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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Dark Side Of The Moon Strat Tone

What kind of strat or pickups can i use to get Gilmores dark side of the moon tone.

Re: Dark Side Of The Moon Strat Tone

A CBS-era large headstock Strat with a DiMarzio FS-1 in the bridge.

: What kind of strat or pickups can i use to get Gilmores dark side of the moon tone.

Re: Dark Side Of The Moon Strat Tone

For that Guitar tone, you want a 68-71 fender strat Stock.
Large headstock model.

John

: What kind of strat or pickups can i use to get Gilmores dark side of the moon tone.

Re: Dark Side Of The Moon Strat Tone

no way, a stock one wouldn't do the trick! gilmour used a dimarzio pickup in the bridge, but no one seems to know the model of the pickup. i think aftermarket pickups would sound different than stock ones.

: : What kind of strat or pickups can i use to get Gilmores dark side of the moon tone.

Re: Dark Side Of The Moon Strat Tone

: For that Guitar tone, you want a 68-71 fender strat Stock.
: Large headstock .

: John

: : What kind of strat or pickups can i use to get Gilmores dark side of the moon tone.
Mike
:Will A 70'S strat reissue do the job

Boss Flanger BF-2 & Equalizer GE-7

Boss Flanger BF-2 & Equalizer GE-7

This popular thread has been given its own page : Boss Flanger BF-2 & Equalizer GE-7

Bridge of stratocaster

What's the best adjusting for thr bridge? I've this one all crushed so I can do the vibrato only down. What about Gilmour's Strat? In the video (Pulse or Delicate) it seems to me he uses the tremolo arm up and down. So if it's real, there is a problem: when you have to do some bendig, you have to pull the string a lot because now the bridge go up (it is not blocked).
Good bye my friends, alla in all we are pigs on the wing

Re: Bridge of stratocaster

On his Strats, Gilmour screws down the six screws that attach the trem to the guitar for better tuning stability and has four trem springs in the back when playing live and three for studio work. Also he cuts the tremolo arm in half so he has better control of it while playing.

: What's the best adjusting for thr bridge? I've this one all crushed so I can do the vibrato only down. What about Gilmour's Strat? In the video (Pulse or Delicate) it seems to me he uses the tremolo arm up and down. So if it's real, there is a problem: when you have to do some bendig, you have to pull the string a lot because now the bridge go up (it is not blocked).
: Good bye my friends, alla in all we are pigs on the wing

Delay Settings

I have som problems setting the delay on ABITW Part 2 (Live, PULSE), an Run Like Hell (PULSE). Any suggestions?

Re: Delay Settings

: I have som problems setting the delay on ABITW Part 1 & Part 2, and Run Like Hell. Any suggestions?

Re: Delay Settings

: : I have som problems setting the delay on ABITW Part 1 & Part 2, and Run Like Hell. Any suggestions?

I have my delay settings as follows: delay volume is all the way up, my delay time is set to 45 ms, and delay feedback is 75.. I'm not sure if that's exactly the same settings that Sir Gilmour uses, but it seems to work for me...

Leslie?

I've listened to a few bootlegs from the Eclipse tour of 72. On Any colour you like there is a strange double track sound on Dave's solo. It sounds like he is singing along with his playing, like he did on the the first section on the studio version, but he does it through the whole solo without singing out of tune or improvising. Sounds like his mic and guitar both runs through a Leslie speaker. Any thoughts?

volume pedal

wich is a good volume pedal?

Re: volume pedal

Ernie Ball

: wich is a good volume pedal?

David Gilmour's cry?

Knows anyone how D.G makes the cry you can hear in the central part of Echoes, and you can hear also in another song in the Wall???

HERE YOU GO

A little echo -- and then use a metal slide on the strings pastthe frets -- like between the end of the fretboard and the pickups

Re: David Gilmour's cry?

: Knows anyone how D.G makes the cry you can hear in the central part of Echoes, and you can hear also in another song in the Wall???

This question has come up quite a few times in the past. You need an 'old' wah-wah, like a crybaby. The newer ones have extra buffer circuitry that stops it working.
Second, you need a guitar with passive pickups, active ones WILL NOT WORK because they have built-in preamps.
Third, connect the output of the guitar to the OUTPUT of the wah, and the INPUT of the wah to your amp/fx.
Fourth, the wah needs to be on, and I tend to find that the pedal should be about 3/4 of the way up (toe position).
Fifth, wind up the volume, and you should start to get the sound.
By twiddling the tone controls and the p/u selector (bridge, middle and the in-between work really well), you can get the crying sound as on Echoes, and 'Is There Anybody Out There?'.

David Gilmour's cry 2?

Knows anyone how D.G. makes "the cry" you can hear in the central part of Echoes, and you can hear also in another song in the Wall -I think is in "is there anybody out there?-.

Re: David Gilmour's cry 2?

I think what you are refering to is a Synth. Its Rick Wright, not DG.

: Knows anyone how D.G. makes "the cry" you can hear in the central part of Echoes, and you can hear also in another song in the Wall -I think is in "is there anybody out there?-.

Re: David Gilmour's cry 2?

It's definitely DG. Anyone who thinks it is NOT a single coil guitar plugged into a wah the wrong way hasn't heard it in action.

: I think what you are refering to is a Synth. Its Rick Wright, not DG.

: : Knows anyone how D.G. makes "the cry" you can hear in the central part of Echoes, and you can hear also in another song in the Wall -I think is in "is there anybody out there?-.

Re: David Gilmour's cry 2?

: It's definitely DG. Anyone who thinks it is NOT a single coil guitar plugged into a wah the wrong way hasn't heard it in action.

: : I think what you are refering to is a Synth. Its Rick Wright, not DG.

:
: : : Knows anyone how D.G. makes "the cry" you can hear in the central part of Echoes, and you can hear also in another song in the Wall -I think is in "is there anybody out there?-.

If you watch the Pink Floyd Live at Pompeii concert you will clearly see that it's not a synth. I think David uses some kind of echo/delay effect in combination with another effect. Maybe a Theremin?

About the Fuzz used in Careful with that Axe Eugene.

: : It's definitely DG. Anyone who thinks it is NOT a single coil guitar plugged into a wah the wrong way hasn't heard it in action.

: : : I think what you are refering to is a Synth. Its Rick Wright, not DG.

: :
: : : : Knows anyone how D.G. makes "the cry" you can hear in the central part of Echoes, and you can hear also in another song in the Wall -I think is in "is there anybody out there?-.

: If you watch the Pink Floyd Live at Pompeii concert you will clearly see that it's not a synth. I think David uses some kind of echo/delay effect in combination with another effect. Maybe a Theremin?

Sorry, don't mean to change the subject for a bit, but I've always wondered what type of fuzz David Gilmour used in Pink Floyd's late 60s albums like Suacerfl of Secrets, More, and Atom Heart Mother. He definitely did not use the Big Muff until the Darkside of the Moon Album. I heard he uses a Fuzz Face: is it the first germanium version, or was it the later silicon version in the late 60s? The fuzz I hear in the studio version of Careful With That Axe Eugene sounds more like a soft-clipping germanium sound, but maybe I'm wrong...maybe it is silicon Fuzz Face. Would anybody please tell me what type of Fuzz Face they think David Gilmour used. It sounds awesome. I'm trying to build one.

Re: David Gilmour's cry 2?

 David Gilmour's cry 2?

This popular thread has been given its own page : Re: David Gilmour's cry 2?

Polychorus

Hi!
I have an Electro-Harmonix Polychorus. and i was just wondering...
can I get the electric mistress sounds out of it. I have heard that Polychorus is mix between Electric mistress and Clone theory chorus.

And...
what to get next Delay or Phase 90 and what delay
My setup is
Boss Ds-2--Roger Mayer Classic Fuzz--Dod Ice Box Stereo chorus--EHX Polychorus--Amp

Thanks
Don

Re: Polychorus

Hey,
I'm not familiar with the Polychorus, but I would definately get a delay! The bosses are good. I use an Ibanez that has digital delay and analog echo. I like it and it is a little cheaper than the boss pedals. Delay is a must for a lot of the FLoyd stuff.

John

: Hi!
: I have an Electro-Harmonix Polychorus. and i was just wondering...
: can I get the electric mistress sounds out of it. I have heard that Polychorus is mix between Electric mistress and Clone theory chorus.

: And...
: what to get next Delay or Phase 90 and what delay
: My setup is
: Boss Ds-2--Roger Mayer Classic Fuzz--Dod Ice Box Stereo chorus--EHX Polychorus--Amp

: Thanks
: Don

Gilmour Effects

Hello,

Right now I am really into Jimi Hendrix, but I've loved Pink Floyd for a while and I am hoping to start a cover band in the next few years. Over the next four years I hope to buildup my pedalboard and rackmount collection, so I was hoping if you guys could give me some help. I would like to buy the BASICS first, and then maybe add onto the list (e.g. instead of three compressors, just buy one originally). I guess my favorite Floyd sounds would have to be:

Dark Side of the Moon, Wish You Were Here, The Wall, Animals, Meddle, Pipe at the Gates of Dawn (almost in that order ... they are all tied closely. :)

To make this easier, I am going to break down his setup like this:
- Guitar Setup
- Amps
- Compressors
- Distortion/Fuzz
- Leslie Imitations
- Delay

By the time I hope to start building my collection, I hope to have the following setup:

Standard Strat --> Jim Dunlop Crybaby Wah --> Roger Mayer Octavia --> Ibanez FZ-7 Fuzz --> Dunlop Univibe --> Marshall 1959 SLP Super Lead Plexi Head --> 1 or 2 4x12 Marshall Cabinets

For guitar, I'm planning on purchasing the EMG DG-20s, so I think that covers the guitar area. The only thing left there is to actually play like him ... and try to imitate his amazing bending and rhythmic style.

For amps, I'm going to stick with those two Marshall cabinets, but for live shows, do you guys think adding a Hiwatt 100-watt head would be worthwhile? That way I could switch between the two.

For compressors, I really like the Boss CS-2 and the MXR Dyna-Comp. I haven't looked at the Ibanez CP-9. Which of the three is the best to start with? Namely for the DSOTM sound? I've heard the Boss is used most by Gilmour.

Then comes Distortion and Fuzz. I love my Ibanez fuzz box, and it is great combined with the Univibe for getting that Time Solo. I am planning on purchasing a Chandler Tube Driver rackmount in the next few months. Will that combination handle most of Gilmour's distortion, or do I really need to spring for a Big Muff or a ProCo Rat? Also, I read somewhere that he used the Electro-harmonix Electric Mistress Flanger on almost every electric song on the Wall. Is this true? Is that effect really used that much?

And now for the Leslie speaker imitation. I currently own a Dunlop Univibe and I love it. With the chorus mode on, and the speed at around 9 or 10 oclock, there is perfect Dark Side / Have a Cigar rotating speaker sounds. BUT, I have recently listened to a MXR Phase 90 and I was VERY impressed with that. It is a smaller pedal (good for the pedal board!) and it is about $120 cheaper! Do you think it would be worth it to sell my Univibe and obtain a new reissue of the Phase 90? I'm really not that interested in the Univibe's Vibrato anyway.

And finally delay. I just bought a Boss RV-2, but it has yet to arrive. That should be able to handle basic delay for songs like Time, right? Then maybe down the road the rackmount TC Electronics delay system ... that looked pretty sweat.

Is there anything else I'm missing? Reason I am asking about this all at once is because I'd like to be able to develope some kind of plan as to what I'll be purchasing over the next few years, so I'm not just randomly buying pedals that I like at guitar center. Ultimately I want to create my own sound, but I'd like to base it off of Gilmour's, since I'd like to be able to cover him extensively live. Thanks :)

Re: Gilmour Effects

For a compressor buy a dynacomp. And for a fuzz I think your Ibanez will do it just fine. But if you really want
to buy a new one, buy a tube drive or a tube screamer (both will do it just fine) or some other tube overdrive
because you already have a fuzz. And don´t sell your univibe, keep it and buy a MXR Phase 90. You
also need EHX flanger. No boss or Ibanez will do it like EHX. Boss RV-2 is a reverb, but it also has a Delay, right.

Re: Gilmour Effects

 Gilmour Effects

This popular thread has been given its own page : Re: Gilmour Effects

Pedal order ?!?!?!?!?!?

How should these go to get the best sound:
Crybaby535Q,TS-9, SansAmp GT2(dist.), MXR phase90,
MXR Dynacomp, MXR Micro Amp(booster), DM-3 Delay, Volume pedal,
Noise Suppresor, Equalizer. *I also have an FX loop if
that helps.

Thanx again

Re: Pedal order ?!?!?!?!?!?

Try this order:crybaby,dynacomp,mxr booster,ts9,GT2,phase 90, equalizer all in the noise suppressor.
Than volume pedal and delay (experiment this one in the fx loop)

Re: Pedal order ?!?!?!?!?!?

Your pedal order should go by how you want it to sound. You will have different tonal qualities if you say put the mistress before the muff, and then try the muff before the mistress.

I run my board like this, Compressors, Distortions, modulations, delays to Amps.

Try it, if you don't like it play around until you find something you do like.

John

: How should these go to get the best sound:
: Crybaby535Q,TS-9, SansAmp GT2(dist.), MXR phase90,
: MXR Dynacomp, MXR Micro Amp(booster), DM-3 Delay, Volume pedal,
: Noise Suppresor, Equalizer. *I also have an FX loop if
: that helps.

: Thanx again

Distortion on "dogs"? which does he use

For the solo, u know the one where its 2 guitars dubbed. thanx

Re: Distortion on "dogs"? which does he use

I think is only the Hiwatt amplifier distortion (low distortion), because there is not a very sustain, and is a clean saturation (tipical for the Hiwatt amps). Perhaps all with a Telecaster (bridge pick-up).

Re: Distortion on

: For the solo, u know the one where its 2 guitars dubbed. thanx

the big muff

Re: Distortion on

what does he use for modulation also in Dogs?
thanks.

: : For the solo, u know the one where its 2 guitars dubbed. thanx

: the big muff

Re: Distortion on

I totally disagree. The Muff is far to dirty and has more sustain to it than the sound on Dogs. He probably used either a Fuzz Face or a distortion channel on one of his studio amps, probably a Fender. He also used a Pete Cornish custom fuzz, which is a blend of the Face and the Muff. On the tour though, he used the muff.

Re: Distortion on

: I totally disagree. The Muff is far to dirty and has more sustain to it than the sound on Dogs.

The muff is never dirty when playing single note style leads.
I use the muff when I play it live and it asounds like the record.

Fuzz face and early overdrives

Hi, I was wondering if any of you guys knew what kind of overdrive unit Dave used on the earlier stuff. I believe he didn't start using the Muff before the Animals period. He used the fuzz face on most solos up until that. But as I'm familliar with this pedal I can't tell if it's the Fuzz face he uses on stuff like Childhoods End, Mudmen and live versions of Atom Heart mother, Cymbaline and all of that overdrive-not-quite-fuzz- stuff.
Anyone?

Re: Fuzz face and early overdrives

How about the stock overdrive that he used in his studio amps? Just a suggestion. Boss seems to probably be your best bet.

Re: Fuzz face and early overdrives

He mostly used the Fuzz on all his early stuff. There is a big difference in tone of the fuzz (distortion) if you use an EQ with it. fool around with a Fuzz Face and an EQ and you'll get pretty much what you're looking for.

: How about the stock overdrive that he used in his studio amps? Just a suggestion. Boss seems to probably be your best bet.

Floyd Cover Band In Seattle?

I spoke to somone about a cover band in Seattle area, if they could contact me maybe we could practice sometime?

dusty@dudeman.net

Re: Floyd Cover Band In Seattle?

go to yahoo and type in "pink floyd tribute bands" I think they are call...several species...

good luck

mark

Re: Floyd Cover Band In Seattle?

Thanks Mark

: go to yahoo and type in "pink floyd tribute bands" I think they are call...several species...

: good luck

: mark

Re: Floyd Cover Band In Seattle?

I can't remember their name, but I saw their flyer at Guitar Center. They are an ACOUSTIC Pink Floyd cover band!

Gilmours efx in 1980´s

Hi!
Does anyone knows what effects David Gilmour used in 1980´s
Thanks

David effects in 1980´s

He used the same equipment always (normaly, he incremented with the time). You can see in this web site. But the real diference is in the 80´s he began to use a new pick-up's set. The EMG DG-20 set. You can buy today. I have a Fender Stratocaster with this set and the sound is very great!!! I recomended if you a searching for Dave sound.

about mistress

Why my mistress (great sound!), combined with distortion or overdrive,is so hysterical and exaggerated when I turn up the color? The sound is very deep and rounded but I hear a tiresome...uiiiuiiiuiiiuiii (forgive me!).
When Dave use the mistress I hear the flanger and oscillating sound but not squeak or jet-airplane.
If I set the rate at 9 it's more acceptable but the sound is empty.

Re: about mistress

Thats the beauty and down fall of the Mistress. It is a noisy flanger, but nothing else really comes close. You can try adjusting the rate, color and range, but you said it is flat. Try upping the sustain or tone on your distortion. I've tried the Mistress with other distortions, but it doesn't sound the same without the Muff. It's like they were made for each other.

The other thing you can do is try a noise gate, but make sure that your not cutting off frequencies that you want.

Or...you can just live with it :) But, that really shouldn't be an option.

Hope this helps

John
: Why my mistress (great sound!), combined with distortion or overdrive,is so hysterical and exaggerated when I turn up the color? The sound is very deep and rounded but I hear a tiresome...uiiiuiiiuiiiuiii (forgive me!).
: When Dave use the mistress I hear the flanger and oscillating sound but not squeak or jet-airplane.
: If I set the rate at 9 it's more acceptable but the sound is empty.

Signs of life

What i have to do to replicate the intro-solo in the Momentary album?
Clean guitar, compression and neck-pickup...ok!
But what about the strange oriental sound? The mistress?

Re: Signs of life

That sound is pretty much a clean guitar, compression, EMG pickups and Reverb

John

: What i have to do to replicate the intro-solo in the Momentary album?
: Clean guitar, compression and neck-pickup...ok!
: But what about the strange oriental sound? The mistress?

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