Dave Gilmour's Guitar Equipment

Dave Gilmour's Guitar Equipment

How To Gilmour-ize Your Strat, equipment technical info & images

Signal Flow
The Guitars Gilmour's main stage guitar is a USA 57 Vintage Reissue Strat fitted with EMG-SA pickups. He has also installed the EMG-EXG expander & SPC midrange presence controls. Apart from the electrics, the only other custom feature is a shortened tremolo arm so that he can keep it in his picking hand more comfortably while playing. Other guitars used live are an Esquire Telecaster in dropped D tuning for Run Like Hell, two Jensen lap steel guitars one tuned to E B E G B E for One Of These Days & the other tuned to D G D G B E for The Great Gig In The Sky. He also uses two Gibson J-200 Celebrity acoustics one tuned in standard & the other in D A D G A D for Poles Apart & a Gibson Chet Atkins Electro Classical. Both the Jensen Lap Steels & the acoustic guitars are fitted with EMG-H pickups. (These are basically a single coil pickup in a humbucker cap). Strings On the Strats Gilmour uses GHS Boomers with a customized gauge of (.010 .012 .016 .028 .038 .048) On the acoustics he uses Ernie Ball Earthwound Light's. How To Gilmour-ize Your Strat To go along with David Gilmour's taste for pristine Strat tone is his use of EMG active electronic (i.e. battery powered) pickups. Each of his Stratocasters is loaded with low impedance EMG-SA single coils, which he beefs up with two more tone modules: the EXG mid-cut/expander & SPC mid booster. As far as the SA pickups go, they have Alnico magnets which have a little more mid range than the ceramic S magnets. He also has the SPC midrange boost control on there which produces more of a singing humbucker tone. Finally, theres the EXG which David uses alot for rhythm, since it really helps define the notes, especially when there's a little distortion on and he's moving chord voicings around. The EXG works like a V configuration on a graphic EQ when you turn it up, the midrange gets cut, while the bass & treble get boosted. The SPC is where you really here the Gilmour sound emerge. Turn the SPC all the way up & you get that thick bluesy sound used in Shine On. The Analogue Footpedals
Footpedals

(A) Boss CS-2 Compression/Sustainer.

These are no longer available new from Roland. You can only purchase the CS-3 which (to my ear) does not sound as smooth as the CS-2.

(B) Pro Co. Rat II Distortion.

The first generation Rat's distortion, filter & volume knobs yield various Marshally distortion tones.

(C) Cornish Big Muff.

Pete Cornish custom Big Muff. (looks like Pete has taken an original Big Muff and housed it in a custom box). I don't know if this has been modified in any other way.

(D) Boss GE-7 Graphic Equalizer.

This GE-7 has been set to be used in conjunction with the Rat distortion pedal.

(E) Cornish Soft Sustain.

This is obviously a Pete Cornish custom effect. Notice the combination of the GE-7 graphic EQ sliders & the knobs for sustain & volume.

(F) Sovtek Big Muff II.

The Big Muff is a very heavy-vibed fuzz with volume, tone & sustain controls. The muff sounds huge & powerful despite it's feeble tone control range & is looser & more gargantuan than say a Pro Co. Rat II.

(G) Chandler Tube Driver #2.

The Tube Driver offers lots of tight girthy gain and has an openness that sets it apart from other distortion boxes. Features high/low EQ, tube drive & output controls. These later became known as Tube Works Tube Driver.

(H) MXR Dynacomp Compressor.

The Dynacomp has a natural sounding expansion & a nice bright tone to it.

(I) Ibanez CP-9 Compressor.

(J) Boss Metalizer.

No longer available new from Roland.

(K) Chandler Tube Driver #1.

The Tube Driver offers lots of tight girthy gain and has an openness that sets it apart from other distortion boxes. Features high/low EQ, tube drive & output controls. This later became known as Tube Works Tube Driver.

(L) Boss GE-7 Graphic Equalizer.

This GE-7 has been set to boost the top & bottom ranges. Labelled T&B

(M) Boss GE-7 Graphic Equalizer.

This GE-7 has been set to boost the bass ranges. Labelled BASS

(N) Boss GE-7 Graphic Equalizer.

This GE-7 has been set to boost the mid ranges. Labelled MID The Rack
With Dave Gilmour's rack system we meet a marriage of technologies, old & new. He has always exhibited a preference for older, analogue effects but has had Pete Cornish create a switching system which guarantees ease of use with optimum, low noise performance. The Rack

(A) Furman PL-8 Power Conditioner And Light Controller.

I can only guess that this controls the lights on top of the rack so Dave can see the pedals.

(B) TC. Electronics TC-2290 Dynamic Digital Delay + Effects Control Processor.

This is Dave's primary delay unit. He uses this on most songs.

(C) Uni-Vibe.

The Uni-Vibe unit featues volume & intensity controls, a chorus/vibrato switch & sepearate speed controls for the slow or fast speed options. It also requires a seperate foot switch pedal for fast or slow. Gilmour does not use the chorus option! This effect was originally a footpedal, however Gilmour had his longtime technician Phil Taylor make a rack system out of it. He even had the old logo embossed on the face plate of the new rack.

(D) Digitech IPS-33B Super Harmony Machine.

Diatonic pitch shifter.

(E) Lexicon PCM-70 Digital Effects Processor.

Dave uses the PCM-70 to store the circular delay sounds you hear in Shine On & Time. Because it has a multi tap function it can pretty accurately duplicate the kind of echo Dave used to get from his old Binson echo unit.

(F) MXR Delay System II.

This is another rack system that began life as a footpedal. Phil also added a digital readout that he says is really nowhere close to being an accurate indication of delay time.

(G) Phil Taylor Custom Rack.

This is yet another custom made rack from footpedals. It contains the following effects.

Boss CE-2 Chorus

The original chorus from Boss has rate & depth knobs & sounds sweet, rich & dynamic. There are two CE-2's loaded into this rack one is marked Mono Chorus & the other Left Chorus. (The left chorus is inserted in the signal path for the left channel of Dave's amp setup).

Electric Mistress

The Electric Mistress has rate, range & colour controls, plus a filter matrix switch. This is sort of a bizzarre sounding flanger that gets extremely detuned & twisted.

Tremulator

The Tremulator has speed and depth controls.

(H) Dynachord CL5222 Leslie Simulator.

(I) Samson UHF Dual Receiver.

(J) Peterson Strobe Tuner.

Other Effects & Equipment
There are a few footpedals & other items which are not pictured or part of Dave's current live rig but have been and still are used by him in the studio.

MXR Phase 90

This was MXR's first effect and only has a speed knob that yields complex, swirly phase textures with silky highs & lots of vocal inflection. Also does decent rotating speaker imitations at higher speeds.

Arbiter Fuzz Face

The classic of classic fuzzes sounds big, deep & bad. The Fuzz Face takes you from clean to insanity with a mere twiddle of your guitars volume knob.

Boss HM-2 Heavy Metal Distortion

An 80's classic Gilmour used on About Face (notably at the end of Murder). It delivers incredibly gutsy grind & tons of deep bass boost. Features low/high and colour mix controls.

Maestro Rover

The Maestro Rover looks like a late 1950's NASA satellite (I will try and get a scan of this thing) but it's a rotating speaker designed to go between your guitar and your amp. This sure fire attention getter has amp & instrument inputs & features volume, speed, slow & fast controls. A crossover routes the upper frequencies through the Rover's amplifier to the rotating speaker, while the lower frequencies are sent to your stage amp.

Orange Treble/Bass Boost.

Heil Voice Box

The Midi Foot Controller
This Bob Bradshaw designed pedalboard is used to select individual or different preset combinations of effects. This doesn't do the actual switching though. The left side of Dave's rack unit contains his Pete Cornish custom built switcher, which has 24 sends & returns & uses gold plated relays to turn individual effects on and off. In addition to this, it also sends standard MIDI program numbers to the various MIDI processors that are contained in his rack (such as the Lexicon). It can also send almost anything he wants to the rack, such as a delay time or whatever. I'm not sure if he uses any of these features, but it's there.

For information on a similar type of pedalboard designed by Rocktron/Bradshaw. Footboard

(A) TC. Electronics TC-2290 Digital Delay + Effects Control Processor. On/Off

(B) Lexicon PCM-70 Digital Effects Processor. On/Off

(C) Doppola's. On/Off

(D) Leslie. On/Off

(E) Left Chorus (Rack Mounted Boss CE-2). On/Off

(F) Acoustic. On/Off

This seems to be a switch Dave uses to toggle between electric & acoustic setups.

(G) Midi.

(H) Store.

(I) MXR Delay System II. On/Off

(J) Graphic B (Mid). On/Off

(K) Graphic A (Bass). On/Off

(L) Graphic C (T & B). On/Off

(M) Tremulator (Rack Mounted). On/Off

(N) Chorus (Rack Mounted Boss CE-2). On/Off

(O) Univibe. On/Off

(P) Electric Mistress. On/Off

(Q) Chandler Tube Driver #2. On/Off

(R) Sovtek Big Muff. On/Off

(S) Cornish Soft Sustain. On/Off

(T) Pro Co. Rat II. On/Off

(U) Chandler Tube Driver #1. On/Off

(V) Pete Cornish Big Muff. On/Off

(W) Hyper. On/Off

This toggles the Boss Metalizer

(X) Ibanez CP-9 Compressor. On/Off

(Y) Digitech Whammy. On/Off

(Z) Bank Switch.

Selects the bank number for preset sounds.

(1) Preset Numbers. 1/0

(2) Preset Numbers. 2

(3) Preset Numbers. 3

(4) Preset Numbers. 4

(5) MXR Dynacomp Compressor. On/Off

(6) Boss CS-2 Compressor. On/Off

(7) Doppola's. Slow/Fast

Selects which speed the doppola's rotate at.

(8) Leslie. Slow/Fast

Selects the speed of the Dynachord CL5222 Leslie Speaker Simulator.

(9) Univibe. Slow/Fast

Selects the speed of the univibe rotating speaker simulator.

(10) Ernie Ball Volume Pedal.

(11) Digitech Whammy Pedal.

FX Facts
Despite the apparent complexity of Dave Gilmour's set up, the actual contents of each track may come as something of a surprise. Essentially his sound is fairly clean, choosing different distortion units to add their characteristic sound to his signal. As an example, to reproduce the track Money from Dark Side Of The Moon live in concert, Gilmour uses this effects combination.

Main Riff: Pete Cornish Soft Sustain with Chandler Tube Driver #2.

Solo: Boss CS-2 Compressor with Chandler Tube Driver #1, Sovtek Big Muff & TC Electronics digital delay.

Solo (Dry Sound): Chandler Tube Driver #1 with Pro Co. Rat II Distortion. The Amplification

Preamp

After journeying through the rack system the signal meets an alembic F2-B bass guitar preamp. This has been modified with an extra tube, lowered output impedance & a different capacitor to help cut the low end.

Amps

Gilmour has always been a fan of Hi-Watt amps, tending to use AP-100 watt heads on stage and combo's in the studio. Live three of the heads are used as power amps & another three are used as slaves. All use Mullard E-34 valves which are desperately difficult to get a hold of these days, but Floyd head of backline Phil Taylor still has a cupboard full!

(A) Right channel output to 4x12's 1+10 8 ohm.

I am guessing that (1+10) refers to channel inputs on a mixer i.e. channel 1 left, channel 10 right.

(B) Left channel output to 4x12's 2+9 8 ohm.

Again (2+9) could be channel 2 right, channel 9 left. If this is the case then Dave could have, for instance, channels 1+2 as a stereo pair for the Marshalls & channels 9+10 as a stereo pair for the WEM's.

(C) Spare AP-100.

(D) Output to Heil Voice Box via Pete Cornish Dummy Load Box 8 ohm.

(E) Output to Doppola's 87, 88 8 ohm.

(F) Output to Doppola 89 8 ohm.

Speaker Cabinets & Doppola's

Speaker Cabinets

The right channel Hi-Watt powers a WEM 4x12 which is loaded with Fane Cresendo speakers and a Marshall loaded with Celestion speakers. A second Hi-Watt does the same thing for the left channel which also carries a chorused signal from a Boss CE-2 Chorus. (See Footpedals Incorporated Into A Rack Space). In the second rack, one AP-100 feeds the Jim Dunlop Heil Voice Box, another feeds Doppola's 87 & 88 (8 ohm) & a third feeds Doppola 89 (16 ohm).

Doppola's

These rotating speaker units were designed by Phil Taylor & Paul Leader to provide Gilmour with that 'Leslie' effect on his guitar. Leslie cabinets themselves might have seemed the obvious choice, but Gilmour was after a slightly different sound. In the studio he had been using Maestro Rover units which are revolving full range speakers but they are too low powered for live use and so the Doppola's were born. Three units are used on stage each loaded with two six inch 100 watt drivers.

(A) Marshall 4x12 cabinet with Celestion speakers.

(B) WEM 4x12 cabinet with Fane Cresendo speakers.

(C) Custom Doppola rotating speakers.

Further info/images from Webpage by Murray Browne

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Re: Money solo - achieving high pitch with strat

Yes he played a different guitar for that part with 24 frets. When he plays live he plays the first few bars of that solo pretty much the same as the studio version but then wanders off into improvisation so he doesn't attempt to play that note and he doesn't really substitue anything either, the whole solo is different.

When I play it I play that note as a 3 semitone bend from the 19th fret, which brings it up to the 22nd. You could also bend the 21st up to 24 I spose.

: 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?

Re: Money solo - achieving high pitch with strat

Gontakun - Here is a fragment from and interview in the Febuary 1993 Guitar World with David Gilmour. In this he is talking about "Money"

Gilmour: The first solo is ADT'd--Aritificially Double Tracked. And the Third one is actually double-tracked. I think I did the first two solos on a Fender Stratocaster, but the last one was done on a different guitar--a Lewis, which was made by some guy in Vancouver. It had a whole two octaves on the neck, which meant I could get up to notes that I couldn't play on a Stratocaster."

GW: What amp did you use on that?

Gilmour: I imagine it was a Hiwatt, but I'm not too certain. I used Fender Twin Reverbs in the studio a lot, too. But I'm certain the effects consisted of a Fuzzface fuzz box and the Binson echo/delay.

Me: Well I hope this is able to help you out a little. If you post some more questions I will try my best to answer them. If I can't answer them Richard Mahon probably will be able to. He is really good at all that stuff. See ya!

Gilmour's solo sound on Learning to Fly and Shine on from Pulse

do you know what effects he uses to get his solo tone on Learning to Fly and Shine On Your Crazy Dimonds from Pulse?? I need to know the exact formula if possible. Thanx

Re: Gilmour's solo sound on Learning to Fly and Shine on from Pulse

It's definetly the EMG's working (active pickups). Also I think he use a little compression mixed with a warm overdrive, possibly the Tube Driver 911. There's a long delay ,450ms, and lots of warm chorus. I find the EMGs to be way to prossessed. I play 70'ies Floyd and use the old vintage single coil 50'ies pick-ups. This may give you a more album version sound. My set up for Shine On is a 57' strat (as seen on Pompeii), smooth compression (for sustain), Ibanez Tube Screamer (slightly overdrive). This is fed through the Boss GT-3, in whitch I add chorus, delay and reverb. I recomend using a chorus. The Electric Mistress, whitch is a flanger, tends to get a little too much for this song, but agian a must for a more Animals tour '77 sound for Shine On. My amp is a Sound City 50 plus, quite similar to a Hi Watt. A fairly budget set, but it will give you a warm vintage sound. You sould also remember that Dave's ALWAYS using new strings (0.10 set). This gives the sound a more crispy tone. Also, an important componant is of course your choise of amp. Marshalls and other rock'n'roll amps is best when you're playing KISS or whatever. Use a Fender Twin, Sound City (as seen on the Ummagumma album cover) or preferably Hi Watts for the perfect match. On the PULSE version, Dave's not using any phaser, whitch he did in the album. Notice that for Syd's theme (the four notes in the beginning) he adds a lot of reverb and increases the feedback of the delay. This can easily be done by adding some expression pedals to your equipement.
OK?

Re: Gilmour's solo sound on Learning to Fly and Shine on from Pulse

Notice that for Syd's theme (the four notes in the beginning) he adds a lot of reverb and increases the feedback of the delay. This can easily be done by adding some expression pedals to your equipement.
OK?
-What do you mean by that? Sids Theme? Also: I thought dave uses 100W Hi-Watt heads with MARSHALL cabnets? I dont think he uses fender.

Re: Gilmour's solo sound on Learning to Fly and Shine on from Pulse

: Notice that for Syd's theme (the four notes in the beginning) he adds a lot of reverb and increases the feedback of the delay. This can easily be done by adding some expression pedals to your equipement.
: OK?
: -What do you mean by that? Sids Theme? Also: I thought dave uses 100W Hi-Watt heads with MARSHALL cabnets? I dont think he uses fender.

He uses what ever amps he has to produce the sound he wants in the studio, he has used Fender amps in the studio, but not for live work. The guitar at the beginning of sorrow is a Fender Champ.

Syd's theme is the common name given to the 4 note riff which comes in just before the band comes in on Shine On.

Re: Gilmour's solo sound on Learning to Fly and Shine on from Pulse

I really don't know much at all about Learning to Fly and what gear he uses one it. As far as Shine On goes (the pulse version)I can hear the EMG's in action. I know for a fact that he uses the neck pickup through the whole song on pulse. It doesn't really sound like he is using the SPC but he may be using the EXG. The EXG is more for a clean tone but I am not sure if he actually has it on during the song or not. Post some more questions or comments, I love talking about Gilmour and his stuff!

Re: Gilmour's solo sound on Learning to Fly and Shine on from Pulse

He definately uses the boosters that give the begining solo that low bluesy tone. Probabily some compression. Question: does anyone know what fret that first bend is on? The WYWH tab says like 19 or 20 but it sounds way too high. I think i play it on 17. How does he get that boooo wooo buuuuu hehe tone. who knows. ive been playing 2 years but floyd is ill i play. i love talking about this stuff too.
good luck to me and you guys trying to get his tone. :-)

Re: Gilmour's solo sound on Learning to Fly and Shine on from Pulse

I am almost positive that on the Wish You Were Here studio album, Gilmour used a Tele for shine on. I am also positive that for the first two notes of the intro, he bends from the 18th to the 20th fret on the B string. Then he stays in the G minor pentatonic scale where the main root note (G) is played on the D string at the 17th fret. If you get the Wish You Were Here tablature book, it shows you to play the intro this way.

Now the version that is on pulse, he plays similar but at a different place on the fretboard. With this version he starts the intro with bending the 13th fret to the 15th fret and the high E string. Then the main G root note is played on the G string at the 12th fret. I studied how he did this from watching the video. Post some more questions or comments, if you have any. I am sorta enjoying this. For once, I get to help people with Gilmour stuff instead of other people helping me. lol

Re: Gilmour's solo sound on Learning to Fly and Shine on from Pulse

: I am almost positive that on the Wish You Were Here studio album, Gilmour used a Tele for shine on. I am also positive that for the first two notes of the intro, he bends from the 18th to the 20th fret on the B string. Then he stays in the G minor pentatonic scale where the main root note (G) is played on the D string at the 17th fret. If you get the Wish You Were Here tablature book, it shows you to play the intro this way.

: Now the version that is on pulse, he plays similar but at a different place on the fretboard. With this version he starts the intro with bending the 13th fret to the 15th fret and the high E string. Then the main G root note is played on the G string at the 12th fret. I studied how he did this from watching the video.

They dont show that first bend on the pulse video. Maybe the pay-per-view version but i never saw that. Could you please describe that first bend. Its on the high E on the 13th?! maybe... are you sure?

Re: Gilmour's solo sound on Learning to Fly and Shine on from Pulse

I am positive that the first two bends of Shine On (pulse) are on the high E string. He bends from the 13th fret to the 15th fret (which is G). I am guessing that the reason he does this is to get a more brighter tone. It sounds a little thicker when you play the same thing but higher on the neck. I play both ways sometimes, depends on what kind of mood I am in. If you have any more questions you can post them here or just email me. See ya!

Re: Gilmour's solo sound on Learning to Fly and Shine on from Pulse

: I am almost positive that on the Wish You Were Here studio album, Gilmour used a Tele for shine on. I am also positive that for the first two notes of the intro, he bends from the 18th to the 20th fret on the B string. Then he stays in the G minor pentatonic scale where the main root note (G) is played on the D string at the 17th fret. If you get the Wish You Were Here tablature book, it shows you to play the intro this way.

: Now the version that is on pulse, he plays similar but at a different place on the fretboard. With this version he starts the intro with bending the 13th fret to the 15th fret and the high E string. Then the main G root note is played on the G string at the 12th fret. I studied how he did this from watching the video. Post some more questions or comments, if you have any. I am sorta enjoying this. For once, I get to help people with Gilmour stuff instead of other people helping me. lol

Thanx for all your info, but the main question was what Effects was he using on this solo? Tube Driver with compressor and eq or something??
Also what eq setup would you use to get that really smooth and liquidy sound???

Re: Gilmour's solo sound on Learning to Fly and Shine on from Pulse

: I am almost positive that on the Wish You Were Here studio album, Gilmour used a Tele for shine on. I am also positive that for the first two notes of the intro, he bends from the 18th to the 20th fret on the B string. Then he stays in the G minor pentatonic scale where the main root note (G) is played on the D string at the 17th fret. If you get the Wish You Were Here tablature book, it shows you to play the intro this way.

: Now the version that is on pulse, he plays similar but at a different place on the fretboard. With this version he starts the intro with bending the 13th fret to the 15th fret and the high E string. Then the main G root note is played on the G string at the 12th fret. I studied how he did this from watching the video. Post some more questions or comments, if you have any. I am sorta enjoying this. For once, I get to help people with Gilmour stuff instead of other people helping me. lol

Thanx for all your info, but the main question was what Effects was he using on this solo? Tube Driver with compressor and eq or something??

Gilmours Effects On Shine On, according to article and his tone on the first few notes

He uses the cs-2 compression, long delay (400 ms, low feedback) phaser. reverb (2 secs) and chorus, on very low setting
that is for the first solo. Also anylyzing the first few notes, you can see his nice bend vibrato, it can be accomplished
by using the tremelo arm very lightely, or doing it with your fingers going up and down, its worth learning, he uses it alot.

As for the notes, on Pulse it starts out on fret 13 on string e. I believe its the same for the studio version, but with different pickups
(siunce by pulse he was using the EMG setup.) If you mess with delay and reverb you can get the studio version.

: : I am almost positive that on the Wish You Were Here studio album, Gilmour used a Tele for shine on. I am also positive that for the first two notes of the intro, he bends from the 18th to the 20th fret on the B string. Then he stays in the G minor pentatonic scale where the main root note (G) is played on the D string at the 17th fret. If you get the Wish You Were Here tablature book, it shows you to play the intro this way.

: : Now the version that is on pulse, he plays similar but at a different place on the fretboard. With this version he starts the intro with bending the 13th fret to the 15th fret and the high E string. Then the main G root note is played on the G string at the 12th fret. I studied how he did this from watching the video. Post some more questions or comments, if you have any. I am sorta enjoying this. For once, I get to help people with Gilmour stuff instead of other people helping me. lol

:
: Thanx for all your info, but the main question was what Effects was he using on this solo? Tube Driver with compressor and eq or something??

DD-5

I just got the DD-5, love it. Does anyone have any information on the Tap-Tempo that one could get with it. Does anyone think that would be useful playing floyd.

Re: DD-5

Set the delay mode to 3, the speed to between 11 and 12 o'clock to get the speed right. Play around with the feedback, it really depends on which song you're trying to play for this setting. The same goes for the effect level knob.
If you're familiar with Edge from U2's delay setting this is just about the same.

another thing to do to impress your friends with this pedal and to try to imitate the clock ticking in "time" with the "hold" mode. The pedal is pretty fun to play around with for floyd.

mark.

: I just got the DD-5, love it. Does anyone have any information on the Tap-Tempo that one could get with it. Does anyone think that would be useful playing floyd.

Re: DD-5

: Set the delay mode to 3, the speed to between 11 and 12 o'clock to get the speed right. Play around with the feedback, it really depends on which song you're trying to play for this setting. The same goes for the effect level knob.
: If you're familiar with Edge from U2's delay setting this is just about the same.

: another thing to do to impress your friends with this pedal and to try to imitate the clock ticking in "time" with the "hold" mode. The pedal is pretty fun to play around with for floyd.

: mark.

: : I just got the DD-5, love it. Does anyone have any information on the Tap-Tempo that one could get with it. Does anyone think that would be useful playing floyd.

Yea i do the clock and the heart beat in Speak to me/ Breathe. Does anyone have any other intresting things they do with delay?

Gt-3 patches for gilmour tone.

I was wondering if anyone knows were I can get some patch settings for the GT-3 that would emulate Gilmour's tone? Patches for any of the songs would help. Thanks, Jon

Re: Gt-3 patches for gilmour tone.

: I was wondering if anyone knows were I can get some patch settings for the GT-3 that would emulate Gilmour's tone? Patches for any of the songs would help. Thanks, Jon

Please, if someone can answer this -- do copy me on!
THANKS! I'm wondering why BOSS/ROLAND do not provide any guidance on how to do it! (Not to mention the money they charge for the gear!).
Dmitry

shortened tremelo arm

I read everywhere that David Gilmour uses shortened tremelo arms, but how exactly does one go about it? Just saw it off? Anyone know the ideal length?

Re: shortened tremelo arm

Well one day I decided I would do it. They do not sell shortened ones.
Required items:
Blow Torch
Pliers
Something to hold the tremelo arm steady whilst you blow, and bend it
Like a Dremal or something, to buff it clean and get the burnt metal off.

His goes to the second pickup, after it. So What I did is measure the current tremelo I had
and do a ratio chart, measure the angle of the bend, how long it is at the bend, how long it is all together,
Now make seperate measurments for how long it is from the tremelo hole on the bridge, to the end of the second pickup.
See how much you will need to cut off. Now use the blow torch and hold it down (I forget what their called, two metal pieces that you
can turn a lever and it will close thus holding whatever is in it, just a typical tool, usually mounted on something.)
Now make the metal red hot and use the pliers to take the original bend out. Next cut off any uneeded length.
Referring to your ration chart calcualte where the bend should be at. Begin the torch again and bend it.
Once done you will have a fried piece of tremelo, then use a dremel or sandpaper to rub off the burnt shit on the arm, it will
look similiar to a delorian metal body.

Sorry if this is complicated, it took me about an hour and a half to do, first try, and I absolutely love it.
I am going on vacation for a week and a half, so I can't respond to anything, however if you send me the arm I suppose
I could do it for you if this explination is too unclear, or just e-mail me (dusty@dudeman.net) and I will re-explain, I wish
I had those original calculations, bah.

hope this helps

Floyd

: I read everywhere that David Gilmour uses shortened tremelo arms, but how exactly does one go about it? Just saw it off? Anyone know the ideal length?

Re: shortened tremelo arm

:i just purchased a standard tremelo bar from a music shop and bent the bar simply by compressing it between two pieces of aluminium in a vise and an aluminium pipe to get leverage, its about 5 inches long and i played with it until i could cup it with my three fingers and still pick with my hand against the bridge, in sure this is the way dave or anyone would set the lenght, to try to scale it and draw it out in autocad would be nonesense, its all about feel and being able to use the vibtoto while still picking,.

Re: shortened tremelo arm

:i just purchased a standard tremelo bar from a music shop and bent the bar simply by compressing it between two pieces of aluminium in a vise and an aluminium pite to get leverage, its about5 inches long and i playid with it untill i could cup it with my three fingers and still pick with my hand against the bridge, in sure this is the way dave ore anyone would set the lenght, to try to scale it and draw it out in autocad would be nonesense, its all about feel and being able to use the vibtoto while still picking,.

Re: shortened tremelo arm

My dad owns a body shop. I just put mine in a vice, got a hacksaw, cut it-just so it was shorter than it was, got a rubber mallet and beat it till it was curved to my liking. Much better than the long ugly ones. good luck! mark

Echoes Guitar Effects for the 1970-72 Era

hiwatt amps hh amps with vibrato
binson echorec
fuzz box
harmonica
slide
vcs3 sytnh
vibrato pedal
vox wah wah
wah wah pedal

I assume eithe rof the last two wah wahs are the ones he used for the sound, most liekyl
they both made slightely dif tones, as the first one was from pompeii
and the second was from studio, you can hear the diference in the songs.

what kind of distortion for echoes?

If you listen to the Pompeii version of Echoes, Dave's using a screaming distortin for the solo, witch i quite different from the album version. Did he use Big Muff at this point? A Fuzz Face? Is it a clean signal or is it coloured with lots of delay? He didn't use any modulation fx at this point. He swithces quickly between clean and distortion at the funky jam. If he uses delay he must have some sort of a multi box with both distortion and delay.

Re: what kind of distortion for echoes?

: He didn't use any modulation fx at this point.

you got to be BSing me!!! If u see pompeii, you'll notice the leslies in the background. It's classified as an amplifier but it's the primitive chorus effect.

you're right that he doesn't use any chorus stomp boxes but that's because there was none except for a phaser which gives a different tone.

You can't really tell that the leslie's on because of the distortion and delay but he's using it. because if you try to nail the solo you'll notice something's missing.

Re: what kind of distortion for echoes?

: If you listen to the Pompeii version of Echoes, Dave's using a screaming distortin for the solo, witch i quite different from the album version. Did he use Big Muff at this point? A Fuzz Face? Is it a clean signal or is it coloured with lots of delay? He didn't use any modulation fx at this point. He swithces quickly between clean and distortion at the funky jam. If he uses delay he must have some sort of a multi box with both distortion and delay.

After doing quite a bit of research on this subject I'm pretty certain that Gilmour's main distortion was a Fuzz Face until the Animals tour when he added the Big Muff.

The middle/seagull section is definately a wah-wah plugged in backwards. It's much more effective with a single coil pickup, the pitch seems to be higher than a double coil.

As for the Pink Floyd Encyclopedia, I was a contributer to the equipment section. The only information that was used was information that was confirmed from a member of the band or sound engineer. If an entry in the book seems vague it's because the original source of the information was unfortunately just as vague.

Re: what kind of distortion for echoes?

assuming your not talking about the echoes guitar, I'd say he uses his big muff with the vol extremely loud
thats about the only distortion he really used in the early days. For the echoes guitar (squealing bit) I believe
it was a wah wah pedal in backwords, theres a discussion about i a few messages down...

Floyd

: If you listen to the Pompeii version of Echoes, Dave's using a screaming distortin for the solo, witch i quite different from the album version. Did he use Big Muff at this point? A Fuzz Face? Is it a clean signal or is it coloured with lots of delay? He didn't use any modulation fx at this point. He swithces quickly between clean and distortion at the funky jam. If he uses delay he must have some sort of a multi box with both distortion and delay.

Re: what kind of distortion for echoes?

Didn't get much of that discussion. What do you mean by using the wah backwards. If you're swithcing the cables you'll only get a bypass singnal. Or did I miss the point???

Re: what kind of distortion for echoes?

Floyd is correct about the wah, it's well worth a try. It works best with single coil p/us and will only work with certain wah pedals and they must come directly after the guitar.

I use a tele plugged into the output of a Dunlop Crybaby. The crybabys input then goes through my other pedals, distoriton, delay, chorus etc and the amp.

Turn the guitars volume all the way up, turn the guitars tone control all the way down, depress the wah about half way and bring up the tone on your guitar, twiddle with tone knobs, p/u selection and pedal position to get ALL the sounds heard in the middle section of echoes. Very simple and very efective.

Re the distoriton for the guitar solo: The original poster was saying that the solo in Pompeii is widely different from the one on the album. Actually, if you listen carefully you can here a Pompeii type grungy solo very low in the mix on the studio version. You can hear the first note quite loud and clearly and then it's mixed down as soon as the bluesy solo starts. It seems that the clean guitar on the studio echoes was an after thought.

: Didn't get much of that discussion. What do you mean by using the wah backwards. If you're swithcing the cables you'll only get a bypass singnal. Or did I miss the point???

Re: what kind of distortion for echoes?

I am ordering the Pink Floyd Encyclopedia, which I hear has equipment lists for each tour, I'll write
out the stuff he uses for meddle, I don't think it says song to song though.

Floyd
: Floyd is correct about the wah, it's well worth a try. It works best with single coil p/us and will only work with certain wah pedals and they must come directly after the guitar.

: I use a tele plugged into the output of a Dunlop Crybaby. The crybabys input then goes through my other pedals, distoriton, delay, chorus etc and the amp.

: Turn the guitars volume all the way up, turn the guitars tone control all the way down, depress the wah about half way and bring up the tone on your guitar, twiddle with tone knobs, p/u selection and pedal position to get ALL the sounds heard in the middle section of echoes. Very simple and very efective.

: Re the distoriton for the guitar solo: The original poster was saying that the solo in Pompeii is widely different from the one on the album. Actually, if you listen carefully you can here a Pompeii type grungy solo very low in the mix on the studio version. You can hear the first note quite loud and clearly and then it's mixed down as soon as the bluesy solo starts. It seems that the clean guitar on the studio echoes was an after thought.

: : Didn't get much of that discussion. What do you mean by using the wah backwards. If you're swithcing the cables you'll only get a bypass singnal. Or did I miss the point???

Re: what kind of distortion for echoes?

The Encyclopedia isn't very thorough on the equipement list. Nothing one doesn't know already.

: I am ordering the Pink Floyd Encyclopedia, which I hear has equipment lists for each tour, I'll write
: out the stuff he uses for meddle, I don't think it says song to song though.

: Floyd
: : Floyd is correct about the wah, it's well worth a try. It works best with single coil p/us and will only work with certain wah pedals and they must come directly after the guitar.

: : I use a tele plugged into the output of a Dunlop Crybaby. The crybabys input then goes through my other pedals, distoriton, delay, chorus etc and the amp.

: : Turn the guitars volume all the way up, turn the guitars tone control all the way down, depress the wah about half way and bring up the tone on your guitar, twiddle with tone knobs, p/u selection and pedal position to get ALL the sounds heard in the middle section of echoes. Very simple and very efective.

: : Re the distoriton for the guitar solo: The original poster was saying that the solo in Pompeii is widely different from the one on the album. Actually, if you listen carefully you can here a Pompeii type grungy solo very low in the mix on the studio version. You can hear the first note quite loud and clearly and then it's mixed down as soon as the bluesy solo starts. It seems that the clean guitar on the studio echoes was an after thought.

: : : Didn't get much of that discussion. What do you mean by using the wah backwards. If you're swithcing the cables you'll only get a bypass singnal. Or did I miss the point???

Re: what kind of distortion for echoes?

The solo is just a fuzz pedal, I didn't think he used a Big muff that far back? Big Muff will give the right sound anyway. The guitar through the funky jam is no where near as fuzzy more of a very overdriven amp sound. He uses delay through the seagull bits and there is a lot of reverb through the funky jam. He may be using delay through the jam, but if he is it's subtle and is left on through the clean bits as well.

: assuming your not talking about the echoes guitar, I'd say he uses his big muff with the vol extremely loud
: thats about the only distortion he really used in the early days. For the echoes guitar (squealing bit) I believe
: it was a wah wah pedal in backwords, theres a discussion about i a few messages down...

: Floyd

: : If you listen to the Pompeii version of Echoes, Dave's using a screaming distortin for the solo, witch i quite different from the album version. Did he use Big Muff at this point? A Fuzz Face? Is it a clean signal or is it coloured with lots of delay? He didn't use any modulation fx at this point. He swithces quickly between clean and distortion at the funky jam. If he uses delay he must have some sort of a multi box with both distortion and delay.

Re: what kind of distortion for echoes?

: The solo is just a fuzz pedal, I didn't think he used a Big muff that far back? Big Muff will give the right sound anyway. The guitar through the funky jam is no where near as fuzzy more of a very overdriven amp sound. He uses delay through the seagull bits and there is a lot of reverb through the funky jam. He may be using delay through the jam, but if he is it's subtle and is left on through the clean bits as well.

: : assuming your not talking about the echoes guitar, I'd say he uses his big muff with the vol extremely loud
: : thats about the only distortion he really used in the early days. For the echoes guitar (squealing bit) I believe
: : it was a wah wah pedal in backwords, theres a discussion about i a few messages down...

: : Floyd

: : : If you listen to the Pompeii version of Echoes, Dave's using a screaming distortin for the solo, witch i quite different from the album version. Did he use Big Muff at this point? A Fuzz Face? Is it a clean signal or is it coloured with lots of delay? He didn't use any modulation fx at this point. He swithces quickly between clean and distortion at the funky jam. If he uses delay he must have some sort of a multi box with both distortion and delay.

For Pompeii, It's a later model of a Dallas-Arbiter Fuzz Face in the blue housing; you see it clearly during the freakout section of "Saucerful." Just behind Nick's kit, to his right, is a red Fuzz Face, probably a spare. Looks like he has a DeArmond Voulme, then the Fuzz Face and a footswitch for the echo unit. Nice, no pedalboard or fancy switching setup. Just very dusty. The Fuzz Face gives that screaming distortion that is very thick, too. I believe the Hiwatts are set clean and the Fuzz Face handles the distorto sounds. It's a later FF, one with the silicon transistors, just has that sound.....

Re: what kind of distortion for echoes?

I think he may have had the big muff, not quite sure, but you do get that distortion like during the lyrics.
I don't have reverb, I need it badly so I can't really give any suggestions for that. I am not sure exactly what
pedals he had then, I'm sure the pink floyd encyclopedia tell about it though, its only like 20 bucks at amazon, I need to buy it.
For the segulls part, word of mouth has it thats it just a wah wah pedal reversed, so output goes where input, and vice versa, I don't
have the money to test it out, but thats the general rumor of that. Not sure if its just a loud pitched squeal, that he
uses reverb and mass delay (more than 2 seconds, for that I'm sure he used his binson) and just twiddle wth his volume to do that,
it can't be hard to make that sound because I have a few ROIO's that have him go to that tone in concert....

Floyd
: The solo is just a fuzz pedal, I didn't think he used a Big muff that far back? Big Muff will give the right sound anyway. The guitar through the funky jam is no where near as fuzzy more of a very overdriven amp sound. He uses delay through the seagull bits and there is a lot of reverb through the funky jam. He may be using delay through the jam, but if he is it's subtle and is left on through the clean bits as well.

: : assuming your not talking about the echoes guitar, I'd say he uses his big muff with the vol extremely loud
: : thats about the only distortion he really used in the early days. For the echoes guitar (squealing bit) I believe
: : it was a wah wah pedal in backwords, theres a discussion about i a few messages down...

: : Floyd

: : : If you listen to the Pompeii version of Echoes, Dave's using a screaming distortin for the solo, witch i quite different from the album version. Did he use Big Muff at this point? A Fuzz Face? Is it a clean signal or is it coloured with lots of delay? He didn't use any modulation fx at this point. He swithces quickly between clean and distortion at the funky jam. If he uses delay he must have some sort of a multi box with both distortion and delay.

The Sound of Money

I am having trouble getting the money "wah-roto-vibe-phase-delay" sound when the sax solo starts. What is doing that?
I can do everything else in the song such as main riff, tremolo, wet and dry solos, etc. I have a Boss CS-2, Univibe, Cry Baby, Phase 90,
and a Digitech 2112 with all the delay combinations and other effects you can think of, but what does Dave use and how does he play it?
How do I chain up and dial in this sound? The tone is not easy to match either. I run this all into a Marshall EL34 stereo power amp
and Marshall 4x12. Thanks for any help I can get.

Re: The Sound of Money

I'm having difficulty picturing the part you mean. Are you sure it's not the keyboards?

: I am having trouble getting the money "wah-roto-vibe-phase-delay" sound when the sax solo starts. What is doing that?
: I can do everything else in the song such as main riff, tremolo, wet and dry solos, etc. I have a Boss CS-2, Univibe, Cry Baby, Phase 90,
: and a Digitech 2112 with all the delay combinations and other effects you can think of, but what does Dave use and how does he play it?
: How do I chain up and dial in this sound? The tone is not easy to match either. I run this all into a Marshall EL34 stereo power amp
: and Marshall 4x12. Thanks for any help I can get.

Re: The Sound of Money

It is possible it could be keyboards. What is your opinion on what is going on there during the sax solo? Take another listen to the song. It sounds like multiple guitar tracks.

: I'm having difficulty picturing the part you mean. Are you sure it's not the keyboards?

: : I am having trouble getting the money "wah-roto-vibe-phase-delay" sound when the sax solo starts. What is doing that?
: : I can do everything else in the song such as main riff, tremolo, wet and dry solos, etc. I have a Boss CS-2, Univibe, Cry Baby, Phase 90,
: : and a Digitech 2112 with all the delay combinations and other effects you can think of, but what does Dave use and how does he play it?
: : How do I chain up and dial in this sound? The tone is not easy to match either. I run this all into a Marshall EL34 stereo power amp
: : and Marshall 4x12. Thanks for any help I can get.

Re: The Sound of Money

OK, having a listen now, and you're right it is guitar. It sounds to me like it's going through one of those automatic wah pedals where it wahs with your attack, or maybe a normal wah.

: It is possible it could be keyboards. What is your opinion on what is going on there during the sax solo? Take another listen to the song. It sounds like multiple guitar tracks.

: : I'm having difficulty picturing the part you mean. Are you sure it's not the keyboards?

:
: : : I am having trouble getting the money "wah-roto-vibe-phase-delay" sound when the sax solo starts. What is doing that?
: : : I can do everything else in the song such as main riff, tremolo, wet and dry solos, etc. I have a Boss CS-2, Univibe, Cry Baby, Phase 90,
: : : and a Digitech 2112 with all the delay combinations and other effects you can think of, but what does Dave use and how does he play it?
: : : How do I chain up and dial in this sound? The tone is not easy to match either. I run this all into a Marshall EL34 stereo power amp
: : : and Marshall 4x12. Thanks for any help I can get.

BIG MUFF PI

Hello. Is there anybody out there who can give me the settings on the Big Muff for the Comf. Numb (studio) solo? I guess it's depending on what you're using it with. My setup is quite simple. I use alot of vintage Electro Harmonix peds. I do however think that my Comf. Numb sound is great, but I want to take it that extra bit. I use the Big Muff as a boost with the distortion turned off. It's placed betwen my guitar and the rest of my pedals. I guess the ultimate setup would be - compressor, big muff, electric mistress for flanger, delay and reverb. I some of you mention use of a MXR phaser. Does he really use phaser on this one????????????? I can't even hear a leslie. His signal sounds quite like a normal amp. If anyone would bother, pleeeeease send me a mail with your thoughts on the Gilmour sound.

Re: BIG MUFF PI

I can hear the MXR phase on that solo. I get a close sound with a phaser that I build myself. The secret is putting the phaser BEFORE the distortion. The distortion become slightly wah`ed with a liquid and cool sound. I even had a Big Muff and can get convincing sounds this way.

Re: BIG MUFF PI

if their vintage it won't work, I use a russian reissure, with settings right to left at 2, 11, 2
I also have an mxr 90, it works but its not best, I believe the complete effects includes chorus
along with the electrc mistress. He most likely uses a maestro rover (leslie speaker) for it in the studio
but I am working up to, Compressor, Big Muff, Chorus, Flanger, Delay, the phaser can almost create a similiar
speaker rotatign sound but not quite.

Floyd

: Hello. Is there anybody out there who can give me the settings on the Big Muff for the Comf. Numb (studio) solo? I guess it's depending on what you're using it with. My setup is quite simple. I use alot of vintage Electro Harmonix peds. I do however think that my Comf. Numb sound is great, but I want to take it that extra bit. I use the Big Muff as a boost with the distortion turned off. It's placed betwen my guitar and the rest of my pedals. I guess the ultimate setup would be - compressor, big muff, electric mistress for flanger, delay and reverb. I some of you mention use of a MXR phaser. Does he really use phaser on this one????????????? I can't even hear a leslie. His signal sounds quite like a normal amp. If anyone would bother, pleeeeease send me a mail with your thoughts on the Gilmour sound.

Re: BIG MUFF PI

ahh, meant that the settings won't work unless its the russian reissue
sorry bout that

Floyd

: if their vintage it won't work, I use a russian reissure, with settings right to left at 2, 11, 2
: I also have an mxr 90, it works but its not best, I believe the complete effects includes chorus
: along with the electrc mistress. He most likely uses a maestro rover (leslie speaker) for it in the studio
: but I am working up to, Compressor, Big Muff, Chorus, Flanger, Delay, the phaser can almost create a similiar
: speaker rotatign sound but not quite.

: Floyd

: : Hello. Is there anybody out there who can give me the settings on the Big Muff for the Comf. Numb (studio) solo? I guess it's depending on what you're using it with. My setup is quite simple. I use alot of vintage Electro Harmonix peds. I do however think that my Comf. Numb sound is great, but I want to take it that extra bit. I use the Big Muff as a boost with the distortion turned off. It's placed betwen my guitar and the rest of my pedals. I guess the ultimate setup would be - compressor, big muff, electric mistress for flanger, delay and reverb. I some of you mention use of a MXR phaser. Does he really use phaser on this one????????????? I can't even hear a leslie. His signal sounds quite like a normal amp. If anyone would bother, pleeeeease send me a mail with your thoughts on the Gilmour sound.

Re: BIG MUFF PI

Ah, what do mean by : if their vintage it won't work, I use a russian reissure. Are you saying that the reissue won't do the job or did you spell the sentence wrong. Thax for the settings!

The Red Strat

Does anyone have info on when Dave started using the red Strat that he used for the '94 Earls Court gigs? Is that the first time he used the guitar?

Re: The Red Strat

: Does anyone have info on when Dave started using the red Strat that he used for the '94 Earls Court gigs? Is that the first time he used the guitar?

Gilmour's red strat was purchased in 1984, one of about a half dozen guitars he bought before the About Face tour. He didn't want to take his older, more valueable guitars on the road so he purchased these 57 & 62 re-issues. The red strat with the EMG setup was first seen at Live Aid 7/13/85 when Gilmour sat in with Bryan Ferry's band at Wembley Stadium. When the Momentary Lapse tour began in September 1987 Gilmour switched between a blonde strat and the red one. As the tour continued he eventually shifted to using the red Strat full time.

Re: The Red Strat

Well he started using it just after the wall I believe. His main strat was getting to old, and he didn't want it
to get stolen, so in response he went guitar hunting for something he liked. Eventually he found the red strat
57 reissue. He did mess with it a bit, using it for various gigs, I am pretty sure he used it for his solo tour, and
posotive with the 87 tour, although he changed the color of it. Really the only other one I see him use consistently
is the esquire for tunes like run like hell.

Floyd

: Does anyone have info on when Dave started using the red Strat that he used for the '94 Earls Court gigs? Is that the first time he used the guitar?

Reverb`

What do you guys use for reberb? Also, what do you think gilmour uses? I heard his
TC delay can do reverb, but not sure if its true, and I am not paying 2 grand for that
;o)

Floyd

Wah-Wah

What about Davids wah wah pedals?

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