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. 1965 Fender Twin Reverb
    Guy

    Hey, I was wonderin if ya’ll could give me some info on what the 65 Twin Reverb is all about, what it’s good for, etc…thanks…SHINE ON!

  2. Nobody posted an awnser to this post. Someone must know.
    I’m wondering how gilmour does the effect where the reverb comes out like wawawa then he does something to bring it back around like a crash. anyone have any ideas? email me 🙂

    1. first of all you must consider that he has activated during this number the TC2290 also don’t forget he has a volume pedal BEFORE the delay units. so he picks the note then rise the volume with the pedal and that "wawawa" effect you say it’s his vibrato bar that he use to make a deep vibrato effect while he bends the note and rise the volume..hope this help..Shine On

      1. Sorrow
        Whatever

        Hi!
        The main lead for Sorrow has a class for it self. How can you get that sound, or get close?
        What is the most important effect?
        The problem is not the guitar, I have a Mexican Strat, do i need EMG-SA’s?

      2. As semi-professional/professionals…how could ordinary guitarists like us, achieve this…I say we all expirment and see if we cant. Please share with us, because this is a great sounding effect.-joe

        1. absolutely i’m not a semi or professional guitarist i’m an ordinary guitarist as you..but remember that if you want THAT particulary type of effect the TC2290 or any other delay is good (i use an ibanez dl-5) is necessary to give the reverb with a volume pedal (if not use the volume pedal you won’t hear the reverb because it will shadow by the real note..) or you will not have the same effect…for the "wawawa" stuff..it needs only some practice and experimentation..
          Andrea

          1. What note(s) is he playing for the vuuurrrrm part…I dont think its an open E…it sounds like a few slowly strumed notes…any ideas? Also…would a dd-5 be okay for delay? -thaks mark

            1. Re: Sorrow
              Andrea

              you play around a bend on 15th fret on second string and pick the third string at 14 fret…the dd-5 is a very good delay just pay attention to the effect level that must be at a right level..after play with the volume pedal (or also the volume pot on your guitar will work well..) and have fun..hope this help..

  3. Hi Guys,
    Does anyone have any suggestions for MPX G2 settings, routings etc. for 1.Shine On. – 2.Take it Back – 3.Coming Back to Life. – 4. What Do you want From Me. – 5. Comfortably Numb. – 6. Money. – 7. Brick in The Wall PartII. Or any other Floyd numbers. The Lexicon is a new aquisition and I am struggling to get the most out of it. I have it strapped up to a Sansamp PSA-1 via the effects loop. Any advice at all will be much appreciated. Aint Gilmour just the tastiest axeman on the Planet or what? Cheers.

  4. mxr dynacomp substitute
    Andrea

    hi guys..for all you that doesn’t have a dynacomp and would have that magic clicky sound, try instead to use a normal pick to use a small coin not very large and heavy..the result is assured..shine on!!

  5. I know this is manily a "effects discussion board" but i was wondering if the more expiranced players could help my with the playing/chords of Fearless. I know its not in standard tuning, what tuning is it? What are the chord formations? Barrs? How is the Riff played? -thanks guys. ShineOn!

    1. Re: Fearless
      Floyd

      Tuning is an open G,

      FEARLESS- Pink Floyd

      TUNING: D G D G B D (open G)

      RIFF FOUR TIMES C Bb G C Bb

      G C Bb
      You say the hill’s too steep to climb
      G C Bb
      Climb it!
      G C Bb
      You say you’d like to see me try
      G C Bb
      Climb it!
      A D
      You pick the place and I’ll choose the time
      G C
      And I’ll climb that hill in my own way
      G C
      Just wait a while, for the right day
      G C
      And as I rise above the treeline and the clouds
      D C G
      I look down, hear the sound of the things you said today

      RIFF 4 TIMES

      BRIDGE(slide up and down to these shapes):
      Bm Am Bm Am Bm Am Bm Am

      G C Bb G C Bb

      Fearlessly the idiot faced the crowd
      Smiling
      Merciless, the magistrate turns round
      Frowning
      And who’s the fool who wears the crown
      And go down in your own way
      And everyday is the right day
      And as you rise above the fearlines in the frown
      You look down
      Hear the sound of the faces in the crowd

      REPEAT RIFF FOREVER

      CHORDS: RIFF:
      G A Bb C D Bm Am
      D 0 2 3 5 7 4 2 0 0 0 0 0 0
      B 0 2 3 5 7 3 1 0 0 0 0 0 0
      G 0 2 3 5 7 4 2 4 5 7 9 11 12
      D 0 2 3 5 7 4 2 0 0 0 0 0 0 (slide down to G)
      G 0 2 3 5 7 x x 4 5 7 9 11 12
      D 0 2 3 5 7 4 2 0 0 0 0 0 0

      : I know this is manily a "effects discussion board" but i was wondering if the more expiranced players could help my with the playing/chords of Fearless. I know its not in standard tuning, what tuning is it? What are the chord formations? Barrs? How is the Riff played? -thanks guys. ShineOn!

    1. Re: What does a Metalizer do?
      Ralph

      : Hey folks – what exactly does the Boss Digital Metalizer do? Any songs in which its effect can be distinctly heard?
      : Leo

      It’s a dirt box that combines distortion and Chorus. You can use 2 differnt Chorus modes or just dry dirt without Chorus and also it does decent doubling if you are trying to play DOGS or something like that. AWESOME PEDAL AQUIRE ONE AT ALL COSTS!!! You can find them on ebay once in awhile, you’ll find them cheaper on harmonycentral.com in the classifieds. Beware of the seller though, you can get ripped off easier through harmony-central. I have all of Dave’s dirt boxes listed above aside from the soft sustain (which I am in the midst of aquiring right now) this is a KEEPER trust me.

    1. Re: Digitech Harmony Machines
      R M Boyd

      : can anyone explain the main functional/feature differences between the IPS-33B Super Harmony Machine and the Digitech Harmony Machine HM4. Cannot seem to locate any pertinent info or reviews concerning the HM4….

      : thanks in advance

      The Digitech Harmony Machine HM4 provides the same quality of sound in its vocal harmonies as the newer Digitech machines. It has 4 modes accessible from the front panel: rock, blues, jazz, and country, with 16 presets for each mode, front panel or MIDI control of key signature, and rear outs for original sound, 1st harmony, and second harmony. Run a guitar through it and be the Allman Bros. all by yourself! Run vocals and be the Beach Boys!
      Doubles as a tuner! Rackmount metal box with actual AC power! This things ready for War!
      No wonder its 20-something years old and still works like new. They don’t build ’em like this anymore!

    2. Re: Digitech Harmony Machines
      donatelli giorgio

      : la latta chiunque spiega le differenze principali di functional/feature fra la macchina eccellente di armonia di Ips-33b e la macchina HM4 di armonia di Digitech. Non può sembrare individuare alcun Info o revisioni pertinente riguardo al HM4…. ringraziamenti in anticipo
      VORREI SPIEGAZIONI PIU’ PRECISE RIGUARDO IL MIO "DIGITECH" HARMONY MACHINE/HM4, GRAZIE.

  6. effect on Sorrow
    Don

    I’m wondering how gilmour does the effect where the reverb comes out like wawawa then he does something to bring it back around like a crash. anyone have any ideas? email me 🙂

  7. Different Strat types........
    Jay

    What do u guys think of the Fender 50’s strat compared to the ’57 strat. The price of them both are very different, however
    I think that they play almost the same. Will the 50’s go out of tune alot?, cause i know cheap guitars do that alot.
    Just want some input. Thanx ALot

  8. Hey there, I’m about ready to buy a 65 Fender Twin Reverb. I know it’s got great tone and great leads, but if I hook up a good pedal to it, can I get a rich, soulful, distortion like that on the chords of Ibiza Bar? Thanks guys 🙂

    1. Re: Jensen Lap Steel
      nate sweet

      : Anyone know where I can get hold of these (or other lap steel) in the UK?

      : Jason.

      i need help with that too jason. im in the u.s. and i cant find any site that will sell it to me. iv only found the speakers.please help me.

      sincerely nate

    2. Fuzz Face and VOX wha in PF at Pompeï
      Puig Bruno

      Hi,
      Does anybody there know how David Gilmour used his wha-wha and his FF in Echoes Did the Wha was before or after the FF?I’ve tried the wha before the but i’ve got the typical howling sound when the wha is back!and i don’t see an Univibe beetween the two pedal ,what’s the secret?
      I need help!!
      Bruno

  9. What volume should i keep my dd-5 at for ABITW 1…Because really, he doesnt even use delay for this part but you have to because of the second guitar. give me specifics 🙂 thanks mark

    1. Re: ABITW 1
      Skogcat

      Which part do you think doesn’t have delay? The driving rhythm bit has the same type of delay as Run Like Hell but set to a slower speed and the guitar licks that play after the vocals have a fair bit of delay on them too.

      If you listen to DG play it on Pulse as a short lead in to ABitW Pt 2 you’ll hear that he just uses the one guitar and plays both parts.

      : What volume should i keep my dd-5 at for ABITW 1…Because really, he doesnt even use delay for this part but you have to because of the second guitar. give me specifics 🙂 thanks mark

  10. Pedal Arrangement...pLeAsE HeLp!!!!!
    JAY

    ok i have a MXR phase 90, Tubscreamer, Big Muff, DD-3 delay, Pro Co Rat, Chorus, Dyna Comp, Crybaby Wah, Flanger
    and Univibe. What would be the best way to set this up. Thanx

    JAY

    1. Re: Pedal Arrangement...pLeAsE HeLp!!!!!
      Floyd

      What I’d do
      Wah-Dynacomp-Rat-Tubescreamer-Muff-Chorus-Flanger-Phaser-Univibe-DD-3
      experiment with the chorus flanger phaser order

      : ok i have a MXR phase 90, Tubscreamer, Big Muff, DD-3 delay, Pro Co Rat, Chorus, Dyna Comp, Crybaby Wah, Flanger
      : and Univibe. What would be the best way to set this up. Thanx

      : JAY

      1. Re: Pedal Arrangement...pLeAsE HeLp!!!!!
        Andrea

        i don’t agree much with this order, i would set up in this way: dynacomp (before wah because the clicky sound dynacomp produces can be eliminated by wah..), crybaby, tubescreamer (before distortion units because you could use it as an overdrive, if you put it after distortions you yet use it as an overdrive but it MAY mess up the signal, it doesn’t make signal more dinamic as the chandler i know that because i also have a ts-5 mod 808), rat, bigmuff, flanger, phase 90, univibe, chorus and DD-3. i agree with the experimentation about flanger-phasers-chorus order as Floyd..hope this help..Shine On..

        1. Re: Pedal Arrangement...pLeAsE HeLp!!!!!
          Floyd

          Yeah I’d agree I only have 3 of those pedals
          personally my setup is cs-2, rat, muff, mistress, phaser 90, dd-5
          but just experiment for your own tastes

          : i don’t agree much with this order, i would set up in this way: dynacomp (before wah because the clicky sound dynacomp produces can be eliminated by wah..), crybaby, tubescreamer (before distortion units because you could use it as an overdrive, if you put it after distortions you yet use it as an overdrive but it MAY mess up the signal, it doesn’t make signal more dinamic as the chandler i know that because i also have a ts-5 mod 808), rat, bigmuff, flanger, phase 90, univibe, chorus and DD-3. i agree with the experimentation about flanger-phasers-chorus order as Floyd..hope this help..Shine On..

  11. Have you guys expirmented with picking with the other two sides of the pick? I mean the more rounded edges. I must say it is much more warm then the pointer side. It is especially good for the begigning of Run Like Hell, It glides nice and smooth over the muted strings. Also good for ABITW 1. Let me know if anyone noticed this. It works for me. -mark

    1. HERCO! Re: Picking...
      Floyd

      I use herco as he did or does-anyways instead of a soft round edge its gritty so its almost a clean scratchy feel
      Page does this too, I lvoe them will never go back to anything else (Herco Heavy Gauge Nylon picks)

      : Have you guys expirmented with picking with the other two sides of the pick? I mean the more rounded edges. I must say it is much more warm then the pointer side. It is especially good for the begigning of Run Like Hell, It glides nice and smooth over the muted strings. Also good for ABITW 1. Let me know if anyone noticed this. It works for me. -mark

  12. what do you want from me
    riis

    The bluesy stuff Dave’s playing on What do you want, is fairly simple (very similar to Raise my rent), but how does he get that fat sound on PULSE? I don’t have the Chandler Tube driver, but the RAT, at low gain, can produce similar sounds. It lacks the depth thou, but togheter with a lot of low EQ and tons of chorus it
    very near. Any suggestions? Does he use the middle-pickup position ?

    1. Re: Best digital delay!
      Jason

      : Hello, I am an Edge of U2 fan and when I watched the excellent sound
      : and gear of Dave Gilmour, I have seen that the tone is very close to the edge tone.Bott, The Edge and Dave Gilmour uses the TC 2290, Edge the Korg SDD3000 (becouse it´s warm).I want to know if you know similar digital delays similar to the TC 2290 that they are cheapest
      : than the TC 2290.What´s the best alternative?

      : Cheers!

      TC currently do a new delay, the ‘D-Two’. I think its about 450GBP or so. I’ve not used one though, but it seems pretty well equipped.

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

      Hello, I am an Edge of U2 fan and when I watched the excellent sound
      and gear of Dave Gilmour, I have seen that the tone is very close to the edge tone.Bott, The Edge and Dave Gilmour uses the TC 2290, Edge the Korg SDD3000 (becouse it´s warm).I want to know if you know similar digital delays similar to the TC 2290 that they are cheapest
      than the TC 2290.What´s the best alternative?

      Cheers!

  13. Echoes 'bird' sound
    Jason

    Thanks to everyone that posted that Echoes backwards wah trick!
    My Morley wah didn’t work (i guess it’s too new, and buffers the output circuits), but i’ve just bought a crybaby, and it sounds superb….
    Shame it won’t work with my EMGs though!

    Thanks again,
    Jason.

    1. Re: A Great Day For Freedom
      Chris Failla

      Well I am pretty sure that Dave used his 59 Les Paul with P-90’s (neck). He’s got some distortion and probably some compression in there too. I can’t tab it out for you but I’m sure you could figure it out if you wanted. The song is in C major so he uses the A minor pentatonic position. Hope this helps…

      – Chris Failla

      1. Re: A Great Day For Freedom
        Carlos Fasbinder

        I beleive the "AGDFF" solo has the distortion and compression/sustain, as well as reverb. Live, however (pulse cd), the sound is much cleaner and mellow. Compression/sustain, and after that he probably just uses the tone knob of his guitar. If anyone knows exactly what he uses on the album please post, I’m trying to cover all the songs.

  14. Sheep chords
    Jason

    Between the 2nd verse/chorus and the Dm vocoded section there are some odd chords. I’m not sure that the sequences posted around the net are entirely correct. Has anyone figured them out? It’s the descending series, and then the ascent following it (with kbd ‘solo’).

    I’ve been working on the descending part, and I’ve got:

    Em (7th fr. position), A (5th. full barre), and then the following (leaving the low E and A open, i.e. partial barre but all strings played) – D (10 fr.), C#m (9 fr.) E (7 fr.), Em (7 fr.), A (5 fr.), G (3 fr.) F# (2 fr.) Em

    Any ideas?

    Cheers,
    Jason.

    1. Re: Sheep chords
      Floyd

      Hello, I was wondering where you learn chord inversions like that? I know the notes of the neck and all
      would more chord theory help?

      : Between the 2nd verse/chorus and the Dm vocoded section there are some odd chords. I’m not sure that the sequences posted around the net are entirely correct. Has anyone figured them out? It’s the descending series, and then the ascent following it (with kbd ‘solo’).

      : I’ve been working on the descending part, and I’ve got:

      : Em (7th fr. position), A (5th. full barre), and then the following (leaving the low E and A open, i.e. partial barre but all strings played) – D (10 fr.), C#m (9 fr.) E (7 fr.), Em (7 fr.), A (5 fr.), G (3 fr.) F# (2 fr.) Em

      : Any ideas?

      : Cheers,
      : Jason.

      1. Re: Sheep chords
        Jason

        : Hello, I was wondering where you learn chord inversions like that? I know the notes of the neck and all
        : would more chord theory help?

        Yeah, it might help. But the ear is generally the best tool. That’s why I think that the posted chords are not quite right.

        : : Between the 2nd verse/chorus and the Dm vocoded section there are some odd chords. I’m not sure that the sequences posted around the net are entirely correct. Has anyone figured them out? It’s the descending series, and then the ascent following it (with kbd ‘solo’).

        : : I’ve been working on the descending part, and I’ve got:

        : : Em (7th fr. position), A (5th. full barre), and then the following (leaving the low E and A open, i.e. partial barre but all strings played) – D (10 fr.), C#m (9 fr.) E (7 fr.), Em (7 fr.), A (5 fr.), G (3 fr.) F# (2 fr.) Em

        : : Any ideas?

        Does this mean that you can’t help on this particular problem?

        : : Cheers,
        : : Jason.

    1. Re: rat
      Chris Bond

      : Whats the diffrence between a rat and rat 2 distortion?
      Nothing really, as far as componets go. The Rat 2 has glow in the dark paint and a power indicator. I have one from the early eighties with nothing but "RAT" on it and 3 knobs.
      ITS STILL GOING STRONG

  15. Signs Of Life
    Floyd

    Heres a question-on Signs Of Life when that computer voice stuff goes on, whats being said? I can hear your going
    to choke like me in the beggining but can’t quite make out the rest I hear "I do not like being a-something"
    kind of weird!

    1. Re: Signs Of Life Full Translation
      Floyd

      >From The Pink Floyd Encyclopedia by Vernon Fitch
      >
      >Voice: Nick Mason
      >"When the child like view of the world went, nothing replaced it, nothing
      >replaced it, nothing replaced it. I do not like being asked to, I do not
      >like being asked to, I do not like being asked to."

      : Heres a question-on Signs Of Life when that computer voice stuff goes on, whats being said? I can hear your going
      : to choke like me in the beggining but can’t quite make out the rest I hear "I do not like being a-something"
      : kind of weird!

    1. Re: Where might I find a fuzzface?
      Leo

      I see a couple of them listed on eBay as I write this, between $20 to $70. Make sure you separate the words "fuzz" and "face" in your search, otherwise a bunch of fuzzface yarn baskets pop up.

      : I think the subject name covers my question pretty well.

      1. Re: Where might I find a fuzzface?
        me

        If you want vintage the sound quality is not the same for all. You also have to decide if you want a silicon or germanium fuzz. I recommend you check out http://www.foxrox.com and read about his fuzzes. He makes his circuit in fuzz face boxes and regular metal boxes. There about 160.

    1. Yeah its worth it, great versatility-I’m almost ready to start experimenting though, like putting a dimarzio pickup
      into the bridge position, and leaving the other two EMG, to just thicken it up alittle, its great for everyhting
      but I like to experiment.

      : I’m thinking of buying the DG-20…Is it any good? Not just in getting a Gilmour sound, I’m talking about all around good tone and sound

      1. In short, I think that if you enjoy Gilmour’s sound in Pulse and Delicate Sound of Thunder, you’ll probably be happy with the DG20. If you’re aiming to achieve his tone in anything prior to DSOT, perhaps the DG20 is not for you.

        I personally like it. There are many people (here) that don’t, and I can understand where they’re coming from. The drawback that many people point out is that sound is somewhat "processed" or "artificial". With this I must agree. The flipside of that is that the pickups are very quiet, no buzzing or humming even when passed through pedals that are known to be notoriously noisy such as the Muff. To me, that’s great.

        Leo

        : Yeah its worth it, great versatility-I’m almost ready to start experimenting though, like putting a dimarzio pickup
        : into the bridge position, and leaving the other two EMG, to just thicken it up alittle, its great for everyhting
        : but I like to experiment.

        : : I’m thinking of buying the DG-20…Is it any good? Not just in getting a Gilmour sound, I’m talking about all around good tone and sound

        1. Re: DG-20
          Dave H-G

          check out my youtube space for my custom gilmour strat that ive just had made in my local guitar shop, fitted with the dg-20 pickup set from america. im waiting for the tremolo arm to be reduced then i will collect from shop.
          cant wait…

  16. ONE OF THESE DAYS - GUITAR EFFECTS
    JASON

    DURING THIS SONG THERE IS A "CHOPPED" TYPE SOLO GOING ON (EITHER BASS OR GUITAR… I HAVE HEARD BOTH).

    WHAT DOES THIS "CHOPPED" (ON/OFF/ON…) TYPE EFFECT?

    THANKS

    1. Re: ONE OF THESE DAYS - GUITAR EFFECTS
      luther

      : DURING THIS SONG THERE IS A "CHOPPED" TYPE SOLO GOING ON (EITHER BASS OR GUITAR… I HAVE HEARD BOTH).

      : WHAT DOES THIS "CHOPPED" (ON/OFF/ON…) TYPE EFFECT?

      I think that would be the bass going through a binson echorec which is a echo unit from the 70’s that was unique with multiple tape heads.
      check the link for more info on this unit http://www.binson.com/

      : THANKS

    2. Re: ONE OF THESE DAYS - GUITAR EFFECTS
      luther

      : DURING THIS SONG THERE IS A "CHOPPED" TYPE SOLO GOING ON (EITHER BASS OR GUITAR… I HAVE HEARD BOTH).

      : WHAT DOES THIS "CHOPPED" (ON/OFF/ON…) TYPE EFFECT?

      : THANKS

      1. Re: ONE OF THESE DAYS - GUITAR EFFECTS
        Floyd

        Well if you good with muting you can try that, but I think it may be a tremulator or just some fancy studio work
        which would make done in a flash…of course its played live as well, I saw there may be no effect-I know the bass
        and guitar are playing, with slide on top-butI never really noticed it, so maybe just play it quiet if you can afford a
        tremulator, I never used one but I’m thinking of getting one and hooking it up to both channels of my soon to be hiwatt
        I hear its an interesting effect.

        Floyd

        : : DURING THIS SONG THERE IS A "CHOPPED" TYPE SOLO GOING ON (EITHER BASS OR GUITAR… I HAVE HEARD BOTH).

        : : WHAT DOES THIS "CHOPPED" (ON/OFF/ON…) TYPE EFFECT?

        : : THANKS

        1. Re: ONE OF THESE DAYS - GUITAR EFFECTS
          me

          FOr this effect that ran the bass through a h$h amp with vibrato. The vibrato was incorrectly named and it was actually a tremolo. That will get you the sound.

    1. Re: Electric Mistress
      Leo

      Trust your ears. The EM sound is usually pretty obvious when it’s used in a particular song because this pedal sounds so one-of-a-kind.

      For starters, much of the guitar parts in "The Wall Live" double CD, including the venerable Comf Numb solos.

      : Who knows what songs dave uses the electric mistress flanger for?

  17. Gilmour's 70's Dimarzio Pickups??HELP
    Ralph

    Alrighty, we all know what he uses now in his strat, I read in the Encyclopedia that he used a Dimarzio in the bridge during the 70’s. Anybody know what model Dimarzio???Is it the Virtual Vintage??? I have the EMG DG-20 but I’m not the fondest of it.Thanks for your time

    1. Re: Gilmour's 70's Dimarzio Pickups??HELP
      Floyd

      If you figure out be sure to let me know, I’d be interested in that….

      Floyd

      : Alrighty, we all know what he uses now in his strat, I read in the Encyclopedia that he used a Dimarzio in the bridge during the 70’s. Anybody know what model Dimarzio???Is it the Virtual Vintage??? I have the EMG DG-20 but I’m not the fondest of it.Thanks for your time

  18. CS-2 For Sale
    Floyd

    Any of you who want a CS-2 I’m forced to sell mine so I can get my hiwatt amp. Price is 75$ plus shipping,
    jap version, I had to connect the power supply internally so I wouldn’t have to keep using batteries, it comes with it.
    E-mail if your interested. I can send pics if requested.

    Floyd

    1. Re: CS-2 For Sale
      Ralph

      : Any of you who want a CS-2 I’m forced to sell mine so I can get my hiwatt amp. Price is 75$ plus shipping,
      : jap version, I had to connect the power supply internally so I wouldn’t have to keep using batteries, it comes with it.
      : E-mail if your interested. I can send pics if requested.

      : Floyd

      When you do get a compressor again, DEFNITELY get a MAXON CP101, it’s a boutique version of the Dynacomp . I have owned the CS 2,CS 3 and the Dynacomp and the Maxon beats them all.It’s true bypass too and dead quiet.Good Luck

  19. EMG´s SPC- and EXG- Voice Controls
    Reiner

    Hello !
    I´m wondering how these two voice controls work exactly and what they do to the sound. So does anyone have a schematic or PCB-Layout for these things ?? Maybe this could help me to customize my own guitar to get a better sound. Thanks for your help !!

    1. Re: EMG´s SPC- and EXG- Voice Controls
      Michael

      : Hello !
      : I´m wondering how these two voice controls work exactly and what they do to the sound. So does anyone have a schematic or PCB-Layout for these things ?? Maybe this could help me to customize my own guitar to get a better sound. Thanks for your help !!

      I don’t believe that I’ve ever seen actual schematics for the EMG active modules anywhere; in fact, I think EMG does some sort of protection on the modules to prevent people from copying them. Basically, one of them boosts high and low frequency for that kind of glassy scooped mid sound, and the other does the opposite by boosting the midrange for a meatier sound. Do a search for EMG and you’ll see that they actually sell a prewired Gilmour pickguard. Beyond that, a company like Bartolini may offer some similar types of active electronics. Have fun!

    2. Re: EMG´s SPC- and EXG- Voice Controls
      Ralph

      Here’s another great site which has the schematic you are looking for—http://utopia.knoware.nl/users/ptr/pfloyd/interview/equipment.html

      : Hello !
      : I´m wondering how these two voice controls work exactly and what they do to the sound. So does anyone have a schematic or PCB-Layout for these things ?? Maybe this could help me to customize my own guitar to get a better sound. Thanks for your help !!

  20. dynacomp & midrange
    Andrea

    hi guys..Sunday (as every sunday) i played with my guitar all Floyd songs from Pulse and i’ve noticed on thing. Until some weeks ago i played with mid control on my amp turned to zero, because that cleaned up sound and i thought that David also played with mid to 0. But i decided to turn the control on 2 and i noticed an incremented presence of the sound (as expected) and an incremented emphasys on the attack, the same effects of the dynacomp, so i thought: the dynacomp make the "clicky" sound of the attack very audible and make the sound fat, and these are the same effects as turning up the mid control on your amp so: in my opinion the dynacomp isn’t a so special compressor, is just an average comp that pushes alot the midrange and the direct consequence of this is that the attack of the note is VERY audible. So now for song like Shine On or Coming Back i just turn up the mid control at about 4-5 and bang! istant "dynacomp-ish" sound. So the bottom line is this: to obtain that clicky sound that dynacomp gives, just turn up the mid control on your amp and if you have (as i have) an eq just add a little boost of mid-high frequencies to give a bright but fat sound tipical of this comp, BUT remember that turning up the mid control mess the sound because there is a slight boost of low and high frequencies just lower the gain a bit.
    what do you think? am i crazy? …Shine On

    1. Re: dynacomp & midrange
      Leo

      You may be right, but I still won’t discount the value of owning a DC, if not only for the reason that it complements the Big Muff so well. There’s definitely some kind of "chemistry" going on between those two pedals, and I will never use the Muff alone – it must always be accompanied by the DC, in my humble opinion. If anyone knows the science behind why this is the case, I’d love to hear it. (Of course, this might be true with any compressor – I won’t know because the DC is the only compressor pedal that I own, and that I’ve ever owned).

      : hi guys..Sunday (as every sunday) i played with my guitar all Floyd songs from Pulse and i’ve noticed on thing. Until some weeks ago i played with mid control on my amp turned to zero, because that cleaned up sound and i thought that David also played with mid to 0. But i decided to turn the control on 2 and i noticed an incremented presence of the sound (as expected) and an incremented emphasys on the attack, the same effects of the dynacomp, so i thought: the dynacomp make the "clicky" sound of the attack very audible and make the sound fat, and these are the same effects as turning up the mid control on your amp so: in my opinion the dynacomp isn’t a so special compressor, is just an average comp that pushes alot the midrange and the direct consequence of this is that the attack of the note is VERY audible. So now for song like Shine On or Coming Back i just turn up the mid control at about 4-5 and bang! istant "dynacomp-ish" sound. So the bottom line is this: to obtain that clicky sound that dynacomp gives, just turn up the mid control on your amp and if you have (as i have) an eq just add a little boost of mid-high frequencies to give a bright but fat sound tipical of this comp, BUT remember that turning up the mid control mess the sound because there is a slight boost of low and high frequencies just lower the gain a bit.
      : what do you think? am i crazy? …Shine On

  21. I need schematics for delay ,THANX
    VictorHM

    I need schematics for delay pedal for any kind,
    I really need a long lasting sound for my guitar for solo.
    I think they give you those electronic schematics when you buy
    the pedals or if you have them anyhow i’d appretiate it a lot if
    you could send me any of those on my e-mail or anyway

  22. How to get long lasting sound
    VictorHM

    What should I use to get the clear long lasting sound for
    solo playing,is it called delay.
    It kinda works with the ditorter but it stil isn’t clear.
    thanx a lot

  23. Question about Amp settings
    VictorHM

    I got this "Fender frontman"amp and I’m totaly disapointed of it’s
    sound.The distortion has a terible buzz sound and the normal channel
    is not sensitive enough.when i play solo ditorted it stil has that
    stupid buzz.And what should I use to get the long lasting sound for
    solo,is it called delay.Thanx a lot

    1. Re: Best Analog Delay?
      Ralph

      : appreciate any recommendations concerning the best analog delay (pedal, not rack)….

      : thanks in advance

      I would definitely say Boss DM-2 don’t fall prey to the DM- 3 because it’s aquired cheaper. I’ve heard that the MXR analog delay is excellent also but never played one. –Ralph

  24. gilmour delay settings ?
    franklin T

    You know it would be great to have a list of floyd songs and the delay settings used. I know the delay in time is a little different, but what about verything else? Is there a main setting for most everything or does it change alot? I fanyone has this info lets start a list.
    Frank

    1. Re: gilmour delay settings ?
      Floyd

      Normally I think all floyd songs are pretty good with all sorts of delay, but heres my preferences
      Shine On You Crazy Diamond Com numb Hey You solo, Thin Ice, In The Flesh, Mother solo, Time
      you know I leave it here most of the time:
      400 ms low feedback, low vol…preferably multi-tap delay
      it sounds like a lot, but his delays go under eachother rather than overlapping like say boss DD-5
      it works

      Run Like Hell, ABiTW:
      200 MS or so, 4-5 repeats fast…a test I do is to sweep the hands up the neck palm muting and making
      that clicky sound, if it sounds similiar to run like hell your ready to go

      Echoes Fat Old Sun:
      200-400 MS 1-2 repeats low vol, leave it on the whole time…enough to add sustain
      more than delay

      One Of These Days:
      Same as shine on.

      hmm, well I can say more but I want to see what everyone else thinks, its not exact floyd, but with my
      backing tracks I like add alittle more flare with delay, but most of it is pretty close I think.

      :
      : You know it would be great to have a list of floyd songs and the delay settings used. I know the delay in time is a little different, but what about verything else? Is there a main setting for most everything or does it change alot? I fanyone has this info lets start a list.
      : Frank

      1. Re: gilmour delay settings ?
        riis

        I can’t understand mr. Floyds posting that 200ms is right for Run Like Hell. Isn’t that to little? My Run setting is 380ms.
        For those early songs such as Atom Heart Mother/Echoes/Money I have 310ms with different feedback/volum after taste.
        The Wall part1 I have 440.
        Time intro 490 with high feedback and volum
        Shine On/Wall (solo) 460 low feedback/volum
        One of these days 1140

        1. Re: gilmour delay settings ?
          floyd

          well when you do that effect you need to have shorter delay time or it won’t work, other than that more is right.
          one of these days is for guitar not bass, (slide guitar) but its just my preference not sayin it right

          : I can’t understand mr. Floyds posting that 200ms is right for Run Like Hell. Isn’t that to little? My Run setting is 380ms.
          : For those early songs such as Atom Heart Mother/Echoes/Money I have 310ms with different feedback/volum after taste.
          : The Wall part1 I have 440.
          : Time intro 490 with high feedback and volum
          : Shine On/Wall (solo) 460 low feedback/volum
          : One of these days 1140

      2. Re: gilmour delay settings ?
        Andrea

        for Run Like Hell i’d think a 400 ms delay, but remember that as i stated in a precedent post Gilmour uses the TC2290 that is a DYNAMIC delay and you can hear his effects hearing on Run Like Hell that sweep volume effect, very subtle, in every note of the triplets and especially on echo of each note. also for this song i’d set delay volume just below the maximum output…hope this help..Shine On!!

        1. Re: gilmour delay settings ?
          skogcat

          Run Like Hell is NOT triplets they are 16th notes. Where do people get the idea they are triplets?

          : for Run Like Hell i’d think a 400 ms delay, but remember that as i stated in a precedent post Gilmour uses the TC2290 that is a DYNAMIC delay and you can hear his effects hearing on Run Like Hell that sweep volume effect, very subtle, in every note of the triplets and especially on echo of each note. also for this song i’d set delay volume just below the maximum output…hope this help..Shine On!!

          1. Re: gilmour delay settings ?
            Another David

            : Run Like Hell is NOT triplets they are 16th notes. Where do people get the idea they are triplets?

            from "Guitar Classics VI", a collector’s yearbook from Guitar for the Practicing Musician"
            Out of the PINK and into the BLUES: David Gilmour
            by John Stix 1985

            JS: How did you come up with "Run Like Hell"?

            DG: It’s all on a D pedal. That came from an old trick I’d been using, which is having a DDL in triplet time to the actual beat. When you play across it, it helps you to double-track yourself. It has a certain feel, which sounds boring and ordinary if you put it in 4/4. If you put it in a 3/4 time it has an interesting bounce to it. Because the DDL keeps running along, you’ve got time to leave the pedal playing and play a couple of chords while the effects carry on.

            : : for Run Like Hell i’d think a 400 ms delay, but remember that as i stated in a precedent post Gilmour uses the TC2290 that is a DYNAMIC delay and you can hear his effects hearing on Run Like Hell that sweep volume effect, very subtle, in every note of the triplets and especially on echo of each note. also for this song i’d set delay volume just below the maximum output…hope this help..Shine On!!

  25. A whole heap-load of Gilmour questions! Sorry:)
    Joe

    Hey all I have a few questions and I hope some of you could help me out. This page is killer and I have a few things I have been dying to find out for years and now I can finally talk to people with the knowledge.

    First of all my setup includes the Big Muff, Boss Digital Delay, Boss Chorus, Electro Harmonix Memory Man (what Floyd could this be used for), Mxr Phase 90, Dan Electro Tremolo, Crybaby Wah, boss flange, reverb, and an old MXR graphic equalizer. I just bought the RAT distortion and I love it. I cant believe that I like it more than the big muff. I am wondering if I would really need both of these units and how to determine what songs to use which for? Also I was going to buy the Mxr Dyna Comp and I am not sure what compression would do to my tone or if I would even use it. I have never used compression with my setup and would love to hear your opinions on if it makes a big difference for Gilmour’s sound?

    Round 2

    Watching "Live at Pompeii" You hear at the very beginning of echoes as well throughout the video Gilmour has this technique with the slide where he uses the slide up and down across the strings like a violin bow. This creates a constant, spacey, sustained sound. I have tried to do this but I get nothing when I try. He must have something helping to make the guitar so responsive to this but what? Who here can pull this off and is it hard?

    Round 3
    Echoes live at Pompeii the funky part. During the funky part Dave is doing some bends and some whammy stuff. Could anyone tab this part out or explain what he’s doing?

    Final Round of questioning!

    What is the setup for brain damage what effects etc..?

    Sorry for all the questions but hope you can help.

    Joe

    1. Re: A whole heap-load of Gilmour questions! Sorry:)
      riis

      OK. First of all your set up is perfect. The first thing I would do is to throw away the boss flager ang get a hold on a Electro Harmonix Electric Mistress. Dave used started to use the Mistress for the Animals tour 77 and is still using it. Just buy it and you’ll hear what I mean. A unique flanger! You should have both the Muff and the RAT. Dave uses the mugg for Comf. Numb and Sorrow especially. I think he first used the Muff in 77. Before that he used the Fuzz Face, but you can get quite similar sounds with the muff (Echoes solo). Dave started to use the RAT in in 94, officially. You get get similar sounds with it as the Animals stuff and the more overdrive sounds heard on Momentary and Division. You should have them both! My setting is Muff: Volum 75%/Distortion 100%/tone 5% .RAT Distortion 15:00/ Tone 14:30/ Volum 14:00. The muff tend to be a little fuzzy. You can even this out perfectly with the Dynacomp. A Compressor enhances the lower frequency and evens out the higher tones. Compressors tend to get noisy bot the DC stays noiseless and smoothens your signal and gives the distortion the xtra boost. To get the Shine On sound you need the DC to get that crisp, clicking sound, Go get it!
      I presume you’re using a Strat? What kind of amp do you have?
      To get that violin sound as heard on Echoes you need a slightly overdriven sound with lots of delay. 300ms and high feedback. Use the bridge pick-up and rub the slide up and down on the high E string like a violin bow. It doesn’t work on the neck pickup. Remember to rub towards you and not up and down the neck.
      The funky bend stuff is a little hard to describe, but you need to play insanely loud and use either the Muff or a FuzzFace. Increase the reverb and add alittle delay. He starts off by holding a finger on the 12bar/Bstring and bends the Gstring from 11 to 13bar. You really need to wank that whammy! From there it’s qiute simple. Just listen and try.
      The set up for Brain is a slightly overdrive sound and the Univibe. You can get similar sounds with the MXR phase 90 by surning the speed 15:00. The Mistress also emulates wonderfule Leslie sounds.
      I hope this cleared up some of your Q’s. Please E-mail me if you want.
      Riis

      1. Riis, in response to your response
        Leo

        I have some questions for you regarding your post. Of course, others, not just Riis, are more than welcome to comment as well.

        I don’t have the RAT (yet) so I can’t test this out, but I’ve heard about some people using the RAT and the Muff simulateously. Is this viable, and what kind of effect does one get when both pedals are engaged?

        Now, with regards to the Mistress, can you give me some details on how you go about using it to emulate Leslie sounds?

        Also, does anybody here know of any good uses for the filter matrix mode on the Mistress, especially in relation to Gilmour?

        Thanks!

        Leo

        : OK. First of all your set up is perfect. The first thing I would do is to throw away the boss flager ang get a hold on a Electro Harmonix Electric Mistress. Dave used started to use the Mistress for the Animals tour 77 and is still using it. Just buy it and you’ll hear what I mean. A unique flanger! You should have both the Muff and the RAT. Dave uses the mugg for Comf. Numb and Sorrow especially. I think he first used the Muff in 77. Before that he used the Fuzz Face, but you can get quite similar sounds with the muff (Echoes solo). Dave started to use the RAT in in 94, officially. You get get similar sounds with it as the Animals stuff and the more overdrive sounds heard on Momentary and Division. You should have them both! My setting is Muff: Volum 75%/Distortion 100%/tone 5% .RAT Distortion 15:00/ Tone 14:30/ Volum 14:00. The muff tend to be a little fuzzy. You can even this out perfectly with the Dynacomp. A Compressor enhances the lower frequency and evens out the higher tones. Compressors tend to get noisy bot the DC stays noiseless and smoothens your signal and gives the distortion the xtra boost. To get the Shine On sound you need the DC to get that crisp, clicking sound, Go get it!
        : I presume you’re using a Strat? What kind of amp do you have?
        : To get that violin sound as heard on Echoes you need a slightly overdriven sound with lots of delay. 300ms and high feedback. Use the bridge pick-up and rub the slide up and down on the high E string like a violin bow. It doesn’t work on the neck pickup. Remember to rub towards you and not up and down the neck.
        : The funky bend stuff is a little hard to describe, but you need to play insanely loud and use either the Muff or a FuzzFace. Increase the reverb and add alittle delay. He starts off by holding a finger on the 12bar/Bstring and bends the Gstring from 11 to 13bar. You really need to wank that whammy! From there it’s qiute simple. Just listen and try.
        : The set up for Brain is a slightly overdrive sound and the Univibe. You can get similar sounds with the MXR phase 90 by surning the speed 15:00. The Mistress also emulates wonderfule Leslie sounds.
        : I hope this cleared up some of your Q’s. Please E-mail me if you want.
        : Riis

        1. LEO, how about this -RIIS
          riis

          I haven’t tried out the RAT/MUFF combination alot. I tend to use them one at a time because they sound so unique on their own. The Muff is a sustain pedal with fuzz and the RAT is a distortion pedal. Bleding them can cause just a lot of feedback with the settings I posted earlier. You can boost the RAT alittle by placing the MUFF after it and turning "off" the distortion and tone on the MUff and turning the volume about 75%. This can make your sound alittle "cottonish". Try to even this out by turning the tone/filter on your RAT to about 13.00. I don’t think Dave’s using them both at the same time. He’s using the the RAT and an overdrive together for the Time and Money solos.
          To get a Leslie like sound out of your Mistress, try setting the colour and the range at 10:30 and the rate at 15:00. This is not a Leslie but a good substitute. Other flangers tend to get sour/detuned at high speed but the Mistress handles this quite good. I haven’t figured out the matrix though.
          Did this help you? Shine On!
          RIIS

          1. Re: LEO, how about this -RIIS
            Leo

            Actually, I don’t have a RAT yet, but your post has convinced me into buying one. I was afraid that having both the Muff and RAT might be an overlapping investment, but now I know that’s not really the case. Besides, I guess RAT ain’t that expensive anyway. Thanks. – Leo

            : I haven’t tried out the RAT/MUFF combination alot. I tend to use them one at a time because they sound so unique on their own. The Muff is a sustain pedal with fuzz and the RAT is a distortion pedal. Bleding them can cause just a lot of feedback with the settings I posted earlier. You can boost the RAT alittle by placing the MUFF after it and turning "off" the distortion and tone on the MUff and turning the volume about 75%. This can make your sound alittle "cottonish". Try to even this out by turning the tone/filter on your RAT to about 13.00. I don’t think Dave’s using them both at the same time. He’s using the the RAT and an overdrive together for the Time and Money solos.
            : To get a Leslie like sound out of your Mistress, try setting the colour and the range at 10:30 and the rate at 15:00. This is not a Leslie but a good substitute. Other flangers tend to get sour/detuned at high speed but the Mistress handles this quite good. I haven’t figured out the matrix though.
            : Did this help you? Shine On!
            : RIIS
            :

  26. Another Brick 2 and Dynacomp
    Chris Failla

    Well first of all, I know what Gilmour did in the studio for the recording of the Another Brick part 2 solo. I don’t know what pickup he used on his Les Paul though. Could it possibly be the neck? I was also wondering what form of distortion and compression was used for this solo? I was ALSO wondering how the Dynacomp works in collaboration with the Big Muff and even the Fuzz Face. Sorry for all the questions guys, lol. Let me know if you know anything. Thanx!

    – Chris Failla

    1. Re: Another Brick 2 and Dynacomp
      Andrea

      for the pickup that used on that solo is for sure the neck it hardly can be the bridge, but we are talking about a les paul so there isn’t too many difference in sound between two humbucker as on a strat. for the compression in studio we all know that he used the natural compression of his hiwatt, but for live i think that he uses: ibanez CP-9 comp to give that punchy sound that sometimes we refer as a "clean distortion", big muff, the GE-7 with TREBLE&BASS, SPC all the way up and EXG somewhere in the middle…hope this help…Shine On

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