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

Comment viewing options

Select your preferred way to display the comments and click "Save settings" to activate your changes.

So whats better CS-2 or Dynacomp?

Please say with experience with both (not CS-3)

: 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!

Echoes Wah

Do the screaming howels work with the DG pickups and the jimmie hendrex wah peddle...some reason i cant get it to work...I pluged it in backwards and screwed with the tone knobs and nothing...please help. mark

Re: Echoes Wah

It doesn't work with active pickups because of the internal preamps and the hendrix wah is relatively new and have circuitry in them that stops it working. Older wahs don't have this circuitry.

: Do the screaming howels work with the DG pickups and the jimmie hendrex wah peddle...some reason i cant get it to work...I pluged it in backwards and screwed with the tone knobs and nothing...please help. mark

Re: Echoes Wah

try putting it as your first pedal in the linue up(guitar wah, etc...

: Do the screaming howels work with the DG pickups and the jimmie hendrex wah peddle...some reason i cant get it to work...I pluged it in backwards and screwed with the tone knobs and nothing...please help. mark

Re: Echoes Wah

: try putting it as your first pedal in the linue up(guitar wah, etc...

: : Do the screaming howels work with the DG pickups and the jimmie hendrex wah peddle...some reason i cant get it to work...I pluged it in backwards and screwed with the tone knobs and nothing...please help. mark

The "screaming howls" are done by using a metal slide and playing really high up with loads of reverb. You won't get this howl with a wah alone. Doesn't matter what pickup you use.

www.gargantuansound.com

Re: Echoes Wah

Ive got a coulple wahs and it works with both of them. another way to do it is to put in a battery with not much juice... its made my wah pedal make those noises.

: : try putting it as your first pedal in the linue up(guitar wah, etc...

: : : Do the screaming howels work with the DG pickups and the jimmie hendrex wah peddle...some reason i cant get it to work...I pluged it in backwards and screwed with the tone knobs and nothing...please help. mark

:
: The "screaming howls" are done by using a metal slide and playing really high up with loads of reverb. You won't get this howl with a wah alone. Doesn't matter what pickup you use.

: www.gargantuansound.com

Re: Echoes Wah

It's possible it doesn't work with active (DG) pickups. Remeber back in the Echoes/Pompeii days he used passive pickups!

: try putting it as your first pedal in the linue up(guitar wah, etc...

: : Do the screaming howels work with the DG pickups and the jimmie hendrex wah peddle...some reason i cant get it to work...I pluged it in backwards and screwed with the tone knobs and nothing...please help. mark

pro co RAT

I'm thinking about buying a RAT pedal, but then I noticed that there's a RAT2 and one called Vintage RAT. Does any of you guys know the difference. Dave's using RAT2 doesn't he?

Re: pro co RAT

: I'm thinking about buying a RAT pedal, but then I noticed that there's a RAT2 and one called Vintage RAT. Does any of you guys know the difference. Dave's using RAT2 doesn't he?

I have a Rat 2! This is what you need! I have played the Rat Vintage (reissue) and there is very little difference in sound/tone.
Also you will appreciate the LED light on the Rat 2, as the vintage does not have one. According to all the info I have obtained on Gilmour, including this web page,
he uses the Rat 2. Plug into the Rat 2 and you will nail all the solos in 'Money', especially the dry solo.
This pedal even works well for 'Time'. Get a Rat 2 and you will be stomping on it more than your Big Muff, gauranteed!
For other reasons, The Rat 2 is like instant Marshall Stack! Way better distortion than the high gain on my Marshall JTM622.
It also cleans up very nice when you back off on the guitar volume knob with middle or neck pickups.
I swear by the Rat 2 for Gilmour sound. Trust me on this one! $69 and worth every penny. Don't buy another piece of gear for your Gilmour sound before you buy this one.
Any questions? email me or reply to this.

Re: pro co RAT

The sound is the same between them. The Vintage rat is true bypass but does not have a LED to tell you it's engaged. The Rat 2 has a LED but is not true bypass.

: : I'm thinking about buying a RAT pedal, but then I noticed that there's a RAT2 and one called Vintage RAT. Does any of you guys know the difference. Dave's using RAT2 doesn't he?

: I have a Rat 2! This is what you need! I have played the Rat Vintage (reissue) and there is very little difference in sound/tone.
: Also you will appreciate the LED light on the Rat 2, as the vintage does not have one. According to all the info I have obtained on Gilmour, including this web page,
: he uses the Rat 2. Plug into the Rat 2 and you will nail all the solos in 'Money', especially the dry solo.
: This pedal even works well for 'Time'. Get a Rat 2 and you will be stomping on it more than your Big Muff, gauranteed!
: For other reasons, The Rat 2 is like instant Marshall Stack! Way better distortion than the high gain on my Marshall JTM622.
: It also cleans up very nice when you back off on the guitar volume knob with middle or neck pickups.
: I swear by the Rat 2 for Gilmour sound. Trust me on this one! $69 and worth every penny. Don't buy another piece of gear for your Gilmour sound before you buy this one.
: Any questions? email me or reply to this.

Re: pro co RAT

I agree alittle, but its by far not my fav pedal for creating distortion, I have a true vintage rat 2
from 85 I think, in any case I am not too thrilled by it, I use it as overdrive basicly but
I don't use it more than my Muff, I'd say go for a flanger or chorus if you don't have one, the rat can wait if you have
an overdrive.

: : I'm thinking about buying a RAT pedal, but then I noticed that there's a RAT2 and one called Vintage RAT. Does any of you guys know the difference. Dave's using RAT2 doesn't he?

: I have a Rat 2! This is what you need! I have played the Rat Vintage (reissue) and there is very little difference in sound/tone.
: Also you will appreciate the LED light on the Rat 2, as the vintage does not have one. According to all the info I have obtained on Gilmour, including this web page,
: he uses the Rat 2. Plug into the Rat 2 and you will nail all the solos in 'Money', especially the dry solo.
: This pedal even works well for 'Time'. Get a Rat 2 and you will be stomping on it more than your Big Muff, gauranteed!
: For other reasons, The Rat 2 is like instant Marshall Stack! Way better distortion than the high gain on my Marshall JTM622.
: It also cleans up very nice when you back off on the guitar volume knob with middle or neck pickups.
: I swear by the Rat 2 for Gilmour sound. Trust me on this one! $69 and worth every penny. Don't buy another piece of gear for your Gilmour sound before you buy this one.
: Any questions? email me or reply to this.

Re: pro co RAT and big muff

this is my first time writing to this site...
i have a question.
what is a big muff ? and
for my first big muff what out is out there in the market
that i can buy,..? any recommendations ?

Remo

I agree alittle, but its by far not my fav pedal for creating distortion, I have a true vintage rat 2
: from 85 I think, in any case I am not too thrilled by it, I use it as overdrive basicly but
: I don't use it more than my Muff, I'd say go for a flanger or chorus if you don't have one, the rat can wait if you have
: an overdrive.

: : : I'm thinking about buying a RAT pedal, but then I noticed that there's a RAT2 and one called Vintage RAT. Does any of you guys know the difference. Dave's using RAT2 doesn't he?

: : I have a Rat 2! This is what you need! I have played the Rat Vintage (reissue) and there is very little difference in sound/tone.
: : Also you will appreciate the LED light on the Rat 2, as the vintage does not have one. According to all the info I have obtained on Gilmour, including this web page,
: : he uses the Rat 2. Plug into the Rat 2 and you will nail all the solos in 'Money', especially the dry solo.
: : This pedal even works well for 'Time'. Get a Rat 2 and you will be stomping on it more than your Big Muff, gauranteed!
: : For other reasons, The Rat 2 is like instant Marshall Stack! Way better distortion than the high gain on my Marshall JTM622.
: : It also cleans up very nice when you back off on the guitar volume knob with middle or neck pickups.
: : I swear by the Rat 2 for Gilmour sound. Trust me on this one! $69 and worth every penny. Don't buy another piece of gear for your Gilmour sound before you buy this one.
: : Any questions? email me or reply to this.

Re: pro co RAT and big muff

: this is my first time writing to this site...
: i have a question.
: what is a big muff ? and
: for my first big muff what out is out there in the market
: that i can buy,..? any recommendations ?

: Remo

: I agree alittle, but its by far not my fav pedal for creating distortion, I have a true vintage rat 2
: : from 85 I think, in any case I am not too thrilled by it, I use it as overdrive basicly but
: : I don't use it more than my Muff, I'd say go for a flanger or chorus if you don't have one, the rat can wait if you have
: : an overdrive.

: : : : I'm thinking about buying a RAT pedal, but then I noticed that there's a RAT2 and one called Vintage RAT. Does any of you guys know the difference. Dave's using RAT2 doesn't he?

: : : I have a Rat 2! This is what you need! I have played the Rat Vintage (reissue) and there is very little difference in sound/tone.
: : : Also you will appreciate the LED light on the Rat 2, as the vintage does not have one. According to all the info I have obtained on Gilmour, including this web page,
: : : he uses the Rat 2. Plug into the Rat 2 and you will nail all the solos in 'Money', especially the dry solo.
: : : This pedal even works well for 'Time'. Get a Rat 2 and you will be stomping on it more than your Big Muff, gauranteed!
: : : For other reasons, The Rat 2 is like instant Marshall Stack! Way better distortion than the high gain on my Marshall JTM622.
: : : It also cleans up very nice when you back off on the guitar volume knob with middle or neck pickups.
: : : I swear by the Rat 2 for Gilmour sound. Trust me on this one! $69 and worth every penny. Don't buy another piece of gear for your Gilmour sound before you buy this one.
: : : Any questions? email me or reply to this.

***Hi I m Steve : I would like to suggest you a Carl Martin -ROCKDRIVE.it is a simple unit box pedal. I ve just bougth it and it s impressing close to the gilmour tube distorded sound. Good luck steve

GOD BLESS AMERICA!

GOD BLESS AMERICA!

effect for com. numb

Hello I have just started learning com. numb on the guitar and I was hoping that someone maybe able to e-mail and let me know what sort of guitar effects/distortions are used for this song. Thank you

Re: effect for com. numb

For the main thing,
Big Muff Pi, Electric Mistress, Rotating Speakers, Chorus, Delay, good finger tone.
Rotating Speakers can be substitued with a leslie simulator....what most people can afford
is chorud delay, flanger, and big muff....

Floyd

: Hello I have just started learning com. numb on the guitar and I was hoping that someone maybe able to e-mail and let me know what sort of guitar effects/distortions are used for this song. Thank you

dynacomp and pickup switch

i was wondering same things...
have you heard the strong emphasis of the attack at the beginning of
the 1st solo in Shine on?? many do it with a CS-2, but i'd think it's
the dynacomp, that in matter of fact produces that emphasis...
also i think that for all that stuff from The Wall (on PULSE) he uses
the CP-9 from Ibanez, for that punchy sound for all other things the
CS-2...
another thing: i would you tell you a thing that i've noticed
watching PULSE video: during TIME David selects middle+bridge pickups
(verse and solo)...the same thing happens during the dry solo of money (with rat II) would you think??? does he automatically switch to bridge+middle when using the rat??
thanx Andrea

Re: dynacomp and pickup switch

I think he uses bridge and mid pickup for more of a bass response, as I do.

Floyd

: i was wondering same things...
: have you heard the strong emphasis of the attack at the beginning of
: the 1st solo in Shine on?? many do it with a CS-2, but i'd think it's
: the dynacomp, that in matter of fact produces that emphasis...
: also i think that for all that stuff from The Wall (on PULSE) he uses
: the CP-9 from Ibanez, for that punchy sound for all other things the
: CS-2...
: another thing: i would you tell you a thing that i've noticed
: watching PULSE video: during TIME David selects middle+bridge pickups
: (verse and solo)...the same thing happens during the dry solo of money (with rat II) would you think??? does he automatically switch to bridge+middle when using the rat??
: thanx Andrea

danelectro daddy-o/fabtone

hi there!!!
i'ive seen on harmonycentral.com the reviews of Danelectro daddy-o and fabtone. i've read that fabtone could be a better choice for bigmuff: isn't noisy at all:-), has more tonal control (bass & treble), ten times the gain of a bigmuff and has also a smooth and huge tone as a bigmuff (that is what interests us)...so what you think?? could it be a good choice??? the most important thing: it's cheaper than a big muff so...but sounds so good...
another thing: how do you see the danelectro daddy-o (an overdrive) instead of a Chandler Tube Driver??? i've read a lot of good things about this...also this is a cheap pedal...

thanx, Andrea

Re: danelectro daddy-o/fabtone

Nothing works beter than originals....you get what you pay for generally, its worth going the extra mile, just takes
longer

: hi there!!!
: i'ive seen on harmonycentral.com the reviews of Danelectro daddy-o and fabtone. i've read that fabtone could be a better choice for bigmuff: isn't noisy at all:-), has more tonal control (bass & treble), ten times the gain of a bigmuff and has also a smooth and huge tone as a bigmuff (that is what interests us)...so what you think?? could it be a good choice??? the most important thing: it's cheaper than a big muff so...but sounds so good...
: another thing: how do you see the danelectro daddy-o (an overdrive) instead of a Chandler Tube Driver??? i've read a lot of good things about this...also this is a cheap pedal...

: thanx, Andrea

Dave and his pedals

The Encyclopedia doesn't reveal much of the earliest equipement Dave used. Between 68-71 he used a Dallas Arbeiter Fuzz Face, a Binson echo and a Vox wah. But you can definetely hear other pedals, such as a different overdrive unit and some sort of a compressor for that crisp tone. Does anyone have a clue when he started to use compressors? And witch brand he used? For that other overdrive, did he use a pre-amp that early or did he just crank his clean channel?

Have a cigar

Did gilmour use the phase 90 for "Have"? if so what setting does everyone have for that? thanks mark

Re: Have a cigar

I generally would say 10-12 Oclock

: Did gilmour use the phase 90 for "Have"? if so what setting does everyone have for that? thanks mark

stompboxes

I have a sick stompbox-fetish, but I'm fairly new to the game. I would like to have a book about stompboxes. Does any of you guys know of a huge book with tons of pix and pages with an outstanding listing af nearly every stompbox made? Please recomend the best stompbox ever! It would be nice to have an ISBN number and/or the name of the author. TANX!

Re: stompboxes

Try www.harmony-central.com
Under the guitar-or effects-database there are thousands and thousands of reviews of different guitarequipment.

Guitar Armor

Has anyone here tried the Guitar Armor (banner below)? It seems like a very interesting product - I'd like to hear testimonials if any.

help me!!!

please i've a very big problem...i would find a good site with very good informations about settings effects of David...only with very interesting facts...not the same things that are found here or elsehwere...please help me this is driving me crazy!!!

Re: help me!!!

Here has quite a few, I like that site better than this one.
http://www.mikesguitarsite.co.uk/pfloyd/gear/gear.htm
got to the bootm and select effects settings
they seem pretty accurate

: please i've a very big problem...i would find a good site with very good informations about settings effects of David...only with very interesting facts...not the same things that are found here or elsehwere...please help me this is driving me crazy!!!

CS 3 or DynaComp?

I'm trying to find the perfect compression pedal for my gear. My set-up is US '57 strat=Boss CS 3=Big Muff=El.Mistress=Boss DD 5=Sound City 50plus Amp. Now, I'm fairly happy with this, but I feel that there's something missing. I think that the CS 3 is sounding too thin and it makes a lot of noise and hiss when both level and sustain is turned up more than 12o'clock. I've never tried the MXR DC, but I've heard that it's smoother and got's lots of balls. I need a compressor that smoothes out my sound to a soft drink and at the same time keeps a bright and fat sound. Anyone? Or do you recomend other brands?

Re: CS 3 or DynaComp?

My 2 cents.
I A/B tested the CS-2 and CS-3. By far the CS-2 wins. The CS3 is much more noisier and alters the tone too much.
The CS2 does exactly what it is suppose to do... compress the signal, keep quiet, and does not alter true tone.
Have not tried the MXR Dynacomp or Ibanez CP9. I most certainly will in the future. The CS-2 is probably the only one you really need.

Re: CS 3 or DynaComp?

I say go to guitar center and try a dynacomp out, I use a CS-2, your describing the things why the CS-2 is better
than the CS-3, but I haven't ever tried a dynacomp.

: I'm trying to find the perfect compression pedal for my gear. My set-up is US '57 strat=Boss CS 3=Big Muff=El.Mistress=Boss DD 5=Sound City 50plus Amp. Now, I'm fairly happy with this, but I feel that there's something missing. I think that the CS 3 is sounding too thin and it makes a lot of noise and hiss when both level and sustain is turned up more than 12o'clock. I've never tried the MXR DC, but I've heard that it's smoother and got's lots of balls. I need a compressor that smoothes out my sound to a soft drink and at the same time keeps a bright and fat sound. Anyone? Or do you recomend other brands?

Re: CS 3 or DynaComp?

I'm on the opposite end of the spectrum as Floyd - I own the Dynacomp but never tried the Boss compressors. All I can say is I am completely happy with my MXR. My strat and Dynacomp alone can almost perfectly emulate the first solo in Shine On.

One minor issue is the fact that the Dynacomp makes the "clicking" sound of the pick very very audible. This could be good or bad depending on your preference. For me, a distortion pedal, like the Muff, usually eliminates this excess clicking.

I leave both knobs on my DC at 1 o'clock, all the time.

Hope that helps.

: I say go to guitar center and try a dynacomp out, I use a CS-2, your describing the things why the CS-2 is better
: than the CS-3, but I haven't ever tried a dynacomp.

: : I'm trying to find the perfect compression pedal for my gear. My set-up is US '57 strat=Boss CS 3=Big Muff=El.Mistress=Boss DD 5=Sound City 50plus Amp. Now, I'm fairly happy with this, but I feel that there's something missing. I think that the CS 3 is sounding too thin and it makes a lot of noise and hiss when both level and sustain is turned up more than 12o'clock. I've never tried the MXR DC, but I've heard that it's smoother and got's lots of balls. I need a compressor that smoothes out my sound to a soft drink and at the same time keeps a bright and fat sound. Anyone? Or do you recomend other brands?

Re: CS 3 or DynaComp?

Forgot to mention - the Dynacomp, as far as mine goes, creates almost no noise nor hiss, even at high levels. Since my strat is also a USA 57RI, you should have comparable results.

: I'm on the opposite end of the spectrum as Floyd - I own the Dynacomp but never tried the Boss compressors. All I can say is I am completely happy with my MXR. My strat and Dynacomp alone can almost perfectly emulate the first solo in Shine On.

: One minor issue is the fact that the Dynacomp makes the "clicking" sound of the pick very very audible. This could be good or bad depending on your preference. For me, a distortion pedal, like the Muff, usually eliminates this excess clicking.

: I leave both knobs on my DC at 1 o'clock, all the time.

: Hope that helps.

: : I say go to guitar center and try a dynacomp out, I use a CS-2, your describing the things why the CS-2 is better
: : than the CS-3, but I haven't ever tried a dynacomp.

: : : I'm trying to find the perfect compression pedal for my gear. My set-up is US '57 strat=Boss CS 3=Big Muff=El.Mistress=Boss DD 5=Sound City 50plus Amp. Now, I'm fairly happy with this, but I feel that there's something missing. I think that the CS 3 is sounding too thin and it makes a lot of noise and hiss when both level and sustain is turned up more than 12o'clock. I've never tried the MXR DC, but I've heard that it's smoother and got's lots of balls. I need a compressor that smoothes out my sound to a soft drink and at the same time keeps a bright and fat sound. Anyone? Or do you recomend other brands?

Boss GE-7??

hello!! i've seen on PULSE that David during Sorrow on the intro use the SPC to gradually send amplifiers in feedback and the EXG is set to 0. Probably for that powerful sound he turn on also the GE-7 marked "BASS" to turn off then when intro ends. i would have your opinions on the other GE-7 that he uses. Probably that marked "MID" is used on the intro of "Time" but what about that marked "TREBLE&BASS"?? this two (MID and TREBLE&BASS) emulate the EXG and SPC (keep your mind that GE-7s make only a 2/3 db boost)...so in your opinion when he uses the GE-7s or the EXG7SPC???

Re: Boss GE-7??

Well I have no idea, I'd say he uses the SPC and EXG as just an onboard preamp in a way, just as I do
I don't have any GE-7's but I'd assume there just to further exagerate the paticular bit he is playing On Pulse
he did use his EQ's quite a bit, I forget where I found the site with the effects settings though...

: hello!! i've seen on PULSE that David during Sorrow on the intro use the SPC to gradually send amplifiers in feedback and the EXG is set to 0. Probably for that powerful sound he turn on also the GE-7 marked "BASS" to turn off then when intro ends. i would have your opinions on the other GE-7 that he uses. Probably that marked "MID" is used on the intro of "Time" but what about that marked "TREBLE&BASS"?? this two (MID and TREBLE&BASS) emulate the EXG and SPC (keep your mind that GE-7s make only a 2/3 db boost)...so in your opinion when he uses the GE-7s or the EXG7SPC???

Gilmours sound

To those who try to get Gilmours sound with anything but a Hiwatt,don't even think about it.As someone who helps build amplifiers,
there are classic tones which will only come from certain classic amps(Hiwatt,Marshall,Fender,Vox,etc.)The difference is night and day,so
you may be able to get the effects close,but the amp,and speakers are the main sound effects.Keep Crankin!

Re: Gilmours sound

True, but you are wrong if you think that's the solution. You can easily create a similar sound with a Fender twin or a Sound City, but no matter how much $ you put into it, it's 95% in the fingers. Dave can a sloppy bass with only two strings and still make it sound like Floyd (he did a guest-apperance with Spinal Tap doing that). So keep on trying!

Re: Gilmours sound

Yeah hiwatt is his most predominate amp, but like the previous writer said he used various stuff, selmer, fender
mesa, etc. Its that clean tone he's after, but in any case I am getting a hiwatt so who carres?
;o)

: True, but you are wrong if you think that's the solution. You can easily create a similar sound with a Fender twin or a Sound City, but no matter how much $ you put into it, it's 95% in the fingers. Dave can a sloppy bass with only two strings and still make it sound like Floyd (he did a guest-apperance with Spinal Tap doing that). So keep on trying!

Re: Gilmours sound

Yeah, and also he has been known to use plenty of different amps in the studio, but he still sounds like himself, so that kind of refutes your claim that you MUST have a Hiwatt in order to sound like Gilmour.

Who's amps do you help make? Hiwatt perhaps??

: True, but you are wrong if you think that's the solution. You can easily create a similar sound with a Fender twin or a Sound City, but no matter how much $ you put into it, it's 95% in the fingers. Dave can a sloppy bass with only two strings and still make it sound like Floyd (he did a guest-apperance with Spinal Tap doing that). So keep on trying!

Chandler tube driver

i was thinking that probably the Alembic F-2B is not so necessary because the trick for that creamy sound could be the Tube Driver. Now you can't buy them but the Tube Works made copies of them and the Real Tube is what is closer to the Chandler Tube Driver. Also i think that David uses 2 of this because: one is set to a very low drive setting to make the sound creamy and to use with distortion boxes and the other one at a higher drive setting to use for a crunch rhythm sound as heard on the verse of Time (PULSE) but always maintaining that creamy sound Tube Driver give...what do you think? am i wrong??

David Gilmours Signal Path

Go to here to see a picture of gilmours signal pather in order. This should settle mistress placement, and etc...I try to stick
it as much as possable, but thats not to say he doesn't play with other orders sometimes....

http://www.mikesguitarsite.co.uk/pfloyd/gear/signal.htm
there it is ^

Mistress and Muffs

Anybody try the Electric Mistress before the Big Muff? I did and got a stronger signal and a more defined tone.
The Electric Mis seems to rob a little power from the signal when I run it after the Big Muff. It is an older Electric Mis from the 70s.
with AC power and no ground on the power plug. The Big Muff is a new US reissue. Is it a rule that the Muff is run Before the Miss
to achieve Gilmour tone?

Re: Mistress and Muffs

It's true that the singnal is weaker when using the Mistress after the Muff, but when placed before, it gives a strange, swollen sound. I place mine after, and I feel that the slightly sloppy sound is the right Gilmour sound. If you listen to Another Brick part 1 on the Is there anobody out there? album, you'll hear what I mean.

Re: Mistress and Muffs - how about phase90 and muff?

Do you think the same holds true for the Phase 90 and the Big Muff? Some people (in previous postings) say that you get Comf Numb by placing the Phase 90 BEFORE the Muff, but I personally think that doing so sounds horrible. Would you agree that the Phase 90 should be placed after the Muff?

: It's true that the singnal is weaker when using the Mistress after the Muff, but when placed before, it gives a strange, swollen sound. I place mine after, and I feel that the slightly sloppy sound is the right Gilmour sound. If you listen to Another Brick part 1 on the Is there anobody out there? album, you'll hear what I mean.

Re: Mistress and Muffs - how about phase90 and muff?

I totally agree. I always use the phaser AFTER the Muff. I also disagree with those who believe that he used phaser on Comf. Numb. I can hear a phaser at all. He used Muff, a mild flanger (Mistress) fed through 2 diff. amps in the studio. On the 80 tour, he added lots of flanger from the Mistress.

Choosing an amp

Assuming a $500 budget, what, in your opinions, would be your amp of choice to best emulate the sound of David Gilmour?

I bought a Fender Hot Rod Deluxe with Celestion Vintage 30 replacement ($350 used), and now I'm not so sure if that was a wise choice. My rationale at the time was this - I had read that Gilmour often used a 59 RI Fender Bassman in his studio, and I read also that the Fender HRD created a sound very similar to that of the Bassman. From there, I concluded that the HRD would be a good choice. But I'm not sure now if I really like the sound.

Any opinions? Are Marshalls generally better?

Re: Choosing an amp

Try and find a 60's 70's silverface fender twin reverb, gilmour used alot of those, it will take some searching
but you should be able to find one pne the internet. Tryt ebay, google.com etc

: Assuming a $500 budget, what, in your opinions, would be your amp of choice to best emulate the sound of David Gilmour?

: I bought a Fender Hot Rod Deluxe with Celestion Vintage 30 replacement ($350 used), and now I'm not so sure if that was a wise choice. My rationale at the time was this - I had read that Gilmour often used a 59 RI Fender Bassman in his studio, and I read also that the Fender HRD created a sound very similar to that of the Bassman. From there, I concluded that the HRD would be a good choice. But I'm not sure now if I really like the sound.

: Any opinions? Are Marshalls generally better?

Re: Choosing an amp

I found a 1983 Fender Twin Reverb II for $500 on eBay, it's got that old vintage sound but as it's
from the 80's it doesn't carry that vintage price - yet - the unaltered sound of this amp is beautiful!

: Try and find a 60's 70's silverface fender twin reverb, gilmour used alot of those, it will take some searching
: but you should be able to find one pne the internet. Tryt ebay, google.com etc

: : Assuming a $500 budget, what, in your opinions, would be your amp of choice to best emulate the sound of David Gilmour?

: : I bought a Fender Hot Rod Deluxe with Celestion Vintage 30 replacement ($350 used), and now I'm not so sure if that was a wise choice. My rationale at the time was this - I had read that Gilmour often used a 59 RI Fender Bassman in his studio, and I read also that the Fender HRD created a sound very similar to that of the Bassman. From there, I concluded that the HRD would be a good choice. But I'm not sure now if I really like the sound.

: : Any opinions? Are Marshalls generally better?

a strange box??

hi everybody!!! i'm an italian boy and Pink Floyd's music is just THE music of my life and David Gilmour is my MUSICAL GOD... i'm happy with my setup that's an Eko strato, an Ibanez TS-5 and DL-5 and a Rockaxe 10 watt amp.in my semplicity, i can emulate his sound very well but again...yes i agree the most important thing is in his fingers and i've experimented for two years learning to play guitar with feeling not only to play 10.000 times faster than light...
stop with this...the point is a strange little box i've noticed down the microphone of David...someone know what the hell is??? please help and for any question you have my e-mail...i love talk about his gear...thanx bye

Re: a strange box??

sorry...i've seen that box on PULSE...so what's??

Post new comment

The content of this field is kept private and will not be shown publicly.
CAPTCHA
This question is for testing whether you are a human visitor and to prevent automated spam submissions. Do not include any spaces in your answer.
Image CAPTCHA
Copy the characters (respecting upper/lower case) from the image.

Contact | Advertise | Contents | Privacy Policy | Forum

This site is published by Hitsquad Pty Ltd. Copyright © 1999 - 2017 , All Rights Reserved.