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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Take It Back

Anyone know delay and reverb settings for the dum da da dum bit that runs thru this ditty?

Re: Take It Back

Its a clean guitar, little chorus and an e-bow

John

: Anyone know delay and reverb settings for the dum da da dum bit that runs thru this ditty?

Re: Take It Back

: Its a clean guitar, little chorus and an e-bow

: John

what r u talking about? he means the delayed bit that is played by gilmour the whole way through the song. it's clean guitar and some delay, prob around 500ms, not sure...and if you listen close, you can figure out the things he plays...it's like a chord that he moves aroudn the fingers a bit

sound with only boss

how much i can get his classic 70's sound with only boss effects?

Re: sound with only boss

Easily, as he did use boss quite a bit, but that 70's sound is a Fuzz Face.

John

: how much i can get his classic 70's sound with only boss effects?

SYD BARRETT GEAR?!

hehe, this is for david gilmour, but anyone know what guitars, amps, and effects syd barrett used??? i am interested in the piper at the gates of dawn album sounds

Re: SYD BARRETT GEAR?!

<span onmouseover="_tipon(this)" onmouseout="_tipoff()"><span class="google-src-text" style="direction: ltr; text-align: left">: hehe, this is for david gilmour, but anyone know what guitars, amps, and effects syd barrett used???</span> : Hehe, ceci est pour David Gilmour, mais quelqu'un sait quelles guitares, des amplis et des effets Syd Barrett-il utilisé???</span> <span onmouseover="_tipon(this)" onmouseout="_tipoff()"><span class="google-src-text" style="direction: ltr; text-align: left">i am interested in the piper at the gates of dawn album sounds</span> Je suis intéressé par le joueur de flûte aux portes de l'album de l'aube, des sons</span>

Re: SYD BARRETT GEAR?!

Selmer Treble and Bass amp
binson echorec
zippo lighter as a slide

Floyd

: hehe, this is for david gilmour, but anyone know what guitars, amps, and effects syd barrett used??? i am interested in the piper at the gates of dawn album sounds

Re: SYD BARRETT GEAR?!

 SYD BARRETT GEAR?!

This popular thread has been given its own page : Re: SYD BARRETT GEAR?!

Phase-90 Mod

Hello guys,
I thought you might like to do this to your own phasers. Normally
mine (a RI) overdrives my tone making it muddy when I turn it on, so
I don't really use it that much. So I took it apart. I found a bias switch on the inside of the pedal-you'll see it if you open yours -sometimes there covered in epoxy...but just use a hex nut to switch, and mark where it was to start off if you don't find anything you like.

I switched mine a little bit from where it was, and wow. The effect isn't as pronounced and doesn't overdrive the tone when turned on. As far as I know it changed the LFO frequency. Now it may not be for everyone, but I love it. Its not as sweet you may say, but it lets YOUR tone through, before it just made my tone muddy no matter what.
enjoy-and good luck

Hello JOHN W!

I'm sorry I didn't responde earlier, but my f**king computer has been down for the past month. OK The reason I bought the vintage RAT is simply because my local guitar store only had that one in stock. I think the difference between the two are that RAT2 has a little indicator light (on/off) witch is nice, but it's known to interfear with the sound. The RAT came about in late 79 I think and is based on the FUZZ FACE used by Hendrix nad Gilmour. The RAT offers a more versatile sound ranging from soft overdrive to hard distortion. It has a filter knob, that instead of "toning" the sound it works as an EQ giving you a grungy fat sound and at the other end an earpinching distortion similar to Gilmour's sound on DOGS. I don't think Dave's using it alot ,he prefers the Tube Driver but I guess they're quite the same. I use it on Money (all solos) all of the Animals stuff and most of the WYWH stuff. My setting is D 50% F 60% V 70%
My gear is
Fender Strat (1996 Japan) '57 reissue and Fender Tele (1996 Mexico) standard. I haven't done anything to them other than shortened the tremolo for the Strat. I don't like the EMG pic-ups. Sounds like platsic. My standard vintage pics suites the older Floyd material better. I tend to stick to the Strat for most of the stuff, but I like to use the Tele for WYWH songs to get a more 77ish sound to it and ofcourse on Dogs and Run like hell.
I have a Sound City 50W tube amp witch is a poor man's Hi
Watt. Although it's a 50W it's sounds like 200! It's amazing! Sound Citys were made between 67-73 I think and is in fact the first generation HiWatts made by the same company. I love it and wouldn't trade it for a million HiWatts! (It can be seen on the Ummagumma album cover).
My efx are (in link order); MXR Dynacomp=EH Big Muff (Russian reissue)= IBANEZ Tube Screamer=RAT=EH Deluxe Electric Mistress=MXR Phase 90=BOSS GT-3 efx board=VOX wha wha
I use the BOSS GT-3 as a controll board for the other pedals and for reverb and different delays.
For the early stuff (67-72) I use the Tube Screamer and Boss Fuzz (GT-3) with delay 310ms.
DSOTM/WYWH I use the MUFF and the Mistress to simulate a leslie. Delay for WYWH album 410ms
For the Animals and WALL stuff I just use a clean signal with the MXR Dynacomp and the MUFF for the solo parts. Try MUFF and the Mistress together on the Comf Numb solo. It's a killer!
MUFF V 70% D 100% T 10%
Mistress all at 10 o'clock
So I don't nesseceraly use the same set up as Dave, due to lack of money and availability, but I think it's pretty close. I also tend to use different set ups or settings according to what kind og audience we're playing for. If it's a big noisy crowd I turn everyhing up and hit ever pedal I got.
That's a long answer but I hope you got some tips. If you want any specific settings or have anything to add please send me a mail or post it on this site
Thank you!

Re: Hello JOHN W!

Thanks
John W.

Best Leslie Sim???

What is the best leslie sim in a pedal? I'm looking for the sound heard on Breath of DSOTM.Any help would be appreciated.

Thanx

Re: Best Leslie Sim???

I'am very satisfied with the H & K Rotosphere... top notch sim and build quality.

: What is the best leslie sim in a pedal? I'm looking for the sound heard on Breath of DSOTM.Any help would be appreciated.

: Thanx

Uni-Vibe on Breath???

Did Gilmour use a uni-vibe to get that great sound on Breath? What could I use to get that great sound???
Thanx

Re: Uni-Vibe on Breath???

: Did Gilmour use a uni-vibe to get that great sound on Breath? What could I use to get that great sound???
: Thanx

Yes, he uses an univibe.
My setting for dunlop univibe (rotating speaker)is: 10/11 for speed and intensity with the vibrato effect on

Re: Uni-Vibe on Breath???

he uses a lap steel for breath

Re: Uni-Vibe on Breath???

an eric clapton crossroads pedal does the trick for me..if u get one go to the third setting out of the total 7 which is the "badge" rotating speaker effect and adjust the 2nd control knob on the pedal to about 1:10 for the breathe sound..its also good to play the song on the middle or bridge pickup of a strat

Electric Mistress/Delux Electric Mistress

What is the difference between the delux and non-delux Electric Mistress'? Which is better and which one give the better Gilmour sound? Thanx!

Re: Electric Mistress/Delux Electric Mistress

The deluxe mistress has a switch at the top right that acts as a filter matrix which will cut out the swirls etc, and give you a straight forward flang sound with out the extras that the Mistress has.

Either one will do you well..

John

: What is the difference between the delux and non-delux Electric Mistress'? Which is better and which one give the better Gilmour sound? Thanx!

Should I be happy with this...omg I can't beleive I have this...

Alright, this girl that likes me just bought me The Pink Floyd Collection 10-LP box set from Italy...we're not even going out...how much is this worth...I mean......have I just found the greatest girl in the world?

Electric

I am going to try out a Electric .What are same good setings for it.I looking for The Wall live sound.Thanks

Re: Electric

I am going to try out a Electric .What are same good setings for it.I looking for The Wall live sound.Thanks

color at 1 o'clock, range at 2 or 3. rate at 11 or 12.
Add boss-chorus (high level and depth) and the mistress will be no-noisy.

Re: Electric

I have a Russian built Big Muff.What are the setting for the Big Muff to get the Comfortly numb sound with the .

Re: Electric

Sorry for my retard mike.
I have an USA big muff, and my setting is: volume 2:00, tone 11:00/12:00 and sustain at 2:00/3:00.
Mistress, chorus and delay remember!

Re: Electric Mistress

: I am going to try out a Electric Mistress.What are same good setings for it.I looking for The Wall live sound.Thanks

Re: Electric Mistress

Try range and color at 11:00 and rate at 10:00.

: I am going to try out a Electric Mistress.What are same good setings for it.I looking for The Wall live sound.Thanks

The Guitar Pedal Archive

Hello,

Check out the Guitar Pedal Archive:
http://www.shortnacy.com/tim/GPA/

-tim

Thoughts Feelings blah

Well here it begins, my thoughts and feelings about the feel of pink floyd.

Section 1: Tone is in the fingers not the effects-
One of the biggest mis-conseptions with David Gilmour is tone is
in the effects rather than the fingers. Its not, true the phychadelic
part is, but as he says; its nice to have the best stuff, but not essential. So you ask what can you do? From my personal experience
and analysing of video's gilmour generally plays with his fingers towards the beggining of the next fret. So if I played on fret 5, I'd move my fingers near to fret 6 rather than in the center; it gives a slightly sharper brighter feel. Next thing you'll want to do is learn to vibrato everything you can, he does his vibrato similiar to BB King, but not as intense. Which is; moving your wrist rather than the finger, which can give you some nice feeling to your music. Also he tends to vibrate everything as many musicans do; because it gives a very professional sound, and mixed with certain effects can create amazing sounds (EH Mistress, EH Muff, Delay-vibrato, and tremelo try it ; its amazing) A shortened tremelo is a great beneficial thing to have; it allows for your hand to hold it, while picking and playing its very efficient. While not neccesary its nice to have. As for picking technique I believe he still uses Herco heavy-gauge picks (as in an interview on the 77 tour I believe) They can be switched to the side which has a bumpy texture and can create a clean-scratchy/punchy feel to your music. (Page does this often as well) He is quite good at doing pinch harmonics, which when mastered add a brilliant flavour to your peice. I feel when he picks on a bend, he doesn't really pick (if he does, its very light) I think you want to lightly move your hand down over the string, and let your right hand (bend one) pick the string for you, it gives a very gently feel. His playing is also very relaxed, his hands (as many musicians) are very loose feeling; however you can often see when he gets tense playing faster songs his shoulders raise, and he usually sticks his tongue out alittle (hehe) But his playing is always loose; its a key to playing fast as well. I hope this helps someone out on alittle technique.

Section 2: FX are your friend
Many people ask what effects can make me sound like pink floyd. Well theres no real answer right off the bat. Of course delay is the most essential with a minimal 2 second delay. I reccomend the DD-5 or DD-3 for the people who can't afford 2000$ units. I have yet to hear more than 5 or 6 tunes that don't use some form of delay, its a brilliant effect when used correctly; it can add chracter; space; dimension; make your playing more identifiable; and just add power. Next is reverb. Again its uses are infanite. Adding beautiful sound, and space to your playing and just makes you sound really professional. Next is distortion; It depends what era you want the most too. Anything Pre-Final Cut you'll want a big muff. Post-Final Cut you'll want the chandler tube driver; I won't go into what sounds better because its up to you. Most distortions by Gilmour during the Wall, can be identified as the Muff. After the wall, its mostly the Tube Driver; so its really where you want to go with this as to what you want. Next is an overdrive. Most of us can't exactly crank their 100 watt amp and expect to be hearing the next day; and still be living in their apartments. This will do it for you; personally I use a Rat2 for overdrive (not its original use, but it does it job both ways quite well) Try these settings, Volume 3, Distortion 10, filter 5 that will give a nice overdrive. Next the EH Flanger is an essential for Wall-Fanatics. It can also be heard on Dogs played live. I tend to leave rate at 1, color and depth at 11 (its a deluxe mistress) but for a deeper comfortably numb I switch the rate up alittle and the others for to 1 (o'clock) You'll hear the difference, almost drone sound to it. Now of course theres others but I'm getting tired of ranting on them; compression is nice as well the CS-2 or Dynacomp is a holy war. The Dynacomp is supposidly more natual sounding, while the CS-2 is alittle more colder. Both are used by Gilmour and are very nice. I think the Dynacomp was more for being on with the Muff, and the CS-2 for clean tones. Now I must say this and I'm sure alot of people will hate me for it. If you want to reproduce Pink Floyd; get analog pedals and rack stuff. Multi-FX just won't cut it. Theres nothing I hate more than people asking effects settings on multi-fx units. Theres a reason you can't get those tones. Analog is the way you'll want to go, it's slightly more but you'll sound better.IMHO Also I'd like to point out the VCS3 synth. This effect used by gilmour; waters and wright is heard on dozens of songs (time, childhoods end, welcome to the machine, obscured by clouds) Its expensive so I'd recomend the EH Micro-Synth in its place. It is an essential peice to any floydian collection. I mean just listen to songs around DSoTM; if you know what to listen for, you'll hear it everywhere...

Section 3 He played a mean guitar
Many people wonder what to do their guitar for a floydesque-sound.
Its a difficult question to answer he has quite a collection of guitars. He primarily uses a Stratocaster and an Esquire (similiar to telecaster; often mistaken) Right now his main stage use guitars are two 57 reissues with maple necks. Very nice; during the wall it was his '62 strat (or '72; Pre-CBS) It had a maple neck and black. Maple necks are used more by him most likely for preference, and the bright punchiness about them. Rosewood is a darker feeling wood. As for pickups go for the EMG-DG20 system if you want to sound like floyd. It can nail tones perfectly from Final Cut and up. (I mean he uses it; of course it'll sound like him) As for before that, the tones are extremely similiar but alittle more processed. You'll get extreme versatility but it is not for heavy-metal. Thats its one drawback to many; not mine though. On the Esquire I'm not sure the pickups, but well its a rare guitar and extremely expensive; good luck getting one hehe. Its used on songs like Run Like Hell; Dogs, alot of the animals tour...

Section 4: Essential Riffs
I fell in love with floyd and gilmour; and in order to understand the music I immursed my self in it. I think I have quite a good feeling on how he works. But of course I can always be surprised. Theres many things gilmour does quite frequently but under a different aresenal of effects its hard to tell. One of the most common I see in his improv playing on my bootlegs are bending and picking on the next string (ie bending at fret 15 on the B-string, and then picking 15 on the E-String) It works almost anywhere and its a great little lick. Next I see gilmour playing frequent chord inversions (as in an A chord at fret 5) and playing around those. Some other frequent things are half-bends
which can sound incredibly moving if played at the right moment. Learning to palm-mute and mute strings is also very valuable you'll notice in his rythem playing and songs as in Shine On solo 3; ABitW 2 solo- he plays mutes alot its a trait I think he borrowed and evolved from hendrix. Playing above fret 15 is usually reserved for climaxes with gilmour and to move the emotion level up a notch, its very effective. I commonly see him play in G-Major scales as well as G-Minor scales. Penatonics will be your friend. Major songs include; time, have a cigar, comfortably numb, hey you. Minor songs include Shine On, and some others slipping my mind right now.

Section 5: Amps buy the way
Amps can be a touchy subject, everyone knows he uses Hiwatts when playing live; and on DB in the studio. Fender Twin Reverb (black face) in the studio as well. He played through Selmer Bass and Treble as did Syd before hiwatt got started; later experimenting he tried Sound City (Ummugumma) and finally settling at hiwatts. In the end, all you need is a clean tone to put your effects on. Marshalls color too easily and get garbled. Hiwatts are famed for the clean tone and well un-breakable clean tone.

Well here is my rant; I hope some of you like it, and someone learned something.

Floyd

Re: Thoughts Feelings blah

: Well here it begins, my thoughts and feelings about the feel of pink floy

: Section 1: Tone is in the fingers not the effects-
: One of the biggest mis-conseptions with David Gilmour is tone is
: in the effects rather than the fingers. Its not, true the phychadelic
: part is, but as he says; its nice to have the best stuff, but not essential. So you ask what can you do? From my personal experience
: and analysing of video's gilmour generally plays with his fingers towards the beggining of the next fret. So if I played on fret 5, I'd move my fingers near to fret 6 rather than in the center; it gives a slightly sharper brighter feel. Next thing you'll want to do is learn to vibrato everything you can, he does his vibrato similiar to BB King, but not as intense. Which is; moving your wrist rather than the finger, which can give you some nice feeling to your music. Also he tends to vibrate everything as many musicans do; because it gives a very professional sound, and mixed with certain effects can create amazing sounds (EH Mistress, EH Muff, Delay-vibrato, and tremelo try it ; its amazing) A shortened tremelo is a great beneficial thing to have; it allows for your hand to hold it, while picking and playing its very efficient. While not neccesary its nice to have. As for picking technique I believe he still uses Herco heavy-gauge picks (as in an interview on the 77 tour I believe) They can be switched to the side which has a bumpy texture and can create a clean-scratchy/punchy feel to your music. (Page does this often as well) He is quite good at doing pinch harmonics, which when mastered add a brilliant flavour to your peice. I feel when he picks on a bend, he doesn't really pick (if he does, its very light) I think you want to lightly move your hand down over the string, and let your right hand (bend one) pick the string for you, it gives a very gently feel. His playing is also very relaxed, his hands (as many musicians) are very loose feeling; however you can often see when he gets tense playing faster songs his shoulders raise, and he usually sticks his tongue out alittle (hehe) But his playing is always loose; its a key to playing fast as well. I hope this helps someone out on alittle technique.

: Section 2: FX are your friend
: Many people ask what effects can make me sound like pink floyd. Well theres no real answer right off the bat. Of course delay is the most essential with a minimal 2 second delay. I reccomend the DD-5 or DD-3 for the people who can't afford 2000$ units. I have yet to hear more than 5 or 6 tunes that don't use some form of delay, its a brilliant effect when used correctly; it can add chracter; space; dimension; make your playing more identifiable; and just add power. Next is reverb. Again its uses are infanite. Adding beautiful sound, and space to your playing and just makes you sound really professional. Next is distortion; It depends what era you want the most too. Anything Pre-Final Cut you'll want a big muff. Post-Final Cut you'll want the chandler tube driver; I won't go into what sounds better because its up to you. Most distortions by Gilmour during the Wall, can be identified as the Muff. After the wall, its mostly the Tube Driver; so its really where you want to go with this as to what you want. Next is an overdrive. Most of us can't exactly crank their 100 watt amp and expect to be hearing the next day; and still be living in their apartments. This will do it for you; personally I use a Rat2 for overdrive (not its original use, but it does it job both ways quite well) Try these settings, Volume 3, Distortion 10, filter 5 that will give a nice overdrive. Next the EH Flanger is an essential for Wall-Fanatics. It can also be heard on Dogs played live. I tend to leave rate at 1, color and depth at 11 (its a deluxe mistress) but for a deeper comfortably numb I switch the rate up alittle and the others for to 1 (o'clock) You'll hear the difference, almost drone sound to it. Now of course theres others but I'm getting tired of ranting on them; compression is nice as well the CS-2 or Dynacomp is a holy war. The Dynacomp is supposidly more natual sounding, while the CS-2 is alittle more colder. Both are used by Gilmour and are very nice. I think the Dynacomp was more for being on with the Muff, and the CS-2 for clean tones. Now I must say this and I'm sure alot of people will hate me for it. If you want to reproduce Pink Floyd; get analog pedals and rack stuff. Multi-FX just won't cut it. Theres nothing I hate more than people asking effects settings on multi-fx units. Theres a reason you can't get those tones. Analog is the way you'll want to go, it's slightly more but you'll sound better.IMHO Also I'd like to point out the VCS3 synth. This effect used by gilmour; waters and wright is heard on dozens of songs (time, childhoods end, welcome to the machine, obscured by clouds) Its expensive so I'd recomend the EH Micro-Synth in its place. It is an essential peice to any floydian collection. I mean just listen to songs around DSoTM; if you know what to listen for, you'll hear it everywhere...

: Section 3 He played a mean guitar
: Many people wonder what to do their guitar for a floydesque-sound.
: Its a difficult question to answer he has quite a collection of guitars. He primarily uses a Stratocaster and an Esquire (similiar to telecaster; often mistaken) Right now his main stage use guitars are two 57 reissues with maple necks. Very nice; during the wall it was his '62 strat (or '72; Pre-CBS) It had a maple neck and black. Maple necks are used more by him most likely for preference, and the bright punchiness about them. Rosewood is a darker feeling wood. As for pickups go for the EMG-DG20 system if you want to sound like floyd. It can nail tones perfectly from Final Cut and up. (I mean he uses it; of course it'll sound like him) As for before that, the tones are extremely similiar but alittle more processed. You'll get extreme versatility but it is not for heavy-metal. Thats its one drawback to many; not mine though. On the Esquire I'm not sure the pickups, but well its a rare guitar and extremely expensive; good luck getting one hehe. Its used on songs like Run Like Hell; Dogs, alot of the animals tour...

: Section 4: Essential Riffs
: I fell in love with floyd and gilmour; and in order to understand the music I immursed my self in it. I think I have quite a good feeling on how he works. But of course I can always be surprised. Theres many things gilmour does quite frequently but under a different aresenal of effects its hard to tell. One of the most common I see in his improv playing on my bootlegs are bending and picking on the next string (ie bending at fret 15 on the B-string, and then picking 15 on the E-String) It works almost anywhere and its a great little lick. Next I see gilmour playing frequent chord inversions (as in an A chord at fret 5) and playing around those. Some other frequent things are half-bends
: which can sound incredibly moving if played at the right moment. Learning to palm-mute and mute strings is also very valuable you'll notice in his rythem playing and songs as in Shine On solo 3; ABitW 2 solo- he plays mutes alot its a trait I think he borrowed and evolved from hendrix. Playing above fret 15 is usually reserved for climaxes with gilmour and to move the emotion level up a notch, its very effective. I commonly see him play in G-Major scales as well as G-Minor scales. Penatonics will be your friend. Major songs include; time, have a cigar, comfortably numb, hey you. Minor songs include Shine On, and some others slipping my mind right now.

: Section 5: Amps buy the way
: Amps can be a touchy subject, everyone knows he uses Hiwatts when playing live; and on DB in the studio. Fender Twin Reverb (black face) in the studio as well. He played through Selmer Bass and Treble as did Syd before hiwatt got started; later experimenting he tried Sound City (Ummugumma) and finally settling at hiwatts. In the end, all you need is a clean tone to put your effects on. Marshalls color too easily and get garbled. Hiwatts are famed for the clean tone and well un-breakable clean tone.

: Well here is my rant; I hope some of you like it, and someone learned something.

: Floyd

Re: Thoughts Feelings blah

Well Spoken!

I agree that no matter what effects you have, you've gotta develop style. Practice and listening are key!! Gilmour has a keen sense of knowing what sounds good and where. Improv puts him as one of the best guitarists of our time.

Effects - Anything before the wall would be the Fuzz Face,
Animals saw the switch from Fuzz Face to the Muff, then onto the Tube Driver and the Soft Sustain ( he generally blends these two together)

For the Distortions - from thin to creamy they would go
RAT,CTD, Soft Sustain, , Fuzz Face, P-2 Fuzz, Then the Muff.
Each adds a different color to the Solos and rhythms. But I gotta say that I believe Gilmour really only uses the RAT for the dry Money Solo.
The Tube Driver seems to be his preference as of late for Rhythm Distortion.
The Muff and or P-2 fuzz would be his in your face distortions as of late. The Fuzz Face is no longer on his rack!

For the Over driven tones, I find that just the amp with the SPC on the DG20-s give the signal a nice warm feel with power. Add a compressor in there and it does a nice job.

Can't say enough about the misstress. This is THE flanger for the Wall, actually for all the Floyd stuff.

Delay - I can not stress this enough, Learn to play the delay. It is an instrument on its own and can either help you or destoy you. Some songs its prevelent, others its barely noticable. Like Floyd said, Most of us can't afford a $2000 unit that has a signal level detection in it to delay the weakest part of the signal, so play with the level on the pedal to see where it sounds good, almost not noticable, but there to fatten up your sound. Too much delay will kill you.

Guitars - Floyd live tends to be the Strats, but any guitar in Dg's hands tend to sound good. He did use the Steinberger in the 80's quite a bit and I believe he recorded a few songs with that for the Momentary Lapse LP.

AMPs- Hiwatts, Fenders - TUBE!!!!!

Picks I believe he uses the Tortex Greens now.

Thought I'd add my 2 or three cents here.

John

: Well here it begins, my thoughts and feelings about the feel of pink floyd.

: Section 1: Tone is in the fingers not the effects-
: One of the biggest mis-conseptions with David Gilmour is tone is
: in the effects rather than the fingers. Its not, true the phychadelic
: part is, but as he says; its nice to have the best stuff, but not essential. So you ask what can you do? From my personal experience
: and analysing of video's gilmour generally plays with his fingers towards the beggining of the next fret. So if I played on fret 5, I'd move my fingers near to fret 6 rather than in the center; it gives a slightly sharper brighter feel. Next thing you'll want to do is learn to vibrato everything you can, he does his vibrato similiar to BB King, but not as intense. Which is; moving your wrist rather than the finger, which can give you some nice feeling to your music. Also he tends to vibrate everything as many musicans do; because it gives a very professional sound, and mixed with certain effects can create amazing sounds (EH Mistress, EH Muff, Delay-vibrato, and tremelo try it ; its amazing) A shortened tremelo is a great beneficial thing to have; it allows for your hand to hold it, while picking and playing its very efficient. While not neccesary its nice to have. As for picking technique I believe he still uses Herco heavy-gauge picks (as in an interview on the 77 tour I believe) They can be switched to the side which has a bumpy texture and can create a clean-scratchy/punchy feel to your music. (Page does this often as well) He is quite good at doing pinch harmonics, which when mastered add a brilliant flavour to your peice. I feel when he picks on a bend, he doesn't really pick (if he does, its very light) I think you want to lightly move your hand down over the string, and let your right hand (bend one) pick the string for you, it gives a very gently feel. His playing is also very relaxed, his hands (as many musicians) are very loose feeling; however you can often see when he gets tense playing faster songs his shoulders raise, and he usually sticks his tongue out alittle (hehe) But his playing is always loose; its a key to playing fast as well. I hope this helps someone out on alittle technique.

: Section 2: FX are your friend
: Many people ask what effects can make me sound like pink floyd. Well theres no real answer right off the bat. Of course delay is the most essential with a minimal 2 second delay. I reccomend the DD-5 or DD-3 for the people who can't afford 2000$ units. I have yet to hear more than 5 or 6 tunes that don't use some form of delay, its a brilliant effect when used correctly; it can add chracter; space; dimension; make your playing more identifiable; and just add power. Next is reverb. Again its uses are infanite. Adding beautiful sound, and space to your playing and just makes you sound really professional. Next is distortion; It depends what era you want the most too. Anything Pre-Final Cut you'll want a big muff. Post-Final Cut you'll want the chandler tube driver; I won't go into what sounds better because its up to you. Most distortions by Gilmour during the Wall, can be identified as the Muff. After the wall, its mostly the Tube Driver; so its really where you want to go with this as to what you want. Next is an overdrive. Most of us can't exactly crank their 100 watt amp and expect to be hearing the next day; and still be living in their apartments. This will do it for you; personally I use a Rat2 for overdrive (not its original use, but it does it job both ways quite well) Try these settings, Volume 3, Distortion 10, filter 5 that will give a nice overdrive. Next the EH Flanger is an essential for Wall-Fanatics. It can also be heard on Dogs played live. I tend to leave rate at 1, color and depth at 11 (its a deluxe mistress) but for a deeper comfortably numb I switch the rate up alittle and the others for to 1 (o'clock) You'll hear the difference, almost drone sound to it. Now of course theres others but I'm getting tired of ranting on them; compression is nice as well the CS-2 or Dynacomp is a holy war. The Dynacomp is supposidly more natual sounding, while the CS-2 is alittle more colder. Both are used by Gilmour and are very nice. I think the Dynacomp was more for being on with the Muff, and the CS-2 for clean tones. Now I must say this and I'm sure alot of people will hate me for it. If you want to reproduce Pink Floyd; get analog pedals and rack stuff. Multi-FX just won't cut it. Theres nothing I hate more than people asking effects settings on multi-fx units. Theres a reason you can't get those tones. Analog is the way you'll want to go, it's slightly more but you'll sound better.IMHO Also I'd like to point out the VCS3 synth. This effect used by gilmour; waters and wright is heard on dozens of songs (time, childhoods end, welcome to the machine, obscured by clouds) Its expensive so I'd recomend the EH Micro-Synth in its place. It is an essential peice to any floydian collection. I mean just listen to songs around DSoTM; if you know what to listen for, you'll hear it everywhere...

: Section 3 He played a mean guitar
: Many people wonder what to do their guitar for a floydesque-sound.
: Its a difficult question to answer he has quite a collection of guitars. He primarily uses a Stratocaster and an Esquire (similiar to telecaster; often mistaken) Right now his main stage use guitars are two 57 reissues with maple necks. Very nice; during the wall it was his '62 strat (or '72; Pre-CBS) It had a maple neck and black. Maple necks are used more by him most likely for preference, and the bright punchiness about them. Rosewood is a darker feeling wood. As for pickups go for the EMG-DG20 system if you want to sound like floyd. It can nail tones perfectly from Final Cut and up. (I mean he uses it; of course it'll sound like him) As for before that, the tones are extremely similiar but alittle more processed. You'll get extreme versatility but it is not for heavy-metal. Thats its one drawback to many; not mine though. On the Esquire I'm not sure the pickups, but well its a rare guitar and extremely expensive; good luck getting one hehe. Its used on songs like Run Like Hell; Dogs, alot of the animals tour...

: Section 4: Essential Riffs
: I fell in love with floyd and gilmour; and in order to understand the music I immursed my self in it. I think I have quite a good feeling on how he works. But of course I can always be surprised. Theres many things gilmour does quite frequently but under a different aresenal of effects its hard to tell. One of the most common I see in his improv playing on my bootlegs are bending and picking on the next string (ie bending at fret 15 on the B-string, and then picking 15 on the E-String) It works almost anywhere and its a great little lick. Next I see gilmour playing frequent chord inversions (as in an A chord at fret 5) and playing around those. Some other frequent things are half-bends
: which can sound incredibly moving if played at the right moment. Learning to palm-mute and mute strings is also very valuable you'll notice in his rythem playing and songs as in Shine On solo 3; ABitW 2 solo- he plays mutes alot its a trait I think he borrowed and evolved from hendrix. Playing above fret 15 is usually reserved for climaxes with gilmour and to move the emotion level up a notch, its very effective. I commonly see him play in G-Major scales as well as G-Minor scales. Penatonics will be your friend. Major songs include; time, have a cigar, comfortably numb, hey you. Minor songs include Shine On, and some others slipping my mind right now.

: Section 5: Amps buy the way
: Amps can be a touchy subject, everyone knows he uses Hiwatts when playing live; and on DB in the studio. Fender Twin Reverb (black face) in the studio as well. He played through Selmer Bass and Treble as did Syd before hiwatt got started; later experimenting he tried Sound City (Ummugumma) and finally settling at hiwatts. In the end, all you need is a clean tone to put your effects on. Marshalls color too easily and get garbled. Hiwatts are famed for the clean tone and well un-breakable clean tone.

: Well here is my rant; I hope some of you like it, and someone learned something.

: Floyd

Re: Thoughts Feelings blah

Well Spoken!

I agree that no matter what effects you have, you've gotta develop style. Practice and listening are key!! Gilmour has a keen sense of knowing what sounds good and where. Improve puts him as one of the best guitarists of our time.

Effects - Anything before the wall would be the Fuzz Face,
Animals saw the switch from Fuzz Face to the Muff, then onto the Tube Driver and the Soft Sustain ( he generally blends these two together)

For the Distortions - from thin to creamy they would go
RAT,CTD, Soft Sustain, , Fuzz Face, P-2 Fuzz, Then the Muff.
Each adds a different color to the Solos and rhythms. But I gotta say that I believe Gilmour really only uses the RAT for the dry Money Solo.
The Tube Driver seems to be his preference as of late for Rhythm Distortion.
The Muff and or P-2 fuzz would be his in your face distortions as of late. The Fuzz Face is no longer on his rack!

For the Over driven tones, I find that just the amp with the SPC on the DG20-s give the signal a nice warm feel with power. Add a compressor in there and it does a nice job.

Can't say enough about the misstress. This is THE flanger for the Wall, actually for all the Floyd stuff.

Delay - I can not stress this enough, Learn to play the delay. It is an instrument on its own and can either help you or destoy you. Some songs its prevelent, others its barely noticable. Like Floyd said, Most of us can't afford a $2000 unit that has a signal level detection in it to delay the weakest part of the signal, so play with the level on the pedal to see where it sounds good, almost not noticable, but there to fatten up your sound. Too much delay will kill you.

Guitars - Floyd live tends to be the Strats, but any guitar in Dg's hands tend to sound good. He did use the Steinberger in the 80's quite a bit and I believe he recorded a few songs with that for the Momentary Lapse LP.

AMPs- Hiwatts, Fenders - TUBE!!!!!

Picks I believe he uses the Tortex Greens now.

Thought I'd add my 2 or three cents here.

John

: Well here it begins, my thoughts and feelings about the feel of pink floyd.

: Section 1: Tone is in the fingers not the effects-
: One of the biggest mis-conseptions with David Gilmour is tone is
: in the effects rather than the fingers. Its not, true the phychadelic
: part is, but as he says; its nice to have the best stuff, but not essential. So you ask what can you do? From my personal experience
: and analysing of video's gilmour generally plays with his fingers towards the beggining of the next fret. So if I played on fret 5, I'd move my fingers near to fret 6 rather than in the center; it gives a slightly sharper brighter feel. Next thing you'll want to do is learn to vibrato everything you can, he does his vibrato similiar to BB King, but not as intense. Which is; moving your wrist rather than the finger, which can give you some nice feeling to your music. Also he tends to vibrate everything as many musicans do; because it gives a very professional sound, and mixed with certain effects can create amazing sounds (EH Mistress, EH Muff, Delay-vibrato, and tremelo try it ; its amazing) A shortened tremelo is a great beneficial thing to have; it allows for your hand to hold it, while picking and playing its very efficient. While not neccesary its nice to have. As for picking technique I believe he still uses Herco heavy-gauge picks (as in an interview on the 77 tour I believe) They can be switched to the side which has a bumpy texture and can create a clean-scratchy/punchy feel to your music. (Page does this often as well) He is quite good at doing pinch harmonics, which when mastered add a brilliant flavour to your peice. I feel when he picks on a bend, he doesn't really pick (if he does, its very light) I think you want to lightly move your hand down over the string, and let your right hand (bend one) pick the string for you, it gives a very gently feel. His playing is also very relaxed, his hands (as many musicians) are very loose feeling; however you can often see when he gets tense playing faster songs his shoulders raise, and he usually sticks his tongue out alittle (hehe) But his playing is always loose; its a key to playing fast as well. I hope this helps someone out on alittle technique.

: Section 2: FX are your friend
: Many people ask what effects can make me sound like pink floyd. Well theres no real answer right off the bat. Of course delay is the most essential with a minimal 2 second delay. I reccomend the DD-5 or DD-3 for the people who can't afford 2000$ units. I have yet to hear more than 5 or 6 tunes that don't use some form of delay, its a brilliant effect when used correctly; it can add chracter; space; dimension; make your playing more identifiable; and just add power. Next is reverb. Again its uses are infanite. Adding beautiful sound, and space to your playing and just makes you sound really professional. Next is distortion; It depends what era you want the most too. Anything Pre-Final Cut you'll want a big muff. Post-Final Cut you'll want the chandler tube driver; I won't go into what sounds better because its up to you. Most distortions by Gilmour during the Wall, can be identified as the Muff. After the wall, its mostly the Tube Driver; so its really where you want to go with this as to what you want. Next is an overdrive. Most of us can't exactly crank their 100 watt amp and expect to be hearing the next day; and still be living in their apartments. This will do it for you; personally I use a Rat2 for overdrive (not its original use, but it does it job both ways quite well) Try these settings, Volume 3, Distortion 10, filter 5 that will give a nice overdrive. Next the EH Flanger is an essential for Wall-Fanatics. It can also be heard on Dogs played live. I tend to leave rate at 1, color and depth at 11 (its a deluxe mistress) but for a deeper comfortably numb I switch the rate up alittle and the others for to 1 (o'clock) You'll hear the difference, almost drone sound to it. Now of course theres others but I'm getting tired of ranting on them; compression is nice as well the CS-2 or Dynacomp is a holy war. The Dynacomp is supposidly more natual sounding, while the CS-2 is alittle more colder. Both are used by Gilmour and are very nice. I think the Dynacomp was more for being on with the Muff, and the CS-2 for clean tones. Now I must say this and I'm sure alot of people will hate me for it. If you want to reproduce Pink Floyd; get analog pedals and rack stuff. Multi-FX just won't cut it. Theres nothing I hate more than people asking effects settings on multi-fx units. Theres a reason you can't get those tones. Analog is the way you'll want to go, it's slightly more but you'll sound better.IMHO Also I'd like to point out the VCS3 synth. This effect used by gilmour; waters and wright is heard on dozens of songs (time, childhoods end, welcome to the machine, obscured by clouds) Its expensive so I'd recomend the EH Micro-Synth in its place. It is an essential peice to any floydian collection. I mean just listen to songs around DSoTM; if you know what to listen for, you'll hear it everywhere...

: Section 3 He played a mean guitar
: Many people wonder what to do their guitar for a floydesque-sound.
: Its a difficult question to answer he has quite a collection of guitars. He primarily uses a Stratocaster and an Esquire (similiar to telecaster; often mistaken) Right now his main stage use guitars are two 57 reissues with maple necks. Very nice; during the wall it was his '62 strat (or '72; Pre-CBS) It had a maple neck and black. Maple necks are used more by him most likely for preference, and the bright punchiness about them. Rosewood is a darker feeling wood. As for pickups go for the EMG-DG20 system if you want to sound like floyd. It can nail tones perfectly from Final Cut and up. (I mean he uses it; of course it'll sound like him) As for before that, the tones are extremely similiar but alittle more processed. You'll get extreme versatility but it is not for heavy-metal. Thats its one drawback to many; not mine though. On the Esquire I'm not sure the pickups, but well its a rare guitar and extremely expensive; good luck getting one hehe. Its used on songs like Run Like Hell; Dogs, alot of the animals tour...

: Section 4: Essential Riffs
: I fell in love with floyd and gilmour; and in order to understand the music I immursed my self in it. I think I have quite a good feeling on how he works. But of course I can always be surprised. Theres many things gilmour does quite frequently but under a different aresenal of effects its hard to tell. One of the most common I see in his improv playing on my bootlegs are bending and picking on the next string (ie bending at fret 15 on the B-string, and then picking 15 on the E-String) It works almost anywhere and its a great little lick. Next I see gilmour playing frequent chord inversions (as in an A chord at fret 5) and playing around those. Some other frequent things are half-bends
: which can sound incredibly moving if played at the right moment. Learning to palm-mute and mute strings is also very valuable you'll notice in his rythem playing and songs as in Shine On solo 3; ABitW 2 solo- he plays mutes alot its a trait I think he borrowed and evolved from hendrix. Playing above fret 15 is usually reserved for climaxes with gilmour and to move the emotion level up a notch, its very effective. I commonly see him play in G-Major scales as well as G-Minor scales. Penatonics will be your friend. Major songs include; time, have a cigar, comfortably numb, hey you. Minor songs include Shine On, and some others slipping my mind right now.

: Section 5: Amps buy the way
: Amps can be a touchy subject, everyone knows he uses Hiwatts when playing live; and on DB in the studio. Fender Twin Reverb (black face) in the studio as well. He played through Selmer Bass and Treble as did Syd before hiwatt got started; later experimenting he tried Sound City (Ummugumma) and finally settling at hiwatts. In the end, all you need is a clean tone to put your effects on. Marshalls color too easily and get garbled. Hiwatts are famed for the clean tone and well un-breakable clean tone.

: Well here is my rant; I hope some of you like it, and someone learned something.

: Floyd

Re: Thoughts Feelings blah

Ah yes-I forgot all about the fuzz face. You'll want a vintage one, I hear the new ones are not very good at all. I remember seeing a site around that the guy would put vintage specs in your reissue-you'd have to search around.

Yes I agree with the rat. However I think it has a great overdrive tone to it.

Things like the P-2 Fuzz, and soft sustain are also like 400$ effects; which I'm sure sound excellant, but alittle out of my price range and most others; hence lack of showing it here. I think importantly to find a good overdrive though.

I totally agree he is one of the best improv guitarists. If you listen to early bootlegs on songs like fat old sun, embryo, careful with that axe eugene-you'll hear it, and its damn amazing.

Floyd

Re: Thoughts Feelings blah

www.analogman.com he does the mods for the Fuzz Face. --Ralph

: Ah yes-I forgot all about the fuzz face. You'll want a vintage one, I hear the new ones are not very good at all. I remember seeing a site around that the guy would put vintage specs in your reissue-you'd have to search around.

: Yes I agree with the rat. However I think it has a great overdrive tone to it.

: Things like the P-2 Fuzz, and soft sustain are also like 400$ effects; which I'm sure sound excellant, but alittle out of my price range and most others; hence lack of showing it here. I think importantly to find a good overdrive though.

: I totally agree he is one of the best improv guitarists. If you listen to early bootlegs on songs like fat old sun, embryo, careful with that axe eugene-you'll hear it, and its damn amazing.

: Floyd

Animals Tour

Does anyone know who did the Lighting and effects for Pink Floyd during the Animals tour?? I think it was '77. thanks. :-)

Re: Animals Tour

Q: Does anyone know who did the Lighting and effects for Pink Floyd during the Animals tour?? I think it was '77. thanks. :-)

As far as I can gather:

Front of House Mixing: Robbie Williams, Mick Kluczynski
Monitor Mix: Seth Goldman
Effects Tapes: Brian Humphries
Lighting: Graeme Fleming

house of the rising sun?!?

house of the rising sun?!?

This popular thread has been given its own page : house of the rising sun?!?

HIWATT DR504 FOR SALE

HIWATT DR504 FOR SALE

This popular thread has been given its own page : HIWATT DR504 FOR SALE

Phase 90 problem

Hey all -

This is not exactly Gilmour related, but since many of us here own Phase 90's and at the same time are electronics savvy, I thought someone might be able to help me.

My Phase 90 stopped working one day. Somehow, I cannot power it up, regardless of whether I use an AC supply or a battery. Moreover, when I connect my power supply to it, all my other effects on the daisy chain fail, so it seems that I have a continuity problem within the unit. I opened it up, but I no nothing about circuit boards, and there were no obvious problems that caught the attention of my untrained eyes.

Anyone know if this sounds like a simple and common problem for which there is a do-it-yourself cookie cutter remedy, or must I take it to a pro? Thanks in advance.

Leo

Re: Phase 90 problem

Dear Leo,
Get a ORIGINAL phase 90 or 100,because they have better quality parts than dunlop does.I have a original phase 100
and it is warmer and smoother and has had no probs.You can find them for about the same price as the 100 ressiue.

Re: Phase 90 problem

: Hey all -

: This is not exactly Gilmour related, but since many of us here own Phase 90's and at the same time are electronics savvy, I thought someone might be able to help me.

: My Phase 90 stopped working one day. Somehow, I cannot power it up, regardless of whether I use an AC supply or a battery. Moreover, when I connect my power supply to it, all my other effects on the daisy chain fail, so it seems that I have a continuity problem within the unit. I opened it up, but I no nothing about circuit boards, and there were no obvious problems that caught the attention of my untrained eyes.

: Anyone know if this sounds like a simple and common problem for which there is a do-it-yourself cookie cutter remedy, or must I take it to a pro? Thanks in advance.

: Leo

Re: Phase 90 problem

Yo I got the same problem. I used a 9V ac adapter and the light went on then off, and it didnt work completely. I then used a 9.6 V ac adapter, and now it only works halfway meaning, i can go through it and have osund come out of the amp, but when i switch it one, there is no effect and no sound. I think using a different AC Adapter messed up the circuits. I wrote to JIm Dunlop, and I am still waiting to hear from them.

Re: Phase 90 problem

Leo, if you don't already know about it, you may want to visit www.hail-eris.com/~stompbox, Aron Nelson's stompbox forum. I'm sure someone there could help you out. Take care.

please help me

should i go with phase 90 or small stone? and also should i go with dynacomp or cs-2?

Re: please help me

: should i go with phase 90 or small stone? and also should i go with dynacomp or cs-2?

CS-2 (Black Label) , Phase 90 both hands down choices--Ralph

What does Gilmour use for reverb?

Does anyone know what Gilmour uses for reverb in his guitar rig. I would think the pcm 70 would do a good job, but I have read he only uses it for multi-tap delays.

Re: What does Gilmour use for reverb?

He doesn't use reverb live but uses the natural reverb in the concert venue and also delay.

: Does anyone know what Gilmour uses for reverb in his guitar rig. I would think the pcm 70 would do a good job, but I have read he only uses it for multi-tap delays.

Re: What does Gilmour use for reverb?

I think he was using the TC 2290 for his 1994 tour for delays and reverbs...

: Does anyone know what Gilmour uses for reverb in his guitar rig. I would think the pcm 70 would do a good job, but I have read he only uses it for multi-tap delays.

Strats..MAN

Strats are such a DAMN PAIN TO WORK ON! Ever tried lowering the action? You know what I mean...taking each string off, unscrewing the saddles...using your fingers on the tiny little screws on the saddles...then putting it back on to find out it isn't adjusted right...

Re: Strats..MAN

Dont take the whole thing off to adjust the action just get an allen wrench and use that on the pole screws on the bridge saddle.

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