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: Wah-Wah

: What about Davids wah wah pedals?

I don't think he's used a Wah live since the last time he played the middle part of Echoes.

Big Muff and RAT RI's

Does anyone have an opinion on the Reissues of both these pedals?
Are they close to the originals?

Re: Big Muff and RAT RI's

I got a vintage rat2, sorry
the big muff I got is russian reissue just like at the store, its similiar not exact
it doesn't have as much low end, and its alittle raspy with the feedback
other than that its a bargain for its price, don't get the usa version, its a waste
they sound the same to me, I used both at guitar center, no dif to me, but try it yourself.

Floyd
:
: Does anyone have an opinion on the Reissues of both these pedals?
: Are they close to the originals?

digitec 2120

can anyone give any advice on gilmour sounds using a digitec 2120, i.e compression settings/distortion etc.thanks.

Re: digitec 2120

I have many patches that I have created on a Digitch 2112 for Gilmour tones and various Floyd songs. I think that the 2120 would be backward compatable with these patches. My masterpieces for 2112 are the intro and solo for "Time" and "Run Like Hell"
Let me know what songs you would like and chances are I've got a patch. I will send a few to you and you let me know if they work on 2120.

bends and compound bends

How can i perfect the string bending technique Dave uses in nealry all of his solos? I can't seem to bend clearly.

Re: bends and compound bends

: How can i perfect the string bending technique Dave uses in nealry all of his solos? I can't seem to bend clearly.

The key is technique. Make sure your thumb is wrapped completely around the neck, almost as if you were holding a baseball bat in your left hand. The other way to keep your bends smooth is to back them up with your other fingers. Most guitarists bend with their 3rd finger but if you watch video closely you'll see that they're using their 1st, 2nd and 3rd fingers to raise the note.

Re: bends and compound bends

lots of practice. Gilmour doesn't really do anything with bends that other good guitarists don't do, they are just clear and articulate. You have to make sure that when you release the bend you don't accidently allow other strings to ring out. For bends such as heard on Another Brick in the Wall Pt II, there's really nothing particular you can do except practice bending to one note and then bending the string further to the next note. Make sure you have a clear notion of what notes you are trying to bend to. Bend to the note and then play the fretted note and compare them, how accurate are you at getting the pitch correct? Practice until you can bend to the note you hear in your head perfectly.

: How can i perfect the string bending technique Dave uses in nealry all of his solos? I can't seem to bend clearly.

money/time

Could someone know what type of distortion gilmour uses for the solo to TIME and both solos in MONEY? thanks mark

Re: money/time

: Could someone know what type of distortion gilmour uses for the solo to TIME and both solos in MONEY? thanks mark

On the original DSOTM recordings - Time was a Fender Strat into a Fuzz Face into a Hiwatt amp. I think he may have used his Binson Echorec for delay. For Money, Gilmour again used a Fender Strat into a Fuzz Face and a Hiwatt. A device referred to as ADT (automatic double tracking) was used during the first solo. This was added to the sound during the mix. The second solo used the same setup (without the ADT) and was dry (no effects.) I think the same setup was used when the songs were performed live in the 1970's.

Re: money/time

I'd say big muff for sure, tube driver for money, rat for money, big muff for money...lots delay for time
none for money.

floyd
: Could someone know what type of distortion gilmour uses for the solo to TIME and both solos in MONEY? thanks mark

delay for the BOSS DD-3

I wanted to know what to set it to get "Another Brick in the Wall (one)" Type of delay.
Thanx alot

Re: delay for the BOSS DD-3

I''d assume there basicly conigured the same for the dd-5 which I use.
Try effect level at 3, feedback at 11 or so, delay at about 11 and setting 3 or 4 I forget right
off the top of my head, enough to let you be able to do the riff once without the delay actually doing
the feedback.

Floyd

: I wanted to know what to set it to get "Another Brick in the Wall (one)" Type of delay.
: Thanx alot

guitar quality

I have been playing guitar for 65 years and I still don`t know what changes in a guitar make for good quality sound, Sharp, ringing sound, holding sound longer. hard to play and etc in acoustic guitars. Will the wood play a major part in sound. Just wondering. Thanks a lot.

Re: guitar quality

I wouldn't say the wood plays that big of an important role. Try placing your fingers in dif positions on
the fret, (like closer to it, or further away) try playing soft, hard, whatever you like. Strings can make a difference
theres a whole shitload of little things you can do to achieve them all.

: I have been playing guitar for 65 years and I still don`t know what changes in a guitar make for good quality sound, Sharp, ringing sound, holding sound longer. hard to play and etc in acoustic guitars. Will the wood play a major part in sound. Just wondering. Thanks a lot.

Re: guitar quality

Wood makes a diference to the tone of the guitar, the type of fret board can make a difference, with Maple having a bright sound and Rose wood having a more mellow sound. On an acoustic a lot of the difference in sound comes from the shape of the body and also the construction of the sound board.

An acoustic is harder to play due to having heavier strings which require more effort to fret.

They are general tonal diferences, but as Floyd said, your technique plays a big part.

: I wouldn't say the wood plays that big of an important role. Try placing your fingers in dif positions on
: the fret, (like closer to it, or further away) try playing soft, hard, whatever you like. Strings can make a difference
: theres a whole shitload of little things you can do to achieve them all.

: : I have been playing guitar for 65 years and I still don`t know what changes in a guitar make for good quality sound, Sharp, ringing sound, holding sound longer. hard to play and etc in acoustic guitars. Will the wood play a major part in sound. Just wondering. Thanks a lot.

atomheartmother tab

I would love if someone could find the tab to David Gilmour's guitar part in atomheartmother in the funky dung section- its such a hard solo. I have looked everywhere and all I can find is the slide part. Or maybe someone could at least tell me what key it is in or what that first piercing note is. I believe it is e, or at least thats how I play it, but i would love to know how he plays it because I can't totally figure it out by myself. thanks

Re: atomheartmother tab

I saw it a bit ago I remember, but its basicly penatonic, high, I believe it was 18 or 20 on high e
that starts it out, but it stays around there, his early stuff all went on this scale, and you can hear where he got alot
of it, anyways, I'd say learn the penatonic because he almost always stays in the boundries,
|-20(22) 20 (22) 20 (22) 20(22) 20(22) 18-----18
|---------------------------------------------------------------20-----20
|
|
|

: I would love if someone could find the tab to David Gilmour's guitar part in atomheartmother in the funky dung section- its such a hard solo. I have looked everywhere and all I can find is the slide part. Or maybe someone could at least tell me what key it is in or what that first piercing note is. I believe it is e, or at least thats how I play it, but i would love to know how he plays it because I can't totally figure it out by myself. thanks

rogers secret message

congratulations, you have just discovered the secret message. please send your answer to old pink (presumably sid) care of the funny farm, chalfont!
in the background you can hear a door knock and someone call out "roger, carolines on the phone!"
this approaching distraction seems to cause roger to hurry the clandestine message he is covertly adding to the wall album.
the band (including rog) seem to deny all knowledge!
any one else with any incite?

Re: rogers secret message

I think of it more as in the eye of the beholder...old pink could be pink floyd ( the character in the movie)
however the insanity part did come partly from syd. Pink Floyd is a very secretive band, you read about the oz/dsotm
and they all deny it, but when you look at the PULSE cover you can clearely see dorothy, with her shiny red shoes
in the eye. I think it is nothing more than just a interesting addition...you'll notice at the beggining and end it says
we came in""isn't this where" signifying a loop in the process, theres no esscape really, you see it on alot of albums, animals
with the pigs on the wing, dsotm with the pulsing, all make the album a loop, telling the message is all a giant circle
in a sense, however thats just my view...in the end I think its all in the eye of the beholder, when it says welcome to the machine, the band could
mean anything, and who cares in the end, its what you think it means, sure the wall is full of symbolism, which I love, and take it for that
but you can always take your own view rather than someone elses.

Floyd

: congratulations, you have just discovered the secret message. please send your answer to old pink (presumably sid) care of the funny farm, chalfont!
: in the background you can hear a door knock and someone call out "roger, carolines on the phone!"
: this approaching distraction seems to cause roger to hurry the clandestine message he is covertly adding to the wall album.
: the band (including rog) seem to deny all knowledge!
: any one else with any incite?

Gilmour and the BOSS GT-3

Now, I have single pedal's and i was wondering if i should stick witht the sinlge pedals or go with the GT-3. BUt if I go with the GT-3
is there any websites that have some sort of patches to get the sounds of Gilmour. Thanx

Re: Gilmour and the BOSS GT-3

Well I don't think so, but its cheaper. I'm going all single analogues because thats what he uses
I could if my budget was evan smaller than it is now, go for multi-effects, but you sacrifice tone. One great
tone, or a bunch of mediocre tone? Your choice, I only got 5 effects, but he uses all of them, not to mention the dg20

Floyd

: Now, I have single pedal's and i was wondering if i should stick witht the sinlge pedals or go with the GT-3. BUt if I go with the GT-3
: is there any websites that have some sort of patches to get the sounds of Gilmour. Thanx

Re: Gilmour and the BOSS GT-3

Floyd: what are the five effects peddles that you have? just wondering. I was thinking the same thing...should i go with the boss gt-3 or get the analolgues. You definitaly loose tone with the multi-effect peddles. I have one peddle so far the boss cs-3...i love it...however i did try it on the multi and it definitaly does not sound as smooth. hope that helps. mark

Re: Gilmour and the BOSS GT-3

Currently I have cs-2 compressor/sustainer, proco rat 2, big muff (rus.), mxr phaser, dd-5 delay
and I'm currently saving for the hiwatt sig series david gilmour amp, but the only other effects I want
are electric mistress ce-2 chorus, and maybe an extra delay.

Floyd
: Floyd: what are the five effects peddles that you have? just wondering. I was thinking the same thing...should i go with the boss gt-3 or get the analolgues. You definitaly loose tone with the multi-effect peddles. I have one peddle so far the boss cs-3...i love it...however i did try it on the multi and it definitaly does not sound as smooth. hope that helps. mark

Re: Gilmour and the BOSS GT-3

Floyd: I'm a huge Gilmour fan and I'm trying desperately to get THE sound. Are you saying that HI WATT has a custom Gilmour model??????? Never heard of it. If so- It's mine! And I strongly advice you to get the EHX El. Misterss! It's the most awesome chorus/flanger unit I've ever heard. A must for the right Gilmour sound and a perfect match for the EHX Big Muff!

: Currently I have cs-2 compressor/sustainer, proco rat 2, big muff (rus.), mxr phaser, dd-5 delay
: and I'm currently saving for the hiwatt sig series david gilmour amp, but the only other effects I want
: are electric mistress ce-2 chorus, and maybe an extra delay.

: Floyd
: : Floyd: what are the five effects peddles that you have? just wondering. I was thinking the same thing...should i go with the boss gt-3 or get the analolgues. You definitaly loose tone with the multi-effect peddles. I have one peddle so far the boss cs-3...i love it...however i did try it on the multi and it definitaly does not sound as smooth. hope that helps. mark

Re: Gilmour and the BOSS GT-3

I don't think you lose very much tone in case of the GT-3, it's a very good multi-effect. Im gonna buy the Gt 6 over a month. Ofcourse single pedals still sound a lot better, but i think the gt is worth it. One thing also, don't try to find the exact Gilmour sound, just go out from a few basic points dave uses in his setup, and create your own sounds from that. Think that works the best and maybe even sounds the best.

POD & Gilmour's sound

I have a POD (v. 2.0) and i was wondering if any of you guys have found a REALLY nice gilmour sound...maybe like some of his sounds on monentary lapse of reason...Or like the comfortably numb solo.

not Gilmour related...but

I know it doesn't relate to anything about the man, the myth, the legend but just a quick question:

I have a Fender American Standard and want to hollow it out to give it a fatter tone. Have any of you done this? If so, which tool do you recommend using? A dremel? Just use a drill bit to make a bunch of little holes? It's made out of swamp ash and is already pretty resonant. I just want it to have a warmer, more acoustic-like tone. Any help would be greatly appreciated. Also, if you know of any web places where I might check, that'd be great too. Peace!

Ben

Re: not Gilmour related...but

Sorry, that's an American Standard Strat...not a Tele. Forgot to mention.

Re: not Gilmour related...but

I guess you could throw humbuckers in, I only really go fer the tone I want, so I can't help much

Floyd
: Sorry, that's an American Standard Strat...not a Tele. Forgot to mention.

Re: not Gilmour related...but

: I guess you could throw humbuckers in, I only really go fer the tone I want, so I can't help much

: Floyd
: : Sorry, that's an American Standard Strat...not a Tele. Forgot to mention.

: get a set of David Gilmour EMG pickups they are the ones he used for the momentary, pulse, and division bell tours. They have a very warm tone when you turn the exg expander up all the way. and a clean strat tone when turned down. they also require a 9volt which means they are active. good luck!

locking string system

I know your all going to think I'm an idiot for asking this, but I recently bought a squire by fender stagemaster HSH with locking strings. I'm quite new to playing the guitar and didn't really know how to deal with the locking strings. yesterday I changed the strings and this is my problem. I start by tuning low E then I go to in order: a, d, g, b, high e. when I'm done, all the other strings are de-tuned, even if I lock them when I'm done tuning them. for example, I'll tune e, a, and d, then I'll hit e and it is much looser then it should be because the whammey bar is being pulled like it's being dive bombed. so my question is how do I stop the whammey from being pulled or is there anything I can do, it's really driving me crazy. I didn't go to a actuall guitar forum to ask because alot of the people there are inmature. any help would be much appreciated.

Re: locking string system

I have a locking system on my ibanez, and although I don't have that problem it probally comes from using strings at wrong tension or teh spring. are your strings a differnt gauge then the ones that it had when you bought it? a locking system is a joy once you figure it out. I only have to tune my guitar once a week and the strings have lasted longer too. happy struming
: I know your all going to think I'm an idiot for asking this, but I recently bought a squire by fender stagemaster HSH with locking strings. I'm quite new to playing the guitar and didn't really know how to deal with the locking strings. yesterday I changed the strings and this is my problem. I start by tuning low E then I go to in order: a, d, g, b, high e. when I'm done, all the other strings are de-tuned, even if I lock them when I'm done tuning them. for example, I'll tune e, a, and d, then I'll hit e and it is much looser then it should be because the whammey bar is being pulled like it's being dive bombed. so my question is how do I stop the whammey from being pulled or is there anything I can do, it's really driving me crazy. I didn't go to a actuall guitar forum to ask because alot of the people there are inmature. any help would be much appreciated.

Re: locking string system

Check out this link, it is for Floyd Rose style Trems. Best advise I can give is to start high E to low E and remove one string at a time. Make sure you use something under the bridge so that it floats, I use an artist eraser or a 9 volt wrapped in tape. You will keep tuning and re-tuning. If your bridge has fine tune adjusting knobs try to get your guitar in tune a half step below and then lock down the nut it will bring it up almost perfect. Remember to stretch you strings before locking down. Hope this helps.
http://www.jacksonguitars.com/Techtips/floyd_setup.htm

Re: locking string system

OK, have you had a guitar with a trem before? I'm not familiar with locking systems but it sounds like a tremelo problem rather than a string locking problem. If you feel the trem is pulled too much like it's being dive bombed then try adding more springs to the trem and/or screw the tail of the trem down more so it doesn't float so much - some guys have their trems screwed right down at the back so it doesn't get pulled forwards at all.

Anyway, generally when you tune a trem equiped guitar you have to tune it, then tune it again, then tune it again because each time you tighten the strings it pulls the trem slightly forward putting the other strings out of tune, so keep tuning till it's tuned then stretch the strings either by pulling them at around the 12th fret or just by playing lots of solos that invlove heavy string bending. Eventually it'll be in tune!!

P.S. Can I suggest that you try asking the guys at the Fender Discussion Page http://www.fenderforum.com, it is a moderated forum and the guys are mature enough to answer questions like yours. Make sure you read the FAQ first if you haven't been there before.

: I know your all going to think I'm an idiot for asking this, but I recently bought a squire by fender stagemaster HSH with locking strings. I'm quite new to playing the guitar and didn't really know how to deal with the locking strings. yesterday I changed the strings and this is my problem. I start by tuning low E then I go to in order: a, d, g, b, high e. when I'm done, all the other strings are de-tuned, even if I lock them when I'm done tuning them. for example, I'll tune e, a, and d, then I'll hit e and it is much looser then it should be because the whammey bar is being pulled like it's being dive bombed. so my question is how do I stop the whammey from being pulled or is there anything I can do, it's really driving me crazy. I didn't go to a actuall guitar forum to ask because alot of the people there are inmature. any help would be much appreciated.

Re: locking string system

Not too familiar with that. It might be just you need to pick yer strings up at around 12 fret and
stretch them, then retune, do it about 10 times lifting an inch or two up on each string that should strech them
enough to keep them in tune, and used to bending, or use of a whammy bar.

Floyd
: I know your all going to think I'm an idiot for asking this, but I recently bought a squire by fender stagemaster HSH with locking strings. I'm quite new to playing the guitar and didn't really know how to deal with the locking strings. yesterday I changed the strings and this is my problem. I start by tuning low E then I go to in order: a, d, g, b, high e. when I'm done, all the other strings are de-tuned, even if I lock them when I'm done tuning them. for example, I'll tune e, a, and d, then I'll hit e and it is much looser then it should be because the whammey bar is being pulled like it's being dive bombed. so my question is how do I stop the whammey from being pulled or is there anything I can do, it's really driving me crazy. I didn't go to a actuall guitar forum to ask because alot of the people there are inmature. any help would be much appreciated.

Re: locking string system

Also, if thats not what you meant, go to the back where the springs are located, and push them in or out, whichever, that should
lower the saddle, you might also want to get it reconfigured after you find the set ad gauge of string you want to sart sticking with.

: Not too familiar with that. It might be just you need to pick yer strings up at around 12 fret and
: stretch them, then retune, do it about 10 times lifting an inch or two up on each string that should strech them
: enough to keep them in tune, and used to bending, or use of a whammy bar.

: Floyd
: : I know your all going to think I'm an idiot for asking this, but I recently bought a squire by fender stagemaster HSH with locking strings. I'm quite new to playing the guitar and didn't really know how to deal with the locking strings. yesterday I changed the strings and this is my problem. I start by tuning low E then I go to in order: a, d, g, b, high e. when I'm done, all the other strings are de-tuned, even if I lock them when I'm done tuning them. for example, I'll tune e, a, and d, then I'll hit e and it is much looser then it should be because the whammey bar is being pulled like it's being dive bombed. so my question is how do I stop the whammey from being pulled or is there anything I can do, it's really driving me crazy. I didn't go to a actuall guitar forum to ask because alot of the people there are inmature. any help would be much appreciated.

Run Like Hell

I am trying to match the delay setting on Run Like Hell. I am using a Digitech 2112. What delay times are used and how is it picked? What delay effect does he use for this song? I need all the info I can get... please help.
THANKS
Larry

Re: Run Like Hell

There just triplets, duh duh duh duh duh duh pick down, up, then down fast
allow enough time in the delay for you to completly do the whole triplet.

: I am trying to match the delay setting on Run Like Hell. I am using a Digitech 2112. What delay times are used and how is it picked? What delay effect does he use for this song? I need all the info I can get... please help.
: THANKS
: Larry

Re: Run Like Hell

: There just triplets, duh duh duh duh duh duh pick down, up, then down fast
: allow enough time in the delay for you to completly do the whole triplet.

No, they are not triplets, they are 16th notes. The technique is the same as used on Another Brick in the Wall part 1. When you play, you play the down strokes only and set the delay at 1 and 1/2 down strokes so that the delay from your first downstroke actually provides the note heard after the second down stroke. The ultimate effect is that you are playing at half the apparent speed.

I have the mix set up so the delayed notes are just slightly quieter than the picked notes to allow the beat to come through, have it so that around 8 repeats are heard, this means you can stop playing and no one will notice for a while :-)

: : I am trying to match the delay setting on Run Like Hell. I am using a Digitech 2112. What delay times are used and how is it picked? What delay effect does he use for this song? I need all the info I can get... please help.
: : THANKS
: : Larry

Re: Run Like Hell

I use a Korg SDD 2000 digital delay and for Run Like Hell, I use 370 ms with 40 % feedback.

I am trying to match the delay setting on Run Like Hell. I am using a Digitech 2112. What delay times are used and how is it picked? What delay effect does he use for this song? I need all the info I can get... please help.
: : THANKS
: : Larry

Take it back

does anyone know the exact fingering for lead in Take it back on PULSE. thanks for help

Re: Take it back

no, I've never seen PULSE TABS except for comfortably numb, which I made, and lost
use your ear?

Floyd
: does anyone know the exact fingering for lead in Take it back on PULSE. thanks for help

Any colour

Any colour you like solo (Pulse)
I want to know the set up....That underwater chorus or ...
please give me the manifacturer's name

Re: Any colour

Well most likely its his univibe, but it goes hand in hand with his leslie simulators and rotating speakers.

: Any colour you like solo (Pulse)
: I want to know the set up....That underwater chorus or ...
: please give me the manifacturer's name

Re: Any colour

Here's one for ya. If you can't afford 2 leslie cabbinets, like me, run to your lokal guitar stor and buy the Deluxe Electric Mistress by Electro Harmonix. Thais is the best chorus-flanger-leslie simulator I've ever heard, apart from thr Uni Vibe. But this one is more versatile.

question for you guys about pick ups

Ok i was looking at getting the dg 20 emg kit for my strat. However i am more into his 70s guitar sound. what would you recommend for pick ups the kit or what he used back in the 70s?

Re: question for you guys about pick ups

The only thing Gilmour changed pickup-wise on his black Strat was the bridge pickup to a Dimarzio FS-1.

: Ok i was looking at getting the dg 20 emg kit for my strat. However i am more into his 70s guitar sound. what would you recommend for pick ups the kit or what he used back in the 70s?

Delay

What do you all use for delay? to my knowledge the most widely used cheap delay is a Boss DD-5, is that correct?

Re: Delay

<a href="http://geocities.com/Freddy_vs_Michael">Man I Never heard Of It befor</a>

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