Dave Gilmour’s Guitar Equipment

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 4×12’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 4×12’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 4×12 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 4×12 cabinet with Celestion speakers.

(B) WEM 4×12 cabinet with Fane Cresendo speakers.

(C) Custom Doppola rotating speakers.

Further info/images from Webpage by Murray Browne

1,494 thoughts on “Dave Gilmour’s Guitar Equipment”

  1. Does anybody know what dave might use this pedal for. Pete Cornish has told me that he used it on the Pulse tour but dont really know for what songs. One web page said that the hyper fuzz was really housed in the metalizer case, but when i asked Cornish is this was true he said no.

  2. guitar processor
    Neo

    Hello,
    Question, does anybody know a kind of guitar processor that would aclamate and share the same kind of characteristics as Gilmour uses? On Davids past few london shows he used what looked like a big whopping mother load of guitar processor with an expression pedal but I couldn’t make it out totally, even with front row it still is hard to entail.
    I appreciate the help `~’;`!-:>

    1. Speaking of processors
      Ilan

      What do you guys think about multi effects processors? how does it compare to separate pedals? any noticeable difference?

      I don’t know if I should go for separate pedals (Big Muff, Mistress, Dynacomp, DD-5) or a single multi effects rack like the Boss VF-1.

      What do you think?

    2. Daves' board.
      riis

      I was lucky to go to Dave’s show in London january 18th. Before a guard told me to f**k off, I got a nice view on his pedal board. It’s basically the same he’s been using for the last tours. A Pete Cornish custom controll board. Seemed like it was rebuild for the evening with somekind of a hold pedal which he used on the opening for Shine On. I also spotted the set list laying on the floor which indicated what kind of pedal used on each song. Seemed like he mostly used a clean signal through his fender amp and for songs like Coming Back to Life and Great Day for Freedom he used the Turbo Drive on an acoustic (!!!!) guitar (Gibson Jumbo). He also used the same set up on Comfortably Numb with a Compression unit probably MXR. From what I could hear he used the Big Muff on the slide for Shine On 7. Since I was sitting behind the stage I thought I spotted his pedal rack behind the left (form front seats) enterance where Mr. Taylor was tuning his Guitars.
      And to your Q. I use a Boss GT3 which I think is just a piece a junk. I use it like a controll board for my other external pedals. Buy your self some of Dave’s pedals and clear of any boards. They won’t do the job. for my set up, check uot my previous posting.

    1. Re: Gilmour's Guitar
      riis

      The first one is a 1957 Gretsch Duo Jet, probaly a newer reissue model. He used that for the Comfortably Numb where he, during the song, swiched between a Gibson Jumbo for the verses and the Gretsch for the solos.
      The other one is a half scale mini guitar with only 12 frets. Don’t know the name of it, but my guess is a Gibson from the custom shop. I’ve seen these more often now and they’ve become very popular for slide instead of a gigantic unaffordable lap-steel. He used it on High Hopes, Shine on part 7 and for the new song Smile.

  3. My Floyd setup
    Floyd

    Fender mex. Strat-upgraded with DG20’s
    through a Boss CS-2 -> rat2 -> big muff -> vintage deluxe mistress ->
    into a Binson Echorec 2

    the echorec needs some servicing, but that takes care of delay and reverb for me, I’d like to sell the muff and find a vintage one, preferably the mirror logo one, or lambs head-I had a Phase-90 but I sold it in an effort to pay for the echorec. Also the sound city amp.
    Plus the phase 90 is nothing compared to a script logo, although I posted a way to modify it to stop that extra gain it added, and I hear theres a transistor you can take off to pretty much make it like the script logo.

    I have the webpage wrote up, I’m scouting around for a few things to add to the page, article one is up-and I need to find a webserver that will let me have a few mp3’s on it. Then I’ll upload it and post it on the web

    Floyd

  4. My personal Floydian Sound
    Andrea

    Hi guys
    here is my sound.
    Fender American STD – EMGA DG 20
    Marshall AVT 100
    (Iknow it’s not the best choice) BOSS GT3
    what do you think?
    andre

    1. Re: My personal Floydian Sound
      Tigrar

      : Hi guys
      : here is my sound.
      : Fender American STD – EMGA DG 20
      : Marshall AVT 100
      : (Iknow it’s not the best choice) BOSS GT3
      : what do you think?
      : andre

      Well contact me on [email protected] so we could exchange patch dumps. Of curse all others are invited to do so.

      Cya
      Tigrar

    2. Re: My personal Floydian Sound
      Manu Duran

      Hi Andrea,

      I have a Fender Cyber Twin amplifier. You can get the D.G. sound very easy whit this amplifier and a DG 20 EMG pick-up’s team.

      : Hi guys
      : here is my sound.
      : Fender American STD – EMGA DG 20
      : Marshall AVT 100
      : (Iknow it’s not the best choice) BOSS GT3
      : what do you think?
      : andre

    3. Re: My personal Floydian Sound
      riis

      Hello!
      As you might have seen in my previous posting, I only use single pedals, most of them used by Dave. However for reverb,EQ and for controlling my pedals I use the GT3. When I bought it I almost threw it out the window because of the crappy overdrive/distortion sounds, but when I started to use it as a controll board I kind of enjoy it. Do you have any fav. settings to share?
      Since I don’t have a fuzz face I created a similar sound on the GT3 (which is the only time I use the effects) for my Echoes/Time solos. Here it is;
      Choose Fuzz from the OD efx
      Fuzz 100 40 0 75
      EQ 20 1,60 1 12 50 1 30 0 -2
      Delay 310 30 2,00 60
      Reverb 2,0 30 55,0 2,00 10 15
      Master volum 80
      Noises./release 50/30

      this only works when you play insanely high, otherwise it just sounds like a stuffed beehive.

      Please send me some tips, use my e-mail adress if you like, and I’m happy to post more settings.

      Thanx, Riis

      1. Re: My personal Floydian Sound
        Carter O'Brien

        Sounds cool- can I ask if there is a substantial difference between a fuzzface and the Big Muff? After a decade+ of acoustic guitar studies & bands I"m starting to branch into electric a bit more, I have an 83
        Fender Twin Reverb II, and a USA Big Muff, Q-Tron (not for Floyd stuff I know of, mind you) &
        I just got the MXR Supercomp. I’m thinking my next move will be either the Deluxe Electric Mistress or Memory Man.

        My favorite Floyd is the early Gilmour, say 68- 73 era. ANy tips? This site is great, so much great info on here!

        : Hello!
        : As you might have seen in my previous posting, I only use single pedals, most of them used by Dave. However for reverb,EQ and for controlling my pedals I use the GT3. When I bought it I almost threw it out the window because of the crappy overdrive/distortion sounds, but when I started to use it as a controll board I kind of enjoy it. Do you have any fav. settings to share?
        : Since I don’t have a fuzz face I created a similar sound on the GT3 (which is the only time I use the effects) for my Echoes/Time solos. Here it is;
        : Choose Fuzz from the OD efx
        : Fuzz 100 40 0 75
        : EQ 20 1,60 1 12 50 1 30 0 -2
        : Delay 310 30 2,00 60
        : Reverb 2,0 30 55,0 2,00 10 15
        : Master volum 80
        : Noises./release 50/30

        : this only works when you play insanely high, otherwise it just sounds like a stuffed beehive.

        : Please send me some tips, use my e-mail adress if you like, and I’m happy to post more settings.

        : Thanx, Riis

  5. Ultimate settings
    riis

    I just wanted to add a posting that said it all.
    This is the Gilmour sound;
    -Fender, Strat. Preferably a vintage 57/64 model with shortened tremolo. To get it to hold a posision and still be loose, just put some hair-wax into the hole and screw it all the way in.
    -A 100w tube amp. Preferably a Hi Watt or Fender with these settings; Bass 4/ Treble 10/ Middle 10/ Presence 10/ Volum as high as it gets!
    -MXR Dynacomp; Volum 13:30/ Sens. 11:30
    -Electro Harmonix Big Muff; Volum 75%/ Tone 10% / Distortion 100%
    -Electro Harmonix Electric Mistress; Rate 10:00/ Colour 10:00/ Range (off)
    -MXR Phase 90; 11:00
    -Delay (analog) Try Electro H. Memory Man. Amazing!
    Early stuff ; 310ms (optional feedback/gain)
    WYWH album; 370 ms (optional feedback/gain)
    Wall part 1; 440ms/ 50% feedback/ 80% gain
    Run like hell; 380ms/ 50% feedback 80% gain
    -Vox Wah Wah
    -GHS Boomers strings 0.10
    (Did I miss anything?)

    Pedal order; Guitar=compressor=wah wah=distortion=flanger=phaser=delay=reverb=amp

    This will get you started. Now the hardest part is left. To get your fingers do the magic like Dave does.

    Riis

    1. Effects Question on the song echoes
      Tim

      Can anyone help out?Im Wanting to know how dave got this tripy reverb like what did he use to get it.In the song Echoes about six min in he plays this extremely trippy reverbed solo .what effects did he use?
      Thanks -Tim

      1. Re: Effects Question on the song echoes
        Puig bruno

        :
        : Can anyone help out?Im Wanting to know how dave got this tripy reverb like what did he use to get it.In the song Echoes about six min in he plays this extremely trippy reverbed solo .what effects did he use?
        : Thanks -Tim

        1. Re: Effects Question on the song echoes
          PUIG bruno

          Hi,
          It’s the Binson that create this halo of reverb,it’s with control the feedback on the Binson echo unit!!The first playback head in conjonction with the rec head simul a reverb
          ;
          I hope this help
          Bruno

          1. Re: Effects Question on the song echoes
            Dave G

            No, no no. If you are refering to the bridge in echoe’s, take your wah pedal and plug it in backwards. Put your imput in the output and vice versa. Put your strat on the neck pickup. Have fun.

    2. Novice Settings
      Mark

      Here is also a Gilmour-esk sound that I have:

      -Fender mex. Strat DG Active Pickups

      -Marshall 65 watt amp…Clean: treble 6, Mid 8, now here is the sweet spot Bass 10…you have to remember Gilly uses a bass preamp. Setting the bass at 10 gives the tone that extra umph. My pref. anyways.

      Okay effects: Boss CS-2 compression sustainer: This is simply a must. i use it on almost every song to even the tone out. And simply a MUST for SOYCD, ABITW 1, and those delay involved songs.

      MXR Phase 90: Guys and Gals this is an extremely important and sometimes overlooked effect. At a mininium setting i use this on ABITW 1 for the delays, it gives it a very creamy up and down sound, Kinda like the PULSE version. and for Have a Cigar solo and lead…PERFECT OK now here’s somthing that i do. Put it on the lowest setting for the Begining of Shine! for those of you who complain that your tone isnt "big" or "Thick" enough this with do it! Remember, you dont need to have it on a high setting for it to do its thing!

      Boss digital delay DD-5: Delay is absolutely necessary. It will take some time for you to use it correctly. I use delay on almost ever PF song.

      Distortion: Standard Marshall Distortion…here is the Gilmour trick. gain 3 or 4 and rise the volume accordingly! Clean up your distortion people! Exceptions: Sorrow…i crank the gain to 10 and for delay i put my dd-5 on setting 2 with reapeats at minium and delay long.
      Dont forget the Reverb either…i find for some leads its good for other things id rather not deal with it.

      Well that is my young lineup. Ive only been playing 3 1/2 years..I plan to add things in the future like a distortion peddle, iam thinking of the rat to strart off or maybe ibnez turbo screamer. let me know what you guys think!

      1. Re: Novice Settings
        Carter O`Brien

        Just awesome… you folks rock, I’ve been doing Net research for a year, then I find this page and ka-blammo, everything I’ve been wondering about!

        thanks,
        Carter

        : Here is also a Gilmour-esk sound that I have:

        : -Fender mex. Strat DG Active Pickups

        : -Marshall 65 watt amp…Clean: treble 6, Mid 8, now here is the sweet spot Bass 10…you have to remember Gilly uses a bass preamp. Setting the bass at 10 gives the tone that extra umph. My pref. anyways.

        : Okay effects: Boss CS-2 compression sustainer: This is simply a must. i use it on almost every song to even the tone out. And simply a MUST for SOYCD, ABITW 1, and those delay involved songs.

        : MXR Phase 90: Guys and Gals this is an extremely important and sometimes overlooked effect. At a mininium setting i use this on ABITW 1 for the delays, it gives it a very creamy up and down sound, Kinda like the PULSE version. and for Have a Cigar solo and lead…PERFECT OK now here’s somthing that i do. Put it on the lowest setting for the Begining of Shine! for those of you who complain that your tone isnt "big" or "Thick" enough this with do it! Remember, you dont need to have it on a high setting for it to do its thing!

        : Boss digital delay DD-5: Delay is absolutely necessary. It will take some time for you to use it correctly. I use delay on almost ever PF song.

        : Distortion: Standard Marshall Distortion…here is the Gilmour trick. gain 3 or 4 and rise the volume accordingly! Clean up your distortion people! Exceptions: Sorrow…i crank the gain to 10 and for delay i put my dd-5 on setting 2 with reapeats at minium and delay long.
        : Dont forget the Reverb either…i find for some leads its good for other things id rather not deal with it.

        : Well that is my young lineup. Ive only been playing 3 1/2 years..I plan to add things in the future like a distortion peddle, iam thinking of the rat to strart off or maybe ibnez turbo screamer. let me know what you guys think!

      2. Re: Novice Settings
        riis

        Hi Mark! Thanks for the response. I guess it always is a matter of taste and what kind of equipement one has available. Seems like you stick to the PULSE sound, while I try to copy the late 70-ies sound. Anyway, it all comes down to the fingers. Gilmour makes a violin sound like a Strat.
        Still I can’ stress enough the importance of having a Big Muff. It can’t be compared to any other distortion and I strongly suggest you buy your self one. If you already use the Marshall distortion, I wouldn’t bother buying a RAT. It sounds the same, maybe the RAT is a little more versatile.
        And, cranking the bass on a marshall may work, but try that on tube amp such as HiWatt or Fender and you blow off every person’s head within a 30 mile range!

      3. Re: Novice Settings
        riis

        Hi Mark! Thanks for the response. I guess it always is a matter of taste and what kind of equipement one has available. Seems like you stick to the PULSE sound, while I try to copy the late 70-ies sound. Anyway, it all comes down to the fingers. Gilmour makes a violin sound like a Strat.
        Still I can’

        1. Re: Novice Settings
          Yo Worst Nightmare

          you wrote: " Gilmour makes a violin sound like a Strat. "

          it’s sad that you’re such a dumbass and some people may even be listening to you. he makes a VIOLIN sound like a STRAT, you moron, and it’s all due to the delay and sustain.

  6. Tube Driven Pedals
    Simon

    I am seeking a pedal which functions similarly to the Chandler Tube Driver, in that it provides a warm, girthy tube tone that blends well with other fuzz boxes (such as the big muff). I am pursuing the hi-tech distortion sounds that can be heard on "hey you" from Pulse (you know, when he really cranks it for the heavy bit) and other guitar solos from Pulse. I have researched other similar, easily available pedals that have tubes in them such as the Tube Works Tube Driver, Hughes and Kettner Tube Factor and the Ibanez Tube king, but do these units even compare with the Chandler as far as pedal blendability and overall tone? If a Chandler is "the one and only" for producing Pulse/Gilmour sounds as I have surmised from this site and others, should I try to find one and forget about anything else? Where could I find an old used one that still works? Thanks for any imput!

    1. Re: Tube Driven Pedals
      John

      I would go with the Chandler…

      You can usually find them on e-bay, or post a wanted add on Harmony Central.

      : I am seeking a pedal which functions similarly to the Chandler Tube Driver, in that it provides a warm, girthy tube tone that blends well with other fuzz boxes (such as the big muff). I am pursuing the hi-tech distortion sounds that can be heard on "hey you" from Pulse (you know, when he really cranks it for the heavy bit) and other guitar solos from Pulse. I have researched other similar, easily available pedals that have tubes in them such as the Tube Works Tube Driver, Hughes and Kettner Tube Factor and the Ibanez Tube king, but do these units even compare with the Chandler as far as pedal blendability and overall tone? If a Chandler is "the one and only" for producing Pulse/Gilmour sounds as I have surmised from this site and others, should I try to find one and forget about anything else? Where could I find an old used one that still works? Thanks for any imput!

  7. Dark Side of the Moon
    Farley

    Perhaps a set of Fender Custom Shop 69 Single Coils would do the trick. Yeah, he used a Dimarzio in the bridge, but I heard that he didn’t notice a difference from the stock pickups. Any suggestions?

    1. Re: Dark Side of the Moon
      John

      In that point in time, the stock pickups would be your best bet. If you are looking for that DS sound. Get a Hiwatt, Fuzz Face, and an EQ pedal.

      : Perhaps a set of Fender Custom Shop 69 Single Coils would do the trick. Yeah, he used a Dimarzio in the bridge, but I heard that he didn’t notice a difference from the stock pickups. Any suggestions?

  8. Brittania-A look into the music of Floyd
    Floyd

    Announcing the new site, should be up in a few days, maybe a week-I just got off vacation. In any case, I’d like to see people who’d be interested in collaborating on articles, maybe throwing a few tips they’ve found at me in e-mail ( [email protected] ) My plans are
    to have the following sections in the site
    Gear-reviewed by Pete Cornish, as I’ve spoken to him before, and he actually laughed at this sites gear listing, so I’ll talk to him again, he showed willingness to explain some of the effects we miss.

    Articles-This gives little sections (anyone who wishes to write a section can on whatever they want as long as its prevailent.) on methods and effects explained with tips.

    Backing Tracks-A few backing tracks to download I went through alot of trouble getting them, lets give the other guys a break now too 😉

    Our Own-This has renditions of solos using the backing tracks, I’d like to keep the storage at a minimum as it will most likely be maxed out if theres alot of people, so anyone who contributes to the site can have theres posted, I was thinking maybe Comfortably Numb as its the general favorite. But whatever.

    ROIO-I’m shocked to see alot of people miss out on Floyds greatest moments because they can’t get the bootlegs, now I’m not going to start posting them, just certain songs worth putting up, its invaluable to finding some great riffs and hear Gilmour improvise.

    FAQ-Just some commonly asked questions from this message board I’m sure everyone gets tired of.

    Floyd
    e-mail if interested in contributing.
    icq=59315849

  9. Pickup- Sound Tweaking...
    Adam

    Alright, I am so torn. I am really really poor, I have a fender strat, cause I love the single coil sounds, but I also equally love to rock out with a humbucker. I would like to put in a humbucker in the bridge, and then two ’57 single coils (Early David Gilmour Stuff/Strat sounds) in the middle and neck. However, I find that most of the time, the bridge pickup is used by gilmour (I think?) and other guitarists. I was wondering if there was a way to tweak the middle pickup to make it sound a lot more like the bridge so I can have a versatile guitar….thanks guys, it means a lot…a lot to get that perfect guitar sound!

    1. Re: Pickup- Sound Tweaking...
      cerebralpaul

      Well a lot of the time when Gilmour is using his bridge pickup hes got his mid-boost on which makes it sound like a humbucker, so if you use the setup you’re talking about it should work pretty well…

      1. Re: Pickup- Sound Tweaking...
        matt

        In the ’70s (the sounds from this era I assume you’re after) Gilmour didn’t have a mid boost installed so he just had the raw sound of a bride single-coil. In response to the original question: Try buying the bridge and neck versions of the single-coils that you want (as some are specially voiced for different positions) put the neck pickup in the neck position as normal but them put the bridge-voiced pickup in the middle position. It’ll sound a bit different because it will pick up the strings in a position with less tension, but it will help.

        : Well a lot of the time when Gilmour is using his bridge pickup hes got his mid-boost on which makes it sound like a humbucker, so if you use the setup you’re talking about it should work pretty well…

  10. Pickup- Sound Tweaking...
    Adam

    Alright, I am so torn. I am really really poor, I have a fender strat, cause I love the single coil sounds, but I also equally love to rock out with a humbucker. I would like to put in a humbucker in the bridge, and then two ’57 single coils (Early David Gilmour Stuff/Strat sounds) in the middle and neck. However, I find that most of the time, the bridge pickup is used by gilmour (I think?) and other guitarists. I was wondering if there was a way to tweak the middle pickups to make it sound a lot more like the neck so I can have a versatile guitar….thanks guys, it means a lot…a lot to get that perfect guitar sound!

  11. Relics Perform Pink Floyd Music Western NY
    Relics

    If you’re around the area come out this Friday night
    to Nietzsche’s on Allen St Buffalo. Relics will be
    performing 2 huge sets of Pink Floyd classics and some
    obscure material.

    Here is a color poster for the event
    http://www.relicsmusic.com/neecheese.jpg

    We will have some special guest singers,including a
    Mr Eric Crittenden from "The Waz" on sax who just
    actually performed this weekend with Jefferson
    Starship
    and Dickey Betts right after playing with Relics.

    We will also have a special guest trombone player.

    We will be performing some surprises and some
    things NEVER heard live ever!

    Also a complete Floyd album in its entirety one of
    your Favs!!!

    If you love Pink Floyd chances are you may never see
    them live again and you will definitely never hear
    them play these songs. We would love to see you all
    there to experience the music of Pink Floyd live.

    Hear is an Mp3 audio clip for you to check out of
    Careful with that Axe
    [audio src="http://www.relicsmusic.com/realaudio/axe.mp3" /]
    *****************************************************

    Come to relicsmusic.com and leave some feedback. And
    we’ll see you Friday night in Buffalo!

    1. Re: Relics Perform Pink Floyd Music Western NY
      floydianslip

      Man that mp3 clip sounds fantastic!!! Nice job.

      : If you’re around the area come out this Friday nig
      t
      : to Nietzsche’s on Allen St Buffalo. Relics will be
      : performing 2 huge sets of Pink Floyd classics and some
      : obscure material.

      : Here is a color poster for the event
      : http://www.relicsmusic.com/neecheese.jpg

      : We will have some special guest singers,including a
      : Mr Eric Crittenden from "The Waz" on sax who just
      : actually performed this weekend with Jefferson
      : Starship
      : and Dickey Betts right after playing with Relics.

      : We will also have a special guest trombone player.

      : We will be performing some surprises and some
      : things NEVER heard live ever!

      : Also a complete Floyd album in its entirety one of
      : your Favs!!!

      : If you love Pink Floyd chances are you may never see
      : them live again and you will definitely never hear
      : them play these songs. We would love to see you all
      : there to experience the music of Pink Floyd live.

      : Hear is an Mp3 audio clip for you to check out of
      : Careful with that Axe
      : http://www.relicsmusic.com/realaudio/axe.mp3
      : *****************************************************

      : Come to relicsmusic.com and leave some feedback. And
      : we’ll see you Friday night in Buffalo!

  12. Tube replacement choices
    Leo

    Hey guys –

    This question might be a little esoteric, but with all the gurus here, it’s worth a shot.

    I have a Fender Deluxe tube amp, and I’ll be replacing my tubes soon. Can anyone give me any tube recommendations that will help me squeeze out as much Gilmour out of my amp as possible? Or even if it’s not in a Gilmour context, let me know if there are any damn good tubes out there that I should try out. FYI, I’ll be using it with a EMG SA equipped Strat. Thanks in advance!

    Leo

    1. Re: Tube replacement choices
      Floyd

      : Hey guys –

      : This question might be a little esoteric, but with all the gurus here, it’s worth a shot.

      : I have a Fender Deluxe tube amp, and I’ll be replacing my tubes soon. Can anyone give me any tube recommendations that will help me squeeze out as much Gilmour out of my amp as possible? Or even if it’s not in a Gilmour context, let me know if there are any damn good tubes out there that I should try out. FYI, I’ll be using it with a EMG SA equipped Strat. Thanks in advance!

      : Leo

      Well its mostly comes to two things, You, and Price. The best out there, Mullards-there reffered to as holy grail tubes, I’m not sure if that has EL34’s or maybe 86’s, they’ll cost you, but they give a huge dynamic range and warm tone. For something alittle cheaper, but characteristic of mullard, try Brimar, it has a british rock feel to it and aren’t that expensive, next I hear the sveltanas (spelling is way off, oh well) are pretty good.
      Search NOS tubes if you have the cash, mullards will rack up a bill since there not produced anymore, try ebay.

      Floyd

  13. DD-5
    Chris Failla

    Hey guys! I finally bought some delay. It was pretty expensive but I decided the hell with it and bought it anyway. Now I need to know anybody who knows their way in and out of the DD-5. Who has all the delay settings and what not? If anyone wants to help me out a little, please post a message. I’d be thrilled to see what people have to say. Thanks a lot guys!!

    – Chris

    1. Re: DD-5
      Floyd

      : Hey guys! I finally bought some delay. It was pretty expensive but I decided the hell with it and bought it anyway. Now I need to know anybody who knows their way in and out of the DD-5. Who has all the delay settings and what not? If anyone wants to help me out a little, please post a message. I’d be thrilled to see what people have to say. Thanks a lot guys!!

      : – Chris

      Congrats-well from memory, I’m about to buy a Binson 😉
      I rarely keep the effect "level" (volume, far left) past much more that 2 unless, say something as in Run Like Hell, but still you want the delay to be weaker than the original signal as a rule.

      Feedback can be varied depending on my mood, and yours its not too important because live he uses alot more feedback with less delay…so going to delay, that can also be a slight mood thing, if I’m in a space mood, I tend to move it to 10, 11 o’clock (400 ms) and adjust the feedback accordingly as to not clutter up the song. Now this is on the 3rd switch on the mode (far right), I rarely use the whole 2 seconds as its not long enough for decent playback, but you can get some tripped out stuff for fun. I find if I go to setting 1, make feedback about 12 oclock, delay around 400 ms you get a nice harpsicord kind of sound, very chimey, never used it accept one of my own songs.

      generally thats all I use it for…the reverse is interesting, but not entirely useful…its mostly an experimenting thing, as with my setup it may sound better with less delay…experiment, take your time its a complex thing, but once you master it, its unforgetable

      also, for something like Red House (Hendrix) you can move to mode 2, feedback at about 7-8 o’clock and delay around 400ms
      for a doubling effect that sounds pretty good, I’m pretty sure that was it anyways, good luck. I tend to like to keep effects at specific settings, as if I’m live it can be a pain to bend over and move it

      heres a few settings for songs I remember,
      Shine On-400 ms, low feedback, low volume
      Comfortably Numb I keep very low output level
      feedback at around 9, delay at around 7-8

      Floyd

      1. Hey floyd, I was wondering if you or anyone else knew how Gilmour does that Vrrrruuuummm in "Sorrow" LIVE. The one he gets feedback on.

        Instead of just hitting the low E or A he uses a chord and some kind of Delay.

        What Cord is it? What delay settings? Feedback?

        thanks. mark

        1. Re: DD-5-sorrow-and question
          Floyd

          Hmm, if its the one I’m thinking about then theres a few things; volume of course; unless your amp has good enough feedback control, I can get decent out of a 15 watt with a muff and DG-20…next, after you do the dive-bomb, try this chord: (now make sure the tremelo is fully pressed while you strike the chord)
          |x
          |x
          |9
          |7
          |0
          |0

          now I’m thinking your reffering to PULSE which I unfortunatly lost the first CD, but from what I remember hehe-after this is blaring for a second and sustain begins to decrease, maybe pull off the fret 7 and let feedback take its course–This serves to clean the sound up alittle. The key is fret 9 on G, it gives the dynamic to it, and should be easier to create feedback from than an open A or E

          BTW I was thinking of starting my own site, have a bi-weekly floyd guitar article on technique, gear, and fan floydesque-riffs or solos. What do you think? Anyone Else?

          Floyd

          1. sorrow-pulse-reply
            mark

            First sorrow. Watching closely on pulse, i see that when gilmour is doing the dive-bomb and hits that vrrrrrrrrrum he is by the first or second frets…

            second. If you did put a sight up, i think we would all contribute to it, thereby, forcing all of us to progress to the gilmour tone and style that much faster. Great Idea!

            I think we all do a lot of research on the topic and to combine it would be fantastic.

            let us know!

            mark

            1. Re: sorrow-pulse-reply
              Andrea

              hello boys, i’ve been saying this many posts ago, so i will repeat me: mark is right, the vruum part is an E minor accord (the same key of entire song) that Gilmour play with the vibrato bar all the way down, to raise it gradually after he played the accord. i’m not sure but Gilmour, as in all the precedent part (that with volume swells of guitar sounds), can be play also with his volume pedal…
              Shine On, Andrea

    1. Re: Rat 2 or Vintage Rat
      John

      : Which one do you think has a better tone

      I would have to say the vintage..I’m not really familiar with the RAT per se, but when they "come out with a new improved model" they just don’t seem as warm as the originals.

  14. Please need assistance on talk box!!!
    Jay

    I’m not sure how to set up my Heil Talk Box. My setup is: guitar->effects> a/b for Fender Deville (clean)& Marshall (dirty). Where do i put the talk box at? thanx

    1. Re: Please need assistance on talk box!!!
      craig j

      I’m not sure if someone answered your question yet but this is how I run my talk box. I run a guitar cable from my keyboard or guitar into a small 100 or 150 watt amp and then from the back of the amp I run another guitar cable from out of the speaker out line into the left side of the talk box or inputside for speaker. You can also unscrew the bottom panel of the talk box to see the diagram drawing included. I hope it works for you and ps don’t crank the volume up to high on your amp instead turn up the microphone volume.

    2. Re: Please need assistance on talk box!!!
      Alanford

      : I’m not sure how to set up my Heil Talk Box. My setup is: guitar->effects> a/b for Fender Deville (clean)& Marshall (dirty). Where do i put the talk box at? thanx

      The Talk Box goes between the amp out and the speaker, best with Marshall

  15. Gilmour delay
    Thomas Michael Ström

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

    1. Re: Gilmour delay
      Renato

      I use this configuration:
      – Analog Echo
      Delay Time: 10:00
      Repeats: 10:00
      Tweak: 01:00
      Tweez: 12:04
      Mix:10:00
      Pedal not Connected

      For more setups, look the Line 6 site:
      http://www.line6.com/support.asp?ID=111
      DL-4 Delay Modeler Presets Chart
      Factory Presets Chart for the Delay Modeler (Current)

      (you need a Flanger Electric Mistress for play Confortably Numb and other Floyd songs)

      Good Luck.

  16. Gilmour delay
    Thomas Michael Ström

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

  17. Gilmour delay
    Thomas Michael Ström

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

  18. Chandler Tube Driver or Tube Works
    Mike

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

    1. Re: Chandler Tube Driver or Tube Works
      L J

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

      1. Re: Chandler Tube Driver or Tube Works??
        karl

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

      1. Re: Chandler Tube Driver or Tube Works
        Mike

        I have a few of the tube works tube drivers. 90% of the sound is dependent on the tube used. With an ei12ax7 I can get a really close EJ sound (I think the rest is in the fingers) with my Mesa amp and strat – which tells me they must be pretty close in sound irrespective of tubes. I’ve tried about a dozen of the tubes that I have heard were the best 12ax/au7s – they all can make a breath-takingly rich overdriven tone, but I really like the sound of a Mullard 12au7 – WOW!! It might not sound like a specific artist with this tube, but I know my sound never sounded better – and this was with a $100 tube works pedal and a $20 tube. After 28 years of playing – and using all kinds of effects I finally ran across one that really impressed me.

        I also found that:
        – The Sovtek 12ax7lps (which came with the TWTD) was amaziingly soulful, great blues sound w/strat
        – The Sovetk 12ax7wxt+, and JJ/Tesla 12ax7 tubes gave better definition to the overdriven sound. The 12ax7wxt+ has this upper mid-range sweet spot that is really nice for notes played above the 12th fret and picked just behind the middle pickup – very much an EJ "Pavilion" sound if I boost the low end and Colin James "Bad Habits" sound if I roll the low end off.
        – the ei12ax7 has a sound of it’s own. Design wise it looks like they were going for a Mullard smooth plate design, but it’s really just distinctive on it’s own. The sound I could easyly get out of it were the Clifs of Dover and the start of Desert Rose sound.
        – the Electro Harmonics 12ax7eh looks like the Sovtek 12ax7lps (both are made by Sovtek), but the 12ax7eh plate is shorter and the tube sound is kind of a mix of the 12ax7wxt+/jj12ax7 and the 12ax7lps. Not a bad tube at all it was easy to get a sound that was close to other sounds I liked – but no where near as distinctive of a sound as the other Sovtek tubes I tried. To someone else’s ears and fingers the 12ax7eh could be just right.

        I finally settled on the Mullard though, it does everything better than any other tube I’ve tried except how the ei12ax7 makes that early EJ sound.


        Mike

        : I’ve heard alot of debate on this topic…

        : I have a Chandler Tube Driver and tried the tube works..

        : The Chandler is by and far a better pedal. It sounds incredible and blends nicely with other pedals.

        : Gilmour uses two

        : Plus, the CTD is an investment, If you search you can get a good deal. Get the pedal and not the rack mount version

        : John

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

        1. Re: Chandler Tube Driver or Tube Works
          Seeker of Rock

          : I have a few of the tube works tube drivers. 90% of the sound is dependent on the tube used. With an ei12ax7 I can get a really close EJ sound (I think the rest is in the fingers) with my Mesa amp and strat – which tells me they must be pretty close in sound irrespective of tubes. I’ve tried about a dozen of the tubes that I have heard were the best 12ax/au7s – they all can make a breath-takingly rich overdriven tone, but I really like the sound of a Mullard 12au7 – WOW!! It might not sound like a specific artist with this tube, but I know my sound never sounded better – and this was with a $100 tube works pedal and a $20 tube. After 28 years of playing – and using all kinds of effects I finally ran across one that really impressed me.

          : I also found that:
          : – The Sovtek 12ax7lps (which came with the TWTD) was amaziingly soulful, great blues sound w/strat
          : – The Sovetk 12ax7wxt+, and JJ/Tesla 12ax7 tubes gave better definition to the overdriven sound. The 12ax7wxt+ has this upper mid-range sweet spot that is really nice for notes played above the 12th fret and picked just behind the middle pickup – very much an EJ "Pavilion" sound if I boost the low end and Colin James "Bad Habits" sound if I roll the low end off.
          : – the ei12ax7 has a sound of it’s own. Design wise it looks like they were going for a Mullard smooth plate design, but it’s really just distinctive on it’s own. The sound I could easyly get out of it were the Clifs of Dover and the start of Desert Rose sound.
          : – the Electro Harmonics 12ax7eh looks like the Sovtek 12ax7lps (both are made by Sovtek), but the 12ax7eh plate is shorter and the tube sound is kind of a mix of the 12ax7wxt+/jj12ax7 and the 12ax7lps. Not a bad tube at all it was easy to get a sound that was close to other sounds I liked – but no where near as distinctive of a sound as the other Sovtek tubes I tried. To someone else’s ears and fingers the 12ax7eh could be just right.

          : I finally settled on the Mullard though, it does everything better than any other tube I’ve tried except how the ei12ax7 makes that early EJ sound.

          : —
          : Mike

          : : I’ve heard alot of debate on this topic…

          : : I have a Chandler Tube Driver and tried the tube works..

          : : The Chandler is by and far a better pedal. It sounds incredible and blends nicely with other pedals.

          : : Gilmour uses two

          : : Plus, the CTD is an investment, If you search you can get a good deal. Get the pedal and not the rack mount version

          : : John

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

          The Chandler versions were built wrong and not by B.K.Butler. They are not near as good in comparison to B.K.’s company Tube Works. Chandlers are basically counterfeits produced during a legal battle for branding rights which B.K. won.

        2. Re: Chandler Tube Driver or Tube Works
          Tom

          : I have a few of the tube works tube drivers. 90% of the sound is dependent on the tube used. With an ei12ax7 I can get a really close EJ sound (I think the rest is in the fingers) with my Mesa amp and strat – which tells me they must be pretty close in sound irrespective of tubes. I’ve tried about a dozen of the tubes that I have heard were the best 12ax/au7s – they all can make a breath-takingly rich overdriven tone, but I really like the sound of a Mullard 12au7 – WOW!! It might not sound like a specific artist with this tube, but I know my sound never sounded better – and this was with a $100 tube works pedal and a $20 tube. After 28 years of playing – and using all kinds of effects I finally ran across one that really impressed me.

          : I also found that:
          : – The Sovtek 12ax7lps (which came with the TWTD) was amaziingly soulful, great blues sound w/strat
          : – The Sovetk 12ax7wxt+, and JJ/Tesla 12ax7 tubes gave better definition to the overdriven sound. The 12ax7wxt+ has this upper mid-range sweet spot that is really nice for notes played above the 12th fret and picked just behind the middle pickup – very much an EJ "Pavilion" sound if I boost the low end and Colin James "Bad Habits" sound if I roll the low end off.
          : – the ei12ax7 has a sound of it’s own. Design wise it looks like they were going for a Mullard smooth plate design, but it’s really just distinctive on it’s own. The sound I could easyly get out of it were the Clifs of Dover and the start of Desert Rose sound.
          : – the Electro Harmonics 12ax7eh looks like the Sovtek 12ax7lps (both are made by Sovtek), but the 12ax7eh plate is shorter and the tube sound is kind of a mix of the 12ax7wxt+/jj12ax7 and the 12ax7lps. Not a bad tube at all it was easy to get a sound that was close to other sounds I liked – but no where near as distinctive of a sound as the other Sovtek tubes I tried. To someone else’s ears and fingers the 12ax7eh could be just right.

          : I finally settled on the Mullard though, it does everything better than any other tube I’ve tried except how the ei12ax7 makes that early EJ sound.

          : —
          : Mike

          : : I’ve heard alot of debate on this topic…

          : : I have a Chandler Tube Driver and tried the tube works..

          : : The Chandler is by and far a better pedal. It sounds incredible and blends nicely with other pedals.

          : : Gilmour uses two

          : : Plus, the CTD is an investment, If you search you can get a good deal. Get the pedal and not the rack mount version

          : : John

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

          I have the original Tube Works box (3 controls)and was not happy with the sound at all. I tried several different 12AX7s but was still not satisfied. I then tried a tube I have not seen mentioned, it is a Mullard 12AT7, all the sudden I had great string articulation and was able to crank up the drive and tone without it shredding my ears. I also am running it on 12volts not 9.I use it in the clean ch on my Krank Chadwick head and 2X12 Celestion GT12 cab. Think I’ll keep it now.

      2. Re: Chandler Tube Driver or Tube Works
        Joe

        does anybody know the settings for gilmour’s 1st tube driver i know the settings for the 2nd just can’t get them for the 1st.

      3. Re: This popular thread has been given its own page :... John
        John

        I’ve heard alot of debate on this topic…

        I have a Chandler Tube Driver and tried the tube works..

        The Chandler is by and far a better pedal. It sounds incredible and blends nicely with other pedals.

        Gilmour uses two

        Plus, the CTD is an investment, If you search you can get a good deal. Get the pedal and not the rack mount version

        John

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

  19. Dynacomp or CS-2?
    Riis

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

    1. Re: Dynacomp or CS-2?
      John

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

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

      This may help in what you want to achieve.

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

  20. closer--what's next?
    Icles

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

    1. Re: closer--what's next?
      mark

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

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

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

      hope all this helps, any other questions feel free,

      best,

      mark

      1. Re: closer--what's next?
        Icles

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

        1. Re: closer--what's next?
          mark

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

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

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

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

  21. let's hear 'em!
    Icles

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

    1. Re: let's hear 'em!
      gilmourdude

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

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

      1. Re: let's hear 'em!
        John

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

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

        John

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

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

  22. ±Ã±ÝÇØ¿©..
    rokyo

    ±Ã±ÝÇÑ°Ô ÀÖ¾î¿ä.. ÀÌÆåÆ®Áß¿¡ º¸½º ¸ÞÅ»Á¸Àº À߾Ⱦ²³ª¿ä?
    Á¦°¡ »ì·Á°í Çߴµ¥ ¾Æ´Â»ç¶÷ÀÌ ¾²Áö¸»¶ó±¸ Çؼ­ ¿Ö±×·±°¡¿©?

  23. Settings for a Johnson-JT50 amp?
    Pol

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

    1. Re: Settings for a Johnson-JT50 amp?
      matt

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

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

  24. cut the sound when using the talk box
    bruno mesquita

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

    1. Re: cut the sound when using the talk box
      bruno mesquita

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

  25. Marooned solo
    Wacky

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

    1. Re: Marooned solo
      paolo

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

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

      1. Re: Marooned solo
        john

        He used his red strat for this song…

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

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

  26. help me
    Alessandro

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

    Thank you vey much

    1. Re: help me
      Andrea

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

    1. Re: Would you guys suggest Dynacomp or Ibanez CP9?
      mark

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

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

  27. Line 6 Delay Modeler
    mark

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

    1. Re: Line 6 Delay Modeler
      Smartacus

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

      1. Re: Line 6 Delay Modeler
        mark

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

        mark

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

    1. FLOYD HAS RESPONDED
      Floyd

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

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

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

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

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

  29. vibrato bar&bridge
    Andrea

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

    thanks, Andrea

    1. Re: vibrato bar&bridge
      John

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

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

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

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

      John

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

      : thanks, Andrea

      1. Re: vibrato bar&bridge
        Steve

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

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

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

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

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

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

        : John

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

        : : thanks, Andrea

  30. Summer ' 68
    gilmourdude

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

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

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

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

    1. Re: begining of keep talking
      Kevy DC

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

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

      Hope this helps you

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

    1. Re: Ummagumma
      Sam

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

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

    2. Re: Ummagumma
      Skogkatt

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

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

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

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

    1. Re: Dark Side Of The Moon Strat Tone
      matt

      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.

    2. Re: Dark Side Of The Moon Strat Tone
      John

      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.

      1. Re: Dark Side Of The Moon Strat Tone
        Genrik

        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.

      2. Re: Dark Side Of The Moon Strat Tone
        mike

        : 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

    1. Re: Boss Flanger BF-2 & Equalizer GE-7
      Vince

      BTW: Anything Dark Side of the Moon, Wish You Were Here, Animals, or the Wall related would be awesome. I can play mostly everything from those albums, so any settings suggestions on either pedals would really help me get a good feeling for them. Thanks again! 🙂

      1. Re: Boss Flanger BF-2 & Equalizer GE-7
        john

        If you don’t have a GE-7, I’d consider keeping it. You can get some awesome tones from your muff or the Fuzz Face with it. It will bring the Fuzz alive for the DSOTM live stuff if you play with the treble side of it.

        As for the Boss Flanger, can’t help there 🙂

        John

        : BTW: Anything Dark Side of the Moon, Wish You Were Here, Animals, or the Wall related would be awesome. I can play mostly everything from those albums, so any settings suggestions on either pedals would really help me get a good feeling for them. Thanks again! 🙂

        1. Re: Boss Flanger BF-2 & Equalizer GE-7
          Vince

          Well, here is my chain: Dunlop Wah-Wah –> Ibanez Fuzz –> Dunlop Univibe –> Volume Pedal –> Peavy Amplifer. I play an early 70s model Stratocaster.

          As you can see, the chain doesn’t reflect Gilmour’s too well yet, but it gets the job done for what I am into (DSOTM). Where should I put the GE-7 in my chain? Also, there isn’t a manual, and I have no idea how to work the equalizers. What exactly do you mean by playing with the treble side? Thanks!! I’m excited to hear how this will effect it.

          : If you don’t have a GE-7, I’d consider keeping it. You can get some awesome tones from your muff or the Fuzz Face with it. It will bring the Fuzz alive for the DSOTM live stuff if you play with the treble side of it.

          1. Re: Boss Flanger BF-2 & Equalizer GE-7
            john

            I’d place it in different places to see what effect it has on the chain.

            Place it before the distortion/mods, then try after the distortions. You can even dedicate it to the Fuzz.
            It will depend on the effects you are using on how to set it, to get the sound you like. Try at begining and end of the chain also.

            The pattern is usually Bass – Mids – highs on the slider from left to right. There are pics available of Gilmours EQ effects that you can try.

            John

            : Well, here is my chain: Dunlop Wah-Wah –> Ibanez Fuzz –> Dunlop Univibe –> Volume Pedal –> Peavy Amplifer. I play an early 70s model Stratocaster.

            : As you can see, the chain doesn’t reflect Gilmour’s too well yet, but it gets the job done for what I am into (DSOTM). Where should I put the GE-7 in my chain? Also, there isn’t a manual, and I have no idea how to work the equalizers. What exactly do you mean by playing with the treble side? Thanks!! I’m excited to hear how this will effect it.

            : : If you don’t have a GE-7, I’d consider keeping it. You can get some awesome tones from your muff or the Fuzz Face with it. It will bring the Fuzz alive for the DSOTM live stuff if you play with the treble side of it.

    2. Re: This popular thread has been given its own page :... Vince
      Vince

      Well, due to a shipping accident, I am the current possessor of a Boss BF-2 Flanger and a Boss GE-7 Equalizer. I’m going to be shipping them back this weekend, but before I do, I’d like to give them each a spin and see how they can improve my sound.

      Can anyone give me some good settings controls that already own the pedal? I’m not going to have too much time to mess around and find it. The Flanger has knobs for manual, depth, rate, and Res. Thanks for any help. 🙂

  32. Bridge of stratocaster
    filmour

    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

    1. Re: Bridge of stratocaster
      matt

      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

      1. Re: Delay Settings
        JEStoner

        : : 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…

  33. 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?

  34. David Gilmour's cry?
    Manu Duran

    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???

    1. Re: David Gilmour's cry?
      Jason

      : 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?’.

    2. David Gilmour's cry 2?
      Manu Duran

      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?-.

      1. Re: David Gilmour's cry 2?
        John

        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?-.

        1. Re: David Gilmour's cry 2?
          Skogkatt

          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?-.

          1. Re: David Gilmour's cry 2?
            Aksel

            : 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?

            1. About the Fuzz used in Careful with that Axe Eugene.
              Allen

              : : 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.

          1. Re: David Gilmour's cry 2?
            filmour

            sorry gilmourdude!
            What you want to say about "reverse the cable"?

            : nope it’s dave!

            : I love telling people about this trick, cause then when they try it, it’s so perfect it blows em away.

            : first of all i have a strat and a gibson. It only works on the strat for me. You need a wah pedal (crybaby) reverse the cables so that it’s hooked up backwards. Flip your pickup to the neck postion turn up your volume all the way up. You should have it by now! slowly turn down the volume nob. Let me know how it works.

            : : 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?-.

              1. Re: David Gilmour's cry 2?
                filmour

                I have to put the cable from my strat in the "out" of the wha-wha, and than from the "in" of the wha-wha to the amp or other effect?
                : : sorry gilmourdude!
                : : What you want to say about "reverse the cable"?

                : i dont understand your question.

          2. Re: This popular thread has been given its own page :... gilmourdude
            gilmourdude

            nope it’s dave!

            I love telling people about this trick, cause then when they try it, it’s so perfect it blows em away.

            first of all i have a strat and a gibson. It only works on the strat for me. You need a wah pedal (crybaby) reverse the cables so that it’s hooked up backwards. Flip your pickup to the neck postion turn up your volume all the way up. You should have it by now! slowly turn down the volume nob. Let me know how it works.

            : 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?-.

  35. Polychorus
    Don

    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

    1. Re: Polychorus
      John

      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

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