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: rat

: Whats the diffrence between a rat and rat 2 distortion?
Nothing really, as far as componets go. The Rat 2 has glow in the dark paint and a power indicator. I have one from the early eighties with nothing but "RAT" on it and 3 knobs.
ITS STILL GOING STRONG

Signs Of Life

Heres a question-on Signs Of Life when that computer voice stuff goes on, whats being said? I can hear your going
to choke like me in the beggining but can't quite make out the rest I hear "I do not like being a-something"
kind of weird!

Re: Signs Of Life Full Translation

>From The Pink Floyd Encyclopedia by Vernon Fitch
>
>Voice: Nick Mason
>"When the child like view of the world went, nothing replaced it, nothing
>replaced it, nothing replaced it. I do not like being asked to, I do not
>like being asked to, I do not like being asked to."

: Heres a question-on Signs Of Life when that computer voice stuff goes on, whats being said? I can hear your going
: to choke like me in the beggining but can't quite make out the rest I hear "I do not like being a-something"
: kind of weird!

Where might I find a fuzzface?

I think the subject name covers my question pretty well.

Re: Where might I find a fuzzface?

I see a couple of them listed on eBay as I write this, between $20 to $70. Make sure you separate the words "fuzz" and "face" in your search, otherwise a bunch of fuzzface yarn baskets pop up.

: I think the subject name covers my question pretty well.

Re: Where might I find a fuzzface?

If you want vintage the sound quality is not the same for all. You also have to decide if you want a silicon or germanium fuzz. I recommend you check out www.foxrox.com and read about his fuzzes. He makes his circuit in fuzz face boxes and regular metal boxes. There about 160.

overdrive

well, what's better, Boss or Ibanez when it comes to Overdrive

DG-20

I'm thinking of buying the DG-20...Is it any good? Not just in getting a Gilmour sound, I'm talking about all around good tone and sound

Re: DG-20

Yeah its worth it, great versatility-I'm almost ready to start experimenting though, like putting a dimarzio pickup
into the bridge position, and leaving the other two EMG, to just thicken it up alittle, its great for everyhting
but I like to experiment.

: I'm thinking of buying the DG-20...Is it any good? Not just in getting a Gilmour sound, I'm talking about all around good tone and sound

Re: DG-20

In short, I think that if you enjoy Gilmour's sound in Pulse and Delicate Sound of Thunder, you'll probably be happy with the DG20. If you're aiming to achieve his tone in anything prior to DSOT, perhaps the DG20 is not for you.

I personally like it. There are many people (here) that don't, and I can understand where they're coming from. The drawback that many people point out is that sound is somewhat "processed" or "artificial". With this I must agree. The flipside of that is that the pickups are very quiet, no buzzing or humming even when passed through pedals that are known to be notoriously noisy such as the Muff. To me, that's great.

Leo

: Yeah its worth it, great versatility-I'm almost ready to start experimenting though, like putting a dimarzio pickup
: into the bridge position, and leaving the other two EMG, to just thicken it up alittle, its great for everyhting
: but I like to experiment.

: : I'm thinking of buying the DG-20...Is it any good? Not just in getting a Gilmour sound, I'm talking about all around good tone and sound

Re: DG-20

http://www.youtube.com/watch?v=acPCJYqaR8Q

check out my youtube space for my custom gilmour strat that ive just had made in my local guitar shop, fitted with the dg-20 pickup set from america. im waiting for the tremolo arm to be reduced then i will collect from shop.
cant wait...

ONE OF THESE DAYS - GUITAR EFFECTS

DURING THIS SONG THERE IS A "CHOPPED" TYPE SOLO GOING ON (EITHER BASS OR GUITAR... I HAVE HEARD BOTH).

WHAT DOES THIS "CHOPPED" (ON/OFF/ON...) TYPE EFFECT?

THANKS

Re: ONE OF THESE DAYS - GUITAR EFFECTS

: DURING THIS SONG THERE IS A "CHOPPED" TYPE SOLO GOING ON (EITHER BASS OR GUITAR... I HAVE HEARD BOTH).

: WHAT DOES THIS "CHOPPED" (ON/OFF/ON...) TYPE EFFECT?

I think that would be the bass going through a binson echorec which is a echo unit from the 70's that was unique with multiple tape heads.
check the link for more info on this unit http://www.binson.com/

: THANKS

Re: ONE OF THESE DAYS - GUITAR EFFECTS

: DURING THIS SONG THERE IS A "CHOPPED" TYPE SOLO GOING ON (EITHER BASS OR GUITAR... I HAVE HEARD BOTH).

: WHAT DOES THIS "CHOPPED" (ON/OFF/ON...) TYPE EFFECT?

: THANKS

Re: ONE OF THESE DAYS - GUITAR EFFECTS

Well if you good with muting you can try that, but I think it may be a tremulator or just some fancy studio work
which would make done in a flash...of course its played live as well, I saw there may be no effect-I know the bass
and guitar are playing, with slide on top-butI never really noticed it, so maybe just play it quiet if you can afford a
tremulator, I never used one but I'm thinking of getting one and hooking it up to both channels of my soon to be hiwatt
I hear its an interesting effect.

Floyd

: : DURING THIS SONG THERE IS A "CHOPPED" TYPE SOLO GOING ON (EITHER BASS OR GUITAR... I HAVE HEARD BOTH).

: : WHAT DOES THIS "CHOPPED" (ON/OFF/ON...) TYPE EFFECT?

: : THANKS

Re: ONE OF THESE DAYS - GUITAR EFFECTS

FOr this effect that ran the bass through a h$h amp with vibrato. The vibrato was incorrectly named and it was actually a tremolo. That will get you the sound.

Gilmour GEAR INFO, refreshingly interesing compared to usual gear info

Hi people, thought you'd all like to read some interesting info on Gilmour and Pete Cornish that' slightly different than the usual Gilmour gear site.
http://www.amptone.com/petecornish.htm

Electric Mistress

Who knows what songs dave uses the electric mistress flanger for?

Re: Electric Mistress

Trust your ears. The EM sound is usually pretty obvious when it's used in a particular song because this pedal sounds so one-of-a-kind.

For starters, much of the guitar parts in "The Wall Live" double CD, including the venerable Comf Numb solos.

: Who knows what songs dave uses the electric mistress flanger for?

Dave's Fuzz Face

Was Dave's fuzz face germanium or silicon? What color whas it? How long did he use is for?
thanks

Gilmour's 70's Dimarzio Pickups??HELP

Alrighty, we all know what he uses now in his strat, I read in the Encyclopedia that he used a Dimarzio in the bridge during the 70's. Anybody know what model Dimarzio???Is it the Virtual Vintage??? I have the EMG DG-20 but I'm not the fondest of it.Thanks for your time

Re: Gilmour's 70's Dimarzio Pickups??HELP

If you figure out be sure to let me know, I'd be interested in that....

Floyd

: Alrighty, we all know what he uses now in his strat, I read in the Encyclopedia that he used a Dimarzio in the bridge during the 70's. Anybody know what model Dimarzio???Is it the Virtual Vintage??? I have the EMG DG-20 but I'm not the fondest of it.Thanks for your time

CS-2 For Sale

Any of you who want a CS-2 I'm forced to sell mine so I can get my hiwatt amp. Price is 75$ plus shipping,
jap version, I had to connect the power supply internally so I wouldn't have to keep using batteries, it comes with it.
E-mail if your interested. I can send pics if requested.

Floyd

Re: CS-2 For Sale

: Any of you who want a CS-2 I'm forced to sell mine so I can get my hiwatt amp. Price is 75$ plus shipping,
: jap version, I had to connect the power supply internally so I wouldn't have to keep using batteries, it comes with it.
: E-mail if your interested. I can send pics if requested.

: Floyd

When you do get a compressor again, DEFNITELY get a MAXON CP101, it's a boutique version of the Dynacomp . I have owned the CS 2,CS 3 and the Dynacomp and the Maxon beats them all.It's true bypass too and dead quiet.Good Luck

TC D-Two

appreciate any opinions of the TC Electronics D-Two Delay.... seems to be a reasonable alternative to the TC-2290. thanks in advance

EMG´s SPC- and EXG- Voice Controls

Hello !
I´m wondering how these two voice controls work exactly and what they do to the sound. So does anyone have a schematic or PCB-Layout for these things ?? Maybe this could help me to customize my own guitar to get a better sound. Thanks for your help !!

Re: EMG´s SPC- and EXG- Voice Controls

: Hello !
: I´m wondering how these two voice controls work exactly and what they do to the sound. So does anyone have a schematic or PCB-Layout for these things ?? Maybe this could help me to customize my own guitar to get a better sound. Thanks for your help !!

I don't believe that I've ever seen actual schematics for the EMG active modules anywhere; in fact, I think EMG does some sort of protection on the modules to prevent people from copying them. Basically, one of them boosts high and low frequency for that kind of glassy scooped mid sound, and the other does the opposite by boosting the midrange for a meatier sound. Do a search for EMG and you'll see that they actually sell a prewired Gilmour pickguard. Beyond that, a company like Bartolini may offer some similar types of active electronics. Have fun!

Re: EMG´s SPC- and EXG- Voice Controls

Here's another great site which has the schematic you are looking for---http://utopia.knoware.nl/users/ptr/pfloyd/interview/equipment.html

: Hello !
: I´m wondering how these two voice controls work exactly and what they do to the sound. So does anyone have a schematic or PCB-Layout for these things ?? Maybe this could help me to customize my own guitar to get a better sound. Thanks for your help !!

dynacomp & midrange

hi guys..Sunday (as every sunday) i played with my guitar all Floyd songs from Pulse and i've noticed on thing. Until some weeks ago i played with mid control on my amp turned to zero, because that cleaned up sound and i thought that David also played with mid to 0. But i decided to turn the control on 2 and i noticed an incremented presence of the sound (as expected) and an incremented emphasys on the attack, the same effects of the dynacomp, so i thought: the dynacomp make the "clicky" sound of the attack very audible and make the sound fat, and these are the same effects as turning up the mid control on your amp so: in my opinion the dynacomp isn't a so special compressor, is just an average comp that pushes alot the midrange and the direct consequence of this is that the attack of the note is VERY audible. So now for song like Shine On or Coming Back i just turn up the mid control at about 4-5 and bang! istant "dynacomp-ish" sound. So the bottom line is this: to obtain that clicky sound that dynacomp gives, just turn up the mid control on your amp and if you have (as i have) an eq just add a little boost of mid-high frequencies to give a bright but fat sound tipical of this comp, BUT remember that turning up the mid control mess the sound because there is a slight boost of low and high frequencies just lower the gain a bit.
what do you think? am i crazy? ...Shine On

Re: dynacomp & midrange

You may be right, but I still won't discount the value of owning a DC, if not only for the reason that it complements the Big Muff so well. There's definitely some kind of "chemistry" going on between those two pedals, and I will never use the Muff alone - it must always be accompanied by the DC, in my humble opinion. If anyone knows the science behind why this is the case, I'd love to hear it. (Of course, this might be true with any compressor - I won't know because the DC is the only compressor pedal that I own, and that I've ever owned).

: hi guys..Sunday (as every sunday) i played with my guitar all Floyd songs from Pulse and i've noticed on thing. Until some weeks ago i played with mid control on my amp turned to zero, because that cleaned up sound and i thought that David also played with mid to 0. But i decided to turn the control on 2 and i noticed an incremented presence of the sound (as expected) and an incremented emphasys on the attack, the same effects of the dynacomp, so i thought: the dynacomp make the "clicky" sound of the attack very audible and make the sound fat, and these are the same effects as turning up the mid control on your amp so: in my opinion the dynacomp isn't a so special compressor, is just an average comp that pushes alot the midrange and the direct consequence of this is that the attack of the note is VERY audible. So now for song like Shine On or Coming Back i just turn up the mid control at about 4-5 and bang! istant "dynacomp-ish" sound. So the bottom line is this: to obtain that clicky sound that dynacomp gives, just turn up the mid control on your amp and if you have (as i have) an eq just add a little boost of mid-high frequencies to give a bright but fat sound tipical of this comp, BUT remember that turning up the mid control mess the sound because there is a slight boost of low and high frequencies just lower the gain a bit.
: what do you think? am i crazy? ...Shine On

I need schematics for delay ,THANX

I need schematics for delay pedal for any kind,
I really need a long lasting sound for my guitar for solo.
I think they give you those electronic schematics when you buy
the pedals or if you have them anyhow i'd appretiate it a lot if
you could send me any of those on my e-mail or anyway

How to get long lasting sound

What should I use to get the clear long lasting sound for
solo playing,is it called delay.
It kinda works with the ditorter but it stil isn't clear.
thanx a lot

Re: How to get long lasting sound

A big muff is very sustainy, but a compressor is what smooths out all distortion and gives LOADS of sustain

Question about Amp settings

I got this "Fender frontman"amp and I'm totaly disapointed of it's
sound.The distortion has a terible buzz sound and the normal channel
is not sensitive enough.when i play solo ditorted it stil has that
stupid buzz.And what should I use to get the long lasting sound for
solo,is it called delay.Thanx a lot

Selling my Gilmour gear

Selling my Rat 2 (vintage 80's model) with AC, Sovtek Big Muff Green version, and MXR Distortion + (similar to pete cornish soft sustin). Saving up for the Pete Cornish Precision Fuzz.E-mail if interested
encorerb@aol.com

Telecaster

What kind of pickups did Dave use with his Telecaster during Wish you were here and Animals?

Best Analog Delay?

appreciate any recommendations concerning the best analog delay (pedal, not rack)....

thanks in advance

Re: Best Analog Delay?

: appreciate any recommendations concerning the best analog delay (pedal, not rack)....

: thanks in advance

I would definitely say Boss DM-2 don't fall prey to the DM- 3 because it's aquired cheaper. I've heard that the MXR analog delay is excellent also but never played one. --Ralph

Paging Jeff Stanaway !

If anyone happens to know Jeff please ask him to contact me at RichM66@Compuserve.com

Thanks

Re: Paging Jeff Stanaway !

: If anyone happens to know Jeff please ask him to contact me at RichM66@Compuserve.com

: Thanks

try www.hammerdown.org/nighthawk & see if this is the same person

Digitech 2120

Have just bought a used one - looks promising! Can anyone help me with settings for ZZ top sounds? Particularly Rough Boy? thanks.

Re: Digitech 2120

I'm sure there is a whole other page for ZZ Top somewhere out there. How dare you ask. Take a real good look at this page again.

gilmour delay settings ?

You know it would be great to have a list of floyd songs and the delay settings used. I know the delay in time is a little different, but what about verything else? Is there a main setting for most everything or does it change alot? I fanyone has this info lets start a list.
Frank

Re: gilmour delay settings ?

Normally I think all floyd songs are pretty good with all sorts of delay, but heres my preferences
Shine On You Crazy Diamond Com numb Hey You solo, Thin Ice, In The Flesh, Mother solo, Time
you know I leave it here most of the time:
400 ms low feedback, low vol...preferably multi-tap delay
it sounds like a lot, but his delays go under eachother rather than overlapping like say boss DD-5
it works

Run Like Hell, ABiTW:
200 MS or so, 4-5 repeats fast...a test I do is to sweep the hands up the neck palm muting and making
that clicky sound, if it sounds similiar to run like hell your ready to go

Echoes Fat Old Sun:
200-400 MS 1-2 repeats low vol, leave it on the whole time...enough to add sustain
more than delay

One Of These Days:
Same as shine on.

hmm, well I can say more but I want to see what everyone else thinks, its not exact floyd, but with my
backing tracks I like add alittle more flare with delay, but most of it is pretty close I think.

:
: You know it would be great to have a list of floyd songs and the delay settings used. I know the delay in time is a little different, but what about verything else? Is there a main setting for most everything or does it change alot? I fanyone has this info lets start a list.
: Frank

Re: gilmour delay settings ?

I can't understand mr. Floyds posting that 200ms is right for Run Like Hell. Isn't that to little? My Run setting is 380ms.
For those early songs such as Atom Heart Mother/Echoes/Money I have 310ms with different feedback/volum after taste.
The Wall part1 I have 440.
Time intro 490 with high feedback and volum
Shine On/Wall (solo) 460 low feedback/volum
One of these days 1140

Re: gilmour delay settings ?

well when you do that effect you need to have shorter delay time or it won't work, other than that more is right.
one of these days is for guitar not bass, (slide guitar) but its just my preference not sayin it right

: I can't understand mr. Floyds posting that 200ms is right for Run Like Hell. Isn't that to little? My Run setting is 380ms.
: For those early songs such as Atom Heart Mother/Echoes/Money I have 310ms with different feedback/volum after taste.
: The Wall part1 I have 440.
: Time intro 490 with high feedback and volum
: Shine On/Wall (solo) 460 low feedback/volum
: One of these days 1140

Re: gilmour delay settings ?

for Run Like Hell i'd think a 400 ms delay, but remember that as i stated in a precedent post Gilmour uses the TC2290 that is a DYNAMIC delay and you can hear his effects hearing on Run Like Hell that sweep volume effect, very subtle, in every note of the triplets and especially on echo of each note. also for this song i'd set delay volume just below the maximum output...hope this help..Shine On!!

Re: gilmour delay settings ?

Run Like Hell is NOT triplets they are 16th notes. Where do people get the idea they are triplets?

: for Run Like Hell i'd think a 400 ms delay, but remember that as i stated in a precedent post Gilmour uses the TC2290 that is a DYNAMIC delay and you can hear his effects hearing on Run Like Hell that sweep volume effect, very subtle, in every note of the triplets and especially on echo of each note. also for this song i'd set delay volume just below the maximum output...hope this help..Shine On!!

Re: gilmour delay settings ?

: Run Like Hell is NOT triplets they are 16th notes. Where do people get the idea they are triplets?

from "Guitar Classics VI", a collector's yearbook from Guitar for the Practicing Musician"
Out of the PINK and into the BLUES: David Gilmour
by John Stix 1985

JS: How did you come up with "Run Like Hell"?

DG: It's all on a D pedal. That came from an old trick I'd been using, which is having a DDL in triplet time to the actual beat. When you play across it, it helps you to double-track yourself. It has a certain feel, which sounds boring and ordinary if you put it in 4/4. If you put it in a 3/4 time it has an interesting bounce to it. Because the DDL keeps running along, you've got time to leave the pedal playing and play a couple of chords while the effects carry on.

: : for Run Like Hell i'd think a 400 ms delay, but remember that as i stated in a precedent post Gilmour uses the TC2290 that is a DYNAMIC delay and you can hear his effects hearing on Run Like Hell that sweep volume effect, very subtle, in every note of the triplets and especially on echo of each note. also for this song i'd set delay volume just below the maximum output...hope this help..Shine On!!

A whole heap-load of Gilmour questions! Sorry:)

Hey all I have a few questions and I hope some of you could help me out. This page is killer and I have a few things I have been dying to find out for years and now I can finally talk to people with the knowledge.

First of all my setup includes the Big Muff, Boss Digital Delay, Boss Chorus, Electro Harmonix Memory Man (what Floyd could this be used for), Mxr Phase 90, Dan Electro Tremolo, Crybaby Wah, boss flange, reverb, and an old MXR graphic equalizer. I just bought the RAT distortion and I love it. I cant believe that I like it more than the big muff. I am wondering if I would really need both of these units and how to determine what songs to use which for? Also I was going to buy the Mxr Dyna Comp and I am not sure what compression would do to my tone or if I would even use it. I have never used compression with my setup and would love to hear your opinions on if it makes a big difference for Gilmour’s sound?

Round 2

Watching "Live at Pompeii" You hear at the very beginning of echoes as well throughout the video Gilmour has this technique with the slide where he uses the slide up and down across the strings like a violin bow. This creates a constant, spacey, sustained sound. I have tried to do this but I get nothing when I try. He must have something helping to make the guitar so responsive to this but what? Who here can pull this off and is it hard?

Round 3
Echoes live at Pompeii the funky part. During the funky part Dave is doing some bends and some whammy stuff. Could anyone tab this part out or explain what he's doing?

Final Round of questioning!

What is the setup for brain damage what effects etc..?

Sorry for all the questions but hope you can help.

Joe

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