the people at my music store don't know shit...

Fender vs Hiwatt, my final opinion...

yes, i'm the guy who thinks fender tube is the way to go. Why? I'll tell you...

First of all, Hiwatts are pretty much what Dave uses for his live stuff, and his new stuff. Hiwatts are good, but I'm sure most people would agree that a Floyd studio sound is better. Personally, i think the "new" pink floyd sound (80's, 90's, whatever...) isn't that great. The new songs just aren't what they were back in the 60's and 70's. The solos are a bit overdone, especially on live performances. Time, Money, Shine on......gimme a break, WAY to processed. Now, i use a strat with a DG-20, which is a "new" gilmour thingy, but it's VERY handy for nailing old tones. When I compare my guitar w/ DG-20 in a fender tube (devil, twin, etc) to a hiwatt, The fender wins in terms of 60's/70's sound. Hiwatts are used in live performances because he uses 10 times as much effects and hiwatts handle them a little better and a little louder. But gilmour DOES NOT NEED ALL THESE EFFECTS!!! listen to Shine on in pulse, then on Wish you were here. All that chorus, leslie, GOBS of midrange just doesn't cut it when compared to that smooth, compressed version in the studio.

I know this post may sound a little confusing, but here's the bottom line

Hiwatts - GOOD = used for tone coloring, live sounds, handling effects (which not much is needed for good tone), and loud volumes, BAD = Expensive, Old, no customer support, etc

Fenders = GOOD = tone coloring, loud volumes, good studio amps
BAD = Not bad, but can't QUITE compare to marshall in handling effects and playing live sounds

Conclusion = FENDERS!!! They can do it all, you can STILL BUY THEM AT A REASONABLE PRICE NEW!!! they have customer support (although not that good lol), the 70's studio sound is where it's at, and they do GOOD at live performances. As far as effects, they might not be able to handle CHORUS, OVERDRIVE, COMPRESSION, BIG MUFF, DELAY, TUBE DRIVER, but they handle MY setup OVERDRIVE, COMPRESSION, BIG MUFF, DELAY. As i read this post, it's kind of confusing, and looks rather stupid, but if you want to go out and try them both, you'll get my meaning, it's kind of hard to explain...

Re: Fender vs Hiwatt, my final opinion...

Hey Farley, just out of curiousity, what do you use for compression, overdrive and delay?

Compression, Overdrive, Delay...

I use an mxr dynacomp, Boss Super Overdrive, and Boss DD-3. I want to get a CS-2 someday, but the dynacomp is good in it's own way.

Re: Compression, Overdrive, Delay...

Do you get a nice effect by using the Dyna Comp to compress the Big Muff??

Re: Compression, Overdrive, Delay...

Oh yeah, its great, it has the thickness and creaminess of distortion, yet it's very clean sounding.....smooth...

correction

I meant Hiwatt, not marshall in the second to last paragraph...my mistake, MARSHALLS SUCK!

Speaking of Devilles...

After reading Harolds post, i went down to Hugo Helmer music and plugged my strat into a Deville 212. To tell you the truth....there really isn't a difference between the tone on this amp and my 65 twin reverb. Sure, the reverb has vibrato, but that's the only difference! Certainly not worth 300 dollars more. Plus, the deville isn't SO DAMN LOUD LOL! I've read some other reviews and people have compared this amp to a 65 twin reverb, and have said the same thing. I think i'm gonna go buy one when i have the cash, and use that.

Sound City

Well relating to amps, for people who want to get an amp for some floyd tone try a Sound City amp. Reeves worked here
before leaving to make mods to the sound city amps-he called them hiwatt. If you look on the Ummugumma album you can see
some sound city amps. These are also extremely cheap for their power and clean-it was some white noise when on, but that can be
modded out. I spent 400$ on my l120 mark 4, which is higher on the scale, I was just desperate and didn't want to wait, expect to pay 200-400.

All amps are point to point, not as clean as hiwatt, but P2P.

Floyd

Dave's AMP on a Budget- not necessary

Hey guys, just thought I'd tell you that if you are stressing over the fact that you don't have a Hiwatt,Don't worry about it. Honestly any clean tube amp will do just fine.You are better off focusing your paycheck on the pedals and guitar. Now if you're loaded-- get a Hiwatt of course, but out of all his gear , the amp matters the least. Most of you will say I'm nuts but, I can get his tone time and time again out of a Marshall and a Mesa and a Fender (clean channels of course)with the pedals listed above. Andrea made a god point down below about turning up the mids on the amp, if you have the DG20 you can boost the mids even more. If you have the Encyclopedia , you'll see that Dave rarely even uses the same amps in the studio from album to album.

EL84

I think it's mainly any tube amp with EL84's that do the trick. I love my 1965 Twin Reverb, it can knock down any metal head amp, and the tone coloring is just as good as a hiwatt, plus it's a combo so you don't have to worry about stacks and shit, but beleive me, it's louder than a stack...

Re: Dave's AMP on a Budget- not necessary

The one that really works for me is the new fender Cyber twin that can really close to Britsh amp type sounds, as well as vintage fender, and modern fender.

Opinion on amp

What's everyone's opinion on a Fender Deville 212 in comparison to Gilmours sound? I have one myself, and i think it does ok, but i want to know your opinions...

Re: Opinion on amp

no idea, I think essentially you need a good strong clean sound, which fender offers sometimes, and
something that doesn't color easily, that helps in keeping a good tone over all those dang effects he has on
all the time.

Floyd
(anyone know where I can get a custom built 2x12, nothing special just one?)

: What's everyone's opinion on a Fender Deville 212 in comparison to Gilmours sound? I have one myself, and i think it does ok, but i want to know your opinions...

Harry Joyce

Anyone who has ever marveled at the amazing sound of a hiwatt has got to stop a second to give thanks (in memory) to the life of the late Harry Joyce. We lost him this week and I realized due to his "mil. spec." wiring and O tolerance to inferiority I've been able to hear a guitar sound the best it possibly can. Thanks Harry, you'll be missed!

Re: Harry Joyce

*wonders if thats why I haven't got a response in my e-mail...its sad, *bows head*

Floyd

: Anyone who has ever marveled at the amazing sound of a hiwatt has got to stop a second to give thanks (in memory) to the life of the late Harry Joyce. We lost him this week and I realized due to his "mil. spec." wiring and O tolerance to inferiority I've been able to hear a guitar sound the best it possibly can. Thanks Harry, you'll be missed!

Re: Harry Joyce

Harry was surely a legend in the business. His mil-spec stands as the bar by which all amps should be judged in regard to quality of construction.

Floyd, I have a HJ custom 50 with matching 2x12 that I may be interested in selling. I've used it for studio work exclusively. There is no sound like it. E-mail me for more info if you're interested.

Re: Harry Joyce

: Harry was surely a legend in the business. His mil-spec stands as the bar by which all amps should be judged in regard to quality of construction.

: Floyd, I have a HJ custom 50 with matching 2x12 that I may be interested in selling. I've used it for studio work exclusively. There is no sound like it. E-mail me for more info if you're interested.

I would definitely be interested in the HJ custom 50...let me know the details...thanks..Fionn

Roger Watters bass

I have a rickenbacker bass (like that of Roger Watters) and i have a 50 watt peavey basic bass amp. I'm thinking of getting a new amp for a louder tone, but my friend said to just buy a cab for it...My amp supports a jack labeled Power Amp in, not sure what that means, but I've taken a cable and ran it through that jack and into my computer and have recorded before, is that where I'd hook the cab into? that's the only other jack besides the regular input...

Re: Roger Watters bass

trade your peavey in for an ampeg with a 15" speaker, a high frequency horn and at least 100 watts. A good brand will cost about $500, but less with a trade in. This should give you enough power to play any small club and last for a long time. If you want to spend more cash you should look at the web sites for SWR, ampeg, gallien-kruger, aguilar, and David Eden. When buying a separate bass cabinet, i suggest getting a 4X10 . hope this helps

Pink Floyd Legends on Vh1 on Sunday!!!!!!!

Can you believe it?! FINALLY! Anyway, it's at 9, buit check your listings. then, the wall at midnight ! WOOOOO~

My Amp: Gilmour

I have a Marshall VS65 and for a solid state amp, it's pretty decent. There is only one thing that I am curious about on the amp. When I am in the clean channel and using a fuzz pedal I have no problems adjusting the settings on my amp because there are seperate bass treble and mid controls. Well If I don't feel like using fuzz and I want to put on the dirty channel, then there are gain, bass, treble controls but no MID control. Well instead they put contour on there and I hate that. Where would you say that Gilmour would adjust this knob to? Where do you think he would set his contour dial at? If you can help that would be great. Thanx!

- Chris Failla

Re: My Amp: Gilmour

Don't ask us, you have the amp, it's only one knob, how hard could it be to turn it back and forth and find a good tone? heh heh, personally, i think you're using the wrong amp. Get a Deville buddy, i can't emphasize the use of fenders enough, they are the amps, hiwatts are good, but I can't see a difference between their tone and fender tone. Hiwatts might be the thing to use to get the Pink Floyd Live sound, but come on, this is a band that sounds 20 times better in the studio in my opinion.

a tube amp

what does it mean when a tube amp "breaks up?" is that when the volume is turned up on the clean channel or the distortion? I tried both and can't seem to figure out what you're talking about...

Re: a tube amp

Break up meaning the clean channel-the tubes getting saturated and starting to get an overdrive tone...

Floyd

: what does it mean when a tube amp "breaks up?" is that when the volume is turned up on the clean channel or the distortion? I tried both and can't seem to figure out what you're talking about...

Way too much power

Gosh, thanks for the help, but i tried cranking the clean channel on my deville and it gets WAY to loud before it gets that overdrive sound. it' sonly 60 watts too.

Anyway....

How does a Deville sound in comparison to Gilmour? I know Gilmour usually a different tube (EL84 type sound), but this has 6L6's. They are incredibly warm...

Re: Way too much power

well, you could try boosting the preamp vol, and lowering the master, that may do something...also
I hate to say a powerbreak made by marshall...it'll do what you want, let you crank the amp and have it break up
but the flipside is, people generally over-use it and hurt the amp in the process. read a few messages below where we discussed it.

Floyd

: Gosh, thanks for the help, but i tried cranking the clean channel on my deville and it gets WAY to loud before it gets that overdrive sound. it' sonly 60 watts too.

WEM cabinets and Hiwatt amplifiers

WEM cabinets and Hiwatt amplifiers

This popular thread has been given its own page : WEM cabinets and Hiwatt amplifiers

Memory Man

Can an EH Memory Man get a nice Dark side (time and money) type delay/echo? How about up to the Wall as run like hell and what not. Just curious about it. I've thought about getting a boss delay pedal before but i never really thought about the memory man. Please let me know if anybody has one of these or knows about them. Thank you.

- Chris Failla

Re: Memory Man

it's weird cause I'm sure dave uses the digital delay. I have both the digital and the Memory Man. I find that the memoory man gives off a real warm nice delay that sounds alot better than the digital. That is for Run like Hell, Sheep, Echoes, Those are the tunes I use it for. Every thing else is the digital.

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