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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Amp!

Ok, I have 600 dollars, what amp do I buy? I don't want any answers that say save up for more, I just want to know that best one for that price!

Re: Amp!

Try and scout around the net for a 60-70's hiwatt if possable (not including cab). If not try to find a vintage twin reverb.
or you could get a selmer treble and bass, with a nice cab...all floyd used.
Floyd

: Ok, I have 600 dollars, what amp do I buy? I don't want any answers that say save up for more, I just want to know that best one for that price!

ADT

Hello,
You know I think we may have missed an essential to Gilmour's rig. The ADT double tracking rack piece.
Now I am not sure if it will play the same thing an octive up, but I am pretty sure. Listen to the wall, on almost
all distorted guitar solo's he has a guitar playing an octive up, comfortably numb, young lust, thin ice, hey you.
Then you start noticing it on other songs, Shine on as you know has it on the verse solo, I believe Dogs does
I think it adds quite a bit of power to his music and could be said to be a huge piece we have overlooked.

Floyd

Re: ADT

I don't think so...i've was reading an interview with Alan Parson and i've read that it's true he's used the ADT but only on studio albums (this is what you have listened on the Wall, for The Wall Live this strange effects is due also to the Electric Mistress), the greatest example is the solos on Money, there is a really evident use of ADT. For all his live stuff (also Delicate Sound and Pulse) he doesn't use that, i can't hear his effect...the facts that he has a big and fat sound (sometimes as thin as needed) doesn't mean that he uses ADT but it's the consequence of Alembic, effects, guitar, pickups, FINGER, ecc. ...this is only my opinion...Hope this help and Shine On!!!

To Riis and others who visit this site

Hey Bjorn Riis

I am very sorry it took so long to get back to you.
I have read most of your posts from the web sight. You have very good information and seem to know and understand this fantastic tone. I love and appreciate it as
well.
I am in a Pink Floyd Tribute band in the near Seattle Washington. We have been working on the project for several months and have yet to perform for a live audience.
Yeah! I do the Gilmour part!
I am setting up a web site that will show all of my Gilmour gear and how I run it. Also it will contain sound files that demonstrate what I have learned as well as what
works with each song. I have come close to most of Dave's tones and playing style, but I have not come close to actually mastering any of this. If we could master it,
then we wouldnt have this drive and Gilmour would be just another guitar player. I always remember this one thing in my relentless pursuit and passion for this amazing
gift he has...
there can only be one. Just the same as nobody else can be you.
As far as the Rat 2, you really need to hear for yourself. I highly recommend this pedal over any others. This nails Money solos. It will turn any amp into to a Marshall in
the lead channel. My opinion. You will not be dissapointed.
I am also going to post this on the web site because I am going to give a run down on what gear I use.
I use two Fender Strats
1990 U.S. HM Srat with humbucker at bridge
2000 U.S. Standard Stratocaster with Vintage Noiseless pickups.
I have tried the EMG DG20 and decided it was not worth the money because I match most of the tones with the humbucker and various EQ settings in different
patches. I am also thinking of getting rid of the Vintage Noiseless. My Strat just seems to fall short of its authentic origional sound whenever I make any pickup
changes. The origional quality of my particular instruement just isn't there when I change it.

Here's the chain...
Origional (not Dunlop) Cry Baby by Thomas Organ Company. >
Boss TU 2 Tuner >
Boss CS 2 (THIS IS A MUST HAVE!) >
Ibanez CP9 >
Boss AC 2 Acoustic Simulator. (works very well)
Boss LS 2 Line Selector (to bypass entire pedal setup to and use specific Digitech patches.) >
Boss SD2 Dual Overdrive >
Boss HM 2 (Guilmour has one, but I still love the great brown sound it makes for Van Halen.) >
Boss DM2 Digital Metalizer >
Pro Co Rat 2 (new, not vintage. THIS IS A MUST HAVE!)
EH Big Muff U.S. Reissue (THIS IS A MUST HAVE!
EH Electric Mistress Deluxe (from 70s or early 80s? AC power with no ground prong on power plug. Also black label with three knobs to the right side) >
THIS IS A MUST HAVE! >
MXR Phase 90 (I dont use this much)
Dunlop Univibe with foot controler THIS IS A MUST HAVE! Any Colour You Like! >
Digitech 2112 rackmount effects processor. (for delays, reverbs and EQ. I have several custom patches that get very close to Shine on...) >
Marshall 9005 50/50 watt stereo power amp EL34s. >
Marshall 1960AV 4x12 with Celestion Vintage 70 speakers set to stereo from Marshall 9005
(Alternate amp.... Marshall JTM622 60 watt combo, 2x12 + 2x12 extension.)
That's about it.
I will let you know as soon as I get the web site going. It may be a month or so. Be patient.
I'll look forward to reading and posting more on the web site and I will try to answer any questions as soon as I can.
Thanks
Larry

Re: To Riis and others who visit this site

I forgot to mention I have the Dunlop Talk Box! Fantastic piece of gear... a must have!

WEM cabs

Where are they? I'd be interested in picking one (or more) up. E-mail me direct. Thanks!

Re: WEM cabs

: Where are they? I'd be interested in picking one (or more) up. E-mail me direct. Thanks!

We are working with WEM. Our plans are to manufacture a genuine re-issue of the cabinets David Gilmour uses. If this intersts you, email me and I will fill you in with more details.

Ron Berger
Roadie Stuff

David Gilmour's playing...

yeah, I think Gilmour is great, he's almost as good as George Harrison!

GHS BOOMERS

Did Gilmour use Boomers during the 70's?

Re: GHS BOOMERS

No try gibson sonomatics or ernie balls

Floyd

: Did Gilmour use Boomers during the 70's?

Just a thought....

After reading a lot of these postings I can't help but notice the number of people going through such pains and money to sound Just Like David Gilmour. I agree, he's great. He's the reason I play guitar. I have a 57 Strat, Marshall Amps, Muff, Ratt, MXR's etc. and so forth.......and I love to play his solos. But I also like to think that I have my own style. I have learned a great deal from listening to Pink Floyd, but that's what makes them so great. They did it first, it's THEIR style. Their voice. You'll never be remembered for being able to nail someone else's stuff.

Re: Just a thought....

great postings guys!!! i absolutely agree with the posters have stated that copying Gilmour's style is not a thing meaningless...is more...i've already stated in my others postings that you first of all must learn to play guitar with feeling and this doesn't mean to copy HIS feeling but just playing with passion, learning to appreciate the guitar as a source of BIG emotions, as this is sometimes forgiven...for the question about buying all his effects...i also do it but i do it because i like his SOUND not to SOUND AS HIM...so this is my opinion...and Shine On!!!

Re: Just a thought....

I find your thought very inspiring. You're absolutely correct. Cloning Gilmour should not be an ends, but rather a means to an ends.

I think each of us has a style that is a synergy of various guitarists that we find appealing. For us here, Gilmour would obviously be a large percentage of the total recipe. I strongly believe that it is important to NAIL the Gilmour sound first as perfectly as possible before incorporating it into my style. Starting from an established sound and then adding and subtracting to my liking is, for me, better than molding my style out of thin air or from a mediocre Gilmour imitation. In music, it seems to me that superb style often comes after a superb ability to imitate certain artists that you love.

Well, it was good of you to remind us all.

: After reading a lot of these postings I can't help but notice the number of people going through such pains and money to sound Just Like David Gilmour. I agree, he's great. He's the reason I play guitar. I have a 57 Strat, Marshall Amps, Muff, Ratt, MXR's etc. and so forth.......and I love to play his solos. But I also like to think that I have my own style. I have learned a great deal from listening to Pink Floyd, but that's what makes them so great. They did it first, it's THEIR style. Their voice. You'll never be remembered for being able to nail someone else's stuff.

Re: Just a thought....

Man, you are sooo right. Nobody has ever done well musically by copying other people. I'm thinking of getting some of the stuff Gilmour has just because I like how clean and crisp it all sounds, but I'm not gonna go out and match it all up perfectly and stuff, or try to solo like him, I have my own way, and I have my own ideas...

Re: Just a thought....

oh, you are so wrong! I totally agree with Leo and mark. This site is a true fetish site for me. At last I found someone to talk to about my illness. At last I found someone who loves this man as much as I do. His sound and style is so unique and we are desperately trying to nail it as best as we can. But as a guitarist, I feel that I have my own style. I don't think any of us want to bring Gilmour into our own band. Even if, it would be blasfemi to me. This is simply a tool to build our own style and to really dig deep in our passion.

Re: Just a thought....

People that contribute to and or use the information in this site are doing it because they have a passion for Pink Floyd and David Gilmore. Not to copy to be exact just for the sake of saying...hey i can play this just like Gilmour. The love is much deeper then that. Unfortunally this concept is something that people like the last two posters will NEVER understand. Playing Pink Floyd is so much more then trying to replicate. Its a feeling, a mood and a life style in which only a select few will understand. I truely feel for people that dont feel passionate about things...
my2cents -mark

Re: Just a thought....

:
Dude, you COMPLETELY missed my point. I have a love and a passion for all things Pink and Gilmour. That's why I have the '57 strat. The Marshall / Vox dual amp combination. Analog pedals and digital rack mounts. And every album the band AND David have ever put out. (including that lame Paul Mccartney thing that was released two years ago) So kiss off with the "no passion" crap. I've just directed my passion into a style and voice of my own. Yes, I borrow heavily from David, Clapton, Vaughn and others. But when I play, I want people to experience and feel the emotion and passion that I put into my music. Not my passion for someone that I admire. That is of course you plan on a career with a Floyd cover band. In that case, go for it.

People that contribute to and or use the information in this site are doing it because they have a passion for Pink Floyd and David Gilmore. Not to copy to be exact just for the sake of saying...hey i can play this just like Gilmour. The love is much deeper then that. Unfortunally this concept is something that people like the last two posters will NEVER understand. Playing Pink Floyd is so much more then trying to replicate. Its a feeling, a mood and a life style in which only a select few will understand. I truely feel for people that dont feel passionate about things...
: my2cents -mark

Muff for Shine On?

My favourite Gilmoursound period, is the Animals tour of 77. I have lots of bootleggs from that peroid, and I try to nail his sounds as close as possible. He definetely used Telecasters for most of the songs (either fitted with a Duncan single humbuck or a standard Fender humb.). Now does any of you guys know what kind of overdrive he usded? The encyclo says that he used the Muff and the Fuzz face. Any experience using the muff for Shine on? Together with a compressor perhaps?

Re: Muff for Shine On?

Gilmour used an Orange Treble & Bass booster for Shine On.
You can't get them any more but BSM make a pedal called the Model OR which is a replica. Try their website: http://www.treblebooster.com/

: My favourite Gilmoursound period, is the Animals tour of 77. I have lots of bootleggs from that peroid, and I try to nail his sounds as close as possible. He definetely used Telecasters for most of the songs (either fitted with a Duncan single humbuck or a standard Fender humb.). Now does any of you guys know what kind of overdrive he usded? The encyclo says that he used the Muff and the Fuzz face. Any experience using the muff for Shine on? Together with a compressor perhaps?

Re: Muff for Shine On?

No muff on shine on, I have a few animals bootlegs but I'd say he just used overdrive, I hear the
orange bass and boost works as an overdrive, or it could be he was just overdriving his enourmous amount
of amps? I use my proco rat as overdrive I love it, mix it with phaser and I can get close to animals tone,
but not exactly...

: My favourite Gilmoursound period, is the Animals tour of 77. I have lots of bootleggs from that peroid, and I try to nail his sounds as close as possible. He definetely used Telecasters for most of the songs (either fitted with a Duncan single humbuck or a standard Fender humb.). Now does any of you guys know what kind of overdrive he usded? The encyclo says that he used the Muff and the Fuzz face. Any experience using the muff for Shine on? Together with a compressor perhaps?

Electric Mistress - Old vs New

Ok, is there any difference in sound/function between the old EM (green logo, knobs horizontally across the top) and the newer EM (silver logo, knobs vertically along right)? If there is, which gives a more Gilmourish tone, as heard on songs like Comf Numb? Thanks for you suggestions.

Re: Electric Mistress - Old vs New

I just bought a vintage 70's deluxe electric mistress (silver with the knobs on the side) I'll get back to
you, I don't see how there could be too much of a difference though, plus there somewhat cheaper.

Floyd

: Ok, is there any difference in sound/function between the old EM (green logo, knobs horizontally across the top) and the newer EM (silver logo, knobs vertically along right)? If there is, which gives a more Gilmourish tone, as heard on songs like Comf Numb? Thanks for you suggestions.

Hi-Watt amps

God HIWATT AMPS COST SO FUCKING MUCH!! Would a Fender Stage 160 (twin 12" celestions) work well? Cause I know he used a Fender in the studio a lot, and most fender amps are about the same.

Re: Hi-Watt amps

Yeah they cost alot, I'd say try for a vintage tinw reverb blackface is at all possable personally,
but I myself am saving up for a vintage dr-103...

Floyd

: God HIWATT AMPS COST SO FUCKING MUCH!! Would a Fender Stage 160 (twin 12" celestions) work well? Cause I know he used a Fender in the studio a lot, and most fender amps are about the same.

This site is cool, but rather misleading...

I came here for my first time about 3 months ago. After I saw this site, I had my heart set on getting a '57 Strat, EMG equip, and a bunch of effects. After doing some research, I found out that EMG was started in 1974, and Dave didn't buy anything from them until 1984. Then I found out that Dave didn't buy a '57 strat until the 80's either. When I first came here, I thought that I was looking at THE STUFF that was used during the good years of Pink Floyd (1970-1979), not what he's using now. What I really want to know is what he used for Meddle, Obscured, Dark Side, Wish you were Here, Animals, and The Wall in the studio recordings, and I think thats what most people come here for....Now I searched around the net and found other sites similar to this, and they give the exact same info...WHY ARE THEY SO INTENT ON GIVING US INFO ON WHAT HE USES NOW!? Pink Floyd doesn't sound near as good as they did in the 70's, and I'm sure most people would feel that way about it too. Now, Im stuck on what to buy for a guitar, effects, etc. Does anyone have any clue what he used back when Pink Floyd was in their Prime?

Re: This site is cool, but rather misleading...

Well he used a 71 CBS Strat, dimarzio pickups, most of the effects are what he used back then too, but more
refined, Mistress, Big Muff, Arbiter Fuzz Face, Wah, Hiwatt, those are the biggies, maybe an orange treble and bass
boost...try a CE-2, binson echorec, univibe...sadly the prices on alot of these are quite high, remember
all those are vintage not reissues.

About the site, true, it is somewhat misleading if you don't read it, for the 94 tour we finally got to see
a list of effects, but the only thing I am aware of that tells his effects from the glory days are in the PINK FLOYD
Encyclopedia. Now you so boldly put in caps WHY ARE THEY SO INTENT ON GIVING US INFO ON WHAT HE USES NOW!?
its because thats really all we know. But his sound hasn't changed much, alot of his good ol tones are still in this list

Oh BTW I hear the Alembic F2-B is a pinacle in his tone after DSoTM, I haven't tried it, but I have read
numerous reviews saying that it "the thing" of gilmours tone. I still don't believe it but, hell he's used it
since DSoTM.

Also, the EMG's are great pickup set, I can still nail the old tones, but the new ones as well...thats why
gilmour got them, because the gave the same tones as the old ones, but evan more versatile, like
the slogan, its like a preamp in your guitar, and it is...I don't think anyone knows what dimarzio pickups he
used...I also am wondering on what reverb he used, perhaps that from a fender twin reverb, which he used
alot too.

Floyd

: I came here for my first time about 3 months ago. After I saw this site, I had my heart set on getting a '57 Strat, EMG equip, and a bunch of effects. After doing some research, I found out that EMG was started in 1974, and Dave didn't buy anything from them until 1984. Then I found out that Dave didn't buy a '57 strat until the 80's either. When I first came here, I thought that I was looking at THE STUFF that was used during the good years of Pink Floyd (1970-1979), not what he's using now. What I really want to know is what he used for Meddle, Obscured, Dark Side, Wish you were Here, Animals, and The Wall in the studio recordings, and I think thats what most people come here for....Now I searched around the net and found other sites similar to this, and they give the exact same info...WHY ARE THEY SO INTENT ON GIVING US INFO ON WHAT HE USES NOW!? Pink Floyd doesn't sound near as good as they did in the 70's, and I'm sure most people would feel that way about it too. Now, Im stuck on what to buy for a guitar, effects, etc. Does anyone have any clue what he used back when Pink Floyd was in their Prime?

Re: This site is cool, but rather misleading...

Ok. I don1t really understand your problem. The list at the top of the page is the equipement used for the '94 tour. But if you read down the page, on this discussion, you'll recognize alot of information on the vintage stuff. Open your eyes before you complain! It's true that his "red" strat (bought in 84) is a 57, but it's a reissue. If you look at the Pompeii video you'll see the original one. He also used 64 and 71 models. For the aerly days he used the Fuzz face, Binson echo (try the Memory man from Electro Harmonics) and a wah wah. He used Sound Citys, Fenders but settled with Hi Watts and Marshalls. Later, he added a MXR phaser in 72 and an Electric Mistress, MXR Dynacomp and the Muff in 77. For the 75/77 tours he often used Telecasters (fat). So as you can see, he uses the same set up now, with additional effects and the EMGs. I find the EMGs too prosessed for the earlier stuff. But as I've stated before; it's not the equipement, it's the fingers! But ofcourse, some nice stompboxes will help you on your way. Look at our previous statements for settings and additional info. This site kicks ass if you want it to!

Hello, I need help with an amp question. Please.

Hello, my name is George and I recently bought a Fender Champion 30 amp. This model doesn't have a headphone

jack. It does however have an external speaker jack. By the external speaker jack is written, Maximum power 30 Watts,

MINIMUN LOAD 8 OHMS. My question is can I use the external speaker jack as a headphone jack without causing any

harm to the amp? If you can help me I would appreciate it, THANK YOU.

Re: Hello, I need help with an amp question. Please.

No you can't a speaker jack is an output, a headphone is an input...

: Hello, my name is George and I recently bought a Fender Champion 30 amp. This model doesn't have a headphone

: jack. It does however have an external speaker jack. By the external speaker jack is written, Maximum power 30 Watts,

: MINIMUN LOAD 8 OHMS. My question is can I use the external speaker jack as a headphone jack without causing any
:
: harm to the amp? If you can help me I would appreciate it, THANK YOU.

Re: Hello, I need help with an amp question. Please.

: No you can't a speaker jack is an output, a headphone is an input...

: : Hello, my name is George and I recently bought a Fender Champion 30 amp. This model doesn't have a headphone

: : jack. It does however have an external speaker jack. By the external speaker jack is written, Maximum power 30 Watts,

: : MINIMUN LOAD 8 OHMS. My question is can I use the external speaker jack as a headphone jack without causing any
: :
: : harm to the amp? If you can help me I would appreciate it, THANK YOU.

Hi,You can use the speaker output to feed your headphones,they would be in mono,but you would need to have an external cct box to attenuate the level and avoid damage to the phones and possibly your ears,any guitar shop electrician should be able to knock up a suitable unit in a small project box,it's just a few resistors and and a couple of sockets. Regards Paul Shaw.

tremelo

okay, I need to shorten my tremolo, now what part of the bar to I cut? Do i just start cutting the end where it's bent and kind sticks out, or do I cut it in the middle and then weld the end to it so that the handle's still there?

Re: tremelo

Check out the posts below about a shoprtened tremelo arm, I attempted top describe it if
you can't understand e-mail me.

Floyd

: okay, I need to shorten my tremolo, now what part of the bar to I cut? Do i just start cutting the end where it's bent and kind sticks out, or do I cut it in the middle and then weld the end to it so that the handle's still there?

WANTED: Dunlop TVP-1 "wa wa" style pedal

need ASAP - please email if you have one or no someone who is selling one.

Thanks

Re: WANTED: Dunlop TVP-1 "wa wa" style pedal

:who is selling one.

: Thanks
i have three BRAND NEW TVP 1's, as you know they have been discontinued. i bought them from a store in spokane that was going out of business. they are$300.00 each.

CP 9

I have an Ibanez CP 9 now. Brighter sounding and more punch than the Boss CS2. That's I can say for now. I will find out more and what it works well for and keep you all posted.

Guitar

I've been looking at American Strats for awhile now, and then a 50's strat caught my eye. It was made in Mexico, but it was an alder body. I want to know if that would be a better choice than an American strat...thanks guys

Re: Guitar

Well... I JUST completed my Strat search... actually... I wasn't even looking for a Strat, but once I found this one I had to have it.

The American made '62 reissue... a beautiful guitar that plays and sounds better than any other current model strat I looked at. I'm using it mostly through my Victoria 35w 2x10. My second choice would be a G&L Legacy (lots of GREAT deals on EBAY right now if bugget is an issue). I'd deffinately go w/ one of these over a Mex strat, an Amer. Standard too. Pop a EMG DG20 kit into a G&L Legacy and you just may make ole' Mr. Gilmour himself jealous... Oh! But don't forget to saw down the tremelo bar!

Good Hunting!

~Jake

: I've been looking at American Strats for awhile now, and then a 50's strat caught my eye. It was made in Mexico, but it was an alder body. I want to know if that would be a better choice than an American strat...thanks guys

Re: Guitar

Thanks for the ingo Jake, but I'm really tight on money, and I don't think that a 62 would fit into my budget, otherwise I'd just get a '57. Can you or anyone else give me some more info?

Re: Guitar

Adam..There are some very good Mex Strats out there. Be very careful and try several..at least..you will eventually find a good one. A very good friend has a real winner..and I'm buying it off him, plays much better than most of the new American strats. One thing though..they only have 21 frets, if you can live with that you should be happy

Bruce

AHHHH!

I thought I knew a lot about guitars and effects...I was kinda wrong. I know what distortion sounds like what, but what the hell does CHORUS do? and what is Overdrive? and what do they sound like? I'm sorry, but I've just been using regular distortion pedals, sustainers, and the "gain" button on my amp, lol. Please help me out, thanks guys, this site KICKS ASS!

Re: AHHHH!

: I thought I knew a lot about guitars and effects...I was kinda wrong. I know what distortion sounds like what, but what the hell does CHORUS do? and what is Overdrive? and what do they sound like? I'm sorry, but I've just been using regular distortion pedals, sustainers, and the "gain" button on my amp, lol. Please help me out, thanks guys, this site KICKS ASS!

Chorus is a doubling effect, it's supposed to sound like two guitars playing in unison but it just adds a kind of swirlyness to the tone. Overdrive is the sound you get when you start turning a tube amp up. Basically it's that sound which isn't quite clean and it's not gritty enough to get labelled distortion (it's a type of distortion).

CS-2

Iam excited. Just bought the cs-2 off ebay for $150 bones. The guy bought it new when it came out played it 2x and stoped playing guitar and it has been sitting in his closet for the past 15 years. He said he put about 2 hrs on it! there is one chip tho. I was waiting to find one in really good shape. All the ones i saw on the net look really beat up. Question: do you guys really think ill hear the difference...I have the cs-3 now...Hope i didnt buy it for nothing...Peace. Love. Empathy. Mark

Re: CS-2

Is that in U.S. dollars!!!? Can't be! I only paid $45 for mine off Ebay.

: Iam excited. Just bought the cs-2 off ebay for $150 bones. The guy bought it new when it came out played it 2x and stoped playing guitar and it has been sitting in his closet for the past 15 years. He said he put about 2 hrs on it! there is one chip tho. I was waiting to find one in really good shape. All the ones i saw on the net look really beat up. Question: do you guys really think ill hear the difference...I have the cs-3 now...Hope i didnt buy it for nothing...Peace. Love. Empathy. Mark

Re: CS-2

Its In Near mint condition. Was in the guys closet, unused, for 15 years! I figured it was worth it. It is a lot quieter then the cs-3...Not as punch as cs-3...Do you like yours? Let me know...-mark
: Is that in U.S. dollars!!!? Can't be! I only paid $45 for mine off Ebay.

: : Iam excited. Just bought the cs-2 off ebay for $150 bones. The guy bought it new when it came out played it 2x and stoped playing guitar and it has been sitting in his closet for the past 15 years. He said he put about 2 hrs on it! there is one chip tho. I was waiting to find one in really good shape. All the ones i saw on the net look really beat up. Question: do you guys really think ill hear the difference...I have the cs-3 now...Hope i didnt buy it for nothing...Peace. Love. Empathy. Mark

me-10 patch settings to emulate the gilmour sounds

does any one have any cool settings for boss me - 10 to emulate gilmour sounds, i know his equip is broader based but i don`t have the same bucks to spend

thanx

dynacomp

OK! Now I have finally bought mysef a MXR dynacomp. What I first recognized was that it doesn't harden the distortion signal so much as other compressors. I liked that. It's quite easy to use with an overdrive unit and it smoothens out any bee like sounds. But I found it quite hard to use on clean signal. The sound gets very punctured and sloppy. Any suggestions on settings for like Shine On (pulse) and a favoured setting when used with the Muff and Mistress? And most of all; I'm gonna throw away my crappy CS-3!

Re: dynacomp

hi!! i've eventually find another user that would use the dynacomp for the intro solo in Shine on (especially for that emphasys on attack isn't true???) the others i've told this have always said me that it's good only the CS-2 so...
coming back to your question: David uses dynacomp with the level (output) at about 1:30 and sensitivity (sustain) at about 10:30 these are his settings...remember to put it in the first position and to use the best cable you can afford: the dynacomp amplifies everything and so also the noise...
hope this help and...SHINE ON
Andrea

Re: dynacomp

Thank you! It's difficult to figure out wether he uses the CS-2 or the DC on Shine On (PULSE) since he used both on the tour, but when listening to old bootlegs from the Animals tour in '77, you can definetely pick out the DC. It gives the mild overdrive sound a fat sustain. I also discovered that my Boss turbo overdrive (OD-2) got new life. The DC evens out the fuzz smoothly and add a nice sloppy, picking to it. Very Coming Back To Lifeish! Ofcourse whan playing Animals and Wall stuff I use the DC with the Muff and the Mistress. A powerful match!

Re: dynacomp

I noticed that when the DC is placed before the Muff, the level knob on the DC has almost no effect. Am I the only one?

Also, when you chain the DC, Muff, and Mistress together, in what order do you guys do it?

I totally agree with riis w/ regards to the DC. It's a very nice compressor - the DC is the only pedal that I have on at all times. DC + delay is enough to clone the intro of Coming Back to Life (with decent guitar and amp of course).

: Thank you! It's difficult to figure out wether he uses the CS-2 or the DC on Shine On (PULSE) since he used both on the tour, but when listening to old bootlegs from the Animals tour in '77, you can definetely pick out the DC. It gives the mild overdrive sound a fat sustain. I also discovered that my Boss turbo overdrive (OD-2) got new life. The DC evens out the fuzz smoothly and add a nice sloppy, picking to it. Very Coming Back To Lifeish! Ofcourse whan playing Animals and Wall stuff I use the DC with the Muff and the Mistress. A powerful match!

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