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: comfortably numb effects?

http://www.gilmourish.com/

Re: comfortably numb effects?

: i need someones personal on what effects and foot pedals gilmour uses on comfortably numb thanx

Check out http://mywebpages.comcast.net/jroscoe

Gilmour settings for different equipment?

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

..and Rick's instruments ??

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

Re: ..and Rick's instruments ??

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

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

SCC 700 pedalboard

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

Filmour

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

gilmour metallic sound

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

Re: gilmour metallic sound

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

Try the Boss MZ-2

Tigrar

Re: gilmour metallic sound

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

Filmour

Re: gilmour creamy sound

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

Re: gilmour creamy sound

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

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

Re: gilmour creamy sound

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

Filmour

gilmour metallic sound

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

Re: gilmour metallic sound

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

Wha and Fuzz Face

In PF at pompeï ,wha is after or before the FF
In need help!!
Thaénk you in advance
Bruno

Hello! Does this site still work?

Just testing to see if there's any signs of life.....

Re: Hello! Does this site still work?

I think it doesn't any more!

Re: Hello! Does this site still work?

: Just testing to see if there's any signs of life.....

it sure does - what do you want to know

good forum

[The body of this post has been lost]

Distortion solos in "Delicate sound of thunder"

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

Can anybody help me, please?Thanks.

Re: Distortion solos in "Delicate sound of thunder"

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

: Can anybody help me, please?Thanks.

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

Re: Distortion solos in "Delicate sound of thunder"

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

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

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

: : Can anybody help me, please?Thanks.

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

Re: chorus or mistress in delicate sound of thunder?

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

Re: chorus or mistress in delicate sound of thunder?

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

No, it's a chorus.
Filmour

pink floyd

wanted guitar tabs/scores for floyds echos from meddle please.

The Division Bell chords needed

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

anyone have a Cornish Soft-Sustain?

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

Re: anyone have a Cornish Soft-Sustain?

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

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

Re: anyone have a Cornish Soft-Sustain?

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

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

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

Distortion sound on "TIME"

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

Re: Distortion sound on "TIME"

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

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

Re: Distortion sound on "TIME"

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

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

Re: Distortion sound on

post it to www.geocities.com/floydianatom

Re: The Division Bell chords needed

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

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

Floyd

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

Ideas on new artcles

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

Re: Ideas on new artcles

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

ALRIGHT, NEW ARTICLE UP

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

BBS is up as well

Floyd

Comment on new article from Floyd

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

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

Re: Comment on new article from Floyd

Heh, its a working web board, I'm for posting on my site ;-)

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

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

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

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

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

Good Day,
Floyd

Re: Comment on new article from Floyd

Why don´t you write it to the Floydianatom BBS.
Whats wrong with it... nobodys using it.

mistress for floyd

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

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

: BBS is up as well

: Floyd

Re: mistress for floyd

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

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

Thanks again,
Floyd

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

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

: : BBS is up as well

: : Floyd

Everybody

Where is everybody...
What happened to RIIs and others who used to hang out here...

New articles

When article 3 is going to be in Floydianatom...

Re: New articles

: When article 3 is going to be in Floydianatom...

Hmm, well-I guess I could work on it this weekend...expect it within a few days.

Floyd

Comfortably Numb sound on a PXR4? Anyone?

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

Thanks.

Gorham

Comfortably Numb, Pulse

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

Re: Comfortably Numb, Pulse

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

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

Re: Comfortably Numb, Pulse

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

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

Floyd

FLOYD BOARD IS UP AGAIN

Once again due to request the board is up...

Floyd

Brittania
http://www.geocities.com/floydianatom

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