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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big muff

I've posted this question before, but once again. How the hell does Dave use the big muff? I've tried EVERYTHING!!!!!! And it sounds like crap! My set-up is; guitar (strat), Gollmer Composus(comperession), Big muff (sovtec), Electric Mistress(flanger) and this is fed through a Boss GT-3 for delays and reverb. I use a Sound City (quite similar to the Hi Watt). Daves sound on Comf. Numb (PULSE version) is smooth and got lots of sustain. I get the sustain allright, but the Big Muff sounds like a crappy Boss pedal. As if a wasp is trying desperately to get out. Anyone?

Re: big muff

For me, getting an AC adapter (as opposed to battery) for my Big Muff made a world of difference. If you don't have one already, this might be a good place to start.

: I've posted this question before, but once again. How the hell does Dave use the big muff? I've tried EVERYTHING!!!!!! And it sounds like crap! My set-up is; guitar (strat), Gollmer Composus(comperession), Big muff (sovtec), Electric Mistress(flanger) and this is fed through a Boss GT-3 for delays and reverb. I use a Sound City (quite similar to the Hi Watt). Daves sound on Comf. Numb (PULSE version) is smooth and got lots of sustain. I get the sustain allright, but the Big Muff sounds like a crappy Boss pedal. As if a wasp is trying desperately to get out. Anyone?

Re: big muff

sounds like you have the stuff, what kind of muff do you have? It also sounds like the line is
in a correct order. For my russiasn muff I tend to keep the settings 11, 1, 11 (left to right) for a deeper
bassy, yet somewhat clean distortion. I also keep the pickup on the second to last to agian increase bass.
With the flanger you should be able to duplicate the com numb sound closely, if you have the money, I'd
say purchase a vintage muff, mine was 50$ (russian) but it does its job decently, and I can't afford a vintage right now.

: For me, getting an AC adapter (as opposed to battery) for my Big Muff made a world of difference. If you don't have one already, this might be a good place to start.

: : I've posted this question before, but once again. How the hell does Dave use the big muff? I've tried EVERYTHING!!!!!! And it sounds like crap! My set-up is; guitar (strat), Gollmer Composus(comperession), Big muff (sovtec), Electric Mistress(flanger) and this is fed through a Boss GT-3 for delays and reverb. I use a Sound City (quite similar to the Hi Watt). Daves sound on Comf. Numb (PULSE version) is smooth and got lots of sustain. I get the sustain allright, but the Big Muff sounds like a crappy Boss pedal. As if a wasp is trying desperately to get out. Anyone?

Re: big muff

For my russiasn muff I tend to keep the settings 11, 1, 11 (left to right) for a deeper
: bassy, yet somewhat clean distortion.
I have the Russian one. I take it that you mean o'clock settings? Volume at 11 o'clock, sustain 1 o'clock, tone 11 o'clock? Do you have any experience with the Gollmer Composus? I've tried my friend's MXR dyna comp and it seems to have more balls to it that mine, maybe that's my problem?

Re: big muff

Woops, meant volume at 1, the others at 11. Never heard of Gollmer.
could be the problem, try it without the compressor, I only use it when I am playing freely-loud
because it adds a bit more gain, which I like but I can't always play at ear seering volumes

: For my russiasn muff I tend to keep the settings 11, 1, 11 (left to right) for a deeper
: : bassy, yet somewhat clean distortion.
: I have the Russian one. I take it that you mean o'clock settings? Volume at 11 o'clock, sustain 1 o'clock, tone 11 o'clock? Do you have any experience with the Gollmer Composus? I've tried my friend's MXR dyna comp and it seems to have more balls to it that mine, maybe that's my problem?

David's F2b pre-amp

Does anybody know the exact changes(specs) he had his alembic modded to.
thanks alot,
P.S. Or anything about his particular F2b.

Re: David's F2b pre-amp

Gilmour's tech, Phil Taylor, added an extra tube to the preamp to give it more drive, lowered the impedence in the output and changed the capacitor in the bottom end to get rid of some of the unnecessary lower frequencies.

: Does anybody know the exact changes(specs) he had his alembic modded to.
: thanks alot,
: P.S. Or anything about his particular F2b.

Solo - Any Colour You Like

Using a MXR Phase 90 and mild overdrive, I can get pretty close, but just can't get it quite perfect. Do any of you hear any other major effects in that solo? A chorus maybe? Wonder how he gets that "miumimiu" kind of whining sound - if you know what I mean...

Re: Solo - Any Colour You Like

Try the phaser and a CS-2, overdrive as well...he really uses the univibe tho

: Using a MXR Phase 90 and mild overdrive, I can get pretty close, but just can't get it quite perfect. Do any of you hear any other major effects in that solo? A chorus maybe? Wonder how he gets that "miumimiu" kind of whining sound - if you know what I mean...

Re: Solo - Any Colour You Like

I've pondered this question myself MILLIONS of times. but as long as you have something to emulate a "tremolo" sound of a leslie, you're close enough. Hell, i think amp tremolo or vibrato (magnatone) would do a great job. I've used a rotosphere, univibe, and Phase 90. I liked the rotosphere but don't have it anymore (sounds like PULSE version), the univibe wasn't fluid enough for me. So i traded my U-vibe in for a phase 90 and in my opinion it has the character of a univibe but with a much warmer, liquid tone. and when set in the right spot (cuz all the way up is too fast) it sounds dead on for the original "Any Colour" tone. also, since it's one of my favorite songs to play and really jam on, i kinda got bored with hearing that same sound all the time. so sometimes i'll just use the CE-2 instead instead since i have both pedals (CE-2/Phase 90) set to emulate the 2 speeds of a leslie. (Actually on this one MP3 i heard, Gilmour just used a slow sounding u-vibe when playing it live) If I'm covering songs, I stick to how it goes but try to put my own thing to it. so there's no law that states that you must use a certain effect to play a song. but it helps in the beginning since that's what you're used to hearing, but as you get better you'll use different stuff. btw: if u want that exact sound ,like i said, get a phase 90 if you're on a budget or don't want to lug around an extra speaker cab. if that's not good enough get a fender vibratone or any other cab that has a bigger rotary speaker. If you buy a traditional leslie with a horn or rotosphere , that wont cut it because it sounds gurgly as opposed to swooshy (like wah-wah)

Pickups

I really need new pickups for my strat, mine are like shit. They are screwed up on something. I want something that will help me achieve a 1970 to 1980 Floyd sound. I am thinking about getting the Fender Custom Shop '69 Strat pickups since Gilmour tended to use a strat that was from 1969 (or around there) quite often. What is everyone's opinion?

Re: Pickups

in all the reviews I have read it said he used Dimarzio pickups

: I really need new pickups for my strat, mine are like shit. They are screwed up on something. I want something that will help me achieve a 1970 to 1980 Floyd sound. I am thinking about getting the Fender Custom Shop '69 Strat pickups since Gilmour tended to use a strat that was from 1969 (or around there) quite often. What is everyone's opinion?

Re: Pickups

Well you are patially right, I think. I read that in 1977, he put a DiMarzio pickup in the bridge position but thats all it said. I am not sure if he replaced all the pickups or not. If anyone would happen to know what model DiMarzio pickup he used I would be really glad to know.... Thank you!

Re: Pickups

He used a DiMarzio FS-1 in the bridge of his main black strat and the good news is you can still get them!

: Well you are patially right, I think. I read that in 1977, he put a DiMarzio pickup in the bridge position but thats all it said. I am not sure if he replaced all the pickups or not. If anyone would happen to know what model DiMarzio pickup he used I would be really glad to know.... Thank you!

Re: Pickups

Yeah thats it. I tried once, evan in the PF encyclopedia it didn't say exactly.

Floyd

: Well you are patially right, I think. I read that in 1977, he put a DiMarzio pickup in the bridge position but thats all it said. I am not sure if he replaced all the pickups or not. If anyone would happen to know what model DiMarzio pickup he used I would be really glad to know.... Thank you!

Can a TSL100 or 122 cover David Gilmour well?

Can a TSL100 or 122 cover David Gilmour well?

This popular thread has been given its own page : Can a TSL100 or 122 cover David Gilmour well?

FuzzFace

I just bought a FuzzFace brand new and I tried it out while I had the DG20 EMG pickup system in my strat. It sounded pretty cool actually. I had the fuzz turned all the way up and the volume was set to match my clean tone. I decided to take out the EMG's and put in my original Fender pickups so I could get a tone going that is similar to the older days such as Meddle, Obscured, and Dark Side. Well when I went and tried the Fuzz Face after putting the old pickups back in, it seems that a lost a lot of crunch and gain. So now I found out if I want to get a similar amount of gain with the FuzzFace, I have to turn the Volume and Fuzz all the way up on the pedal. It creates sort of an overdrive and therefore I have to play loud to get the sort of tone I wan't. I wanted the FuzzFace to be able to do that work for me so I can play at any volume level and have the same amount of distortion. Is it possilbe that switching from the EMG's back to my original pickups can make that much of a difference? I mean I know there is more output with the EMG's because they are active but do you think it is possible that something is wrong with my pickups or the way I reinstalled them. They seem to sound fine when I run through my regular built-in Marshall distortion. Or, do you think there is something wrong with the FuzzFace (I doubted). Please post your thoughts on my little problem. I appreciate it. See ya!!

Re: FuzzFace

: I just bought a FuzzFace brand new and I tried it out while I had the DG20 EMG pickup system in my strat. It sounded pretty cool actually. I had the fuzz turned all the way up and the volume was set to match my clean tone. I decided to take out the EMG's and put in my original

Fender pickups so I could get a tone going that is similar to the older days such as Meddle, Obscured, and Dark Side. Well when I went and tried the Fuzz Face after putting the old pickups back in, it seems that a lost a lot of crunch and gain. So now I found out if I want to get a similar amount of gain with the FuzzFace, I have to turn the Volume and Fuzz all the way up on the pedal. It creates sort of an overdrive and therefore I have to play loud to get the sort of tone I wan't. I wanted the FuzzFace to be able to do that work for me so I can play at any volume level and have the same amount of distortion. Is it possilbe that switching from the EMG's back to my original pickups can make that much of a difference? I mean I know there is more output with the EMG's because they are active but do you think it is possible that something is wrong with my pickups or the way I reinstalled them. They seem to sound fine when I run through my regular built-in Marshall distortion. Or, do you think there is something wrong with the FuzzFace (I doubted). Please post your thoughts on my little problem. I appreciate it. See ya!!

I forgot to mention that the American reissue from Dunlop
tended towards being better than the English made ones.
The transisters were diffrent too. They had an American
company attempt to reproduce the NKT-275. (Definitely not
as good as the English originals.)

Stuart

Re: FuzzFace

: I just bought a FuzzFace brand new and I tried it out while I had the DG20 EMG pickup system in my strat. It sounded pretty cool actually. I had the fuzz turned all the way up and the volume was set to match my clean tone. I decided to take out the EMG's and put in my original Fender pickups so I could get a tone going that is similar to the older days such as Meddle, Obscured, and Dark Side. Well when I went and tried the Fuzz Face after putting the old pickups back in, it seems that a lost a lot of crunch and gain. So now I found out if I want to get a similar amount of gain with the FuzzFace, I have to turn the Volume and Fuzz all the way up on the pedal. It creates sort of an overdrive and therefore I have to play loud to get the sort of tone I wan't. I wanted the FuzzFace to be able to do that work for me so I can play at any volume level and have the same amount of distortion. Is it possilbe that switching from the EMG's back to my original pickups can make that much of a difference? I mean I know there is more output with the EMG's because they are active but do you think it is possible that something is wrong with my pickups or the way I reinstalled them. They seem to sound fine when I run through my regular built-in Marshall distortion. Or, do you think there is something wrong with the FuzzFace (I doubted). Please post your thoughts on my little problem. I appreciate it. See ya!!

Don't worry! There is nothing wrong with either set of
pickups! The ptoblem you are experiencing with the Strat's
original pickups is more often the norm than not.

The problem is with the Fuzz Face. Old ones and reissues
tend to have week or defective transisters more often than not. One usually had to go through about 20 Fuzz Faces in
order to find one that worked reasonably well.

The original Fuzz Faces had AC-128 germanium transisters in
them which really sucked! The recent reissues from England
were equipped with them too and the results were the same.
Furthermore, the components weren't even up to spec!!
In the 60s, the AC-128s were replaced with NKT-275 germani-
um transisters with way better results. This is the most
sought after and desirable Fuzz Face, and therfore the most
expensive on the vintage guitar seen.

The next change in transisters was the change from germanium
to silicon types; the first ones being the BC-108C. There
were a few more changes in the transisters (all silicon)
until the Fuzz Face's final year of existance in 1975.

You can contact me for any questions you might have in the future.

Stuart

Re: FuzzFace

Where did you get a new FuzzFace? What Brand is it? I havent seen them. The're not on musicans friend.com
Your Question: My only thought on your question is that since the DG pickups have low magnatism it does not matter how close you put them to the strings, they will give off the same amplitude of sound weather they are higher or lower. This is not the case with regular pickups. Try raising the original pickups closer to the strings. Worth a shot. Keep us updated to see what the problem is. Gee I love this page, Wonder if gilmour sees it. If he does he must laugh at us nuts. hehe Best to all. Maak

Re: FuzzFace

Try turning down the Fuzz Face volume and turning up your strats master volume to 8-10. Thats how the fuzz face is.
Try looking at this site...http://www.analogman.com/faq.htm There is some good info there.

: Where did you get a new FuzzFace? What Brand is it? I havent seen them. The're not on musicans friend.com
: Your Question: My only thought on your question is that since the DG pickups have low magnatism it does not matter how close you put them to the strings, they will give off the same amplitude of sound weather they are higher or lower. This is not the case with regular pickups. Try raising the original pickups closer to the strings. Worth a shot. Keep us updated to see what the problem is. Gee I love this page, Wonder if gilmour sees it. If he does he must laugh at us nuts. hehe Best to all. Maak

Phase 90 + Big Muff in Comfortably Numb

Some people have mentioned in the past how one way to achieve a sound close to the Comfortably Numb solo was to combine a phase 90 and a Big Muff. For some reason, when I combine these two pedals, my sound is plain ugly regardless of how I experiment with various combinations of settings and also of whichever order I place the pedals (especially ugly sound when phaser is placed BEFORE the Big Muff). I'm using a strat and a fender amp in clean channel and experimenting with the two pedals in between. Anyone have any suggestions? The only other pedal I currently have at my disposal is a MXR Dynacomp.

Re: Phase 90 + Big Muff in Comfortably Numb

Dave used an Electric Mistress on Comfortably Numb when playing it live, but used a Leslie in the studio.

: Some people have mentioned in the past how one way to achieve a sound close to the Comfortably Numb solo was to combine a phase 90 and a Big Muff. For some reason, when I combine these two pedals, my sound is plain ugly regardless of how I experiment with various combinations of settings and also of whichever order I place the pedals (especially ugly sound when phaser is placed BEFORE the Big Muff). I'm using a strat and a fender amp in clean channel and experimenting with the two pedals in between. Anyone have any suggestions? The only other pedal I currently have at my disposal is a MXR Dynacomp.

Re: Phase 90 + Big Muff in Comfortably Numb

I use both, I tend to keep my russian muff at about 11, 12, 11 (left to right) the phaser I use at about 12
depending on my mood I'll throw in some Rat, use the dynacomp too, it should add some gain and give some
nice feedback bits...but thats of course for playing loud, since you really can't play the muff quiet, effectively/

Floyd

: Some people have mentioned in the past how one way to achieve a sound close to the Comfortably Numb solo was to combine a phase 90 and a Big Muff. For some reason, when I combine these two pedals, my sound is plain ugly regardless of how I experiment with various combinations of settings and also of whichever order I place the pedals (especially ugly sound when phaser is placed BEFORE the Big Muff). I'm using a strat and a fender amp in clean channel and experimenting with the two pedals in between. Anyone have any suggestions? The only other pedal I currently have at my disposal is a MXR Dynacomp.

Floyd -

Are you saying you sometimes use the Big Muff and the Rat at the same time?

Could you tell me the order in which you hook your effects up, starting from the guitar? To this day, I cannot decide where the dynacomp should go.

: I use both, I tend to keep my russian muff at about 11, 12, 11 (left to right) the phaser I use at about 12
: depending on my mood I'll throw in some Rat, use the dynacomp too, it should add some gain and give some
: nice feedback bits...but thats of course for playing loud, since you really can't play the muff quiet, effectively/

: Floyd

: : Some people have mentioned in the past how one way to achieve a sound close to the Comfortably Numb solo was to combine a phase 90 and a Big Muff. For some reason, when I combine these two pedals, my sound is plain ugly regardless of how I experiment with various combinations of settings and also of whichever order I place the pedals (especially ugly sound when phaser is placed BEFORE the Big Muff). I'm using a strat and a fender amp in clean channel and experimenting with the two pedals in between. Anyone have any suggestions? The only other pedal I currently have at my disposal is a MXR Dynacomp.

Re: Floyd -

Well I go from my guitar, to tuner, to compressor /sustainer (boss), to rat, to big muff, to phaser, to delay
and to the amp. I try to keep it as close to gilmours line up as possable. Yes I do use the rat and muff together sometimes,
it gives a bit more high end bite, of course I use all the pedals at the same time, sometimes ;-)

: Are you saying you sometimes use the Big Muff and the Rat at the same time?

: Could you tell me the order in which you hook your effects up, starting from the guitar? To this day, I cannot decide where the dynacomp should go.

: : I use both, I tend to keep my russian muff at about 11, 12, 11 (left to right) the phaser I use at about 12
: : depending on my mood I'll throw in some Rat, use the dynacomp too, it should add some gain and give some
: : nice feedback bits...but thats of course for playing loud, since you really can't play the muff quiet, effectively/

: : Floyd

: : : Some people have mentioned in the past how one way to achieve a sound close to the Comfortably Numb solo was to combine a phase 90 and a Big Muff. For some reason, when I combine these two pedals, my sound is plain ugly regardless of how I experiment with various combinations of settings and also of whichever order I place the pedals (especially ugly sound when phaser is placed BEFORE the Big Muff). I'm using a strat and a fender amp in clean channel and experimenting with the two pedals in between. Anyone have any suggestions? The only other pedal I currently have at my disposal is a MXR Dynacomp.

Dave Gilmour

Hello, I am looking to imitate daves tone using a boss gt-3 multi effects unit, I was wondering if any of you could tell me some details like what effects and level,... he uses in his songs. Any songs will help or websites leading to information to. Much Appreciated...
Jon

What is the best compressor for and sustain and mostly smoothness.

Hey Guys and Gals

What is the best compressor for Dave's tone????? It should be very smooth and have good sustain as well as more organic. Also true bypass would make it perfect if there is such a pedal. Well, what is the best?

Re: What is the best compressor for and sustain and mostly smoothness.

I'd say CS-2 just bec ause thats what I use, but if you can try the Dynacomp by MXR, the CS-2 is no longer
in production, search it on the web, never get the CS-3.

Floyd
: Hey Guys and Gals

: What is the best compressor for Dave's tone????? It should be very smooth and have good sustain as well as more organic. Also true bypass would make it perfect if there is such a pedal. Well, what is the best?

Re: What is the best compressor for and sustain and mostly smoothness.

I'd really like to get my hands on a CS-2. I have a CS-3 and I hate it. I really don't understand exactly what a compressor does for the sound either. I can hear a little but of a difference on a clean tone (it sounds a little more punchier) but when I turn the gain up, I don't hear it do much of anything. I know Gilmour supposedly uses a compressor with distortion but I don't knowe exactly what that does for the tone. I want to try an MXR Dyna Comp because they have been around for a while, Gilmour has one and it only has 2 knobs which makes it easier to control, for me at least. If I end up getting one, I will let you guys know how it sounds and everything. Does anyone know if Gilmour has used the MXR dyna comp and past recordings such as Dark Side, WYWH, Animals......If so, tell me what you know sometime when you get a chance. I am curious to find out what Gilmour used compression on. I really want to get that Pink Floyd encyclopedia to find out stuff on gilmour's gear. Anyways, lets keep some conversations going. I find all this interesting. See ya later!

Re: What is the best compressor for and sustain and mostly smoothness.

A compressor "evens out the sound" by making the loud bits quieter and bringing up the overall gain. It means that you can hit the strings hard and the sound won't be much louder than if you play them softly. The off shoot of this is that it adds sustain. As a note decays the gain is increased making the note trails more audible and giving sustain.

I normally use mine (a CS3) as a volume boost to drive my distorion/overdrive pedals a little bit harder, I don't like the sound of it when used by itself.

: I'd really like to get my hands on a CS-2. I have a CS-3 and I hate it. I really don't understand exactly what a compressor does for the sound either. I can hear a little but of a difference on a clean tone (it sounds a little more punchier) but when I turn the gain up, I don't hear it do much of anything. I know Gilmour supposedly uses a compressor with distortion but I don't knowe exactly what that does for the tone. I want to try an MXR Dyna Comp because they have been around for a while, Gilmour has one and it only has 2 knobs which makes it easier to control, for me at least. If I end up getting one, I will let you guys know how it sounds and everything. Does anyone know if Gilmour has used the MXR dyna comp and past recordings such as Dark Side, WYWH, Animals......If so, tell me what you know sometime when you get a chance. I am curious to find out what Gilmour used compression on. I really want to get that Pink Floyd encyclopedia to find out stuff on gilmour's gear. Anyways, lets keep some conversations going. I find all this interesting. See ya later!

Re: What is the best compressor for and sustain and mostly smoothness.

: A compressor "evens out the sound" by making the loud bits quieter and bringing up the overall gain. It means that you can hit the strings hard and the sound won't be much louder than if you play them softly. The off shoot of this is that it adds sustain. As a note decays the gain is increased making the note trails more audible and giving sustain.

: I normally use mine (a CS3) as a volume boost to drive my distorion/overdrive pedals a little bit harder, I don't like the sound of it when used by itself.

: : I'd really like to get my hands on a CS-2. I have a CS-3 and I hate it. I really don't understand exactly what a compressor does for the sound either. I can hear a little but of a difference on a clean tone (it sounds a little more punchier) but when I turn the gain up, I don't hear it do much of anything. I know Gilmour supposedly uses a compressor with distortion but I don't knowe exactly what that does for the tone. I want to try an MXR Dyna Comp because they have been around for a while, Gilmour has one and it only has 2 knobs which makes it easier to control, for me at least. If I end up getting one, I will let you guys know how it sounds and everything. Does anyone know if Gilmour has used the MXR dyna comp and past recordings such as Dark Side, WYWH, Animals......If so, tell me what you know sometime when you get a chance. I am curious to find out what Gilmour used compression on. I really want to get that Pink Floyd encyclopedia to find out stuff on gilmour's gear. Anyways, lets keep some conversations going. I find all this interesting. See ya later!

Ok, after hearing alot of complaining about the cs-3 I will have to finaly interject. First, I have not heard the Cs-2 in action, however, how can you not like that clean, crist, popping sound of the cs-3. Its great, i feel, in the begining of shine. If anyone is familar with the machine, a PF cover band. Joe the Lead Guitarist uses one. With a little echo, cs-3, and reverb the begigning sound great. For those of you who still need convincing, go to www.themachinelive.com and click on the SOYCD mp3. If you need more you can order the cd. just my .02 - mark

Phaser; MXR or Small stone?

All of you guys are talking about the MXR 90 phaser. I've got that too and I know that this has been Dave's choise for years, but I've read somewhere that on the Dark Side recording sessions he used a Electro Harm. Small Stone Phaser. Is this true? I prefer the Small stone 'cause it's smoother I think . The MXR's got a little overdrive in it. Any thoughts on this?????? If anything I highly recomend the Small Stone. It's very versatile and it's got a mode 2 that gives a strange swirling long range phaser. Very cool.

Re: Phaser; MXR or Small stone?

Well I've never tried the Small Stone but I have the MXR Phase 90 and I love it. I turn it to about 9 o'clock and I get Breathe, I turn it to 12:00 and I get the middle section of Pigs (three different ones), and then if I turn the knob to 3:00, I get Any Colour You Like (with adding some gain). Another thing I like about that pedal is the fact that there is only one knob. It keeps things simple. I hate when pedals have all sorts of knobs and adjustments. The only other knob that I wouldn't mind is an output knob, but the Phase 90 doesn't need one.

Re: Phaser; MXR or Small stone?

I really like the 90, I checked the PF Encyclopedia, for DSoTM it doesn't list any small stone, but it
does say various MXR pedals (comp, and phaser most likely) It also lists the Uni-vibe....

Floyd

: Well I've never tried the Small Stone but I have the MXR Phase 90 and I love it. I turn it to about 9 o'clock and I get Breathe, I turn it to 12:00 and I get the middle section of Pigs (three different ones), and then if I turn the knob to 3:00, I get Any Colour You Like (with adding some gain). Another thing I like about that pedal is the fact that there is only one knob. It keeps things simple. I hate when pedals have all sorts of knobs and adjustments. The only other knob that I wouldn't mind is an output knob, but the Phase 90 doesn't need one.

dealy settings

Can anyone give me the delay settings (just m.s.) for the following songs?; Another brick 2 solo(PULSE), Comf. Numb solo (PULSE), Money wet solos (PULSE). Thanx.

Re: dealy settings

For Another Brick... and Comfortably Numb use a delay time of 440ms, feedback at 5 and delay volume at 3. For Money use the same but set the delay time at 550ms.

: Can anyone give me the delay settings (just m.s.) for the following songs?; Another brick 2 solo(PULSE), Comf. Numb solo (PULSE), Money wet solos (PULSE). Thanx.

echoes funk tabs

Ok. In the funk section on Echoes, both CD and Pompeii, Dave's playing some noisy, bending stuff with lots of vibrato. Is there any of you guys who can give me the exact tab for the very first bend? On the Cd it sounds like one finger on the B string at 12th fret and a simultaneous bend on the G string from 11th to 13th. A straight blues bend. But the pompeii version is more aggressive and screaming. Anyone?

Re: echoes funk tabs

You're right about the bend on the G with the B 12 fretted, Sometimes I play this by fretting the B at 11 and G at 11 and bending them both up to the 12th and 13th fret respectively, slightly different sound, but still a basic blues type thing. Can't help with the Pompeii version.

: Ok. In the funk section on Echoes, both CD and Pompeii, Dave's playing some noisy, bending stuff with lots of vibrato. Is there any of you guys who can give me the exact tab for the very first bend? On the Cd it sounds like one finger on the B string at 12th fret and a simultaneous bend on the G string from 11th to 13th. A straight blues bend. But the pompeii version is more aggressive and screaming. Anyone?

Re: echoes funk tabs

Can anyone tell me how he is producing the 'Dinosaur bird' sounds in the strange middle section?

: You're right about the bend on the G with the B 12 fretted, Sometimes I play this by fretting the B at 11 and G at 11 and bending them both up to the 12th and 13th fret respectively, slightly different sound, but still a basic blues type thing. Can't help with the Pompeii version.

: : Ok. In the funk section on Echoes, both CD and Pompeii, Dave's playing some noisy, bending stuff with lots of vibrato. Is there any of you guys who can give me the exact tab for the very first bend? On the Cd it sounds like one finger on the B string at 12th fret and a simultaneous bend on the G string from 11th to 13th. A straight blues bend. But the pompeii version is more aggressive and screaming. Anyone?

Re: echoes funk tabs

This has been covered further down in the forum.

The sound is produced by plugging your guitar into the OUTPUT of a wah pedal and the INPUT of the wah goes into the amplifier (ie the wah is plugged into the chain backwards). With guitar volume up full, adjust guitars tone controls, pickup selector and wah pedal position to achieve all those weird sounds.

This works best with single coil pickups and only seems to work with wah directly after guitar, ie no other effects between the guitar and the wah. Add chorus, delay, reverb etc AFTER the wah to produce a more lush sound.

I use a Dunlop Crybaby and a Fender Tele with single coils and the sound is very cool. Adjusting the guitars volume has a similar efect as adjusting the tone, but the tone produces more gradual and controllable squeels and howls.

Have fun!!

: Can anyone tell me how he is producing the 'Dinosaur bird' sounds in the strange middle section?

:
: : You're right about the bend on the G with the B 12 fretted, Sometimes I play this by fretting the B at 11 and G at 11 and bending them both up to the 12th and 13th fret respectively, slightly different sound, but still a basic blues type thing. Can't help with the Pompeii version.

: : : Ok. In the funk section on Echoes, both CD and Pompeii, Dave's playing some noisy, bending stuff with lots of vibrato. Is there any of you guys who can give me the exact tab for the very first bend? On the Cd it sounds like one finger on the B string at 12th fret and a simultaneous bend on the G string from 11th to 13th. A straight blues bend. But the pompeii version is more aggressive and screaming. Anyone?

Big Muff Russian vs USA

It says above that Gilmour uses the Russian (Sovtek) Big Muff, but is there any major difference between the Russian and the USA version (silver casing)? I have a USA reissue because at the time it seemed like the general consensus out there was that it sounds better, but now I'm a little disappointed to find out that my favorite guitarist DG uses the Russian version. Do you guys have any opinions on this?

Re: Big Muff Russian vs USA

I tried both, the difference in sound is neglible. However, the Russian is poorly built and looks bad. To save money I first bought the Russian and later on (fearing it might break up) replaced it with a USA Muff.

Re: Big Muff Russian vs USA

Shit, are you sure he uses the Russian version? I bought the U.S. version just cuz I figured Gilmour's was a U.S. If not, I am gonna take it back or something. LOL. Let me know if you anyone knows for sure that Gilmour uses the Russian model of a Big Muff. Thanx

Re: Big Muff Russian vs USA

Gilmour uses both the Sovtek Russian version and an original US version. Search the net and see the pic for yourself.

www.gargantuansound.com

Re: Big Muff Russian vs USA

I use russian, but in fact he does not use russian, he uses a vintage 70's muff. I find the russian
mimics it quite well though.

Floyd

: Shit, are you sure he uses the Russian version? I bought the U.S. version just cuz I figured Gilmour's was a U.S. If not, I am gonna take it back or something. LOL. Let me know if you anyone knows for sure that Gilmour uses the Russian model of a Big Muff. Thanx

Re: Big Muff Russian vs USA

 Big Muff Russian vs USA

This popular thread has been given its own page : Re: Big Muff Russian vs USA

Brent Mason

Hi,
I want to know how get the Telesound from Brent Mason.
I've got a Fender Custom Shop Relic'"nocaster".
1 Twin Reverb from 1973
1 Twin Reverb Amp Reissue '65
1 CS 3 Boss
1 DD 5 Boss
1 CE 5 Boss

I have a good sound, but I can't reach the Fat, Strong and sustainful Clean sound like Brent Mason.
What would I do ?

Maybe a load box ? Which one ?
Pre Amp ?

Please tell me.

I come from Holland

Regards,
Eppo Franken

Re: Brent Mason

: Hi,
: I want to know how get the Telesound from Brent Mason.
: I've got a Fender Custom Shop Relic'"nocaster".
: 1 Twin Reverb from 1973
: 1 Twin Reverb Amp Reissue '65
: 1 CS 3 Boss
: 1 DD 5 Boss
: 1 CE 5 Boss

: I have a good sound, but I can't reach the Fat, Strong and sustainful Clean sound like Brent Mason.
: What would I do ?

: Maybe a load box ? Which one ?
: Pre Amp ?

: Please tell me.

: I come from Holland

: Regards,
: Eppo Franken

He was interviewed in Guitar Player around a year ago. He uses a Tele mostly with non-stock pickups through a Deluxe Reverb. Check out the interview.

Money solo - achieving high pitch with strat

Based on the transcription in the 10/95 issue of Guitarworld mag, there's a point (towards the end of the solo, when it's fast again after the interlude) where it is necessary to choke the 22nd fret of the first string, to achieve a (24)th fret pitch.

Now, the 57 RI strat only has 21 frets, and as far as I know, so does Dave Gilmour's. So how does DG play the note? Does he use a different guitar that has more frets?

My best guess is that the solo is modified when using the 21 fret strat in a live performance. If that's the case, does anyone have a transcription of a modification by any chance?

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