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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Gilmour delay

I got a Line6 DL-4 delay modeler, any suggestions for delay type and settings for the two solos on the PULSE version of Comfortably Numb?

Gilmour delay

I got a Line6 DL-4 delay modeler, any suggestions for delay type and settings for the two solos on the PULSE version of Comfortably Numb?

Chandler Tube Driver or Tube Works

I was wondering which pedal do you think is better, because the chandler you cant get anymore unless its used and you can just go pick up the tube works anywhere. So is there a huge difference in sound

Re: Chandler Tube Driver or Tube Works

FYI: I have used the Tube Driver pedals for years and have several of all manufacturers and all versions, pedal and rackmount (blue tube included), and I dare anyone to find an iota of sonic difference between any of the manufacturers and versions (except the blue tube) of any of them. Those that claim to, I suspect, have some vested interest in espousing such claims. They have it, you don't, that makes them cooler and smarter than you and they'll probably sell it to you for a rightously inflated price and you'll buy it. The old quest for the Holy Grail that will make you a world-class guitar player, rich and famous, and a killer with the chicks. Forget practice and that it's really about the music. It's the same mindset that whispers, "If I buy that PRS Santana, I'll be able to play as good as Carlos does." That is if you like Carlos's style, but you could insert any endorsing artist's name.
Most all effect units follow the same basic electronic designs to do what each one was designed to do (i.e.: distortion,delay, chorus, etc.), with very few differences that would affect the sonic output to any great degree and it usually takes little time adjusting the controls in order to make one manufacturer's design sound approximately like another's. Remember, If your ears like the way a Tube Driver works with your guitar and amp, then by all means buy one, but don't spend more of your hard-earned money than you have to just because someone either wants to hype up some piece of equipment they own, or that piece of equipment just happens to sound good to their ears. Your ears and opinion are what should count to you. BTW, I get such a kick out of going to different jams and taking some cheesy $130 OLP or $170 Samick guitar and an old $50 used Peavey or Crate amp (or some such crappy combination) and have other players want to know what equipment I'm using and why it sounds so good. While playing and technique have much to do with it, just as much or more has to do with knowing how to operate the equipment in order to acheive a good sound. In other words, it's not the equipment but what you do with it that really matters....LJ

Re: Chandler Tube Driver or Tube Works??

so if i want the gilmour tone i dont necessarily need the gear? my playing pretty close. but is worth getting the vintage gear or is the new stuff just as good. for the example the mxr dynacomp. also i want the chandler tube driver but cant get one in the uk except on ebay but there all usa versions. what shall i go for. i think the new big muffs good enough which im getting i also use a boss dd6 any way could you help
thanks karl

Re: Chandler Tube Driver or Tube Works

 Chandler Tube Driver or Tube Works

This popular thread has been given its own page : Re: Chandler Tube Driver or Tube Works

Dynacomp or CS-2?

Personally I like the MXR Dynacomp, but I recently got a Boss CS-2 , because Dave's using them both. Any suggestions on where he uses them? Shine On is for sure the Dynacomp, to get that sloppy, fat tone but he might use the CS-2 on the Division Bell stuff. Any ideas?

Re: Dynacomp or CS-2?

Well, all of Gilmours early stuff was done using a Dynacomp
script version.

I find that the DC is good for lead stuff with distortion and the boss and ibanez are good for the cleaner stuff.

This may help in what you want to achieve.

: Personally I like the MXR Dynacomp, but I recently got a Boss CS-2 , because Dave's using them both. Any suggestions on where he uses them? Shine On is for sure the Dynacomp, to get that sloppy, fat tone but he might use the CS-2 on the Division Bell stuff. Any ideas?

Re: Dynacomp or CS-2?

<a href="http://paxil-medication.info/">paxil</a> If mathematically you end up with the wrong answer, try multiplying by
the page number.

I miss you from mom

i like David Gilmour solo guitar

closer--what's next?

Playing thru a 2000 American Strat Deluxe w/ stock "noiseless" pickups, Crate 40 watt GX-15R solid state amp, into a Dan. Surf n' Turf for compression, Zoom 707 (multi-fx) for delay, chorus, OD(sucks)and extra reverb, and can set all pretty much as needed. I got closer to the thickness and sustain I needed when I picked up the compressor, but I'm not sure where to go next...tube amp needed? Should I go for DG20's? (love that late live sound!) I don't sound "wide" or spacious enough. Or creamy enough. My high's are dropping off, and I'm still trying to reach for a clean sound like Shine live, figure if I can reach that, then I can layer other effects for his more complex stuff because I can still hear that basic "Shine" tone underneath it all. Right now, I sound "2D" to his "3D"...if that makes any sense. Any suggestions as to what next step to take is greatly appreciated!

Re: closer--what's next?

If you want that PULSE Shine On sound look no furthur then the DG EMGs. Put the SPC all the way up and the EXG (these are the two "Active" tone knobs) all the way down in addition to the Boss CS-2 Compression Sustainer, a little reverb and Delay and you have it. This will give you a THICK, Chunky, BLUEY tone.

Actually, I think I hear a little overdrive in those solos too. You have to remember, with gilmour, you have to put the "Gain" for distortion on a minimum and the volume to compensate.

What else...Oh, Make sure you have 10s for strings. This will add an extra "Umph." And as for multi-effect processors, my opinion is that these are NOT the best way to achieve Gilmours sound, in fact, they stunt the dynamics of it. In the future go for the single effects. If possiable look on ebay for the vintage effects.

hope all this helps, any other questions feel free,

best,

mark

Re: closer--what's next?

Thanks, Mark-- If you think the CS-2 will add much more value than my Surf 'n Turf, I'll start keeping an eye out for one. I'm assuming a very similar setup is used for Numb? Raise the gain, maybe a touch of chorus, adjust delay... what are you using for your OD? (assuming distortion is too crunchy) I agree w/ your assessment of multi-fx units, at the least, I'll continue to use it for my EQ, noise gate, and delay. Anything else missing that's a major piece of the puzzle? Is there anything on the Net where I can hear a "naked" DG20 sample?

Re: closer--what's next?

I'm assuming a very similar setup is used for Numb?
- For numb Gilmour uses the Muff and Rat together. This is the "Crux" of the tone. Also, delay and reverb.

what are you using for your OD?
-The Boss Super OD is execellent. Remember, if distortion is too crunchy, lower the gain and up the volume accordingly.

Anything else missing that's a major piece of the puzzle?
-Yes. Assuming you dont have it yet. Years of practice, love of Floyd, and dediction. Gilmour also has an extremely refined verbrato technique with his fingers in his soloing. He does it a lot, so its worth practicing.

any other questions, just let me know. good luck!

let's hear 'em!

There's a lot of good tips on this site, but I think it's hard taking someone's word for it that THEIR setup sounds accurate. Do any of you have sites that have WAV's posted (or even mp3's) that can demonstrate "ok, I'm using X equipment, and here's how good it sounds". It'd go a long way into helping everyone determine what they're getting (or lacking), since one can obviously throw a lot of cash into a setup that might not be what they are searching for. I'd personally like to hear a DG20 sound sample before I run out and buy one, and listening to Gilmour's tone (on any of the records) only helps so much, because frankly, his complete setup is unattainable for most of us...I need to know how close you guys can actually get with what you've got!

Re: let's hear 'em!

You know that's a good idea. I can set up a website if anyone wants to upload clips. It would also be cool to have some tab of harder to find tabbed songs with audio examples. I will be willing to do some and also make some examples of my pedals setup and sound.

There's a lot of good tips on this site, but I think it's hard taking someone's word for it that THEIR setup sounds accurate. Do any of you have sites that have WAV's posted (or even mp3's) that can demonstrate "ok, I'm using X equipment, and here's how good it sounds". It'd go a long way into helping everyone determine what they're getting (or lacking), since one can obviously throw a lot of cash into a setup that might not be what they are searching for. I'd personally like to hear a DG20 sound sample before I run out and buy one, and listening to Gilmour's tone (on any of the records) only helps so much, because frankly, his complete setup is unattainable for most of us...I need to know how close you guys can actually get with what you've got!

Re: let's hear 'em!

This is a damn fine Idea. I have a Soft sustain and a P-2 fuzz that I'd be willing to supply for sound. So everyone can hear what they sound like with the DG settings. Also the Chandler Tube Driver.

I'm interested to hear what people are using for Delay settings etc. Most of what I find are TOO much delay, not subtle.

John

: You know that's a good idea. I can set up a website if anyone wants to upload clips. It would also be cool to have some tab of harder to find tabbed songs with audio examples. I will be willing to do some and also make some examples of my pedals setup and sound.

:
: There's a lot of good tips on this site, but I think it's hard taking someone's word for it that THEIR setup sounds accurate. Do any of you have sites that have WAV's posted (or even mp3's) that can demonstrate "ok, I'm using X equipment, and here's how good it sounds". It'd go a long way into helping everyone determine what they're getting (or lacking), since one can obviously throw a lot of cash into a setup that might not be what they are searching for. I'd personally like to hear a DG20 sound sample before I run out and buy one, and listening to Gilmour's tone (on any of the records) only helps so much, because frankly, his complete setup is unattainable for most of us...I need to know how close you guys can actually get with what you've got!

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Settings for a Johnson-JT50 amp?

I got a Johnson JT50 Mirage amplifier & a Godin LG guitar (which got 4 humbuckers, which not really a DG setup).
If anyone's familiar with the amp, what are some nice settings I could use to get a more or less similar tone as Gilmour?

Re: Settings for a Johnson-JT50 amp?

Try the treble on 8, the mid on 10, the bass on 5, the volume on 5 (if its too loud turn it down) and the presence (if you have one) on 6.

: I got a Johnson JT50 Mirage amplifier & a Godin LG guitar (which got 4 humbuckers, which not really a DG setup).
: If anyone's familiar with the amp, what are some nice settings I could use to get a more or less similar tone as Gilmour?

Delay settings

I got a Line6 DL-4, any suggestions for delay type and settings for the two solos on Comfortably Numb?

cut the sound when using the talk box

how do guilmour cut the guitar sound to the p.a. system when he uses the talk box (due the several exits he have)

Re: cut the sound when using the talk box

: how do guilmour cut the guitar sound to the p.a. system when he uses the talk box (due to the several exits he have how do he does it)

eq settings

does anyone know the eq settings for the ge-7 for the rat?

Re: eq settings

: does anyone know the eq settings for the ge-7 for the rat?

i do belive the settings are 0;10;-5;-5;0;5;10;0

Marooned solo

does gilmour use a single octave effect pedal, or a multi-effect processor with octave in the solos for Marooned? also, what is the best way to get a good octave-up effect with an expression pedal for bending up to the next octave?

Re: Marooned solo

: does gilmour use a single octave effect pedal, or a multi-effect processor with octave in the solos for Marooned? also, what is the best way to get a good octave-up effect with an expression pedal for bending up to the next octave?

dave use digitech wammy pedal end maybe he don't use a guitar but a leisle guitar like he use in one of these day

Re: Marooned solo

He used his red strat for this song...

: : does gilmour use a single octave effect pedal, or a multi-effect processor with octave in the solos for Marooned? also, what is the best way to get a good octave-up effect with an expression pedal for bending up to the next octave?

: dave use digitech wammy pedal end maybe he don't use a guitar but a leisle guitar like he use in one of these day

help me

My name is Alessandro and I'm italian (so there may be some grammar mistakes)
I have a dream: emulating the Gilmour sound. I was very happy when i found this site and so i decided to buy a Fender Stratocaster and fit it with EMG pickups, but i don't know what kind of Stratocaster is better for this aim, i wouldn't like to spend more than 900 euro
for a new one (or a used one), so i'd be glad if anybody could help me to find a good guitar shop site, I live in Italyso my only chance is ordering by Internet.
I have another big problem, I don't know american very well so i don't know the name of the colours,
I'd like to know what is the colour name of the Gilmour'Stratocaster (i think it's Chrome Red but I'm not sure).

Thank you vey much

Re: help me

hello alessandro i'm italian also as you (se vuoi maggiori informazioni puoi mandarmi una email ora parliamo però in inglese che il forum è internaziole...) the strato colour is CANDY APPLE RED, and gilmour uses a reissue of the '57 strato. you can still order that model via internet from the same fender site but if it would be too expensive, trust me every american strato with maple neck can do the work...
hope this help, Shine On
andrea

Would you guys suggest Dynacomp or Ibanez CP9?

thanx

Re: Would you guys suggest Dynacomp or Ibanez CP9?

Try to get your hands on the Boss CS-2 Compression/Sustainer...From my expirance it is the most versitle (I use it on most songs) and inexpensive (ebay). If your looking for the sound on SOYCD...Jack the sustain up and you have that thick bluesy sound like on pulse. If your looking for that smooth, even delay repeats like Another Brick in the Wall 1 and ECHOES. I use it for almost all my Solos, just put the gain low (like 2 or 3) volume to compensate and the cs-2..beautiful...Its one of the most important pedles to obtain gilmours tone.
Hope that helps...

"To dream unthreatened by the morning light...could blow this soul right through the roof of the night."

Line 6 Delay Modeler

Does anyone have any expirance with this delay Modeler? I hear it can replicate the TC Electronics 2290...but how well. If anyone has any opinions about how this delay works for playing Floyd, please let me know. I have a boss dd-5 now...how does it compair? thanks in advance.

Re: Line 6 Delay Modeler

I have one and really like it. I would not go as far as say it can replace a TC Electronics box. I mean, we're talking a $250 pedal vs. one that is considerably more expensive. But it does sound very nice, very clean. Lots of choices of delay types. I like the 2 controls that change depending on the type of delay -- if you choose a tape delay, then you can tweak the amount of warble off the tape head, or a modulated delay changes the amount and depth of the modulation. The modeling doesn't only try to sound like older units, but goes further, like having up to something like a 2 second delay on a tape delay, where a real one might only have gone up to 600 milliseconds. So you can get the sound, but have more control over it. And some of the modeling does sound like the real thing. You can get some of the same psycho-feedback things going like from some of the original pedals. There are 3 presets you can save. There's also a phrase sampler/looper that I use a lot, which has a delay on it too. So you can make some pretty crazy looping and delay stuff. The looper part is similar to a Boomerang, but is sadly missing a control to vary the amount of decay when recording over existing loops. Cannot save your loops. Has an input for a expression pedal, too, which is nice. Stereo ins and outs. Here's some more extensive info:
http://www.loopers-delight.com/tools/line6/Line6-DL4.html

Re: Line 6 Delay Modeler

Thanks for your response. I suppose after reading your coments, i should trade in my Boss DD-5 for the line-6. I really want it for the dynamic delay, which is totally gilmour. I probibally will. thanks again.

mark

To Floyd

I saw your posting regarding Sound City amps earlier this year. I have a 50plus tube head and I think it kicks serious ass. All I know is that Sound City originally were made by the Sound City shop in N.Y. They we're bought by Dallas music instruments in early 70ies and continued throughout 73 to make amps under the name Dallas/Arbeiter. And ofcourse you can see one on the Ummagumma cover. Do you have any more info on thesewonderful amps? Any links?

FLOYD HAS RESPONDED

Well, lets see where to begin, I didn't know that they originated in NY, great fact!

Anyways, Dave Reeves of hiwatt worked at Sound City (in england) for some time before he realized that these amps can be better made. So he set off on his own, which comes to another topic, however-he actually just modded Sound City's for a bit until he got Joyce (rip) to help work. The model he used was the L100 I hear with mods, which will also give you the best sound without having a Hiwatt. The partridge trannies are whats making the biggest difference, if you've played a hiwatt, and went to sound city, you'd notice a slight more nasal sound from a Sound City, I believe this to be in part by the size of the transformers, and perhaps general electric route. I also have heard rumors that the biggest difference in them is the pre-amp section, as for swapping them out, I don't know, I know gilmours amps use no pre-amp, because he runs it through the Alambic, which brings me to the question of why the Hiwatt 103S is called the gilmour model, who knows, perhaps he used it for studio work...

So, a Sound City is basically a poor mans hiwatt, however Sound City is seriously under-rated, The Who, Hendrix, Floyd have all used them as precursors to hiwatt. But I'm just about positive the L100 was what he used to make hiwatts from, and will have the overall sound for say 300$ rather than 700$ for a hiwatt...I myself have a L120 MarkIV which I'd like to sell one day to get a hiwatt, or evan an L100, but I'm happy with it right now, its a great amp indeed.

Some things I've found are to watch the filter caps, I've had to do some work, partially cause the guy screwed me over, but its all original stuff for the most part, and needed to be replaced, there all generally loud with the brown noise, but changing the caps, and good tubes can help with that. Hope this helped you out some.
Floyd

: I saw your posting regarding Sound City amps earlier this year. I have a 50plus tube head and I think it kicks serious ass. All I know is that Sound City originally were made by the Sound City shop in N.Y. They we're bought by Dallas music instruments in early 70ies and continued throughout 73 to make amps under the name Dallas/Arbeiter. And ofcourse you can see one on the Ummagumma cover. Do you have any more info on thesewonderful amps? Any links?

Re: FLOYD HAS RESPONDED

hi there... i'm shure this link will help:
http://home.earthlink.net/~iktoblikto/sc_home.htm

check out the history pages etc., plus, these amps are getting expensive, so better get all of 'em you can! best wishes,
Pat.

vibrato bar&bridge

hello guys!, i've a problem: the bridge of my guitar has three big screws in the rear part (near the hole of vibrato bar) and 6 screws in the front part. until now i've all the six frontal screws screwed down as Gilmour said in an interview, to maintain better in tune the strings. But a few days ago i changed my Ernie Ball strings with a set of Dogal Chrome-steel strings (very nice, very durable!!) and decided to make some action-adjustment, because i've an action in my opinion too high. All right, i make some truss-road adjustment to add a little relief to the neck, then i decided to RAISE my bridge. I thought that to raise my bridge i would loose the SIX frontal screws and NOT the THREE rear screws. I had loosen the six screws and the bridge effectively raised until the strings were no more fretting out on open positions and then i adjust the height of every single string. Now i have a very low action that permit me some very fast playing (but this does not mean i refuse my musical god: David!!) and also the bar has now a very long course that permit me to make some heavy dive-bombing ala Van Halen even without a floyd rose (and the guitar does not go out of tune much!! thanks to the method i string the guitar..). Now i have two questions: 1) is it right how i have raised the bridge, loosing that six FRONTAL screws? If not, what is the way to raise the bridge?? 2) it is true that my bar now makes some heavy dive-bombing, but when the bar returns in the start position i can hear a "toc" sound that is when the bridge hurt thebody of the guitar. Is this normal due to the fact i raised the bridge so much?? If not, what i can do??

thanks, Andrea

Re: vibrato bar&bridge

Andrea,
First off, you really shouldn't mess with the truss rod unless your neck is warped. It is not for action or bridge adjustment.
Next your bridge. Even though all of the screws tightened down does keep it in tune better, can you afford a new guitar when the wood cracks and the stress of bombing your tremelo takes its toll on the body? I can't. So here is another way to get better operation of your tremelo without putting undo stress on the body or Trem unit.
Loosen all six screws along the bridge plate (under the strings) so they are approx 1/16 of an inch above the plate. They all should be 1/16 of an inch. Then tighten down only the outside screws ( under the low e and hi e strings) this allows the trem to "pivot" on the outside screws and uses the other four screws to balance out the trem unit. It will decrease tension on the plate and body while giving you good performance from the tremelo.

Next your action. On a Strat you should only adjust the action with the individual saddles. Find a height that you are comforatable with.

For the trememlo unit - Adjust the "sensitivity" of the unit by adjusting the two claw screws in the bottom of the body. Take the back plate off and you'll see them. Turn each screw 1/4 of a turn until the right amount of flex in the trem is acheived.
You have the trem hiting the body because something is out of alignment. It will probably be your claw screws that need a little tightening. IT won't hurt the body, but it will become annoying while you play.

Try these tips out, andif you need more help e-mail me.

John

: hello guys!, i've a problem: the bridge of my guitar has three big screws in the rear part (near the hole of vibrato bar) and 6 screws in the front part. until now i've all the six frontal screws screwed down as Gilmour said in an interview, to maintain better in tune the strings. But a few days ago i changed my Ernie Ball strings with a set of Dogal Chrome-steel strings (very nice, very durable!!) and decided to make some action-adjustment, because i've an action in my opinion too high. All right, i make some truss-road adjustment to add a little relief to the neck, then i decided to RAISE my bridge. I thought that to raise my bridge i would loose the SIX frontal screws and NOT the THREE rear screws. I had loosen the six screws and the bridge effectively raised until the strings were no more fretting out on open positions and then i adjust the height of every single string. Now i have a very low action that permit me some very fast playing (but this does not mean i refuse my musical god: David!!) and also the bar has now a very long course that permit me to make some heavy dive-bombing ala Van Halen even without a floyd rose (and the guitar does not go out of tune much!! thanks to the method i string the guitar..). Now i have two questions: 1) is it right how i have raised the bridge, loosing that six FRONTAL screws? If not, what is the way to raise the bridge?? 2) it is true that my bar now makes some heavy dive-bombing, but when the bar returns in the start position i can hear a "toc" sound that is when the bridge hurt thebody of the guitar. Is this normal due to the fact i raised the bridge so much?? If not, what i can do??

: thanks, Andrea

Re: vibrato bar&bridge

I am trying to set up my vibrato on my new Squire Cyclone as this was set flush to the body. I have taken you advise re the 6 screws at the front. I have now got the unit floating as I like although I had to release the claw screws at the back quite a bit.

My questions are, does the vibrato plate rock on/against the six screws? Is there anything under the vibrato plate or does is it just the six screws attached to the body? How high should the two outside screws be away from the body? Is it likely that the vibrato plate can dig into the body when tilted forward?

: Andrea,
: First off, you really shouldn't mess with the truss rod unless your neck is warped. It is not for action or bridge adjustment.
: Next your bridge. Even though all of the screws tightened down does keep it in tune better, can you afford a new guitar when the wood cracks and the stress of bombing your tremelo takes its toll on the body? I can't. So here is another way to get better operation of your tremelo without putting undo stress on the body or Trem unit.
: Loosen all six screws along the bridge plate (under the strings) so they are approx 1/16 of an inch above the plate. They all should be 1/16 of an inch. Then tighten down only the outside screws ( under the low e and hi e strings) this allows the trem to "pivot" on the outside screws and uses the other four screws to balance out the trem unit. It will decrease tension on the plate and body while giving you good performance from the tremelo.

: Next your action. On a Strat you should only adjust the action with the individual saddles. Find a height that you are comforatable with.

: For the trememlo unit - Adjust the "sensitivity" of the unit by adjusting the two claw screws in the bottom of the body. Take the back plate off and you'll see them. Turn each screw 1/4 of a turn until the right amount of flex in the trem is acheived.
: You have the trem hiting the body because something is out of alignment. It will probably be your claw screws that need a little tightening. IT won't hurt the body, but it will become annoying while you play.

: Try these tips out, andif you need more help e-mail me.

: John

:
: : hello guys!, i've a problem: the bridge of my guitar has three big screws in the rear part (near the hole of vibrato bar) and 6 screws in the front part. until now i've all the six frontal screws screwed down as Gilmour said in an interview, to maintain better in tune the strings. But a few days ago i changed my Ernie Ball strings with a set of Dogal Chrome-steel strings (very nice, very durable!!) and decided to make some action-adjustment, because i've an action in my opinion too high. All right, i make some truss-road adjustment to add a little relief to the neck, then i decided to RAISE my bridge. I thought that to raise my bridge i would loose the SIX frontal screws and NOT the THREE rear screws. I had loosen the six screws and the bridge effectively raised until the strings were no more fretting out on open positions and then i adjust the height of every single string. Now i have a very low action that permit me some very fast playing (but this does not mean i refuse my musical god: David!!) and also the bar has now a very long course that permit me to make some heavy dive-bombing ala Van Halen even without a floyd rose (and the guitar does not go out of tune much!! thanks to the method i string the guitar..). Now i have two questions: 1) is it right how i have raised the bridge, loosing that six FRONTAL screws? If not, what is the way to raise the bridge?? 2) it is true that my bar now makes some heavy dive-bombing, but when the bar returns in the start position i can hear a "toc" sound that is when the bridge hurt thebody of the guitar. Is this normal due to the fact i raised the bridge so much?? If not, what i can do??

: : thanks, Andrea

Summer ' 68

hello, the section of this song which is played on a D chord it breifly changes to a different chord and goes back to the D I think it would be over the vocal line "not a single word was said...." how is he doing this second chord. anyone?

Re: Summer ' 68

Its a G/D chord. Its quick and easy to play from the D chord position.

Line6 DL-4 delay...Gilmour sound

Anybody who have Gilmour delay settings for the Comfortably Numb solo's on the Line6 DL-4?

Re: Line6 DL-4 delay...Gilmour sound

Have the delay time on about 440ms (about 12:00), the repeats on 12:00, the mix on 10:00 and tweak and tweez on 12:00. Use either a tape or analog echo.

: Anybody who have Gilmour delay settings for the Comfortably Numb solo's on the Line6 DL-4?

begining of keep talking

what do guilmour use in the begining of keep talking and take it back to do that sustained sound.

Re: begining of keep talking

: what do guilmour use in the begining of keep talking and take it back to do that sustained sound.

I use boss reverb, delay, a tad of chorus and a E-Bow

Hope this helps you

Ummagumma

Hello. Does anybody out there know what is being said in the speech at the end of the song "Several different species of small furry cave animals singing together in a pict" ? I know it is a speech - I heard it's from Shakespeare.

Re: Ummagumma

: Hello. Does anybody out there know what is being said in the speech at the end of the song "Several different species of small furry cave animals singing together in a pict" ? I know it is a speech - I heard it's from Shakespeare.

It's not a speech really. Roger Waters ranted a poem sort of thing right off the top of his head. Its quite amazing.

Re: Ummagumma

: Hello. Does anybody out there know what is being said in the speech at the end of the song "Several different species of small furry cave animals singing together in a pict" ? I know it is a speech - I heard it's from Shakespeare.

First, the name of the song is "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict". A "Pict" being a type of scottish tribesman I believe.

The below are the first set of lyrics I found doing a Google search. I know that there is some dispute about some of the words in this speech so these may not be 100% accurate. I don't think it is taken from anything like Shakespear, Roger probably just made it up:

"Aye an' a bit of mackeral, settler rack and down
Ran it down by the home, and I flew
Well, it slapped me and I flopped it down in the shade
And I cried, cried, cried
The tear had fallen down he had taken, never back to raise
And then cried Mary, an' took out wi' your Claymore
Right outta a' pocket, i ran down, down by the mountain side
Battlin' the fiery horde that was falling around the feet
"Never!," he cried. "Never shall ye get me alive
Ye rotten hound of the burnie crew!"
Well I snatched fer the blade an' a Claymore cut and thrust
And I fell down before him round his feet
Aye! A roar he cried!
Frae the bottom of 'is heart
That I would nay fall but as dead
Dead as I can by y' feet, d'ya ken?
And the wind cried Mary"

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