(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. 
(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. 
(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
Hi floyd
in one of the previous posts, you said you have a list of the mods done by gilmour (or rather, commisoned by him) on his hiwatts. Do you still have that list or know what he wanted modded? if you do, could you share please? thanks!
I sent an e-mail to the guy, I’ll post it once if arrives.
Floyd
: Hi floyd
: in one of the previous posts, you said you have a list of the mods done by gilmour (or rather, commisoned by him) on his hiwatts. Do you still have that list or know what he wanted modded? if you do, could you share please? thanks!
Unfortuneatly the guys are unwilling to give this information out, their in england so it may have
been a different person I talked to, but they said no, but from memory, its a modified preamp,
linked stereo, presence control…thats all I can remember
;-(
Floyd
: I sent an e-mail to the guy, I’ll post it once if arrives.
: Floyd
:
: : Hi floyd
: : in one of the previous posts, you said you have a list of the mods done by gilmour (or rather, commisoned by him) on his hiwatts. Do you still have that list or know what he wanted modded? if you do, could you share please? thanks!
I recently bought a dr-103s. It is a great sounding amp.I’m a little confused on the "stereo" thing.With a foot switch it will boost about 6dbs(about the difference between the bright & normal channels on a regular dr-103). The balance knob acts like a overdrive, taking it between the two. I see the uniqueness but shouldn’t it have been called something else? They call it the "Gilmour" model.Is there something else that I might have not stumbled on?
Well the 103S has the stacked stereo inputs, It also had some modifications to the preamp, as well as the presence control. The main reason they call it the S is because it was the modification ordered by Gilmour, or his tech. The CP-103 is the Townshend version. I wasn’t exactly sure about your question but I hope this helps.
Floyd
: I recently bought a dr-103s. It is a great sounding amp.I’m a little confused on the "stereo" thing.With a foot switch it will boost about 6dbs(about the difference between the bright & normal channels on a regular dr-103). The balance knob acts like a overdrive, taking it between the two. I see the uniqueness but shouldn’t it have been called something else? They call it the "Gilmour" model.Is there something else that I might have not stumbled on?
: Well honestly I don’t think he changes them at all unless in the early days…typically I’d
: say he leaves his effects on at one setting…I saw one on Ebay (103S) and was dying to get it
: unfortuneatly I’m a bit short, so I got a Sound City instead, but Hiwatt is the next amp-I’ll probably wait
: out for a 103S-your one of two people I’ve talked to who has one. The others were just rumors
: Your lucky to have the amp alone, and with Mullards its gotta be priceless. I think the presense may be
: part of the modification, I had a list of all that was done-and a tech I know knew the specs for it, around 150 Pounds
: to get it modified.
: What other hiwatts do you have? I am currently starting work on building a Hiwatt SE-4123 cab copy
: (plexi-palace for the specs) And hopefully after a bit I’ll probably sell the sound city for the hiwatt.
: Floyd
: : : Well the 103S has the stacked stereo inputs, It also had some modifications to the preamp, as well as the presence control. The main reason they call it the S is because it was the modification ordered by Gilmour, or his tech. The CP-103 is the Townshend version. I wasn’t exactly sure about your question but I hope this helps.
: : :
: : : Floyd
: : : : I recently bought a dr-103s. It is a great sounding amp.I’m a little confused on the "stereo" thing.With a foot switch it will boost about 6dbs(about the difference between the bright & normal channels on a regular dr-103). The balance knob acts like a overdrive, taking it between the two. I see the uniqueness but shouldn’t it have been called something else? They call it the "Gilmour" model.Is there something else that I might have not stumbled on?
: :
: : Thanks Floyd for the reply.The presense on this amp is more intense than my other hiwatts. This is a unique amp. I wish I could post a picture but I’m using a computer as old as the hiwatt (serial# 5005). It has 2 inputs that seem to be the same until I hit the foot switch. This thing has mullards and has the warmest sound.I wonder how Dave Gilmour uses these features.
This could very well be the one on ebay. Thats where I got it,about 2 weeks ago. It was called "must see". I (being a hiwatt fan since 1970} must spend. That was it! The last one(unless a cp-103 comes along). I have a old dr-103 and a ol-103(lead 100}. I (like you)need a 4×12 cabinet. I have a 71 fane loaded hiwatt I lucked into back in the 80’s but need another. I thought the lead 100 was a versitol amp, but this 103s,w/ the footswitch is really unique! Is the sound city you bought still listed in the compleated items list on ebay under hiwatt? That is a clean amp! Good price too!
: Well the 103S has the stacked stereo inputs, It also had some modifications to the preamp, as well as the presence control. The main reason they call it the S is because it was the modification ordered by Gilmour, or his tech. The CP-103 is the Townshend version. I wasn’t exactly sure about your question but I hope this helps.
:
: Floyd
: : I recently bought a dr-103s. It is a great sounding amp.I’m a little confused on the "stereo" thing.With a foot switch it will boost about 6dbs(about the difference between the bright & normal channels on a regular dr-103). The balance knob acts like a overdrive, taking it between the two. I see the uniqueness but shouldn’t it have been called something else? They call it the "Gilmour" model.Is there something else that I might have not stumbled on?
Thanks Floyd for the reply.The presense on this amp is more intense than my other hiwatts. This is a unique amp. I wish I could post a picture but I’m using a computer as old as the hiwatt (serial# 5005). It has 2 inputs that seem to be the same until I hit the foot switch. This thing has mullards and has the warmest sound.I wonder how Dave Gilmour uses these features.
: : Well the 103S has the stacked stereo inputs, It also had some modifications to the preamp, as well as the presence control. The main reason they call it the S is because it was the modification ordered by Gilmour, or his tech. The CP-103 is the Townshend version. I wasn’t exactly sure about your question but I hope this helps.
: :
: : Floyd
: : : I recently bought a dr-103s. It is a great sounding amp.I’m a little confused on the "stereo" thing.With a foot switch it will boost about 6dbs(about the difference between the bright & normal channels on a regular dr-103). The balance knob acts like a overdrive, taking it between the two. I see the uniqueness but shouldn’t it have been called something else? They call it the "Gilmour" model.Is there something else that I might have not stumbled on?
:
: Thanks Floyd for the reply.The presense on this amp is more intense than my other hiwatts. This is a unique amp. I wish I could post a picture but I’m using a computer as old as the hiwatt (serial# 5005). It has 2 inputs that seem to be the same until I hit the foot switch. This thing has mullards and has the warmest sound.I wonder how Dave Gilmour uses these features.
Well honestly I don’t think he changes them at all unless in the early days…typically I’d
say he leaves his effects on at one setting…I saw one on Ebay (103S) and was dying to get it
unfortuneatly I’m a bit short, so I got a Sound City instead, but Hiwatt is the next amp-I’ll probably wait
out for a 103S-your one of two people I’ve talked to who has one. The others were just rumors
Your lucky to have the amp alone, and with Mullards its gotta be priceless. I think the presense may be
part of the modification, I had a list of all that was done-and a tech I know knew the specs for it, around 150 Pounds
to get it modified.
What other hiwatts do you have? I am currently starting work on building a Hiwatt SE-4123 cab copy
(plexi-palace for the specs) And hopefully after a bit I’ll probably sell the sound city for the hiwatt.
Floyd
: : Well the 103S has the stacked stereo inputs, It also had some modifications to the preamp, as well as the presence control. The main reason they call it the S is because it was the modification ordered by Gilmour, or his tech. The CP-103 is the Townshend version. I wasn’t exactly sure about your question but I hope this helps.
: :
: : Floyd
: : : I recently bought a dr-103s. It is a great sounding amp.I’m a little confused on the "stereo" thing.With a foot switch it will boost about 6dbs(about the difference between the bright & normal channels on a regular dr-103). The balance knob acts like a overdrive, taking it between the two. I see the uniqueness but shouldn’t it have been called something else? They call it the "Gilmour" model.Is there something else that I might have not stumbled on?
:
: Thanks Floyd for the reply.The presense on this amp is more intense than my other hiwatts. This is a unique amp. I wish I could post a picture but I’m using a computer as old as the hiwatt (serial# 5005). It has 2 inputs that seem to be the same until I hit the foot switch. This thing has mullards and has the warmest sound.I wonder how Dave Gilmour uses these features.
Hey ya’ll, I’m about ready to purchase an epiphone casino, but i need one thing answered. Can i change the P-90’s in them to P-100’s? They look slighty different, so i’m not sure…sorry, i know this ain’t gilmour related, but who else do ya ask, the people at my music store don’t know shit…
yes, i’m the guy who thinks fender tube is the way to go. Why? I’ll tell you…
First of all, Hiwatts are pretty much what Dave uses for his live stuff, and his new stuff. Hiwatts are good, but I’m sure most people would agree that a Floyd studio sound is better. Personally, i think the "new" pink floyd sound (80’s, 90’s, whatever…) isn’t that great. The new songs just aren’t what they were back in the 60’s and 70’s. The solos are a bit overdone, especially on live performances. Time, Money, Shine on……gimme a break, WAY to processed. Now, i use a strat with a DG-20, which is a "new" gilmour thingy, but it’s VERY handy for nailing old tones. When I compare my guitar w/ DG-20 in a fender tube (devil, twin, etc) to a hiwatt, The fender wins in terms of 60’s/70’s sound. Hiwatts are used in live performances because he uses 10 times as much effects and hiwatts handle them a little better and a little louder. But gilmour DOES NOT NEED ALL THESE EFFECTS!!! listen to Shine on in pulse, then on Wish you were here. All that chorus, leslie, GOBS of midrange just doesn’t cut it when compared to that smooth, compressed version in the studio.
I know this post may sound a little confusing, but here’s the bottom line
Hiwatts – GOOD = used for tone coloring, live sounds, handling effects (which not much is needed for good tone), and loud volumes, BAD = Expensive, Old, no customer support, etc
Fenders = GOOD = tone coloring, loud volumes, good studio amps
BAD = Not bad, but can’t QUITE compare to marshall in handling effects and playing live sounds
Conclusion = FENDERS!!! They can do it all, you can STILL BUY THEM AT A REASONABLE PRICE NEW!!! they have customer support (although not that good lol), the 70’s studio sound is where it’s at, and they do GOOD at live performances. As far as effects, they might not be able to handle CHORUS, OVERDRIVE, COMPRESSION, BIG MUFF, DELAY, TUBE DRIVER, but they handle MY setup OVERDRIVE, COMPRESSION, BIG MUFF, DELAY. As i read this post, it’s kind of confusing, and looks rather stupid, but if you want to go out and try them both, you’ll get my meaning, it’s kind of hard to explain…
Hey Farley, just out of curiousity, what do you use for compression, overdrive and delay?
I use an mxr dynacomp, Boss Super Overdrive, and Boss DD-3. I want to get a CS-2 someday, but the dynacomp is good in it’s own way.
Do you get a nice effect by using the Dyna Comp to compress the Big Muff??
Oh yeah, its great, it has the thickness and creaminess of distortion, yet it’s very clean sounding…..smooth…
I meant Hiwatt, not marshall in the second to last paragraph…my mistake, MARSHALLS SUCK!
After reading Harolds post, i went down to Hugo Helmer music and plugged my strat into a Deville 212. To tell you the truth….there really isn’t a difference between the tone on this amp and my 65 twin reverb. Sure, the reverb has vibrato, but that’s the only difference! Certainly not worth 300 dollars more. Plus, the deville isn’t SO DAMN LOUD LOL! I’ve read some other reviews and people have compared this amp to a 65 twin reverb, and have said the same thing. I think i’m gonna go buy one when i have the cash, and use that.
Well relating to amps, for people who want to get an amp for some floyd tone try a Sound City amp. Reeves worked here
before leaving to make mods to the sound city amps-he called them hiwatt. If you look on the Ummugumma album you can see
some sound city amps. These are also extremely cheap for their power and clean-it was some white noise when on, but that can be
modded out. I spent 400$ on my l120 mark 4, which is higher on the scale, I was just desperate and didn’t want to wait, expect to pay 200-400.
All amps are point to point, not as clean as hiwatt, but P2P.
Floyd
Hey guys, just thought I’d tell you that if you are stressing over the fact that you don’t have a Hiwatt,Don’t worry about it. Honestly any clean tube amp will do just fine.You are better off focusing your paycheck on the pedals and guitar. Now if you’re loaded– get a Hiwatt of course, but out of all his gear , the amp matters the least. Most of you will say I’m nuts but, I can get his tone time and time again out of a Marshall and a Mesa and a Fender (clean channels of course)with the pedals listed above. Andrea made a god point down below about turning up the mids on the amp, if you have the DG20 you can boost the mids even more. If you have the Encyclopedia , you’ll see that Dave rarely even uses the same amps in the studio from album to album.
I think it’s mainly any tube amp with EL84’s that do the trick. I love my 1965 Twin Reverb, it can knock down any metal head amp, and the tone coloring is just as good as a hiwatt, plus it’s a combo so you don’t have to worry about stacks and shit, but beleive me, it’s louder than a stack…
The one that really works for me is the new fender Cyber twin that can really close to Britsh amp type sounds, as well as vintage fender, and modern fender.
What’s everyone’s opinion on a Fender Deville 212 in comparison to Gilmours sound? I have one myself, and i think it does ok, but i want to know your opinions…
no idea, I think essentially you need a good strong clean sound, which fender offers sometimes, and
something that doesn’t color easily, that helps in keeping a good tone over all those dang effects he has on
all the time.
Floyd
(anyone know where I can get a custom built 2×12, nothing special just one?)
: What’s everyone’s opinion on a Fender Deville 212 in comparison to Gilmours sound? I have one myself, and i think it does ok, but i want to know your opinions…
Anyone who has ever marveled at the amazing sound of a hiwatt has got to stop a second to give thanks (in memory) to the life of the late Harry Joyce. We lost him this week and I realized due to his "mil. spec." wiring and O tolerance to inferiority I’ve been able to hear a guitar sound the best it possibly can. Thanks Harry, you’ll be missed!
*wonders if thats why I haven’t got a response in my e-mail…its sad, *bows head*
Floyd
: Anyone who has ever marveled at the amazing sound of a hiwatt has got to stop a second to give thanks (in memory) to the life of the late Harry Joyce. We lost him this week and I realized due to his "mil. spec." wiring and O tolerance to inferiority I’ve been able to hear a guitar sound the best it possibly can. Thanks Harry, you’ll be missed!
Harry was surely a legend in the business. His mil-spec stands as the bar by which all amps should be judged in regard to quality of construction.
Floyd, I have a HJ custom 50 with matching 2×12 that I may be interested in selling. I’ve used it for studio work exclusively. There is no sound like it. E-mail me for more info if you’re interested.
: Harry was surely a legend in the business. His mil-spec stands as the bar by which all amps should be judged in regard to quality of construction.
: Floyd, I have a HJ custom 50 with matching 2×12 that I may be interested in selling. I’ve used it for studio work exclusively. There is no sound like it. E-mail me for more info if you’re interested.
I would definitely be interested in the HJ custom 50…let me know the details…thanks..Fionn
I have a rickenbacker bass (like that of Roger Watters) and i have a 50 watt peavey basic bass amp. I’m thinking of getting a new amp for a louder tone, but my friend said to just buy a cab for it…My amp supports a jack labeled Power Amp in, not sure what that means, but I’ve taken a cable and ran it through that jack and into my computer and have recorded before, is that where I’d hook the cab into? that’s the only other jack besides the regular input…
trade your peavey in for an ampeg with a 15" speaker, a high frequency horn and at least 100 watts. A good brand will cost about $500, but less with a trade in. This should give you enough power to play any small club and last for a long time. If you want to spend more cash you should look at the web sites for SWR, ampeg, gallien-kruger, aguilar, and David Eden. When buying a separate bass cabinet, i suggest getting a 4X10 . hope this helps
Can you believe it?! FINALLY! Anyway, it’s at 9, buit check your listings. then, the wall at midnight ! WOOOOO~
I have a Marshall VS65 and for a solid state amp, it’s pretty decent. There is only one thing that I am curious about on the amp. When I am in the clean channel and using a fuzz pedal I have no problems adjusting the settings on my amp because there are seperate bass treble and mid controls. Well If I don’t feel like using fuzz and I want to put on the dirty channel, then there are gain, bass, treble controls but no MID control. Well instead they put contour on there and I hate that. Where would you say that Gilmour would adjust this knob to? Where do you think he would set his contour dial at? If you can help that would be great. Thanx!
– Chris Failla
Don’t ask us, you have the amp, it’s only one knob, how hard could it be to turn it back and forth and find a good tone? heh heh, personally, i think you’re using the wrong amp. Get a Deville buddy, i can’t emphasize the use of fenders enough, they are the amps, hiwatts are good, but I can’t see a difference between their tone and fender tone. Hiwatts might be the thing to use to get the Pink Floyd Live sound, but come on, this is a band that sounds 20 times better in the studio in my opinion.
what does it mean when a tube amp "breaks up?" is that when the volume is turned up on the clean channel or the distortion? I tried both and can’t seem to figure out what you’re talking about…
Break up meaning the clean channel-the tubes getting saturated and starting to get an overdrive tone…
Floyd
: what does it mean when a tube amp "breaks up?" is that when the volume is turned up on the clean channel or the distortion? I tried both and can’t seem to figure out what you’re talking about…
Gosh, thanks for the help, but i tried cranking the clean channel on my deville and it gets WAY to loud before it gets that overdrive sound. it’ sonly 60 watts too.
How does a Deville sound in comparison to Gilmour? I know Gilmour usually a different tube (EL84 type sound), but this has 6L6’s. They are incredibly warm…
well, you could try boosting the preamp vol, and lowering the master, that may do something…also
I hate to say a powerbreak made by marshall…it’ll do what you want, let you crank the amp and have it break up
but the flipside is, people generally over-use it and hurt the amp in the process. read a few messages below where we discussed it.
Floyd
: Gosh, thanks for the help, but i tried cranking the clean channel on my deville and it gets WAY to loud before it gets that overdrive sound. it’ sonly 60 watts too.
This popular thread has been given its own page : WEM cabinets and Hiwatt amplifiers
: Roadie Stuff manufacturers a number of accessories for artists. Included are our cases and Amp Carts. We are working on a project at this time to re-issue the origina WEM cabinet as used by David Gilmour. This is undertaken with full consent from WEM and WEM designer/ owner Charlie Watkins. This will be true to form with no shortcuts. yes, we are woring on the issue of the original Fane Crescendo speakers. Also, we are involved with the original Hiwatt company in England. Artist using equipment from Roadie Stuff includes but not limited to Dickey Betts, Jeff "Skunk" Baxter, Duane Eddy, Buddy Guy, James Burton. We can not always name artists involved as requested. If you are interested in the WEM cabinets, feel free to email me at [email protected] I will fill you in with more details.
:
: Good luck!
: Roadie Stuff
how can we get them in canada and how moch
: : Roadie Stuff manufacturers a number of accessories for artists. Included are our cases and Amp Carts. We are working on a project at this time to re-issue the origina WEM cabinet as used by David Gilmour. This is undertaken with full consent from WEM and WEM designer/ owner Charlie Watkins. This will be true to form with no shortcuts. yes, we are woring on the issue of the original Fane Crescendo speakers. Also, we are involved with the original Hiwatt company in England. Artist using equipment from Roadie Stuff includes but not limited to Dickey Betts, Jeff "Skunk" Baxter, Duane Eddy, Buddy Guy, James Burton. We can not always name artists involved as requested. If you are interested in the WEM cabinets, feel free to email me at [email protected] I will fill you in with more details.
: :
: : Good luck!
: : Roadie Stuff
: how can we get them in canada and how moch
So does this company no longer exsist?
E-mail is invalid and there is web site any where on the web.
: : how can we get them in canada and how moch
: Roadie Stuff manufacturers a number of accessories for artists. Included are our cases and Amp Carts. We are working on a project at this time to re-issue the origina WEM cabinet as used by David Gilmour. This is undertaken with full consent from WEM and WEM designer/ owner Charlie Watkins. This will be true to form with no shortcuts. yes, we are woring on the issue of the original Fane Crescendo speakers. Also, we are involved with the original Hiwatt company in England. Artist using equipment from Roadie Stuff includes but not limited to Dickey Betts, Jeff "Skunk" Baxter, Duane Eddy, Buddy Guy, James Burton. We can not always name artists involved as requested. If you are interested in the WEM cabinets, feel free to email me at [email protected] I will fill you in with more details.
:
: Good luck!
: Roadie Stuff
We are pleased to advise, Roadie Stuff has made arrangements with Pete Cornish to represent Pete and his products here in the U.S. For those looking to buy effects actually used by David Gilmour you need to be in touch with us. Mostly everything written is BS at best. You can also purchase the guitar cords DG uses as well as other accessories. Don’t be fooled by effects that "sort of sound like the real thing" get it from us. Also, our WEM project is moving along very well. You will soon be able to buy a genuine re-issue of that cabinet. Pete Cornish has been advising us on the project along with Charlie Watkins (WEM founder & designer).
Roadie Stuff manufacturers a number of accessories for artists. Included are our cases and Amp Carts. We are working on a project at this time to re-issue the origina WEM cabinet as used by David Gilmour. This is undertaken with full consent from WEM and WEM designer/ owner Charlie Watkins. This will be true to form with no shortcuts. yes, we are woring on the issue of the original Fane Crescendo speakers. Also, we are involved with the original Hiwatt company in England. Artist using equipment from Roadie Stuff includes but not limited to Dickey Betts, Jeff "Skunk" Baxter, Duane Eddy, Buddy Guy, James Burton. We can not always name artists involved as requested. If you are interested in the WEM cabinets, feel free to email me at [email protected] I will fill you in with more details.
Good luck!
Roadie Stuff
Can an EH Memory Man get a nice Dark side (time and money) type delay/echo? How about up to the Wall as run like hell and what not. Just curious about it. I’ve thought about getting a boss delay pedal before but i never really thought about the memory man. Please let me know if anybody has one of these or knows about them. Thank you.
– Chris Failla
it’s weird cause I’m sure dave uses the digital delay. I have both the digital and the Memory Man. I find that the memoory man gives off a real warm nice delay that sounds alot better than the digital. That is for Run like Hell, Sheep, Echoes, Those are the tunes I use it for. Every thing else is the digital.
So would you folks recommend this? Any advice on Echoes & Fearless in terms of settings?
Can you please give me your settings on the MM for the songe you’ve listed? Thanx
Also, I tend to get a low output signal from the MM. Is it me or have you experienced the same prob.?
Riis
I think I have the MM Deluxe, I get a very high output signal! Do you have a level knob? I will check my settings later tonight and put them here
Anybody have info on how to play Pillow of winds? The book and all the sites I have been to all have the basic chords but a couple of times there are changes not listed. Example: "Green fields of cold rain"
I also need to know how to play the riff near the end of echoes. It comes after the long space part and is played over the B F# D E progression! It sounds like a hammer on pull off type of riff. Does anyone have this for me?
This popular thread has been given its own page : Re: Pillow of Winds plus Echoes riff
Its overdbubbed so its never going to be as full, as for the chords it usually sticks to the ones
on the tab (I went to Astoria for this) other than that, I have no clue, I kind of lost interest in the song…
but that green fields of cold rain part is my favorite part of the tune
anywho on echoes I tend to have the muff on with long delay, its not exact, but its how I like to play on my
improv rampage
|—————-10h12p10——————0
|10h12p10—————–10h12p10
|
|
|
|
and just repeat that, you can substitute the open E string as G-string fret 9 or play both
whatever you want.
Hope it helps,
Dustin
: Anybody have info on how to play Pillow of winds? The book and all the sites I have been to all have the basic chords but a couple of times there are changes not listed. Example: "Green fields of cold rain"
: I also need to know how to play the riff near the end of echoes. It comes after the long space part and is played over the B F# D E progression! It sounds like a hammer on pull off type of riff. Does anyone have this for me?
Hello!
A few days ago I wanted to buy the EMG DG20 Series, but they only had it with white knobs and cream Pickups. Is this original? On the EMG Homepage it all looked like white. Maybe some owners can help me…
Thanks,
Reiner
I did come across a set of Black DG EMGs on ebay complete with a black pickguard. I really wanted them, but they were kind of old. So, I suppose the awnser is there is at least one other color out there, you just have to find it.good luck! -mark
Yea, I am replacing my pickups. which were the last pickups designed by Leo Fender. There is way to much High-End because leos hearing was fried .I am trying dg20s. Never used active pickups before, but they should compliment my Marshall DSL 2000 50 watt head just fine.
: Hello!
: A few days ago I wanted to buy the EMG DG20 Series, but they only had it with white knobs and cream Pickups. Is this original? On the EMG Homepage it all looked like white. Maybe some owners can help me…
: Thanks,
: Reiner
They only sell it (DG20) in one color scheme , if you want a different color you can buy all the parts seperately from EMG.
I have only seen pictures of DG20’s with ivory/’diamond’ scratchplate, and i have a vintage guitar and i dont want to lose the original look of my guitar. I was therefore wondering whether the pickups and equipment are available without the scratchplate, or with just a plain white scratchplate?
Yes the perloid pickguard with cream pickups is normal. I’ve never seen anything different, but when
I get my guitar re-painted, I’ll switch it to a black pickguard.
Floyd
: Hello!
: A few days ago I wanted to buy the EMG DG20 Series, but they only had it with white knobs and cream Pickups. Is this original? On the EMG Homepage it all looked like white. Maybe some owners can help me…
: Thanks,
: Reiner
Hey Floyd, where are you going to find that special single-ply black pickguard with rounded edges like Gilmour had?
Well I haven’t thought that far, I’ll have to do alittle searching but I;m sure someone somewhere makes
them, if not I’ll have it custom made,
Floyd
: Hey Floyd, where are you going to find that special single-ply black pickguard with rounded edges like Gilmour had?
Okay, since nobody posted anything on the previous post on this, ill assume nobody knows the specs. The DL4 from Line 6 is a delay Modeler, meaning it duplicates a variety of delays, (12 in all i think) mostly vintage. How accurately? I am not sure as of yet. I do know that it duplicates the TC Electronics 2290, which happens to be pretty expensive as a rack unit. I have read some reviews on the web page i.e. http://www.line6.com and they were to say the least very good. It also has a 26 sec. loop sampler! -ill let you know more as i learn more. -best mark
I recently got a hold on a Hi Watt 100 , same as Dave’s using. Does any of you guys have any fav settings or know the setting an Dave’s amps?
Umm, presence up quite a bit, bass around 3 or 4 maybe due to the alambic
try and mess around with it, I don’t have a 100-what year, specs-is it a 103S?
or a reissue? Hylight era?
Floyd
: I recently got a hold on a Hi Watt 100 , same as Dave’s using. Does any of you guys have any fav settings or know the setting an Dave’s amps?
Isn’t this message board supposed to be about me? :o)
this board is mine!
What makes Hendrix the "Best" guitar player ever according to a lot of people? I haven’t seen him do anything onthe guitar that any other really good guitar player can do…even with writing songs…
I think Ralph is more right than anyone. People who die in the peak of their fame get way more credit…such as Kurt Cobain (spelling? lol)…sure, he had a few good songs, but if he would have died out and had his popularity go down the tubes like every other band, then he would be just another pretty good rock musician. Hendrix is awesome, I was just curious mostly
: What makes Hendrix the "Best" guitar player ever according to a lot of people? I haven’t seen him do anything onthe guitar that any other really good guitar player can do…even with writing songs…
I think what makes him the best guitar player is how he can sing along with while he is playing the guitar. I know it sounds easy for some saongs and it is, but learn how to play some hendrix songs…
and i mean exactly and try to song along with it. PLus its his style in playing.. But this is only my opinion
I think it was more his unique ideas. He kind of made the guitar a real instrument that could take a
lead. Also his unique playing style, very sparatic yet structured.
Floyd
: : What makes Hendrix the "Best" guitar player ever according to a lot of people? I haven’t seen him do anything onthe guitar that any other really good guitar player can do…even with writing songs…
: I think what makes him the best guitar player is how he can sing along with while he is playing the guitar. I know it sounds easy for some saongs and it is, but learn how to play some hendrix songs…
: and i mean exactly and try to song along with it. PLus its his style in playing.. But this is only my opinion
: I think it was more his unique ideas. He kind of made the guitar a real instrument that could take a
: lead. Also his unique playing style, very sparatic yet structured.
I also think that the fact that he’s dead has something to do with it.If he were alive he may not have been so popular nowadys.
: Floyd
: : : What makes Hendrix the "Best" guitar player ever according to a lot of people? I haven’t seen him do anything onthe guitar that any other really good guitar player can do…even with writing songs…
: : I think what makes him the best guitar player is how he can sing along with while he is playing the guitar. I know it sounds easy for some saongs and it is, but learn how to play some hendrix songs…
: : and i mean exactly and try to song along with it. PLus its his style in playing.. But this is only my opinion
The difference between Hendrix and all the other really good guitarists you speak of is that Hendrix did it first, the others are, to some extent, imitators.
At the time, Hendrix was doing stuff other guys weren’t doing. That’s what makes him great IMO.
: : : : What makes Hendrix the "Best" guitar player ever according to a lot of people? I haven’t seen him do anything onthe guitar that any other really good guitar player can do…even with writing songs…
if you were any good at guitar you’d understand why hendrix is the best. You take it for granted that his music is everywhere, but back then there was no such thing. Guitar players today may be able to write great songs but they were influenced by hendrix’s music. The playing you hear on a hendrix record came 100 percent out of his head with no influence. To understand you must think of what it would be like to invent an entirely new style of music and guitar playing. Not too easy is it? -stevo
you guys have it all wrong. It’s not that he can play and sing at the same time! almost everyone can do that. It’s the fact that he virtually invented the rock electric guitar. Before him, nobody dared (or could) to play like him, with that incredible amount of feeling and his unique style, which till this day is unsurpassed. Sure, to beginners, he may prove to be a bad plyer-easily immitated. WRONG! It seems nobody can even recreate his guitar sound, let alone his playing. What he did at his time was unseen and unheard of. Sure, i can play at Yngwie Malmsteen’s speed…but does that make me an equally good player? no. because he invented his style from nothing and was unique in doing so. Lots of people seem to think, for ex, to play all of a person’s songs means that that person was not a good player-that is the biggest misconception. Listen to "Little Wing"
bye
Genrik-
What a well thought out and ACCURATE response. You took the words right out of my fingers…..fenders….. There’s nothing I can add to that.
I promise this is my last post for the old year…hehe. How many of you are in floyd bands? IF you are, do you sonud like floyd? do you have a cool visual thing as weel as an audio thing…do you sound and look like floyd? are people happy to have you in their venue? do you get respect as muscians to cover someone else’s songs? please be honest in answering. also, how many gigs a weeek do you perform and the avg length. thanks!
No I am not in a cover band. Yes I can sound similiar to Floyd. Yes I have my hair long like floyd (early)
I have a few small assortmants for visual effects. People were happy in the venue of floyd covers I did. I don’t mind
playing someone elses song that often, but I prefer to make my own music rather than someone elses. Average length is
about 2 hours.
Floyd
: I promise this is my last post for the old year…hehe. How many of you are in floyd bands? IF you are, do you sonud like floyd? do you have a cool visual thing as weel as an audio thing…do you sound and look like floyd? are people happy to have you in their venue? do you get respect as muscians to cover someone else’s songs? please be honest in answering. also, how many gigs a weeek do you perform and the avg length. thanks!
The best PF cover band by far in the US is "The Machine" in NYC…See for yourself, http://www.themachinelive.com—amazing to say the least being its a quartet. later, mark
[The body of this post has been lost]
alright, I think I need to replace the tubes on my Fender 65 twin reverb. Now, I bought this amp used, so it didn’t come with instructions. Now which amps do I replace? How much will it cost? Do I do it myself? if so, how do I do it? lol sorry about the questions, but I noticed nobody asked about replacing them on this site
well taking them out is easy, make sure the instrument is unplugged, no power in it at all-and simply take out
the tubes. It will probably have to be biased which means for me to take it toa shop. Maintenence on tube amps is
the one drawback to them. I say find a reputable repair man and ask him to do it.
Floyd
-theres no sense in your breaking your new amp now is there?hehe
: alright, I think I need to replace the tubes on my Fender 65 twin reverb. Now, I bought this amp used, so it didn’t come with instructions. Now which amps do I replace? How much will it cost? Do I do it myself? if so, how do I do it? lol sorry about the questions, but I noticed nobody asked about replacing them on this site
How can i get that clean distorted sound?? Like on the solo to ABITW pt 2. And also for Shine?
Thanx I’m currently using a SansAmp GT2, Chorus, Delay, and phaser. thanx again
Any overdrive slightly overdriven should give you what you want, I’m not sure the features on your
amp, but maybe turn it up louder? Otherwise you really don’t have the effects. Although something I
like to do to give a bit of bite to my solo’s is use Herco heavy gauge picks, and instead of using
the proper side, you go to one of the others which is a bumpy texture on the pick, and play with that
several people do that, Page, Gilmour, etc
Floyd
: How can i get that clean distorted sound?? Like on the solo to ABITW pt 2. And also for Shine?
: Thanx I’m currently using a SansAmp GT2, Chorus, Delay, and phaser. thanx again
To achieve the sound heard in Another brick, gilmour accually used two compression pedles and a slight overdrive. Personally, I use a boss cs-2 and very short delay. I also turn the mid on my amp to zero and a fairly large amount of bass; because remember, he used a bass amp. I find my Marshall is good for the lows, fender not so much. good luck to all. -mark
Hi again guys…
seeing that gilmour had that bass preamp, i was thinking i would benefit from one too. However, i read that his is modified with an extra tube to lower the bass. IT was done so the closed back cabinets wouldnt take it harshly. How wouyld you go abotu doin that modification? this is essential for people with closed back cabinets (gilmour). Is there a way of doing it? thanks!
Boy the tab seems to be going up with you eh? Bassman, Tube Driver, hiwatt combo, and an alembic
lol anyways, I’d say the best thing to do is take it to a shop and have them do it, I’m not too sure on how it
would be accomplished, but you’d need some soldering skills, one of the tough things is to get custom equipment
because most of us really don’t have the money, but talk to Andrea about it, he has one he’ll know if anyone.
Floyd
: Hi again guys…
: seeing that gilmour had that bass preamp, i was thinking i would benefit from one too. However, i read that his is modified with an extra tube to lower the bass. IT was done so the closed back cabinets wouldnt take it harshly. How wouyld you go abotu doin that modification? this is essential for people with closed back cabinets (gilmour). Is there a way of doing it? thanks!
hello guys, i’m back..i’ve the interest about the Alembic..there’s something lightly wrong: the Alembic is not fitted with an extra tube to cut the low end, it is done only because being used on a guitar and receiving sometimes a BIG distorted sound (Big Muff & Co..) with an extra tube it will hold up signal better than before..to cut low end Pete Cornish had installed on it a capacitor (presumibly on tone section of the Alembic) with a different value..this was done in part for the problem with closed back cabinets but mainly because with the old capacitor you could cut manually all the bass with the bass control on the preamp and the sound would be yet too bassy…hope this help..Shine On..
Good point Andrea. One other observation. The extra tube is intended primarily to provide lowered output impedance. This tube was installed just after the usual output stage. When configured as a cathode follower, the extra tube can source additional current so it will be possible to drive multiple Hiwatt heads without excessive loading on the alembic and adverse effect on the tone. You don’t technically need this tube unless you intend to hook it’s output to several different devices simultaneously.
: hello guys, i’m back..i’ve the interest about the Alembic..there’s something lightly wrong: the Alembic is not fitted with an extra tube to cut the low end, it is done only because being used on a guitar and receiving sometimes a BIG distorted sound (Big Muff & Co..) with an extra tube it will hold up signal better than before..to cut low end Pete Cornish had installed on it a capacitor (presumibly on tone section of the Alembic) with a different value..this was done in part for the problem with closed back cabinets but mainly because with the old capacitor you could cut manually all the bass with the bass control on the preamp and the sound would be yet too bassy…hope this help..Shine On..
Hey everyone, I’m in a great band, and I’ve been able to cover pink floyd songs very well. My setup includes – Strat (DG20), Hiwatt 50 watt head (70’s version)ran into a Marshall 4 x 12, Boss Super Overdrive, MXR Dynacomp, and Big Muff Pi NYC version. Now for the longest time Ive been a Lead guitar player, but recently I’ve been trying to get a different tone for my own band songs. I’ve been trying to crank out a bunch of CRUNCH, like that of Led Zeppelin, Presidents of the United States of America, Grand Funk, I’ve got the rhythm style of playing down, but I need to get some info on my settings, any suggestions? I want to be able to keep my stuff so I can crank out the most perfect leads you can think of, but also be able to get some crunch that sounds like biting through a nice Red Delicious Apple.
Difficult question. Well you may find the big muff to bassy and sweat for a crunch rythem, I’m surprised
the overdrive won’t do that for you-Page used overdrive from his amp mostly, but he had a custom Gibson overdrive as well
you could try a standard fuzz face, or if you have the money, a vintage. I’m not all that familiar with the other bands
Floyd
: Hey everyone, I’m in a great band, and I’ve been able to cover pink floyd songs very well. My setup includes – Strat (DG20), Hiwatt 50 watt head (70’s version)ran into a Marshall 4 x 12, Boss Super Overdrive, MXR Dynacomp, and Big Muff Pi NYC version. Now for the longest time Ive been a Lead guitar player, but recently I’ve been trying to get a different tone for my own band songs. I’ve been trying to crank out a bunch of CRUNCH, like that of Led Zeppelin, Presidents of the United States of America, Grand Funk, I’ve got the rhythm style of playing down, but I need to get some info on my settings, any suggestions? I want to be able to keep my stuff so I can crank out the most perfect leads you can think of, but also be able to get some crunch that sounds like biting through a nice Red Delicious Apple.
The green line 6 delay has the TC Electronics 2290 built into it. Also has like 6 Vintage delays built into it, Including a 16 sec loop sampler. This must be better then the dd-5 in achieving gilmours delay, being that the 2290 is a dinamic delay unit whatever that means. It says it on the box tho. Anyone have this or have any input on it? -mark
Hello !
After wasting a lot of money in buying guitar effect pedals, I wonder if it could be possible to simulate various effects like chorus, flanger, delay etc. on a computer with a good soundcard. You only would need an old computer (perhaps 486..), a soundcard and one programm, maybe a footswitch. Has anyone heard of this ??? Thanks, Reiner
I use acid 2.0 and soundforge, which contains a suite of effects and settings I can change.
I like it very much. I know lexicon has a reverb card
Floyd
: Hello !
: After wasting a lot of money in buying guitar effect pedals, I wonder if it could be possible to simulate various effects like chorus, flanger, delay etc. on a computer with a good soundcard. You only would need an old computer (perhaps 486..), a soundcard and one programm, maybe a footswitch. Has anyone heard of this ??? Thanks, Reiner
We know a lot about Gilmour’s lead sounds, but I’d like to know how to nail his rhythym chords such as Ibiza Bar and The Gold it’s in the…thanks
Nice topic, and great question.
I would have to say its usually consisting of a distortion, usually overdrive. If you listen
to "Time" you can hear it on the left channel, sometimes it can be full blown distortion
just with the volume turned down, say pigs, or such.
Live is alittle different, over the years during animals, WYWH dsotm on my bootlegs, gilmours rythem was
very similar to his solo’s, which would lead me to believe he just turns down the volume
after its recorded in the studio, its generaly not paid much attention to although he is a very good
rythem guitarist.
I’d say in the end, have a nice overdrive, and nice distortion any would do (as Andrea and Me have been saying
for so long, its in his fingers not his effects) Make sure you learn to palm mute, I believe playing rythem means
you have to get more into the song, convey the feeling. He uses quite a bit of power chords deep down, and chord inversions
which also go into the solo’s
Also sometimes you have to remember his playing is overdubbed, quite often actually, so sometimes you can’t exactly duplicate
something, just play one of the parts ie-ABITW, Run Like Hell, WYWH, etc
Hope this helps some I don’t know if that was exactly your question but I tried to cover most of the bases
Floyd
: We know a lot about Gilmour’s lead sounds, but I’d like to know how to nail his rhythym chords such as Ibiza Bar and The Gold it’s in the…thanks
Up til reading this site, I’ve always thought tube distortion was the best (fullest, richest, best tone), but now that I see everyone using pedals through a clean channel it makes me wonder. Does running a good distortion pedal through a clean channel in a tube amp work just the same as a distortion channel used by itself on a tube amp? just curious, I always thought running a distortion pedal through a clean tube amp would make a solid-state sounding distortion…
no, there is a difference. the imperfections of a tube amp make for that good tube amp sound and how it breaks up. Runnin a distortion in front is not really useful…running a dedicated overdrive to crank that tube up would make for some nice tones. If you want sterile tones, get a disto…if you want warmth, use an overdrive, or a tube overdrive…i dont kno what im saying….this acid is trippin me up
a clean channel on a tube amp sounds WAY better than a clean channel solid state amp. All the distortion channel does is act like a distortion pedal inside your amp, so basically, running a pedal through the clean channel is the same, except you can use different pedals to your taste…and mix them up…
Hello again,
sorry for posting so mnay Q’s
the chandler tube driver ,to me, seems essential. Why? because it’s a tube driver with a tube inside…not a solid state like the Boss or the Ibanez tubescreamer. Also, is the rack tube driver different from the pedal one? thanks!
Well, it depends on what sound you’re trying to nail. After reading what other people are using to nail sounds, I noticed how very few people even had one. I don’t think it’s neccessary, but I’m sure it will come in handy at times, or you could even think of your own way to use it.
no, but the point i wsa trying to make is that since he uses that as his main form of disto (the muff is used to add sustain aand creamyness and teh rat sometimes takes over), that if you have a thin sounding, solid state disto, the overall sound would be sterile and not quite up to par. but since the chandler has an internal preamp tube, it would give it a distinct tone.
Well thats true and not-I haven’t used one, but its tones are quite heavily used on DB and MLoR
Before that, he didn’t use them-so its not really essential unless you want to get "that" tone. I think
the Big Muff is the staple of his distortion, since he’s been using it for so dang long, but it stands without
gilmour; santana, hendrix, U2, nirvana, this is a very famous distortion, best when vintage.
In the end, yes it is a distinct distortion, but I don’t know if I’d call it essential.
As for the rat, I don’t evan use it as a distortion, its my overdrive, and it does it quite nicely. But sometimes
I like to add it to a big muff to push in alittle more gain and high end rasp. The distortion I got, as in the dry-solo
of money, was nice but I didn’t use it enough, so its an overdrive for me now.
Floyd
: no, but the point i wsa trying to make is that since he uses that as his main form of disto (the muff is used to add sustain aand creamyness and teh rat sometimes takes over), that if you have a thin sounding, solid state disto, the overall sound would be sterile and not quite up to par. but since the chandler has an internal preamp tube, it would give it a distinct tone.
: Well thats true and not-I haven’t used one, but its tones are quite heavily used on DB and MLoR
: Before that, he didn’t use them-so its not really essential unless you want to get "that" tone. I think
: the Big Muff is the staple of his distortion, since he’s been using it for so dang long, but it stands without
: gilmour; santana, hendrix, U2, nirvana, this is a very famous distortion, best when vintage.
: In the end, yes it is a distinct distortion, but I don’t know if I’d call it essential.
: As for the rat, I don’t evan use it as a distortion, its my overdrive, and it does it quite nicely. But sometimes
: I like to add it to a big muff to push in alittle more gain and high end rasp. The distortion I got, as in the dry-solo
: of money, was nice but I didn’t use it enough, so its an overdrive for me now.
: Floyd
: : no, but the point i wsa trying to make is that since he uses that as his main form of disto (the muff is used to add sustain aand creamyness and teh rat sometimes takes over), that if you have a thin sounding, solid state disto, the overall sound would be sterile and not quite up to par. but since the chandler has an internal preamp tube, it would give it a distinct tone.
Well ,not as essential as a Big Muff, but is an awesome addition to any Gilmour style pedalboard.You can use it alone or add it to another unit . If you do seek one out make sure it’s an original BK Butler version with built in AC, not the later Chandler wallwart or Tube Works versions. I’ve had them all there IS a difference.They also work better for Gilmour with a 12AT7 rather than a 12AX7.I ended up getting mine for free. I bought 2 off of harmony-central classifeds and sold 1 for the price I paid for 2 , try it out . Post a want add and hawk the site daily and you’ll be able to do it.
hello guys i was reading the q and that it’s a very interesting question..i’ve discussed on this point very time ago and i would say that his warm, creamy tone is given partially by the Tube Driver but also by the Alembic..some people say it’s the holy grail to obtain Gilmour’s tone..i don’t know really but anyway don’t forget that the Alembic is a BASS preamp so it’s natural that it would give a tone so warm and creamy when applied on a guitar but if i should choose between, i would choose the Alembic because for me it’s the bigger part in Gilmour sound than the Tube Driver..the Tube Driver could be easily substituted with a good overdrive (also a solid state, i’ve got an Ibanez TS-5 heavily modified that sound very good)…a point where i would know something: i would know how Gilmour set the tone controls on his Alembic, especially the mid control..what do you think? i’ve tried to keep the mid control on my amp near max, it’s true that the sound become bigger but it also mess up; instead if i keep it near zero the sound become clearer but it sound a bit thinner..how do you set the mid control on your amps? hope this help..Shine On..
on my amps I keep mid at around 8, although an Alembic is coming up quite fast on my "wish list"
Floyd
: hello guys i was reading the q and that it’s a very interesting question..i’ve discussed on this point very time ago and i would say that his warm, creamy tone is given partially by the Tube Driver but also by the Alembic..some people say it’s the holy grail to obtain Gilmour’s tone..i don’t know really but anyway don’t forget that the Alembic is a BASS preamp so it’s natural that it would give a tone so warm and creamy when applied on a guitar but if i should choose between, i would choose the Alembic because for me it’s the bigger part in Gilmour sound than the Tube Driver..the Tube Driver could be easily substituted with a good overdrive (also a solid state, i’ve got an Ibanez TS-5 heavily modified that sound very good)…a point where i would know something: i would know how Gilmour set the tone controls on his Alembic, especially the mid control..what do you think? i’ve tried to keep the mid control on my amp near max, it’s true that the sound become bigger but it also mess up; instead if i keep it near zero the sound become clearer but it sound a bit thinner..how do you set the mid control on your amps? hope this help..Shine On..
Hi guys, I’ve heard that the PF ENcyclo is not really accurate. Is this so? I know this from a reputable source so i dont know how much to trust it if i buy it (which im debating). Thoughts?
Well most of the information I have read from the book, I have seen on the net-I have talked
to Vernon a few times over message-groups, I believe it to be quite reputable, since I have not
seen any evidence to contradict the book. However, I have learned a few things, like the "custom
big muff" made be pete cornish isn’t really a big muff, its his custom made fuzz-also talking to
Pete about this site, he said he had got quite a few laughs on some of the equipment list-most notably the
fuzz…
Floyd
-in either case it has plenty of fact for 20$ and I haven’t caught any false information, but I use it sparingly
I basicly bought it just for the equipment lists.
: Hi guys, I’ve heard that the PF ENcyclo is not really accurate. Is this so? I know this from a reputable source so i dont know how much to trust it if i buy it (which im debating). Thoughts?
Hi floyd,
you said in a previous post (i forgot) that you use three tab sites exclusivesly. May i have their addresses?
thansk
http://www.eskimo.com/~ogre/pink_floyd/ ~Astoria Guitar site, not all that accurate but what tab is? It has some rare tunes in it
http://www.advancenet.net/~bterwill/ ~Fat Old Sun, The owner is nicer, I’ve posted my tab there, its got some better some worse than astoria
http://www.mikesguitarsite.co.uk/pfloyd/pinkf.htm ~Mikes Site, smallest ammount of material, but its about as close to a transcription by gilmour himself your gunna get to
Floyd
: Hi floyd,
: you said in a previous post (i forgot) that you use three tab sites exclusivesly. May i have their addresses?
: thansk
thank you, floyd-youve been very helpful
Hey, I have an idea, if Floyd, Riis, or anybody else who knows a lot about this guitar info, how about you give out your AOL SN, AIM SN, ICQ #, MSN, whatever so that we can message you while you’re online and actually have a good conversation? That would be really helpful…thanks
I only use ICQ my number is 59315849
e-mail is [email protected]
Floyd
: Hey, I have an idea, if Floyd, Riis, or anybody else who knows a lot about this guitar info, how about you give out your AOL SN, AIM SN, ICQ #, MSN, whatever so that we can message you while you’re online and actually have a good conversation? That would be really helpful…thanks
Is this the amp I should be looking for?
Depends what you want it for.
Floyd
: Is this the amp I should be looking for?
I went to music ground searching for a hiwatt, but the prices are in pounds (which if I’m not mistaken it’s 1.50 for every pound), but again, I’m not in much of a mood to buy something from England and have it shipped here…
Yeah 1.5 : 1 for pounds, it’d be around 860 for a head including shipping (I already called them and talked to them about it)
The funny thing is though, that most hiwatts are still in england, or Europe-but there around the US as well if you look alittle harder.
There prices are probably the most reasonable, 700$ is about the average asking price, but shipping is always a killer.
I say just keep an eye on ebay, although remember, avoid amps created past 81, they’ll go for cheaper because they started using
PC board.
Floyd
: I went to music ground searching for a hiwatt, but the prices are in pounds (which if I’m not mistaken it’s 1.50 for every pound), but again, I’m not in much of a mood to buy something from England and have it shipped here…
Ok, I have been doodling around with the Vrrrruuuum part of sorrow, relating back to the sorrow posts. Try making a normal Amaj on the second fret; however mute the low E and A strings with your middle and pointer fingers, while slowly struming downwards. This will achieve close to what I think GIlmour does. Let me know if anyone has any other suggustions on better or different ways of achieving that particular sound. shine on you crazy dimonds -mark
HI guys, follow the link to see David Gilmour’s two amps i meantioned in a previous post…a mid 70’s (i assume…thanks floyd) Hiwatt 2×12 and a bassman ’59 (originaL! 4×10)…this is when he toured with McCartney last yr or the yer before on his world tour…gilmour is see here playing perhaps his old 50 somethin tele..not sure on years or exact. But look at the amps…the bassman is easily found for 300, the other, im not sure…but with hte bassman alone, i think it would do justice, no? i need opinions on this
http://www25.brinkster.com/scubyfan/davepaul.jpg
if it doesnt work, tell me!
This popular thread has been given its own page : Re: Pictures of Dave’s Amps
i wasnt saying anything more than offering them as reference. the reason he used the combos is in fact closely tied to the fact that they didnt play huge gigs, just moderately sized gigs. I was showing that with just a bassman, and perhaps a 50w hiwatt combo, you can most accurately match his tone (studio tone im talking about). For christ’s sake, his tone is in his fingers. If you suck ass at guitar, a 100,000$ worth of gear will not help you. Fact is, gilmour can play a Kramer Focus through a Fender Frontman and still sound like Gilmour (do we remember the famous quote?: "give gilmour a ukelale, and he will make it sound liek a stradovarius"). The only difference of usinga Hiwatss instead of Frontmans is the quality of the sound, which takes things to another level. So i was offering the idea of using a bassman as a cheaper and a more availabele alternative to the expensive, rare, and worshipped hiwatts. Gilmour recorded "Sorrow" on a fender princeton amp!!! For god’s sake, it’s solid state! But later they ran it thorough a PA to get the huge sound, but the point is, tehre are alternatives to sounding like gilmour. WIth a 100W marshall stack, you can most likely sound like him-that is if you can even play guitar at all…no you, but in genral.
sorry for hte long post
oh yes i agree totally with you but i was talking in my preview post only from a tonal point of view i was trying to give a reason to the fact he used with Paul a Fender and a Hiwatt..only this i didn’t say that the amplifiers he uses are fundamental to obtain his tone…you should read my other preview posts on this site i have always said that Gilmour’s tone is in his fingers. His effects and his amps only help to obtain a particular type of sound…this is the meaning of my words…
oh ok, i guess we had a little misunderstanding. ANyhow, does anyone know if the Fane cabs are even available? and if they are, how much would they cost and are they repairable (like re-coned?)? I really wanna get the Hiwatts…not because Gilmour uses them, but because so many other people do and it has a tone to die for…thanks!
i think we all have forgotten some things..why david has used with Paul either Fender Bassman and Hiwatt 2×12 combo? for the same reason he uses live either Marshall and Wem cabinets..what hell am i saying? think one moment..we know that Fender amp have that hear piercing tone (especially on highs) but Dave has always preferred a smooth tone and for this he use also the Hiwatt combo that is equipped with Fane Crescendo speakers that are famous for their solid but not punchy high end..and this is the same reason for his live setup: it’s true he uses Marshall cab that have a prominent presence and a more puchy high end but he uses also Wem cab that, remember, have the FANE CRESCENDO speakers as Hiwatt that make smooth the high end..it’s for this that David has used with Paul a Fender amp (the Bassman for its superb clean sound) and a Hiwatt combo (either for its superb clean sound and for the smmoth high end that Fane speakers give..)..hope this help..
The reason I really dont’ want a hiwatt is because they use different tubes I heard were kinda tough to get a hold of, I am very loyal to fender, I don’t want to buy a used amp, and fender will give me a warranty. Plus, I’m also into other kinds of guitar playing, like I LOOOVE playing rockabilly, it’s fun, and I’m also very partial to Led Zeppelin tones (although I’ve never been able to match them…any ideas?). Only thing is, I’ve heard that the speakers that come with the Fender 65 Twin Reverb have almost no bass, but and ideas about hooking it up to a good cab? Marshall 4 x 12 sounds good, if I can… am i wrong about anything? please help…thanks floyd, you know more than anyone else about this stuff..
first, hiwatts originally used Mullard tubes, but there are alternatives, as mullard is no longer in business. Ppl like Svetlana and ElectroHarmonix have replicas of those tubes, 84’s i think…so that’s not a problem. Second, i havent heard taht the speakers have no bass on the twin…i know people that are very happy with it, but its too loud and not suitable for home or anything, caues it has to get REAL loud before you get the FENDERY tone. you can hook it up to a marshall 4×12, loaded with vintage 30’s…which i think is what gilmour most likely used…those or greenbacks. But do this if youre gonna play gigs only…cause its not worth it for a home player…too LOUD!
: The reason I really dont’ want a hiwatt is because they use different tubes I heard were kinda tough to get a hold of, I am very loyal to fender, I don’t want to buy a used amp, and fender will give me a warranty. Plus, I’m also into other kinds of guitar playing, like I LOOOVE playing rockabilly, it’s fun, and I’m also very partial to Led Zeppelin tones (although I’ve never been able to match them…any ideas?). Only thing is, I’ve heard that the speakers that come with the Fender 65 Twin Reverb have almost no bass, but and ideas about hooking it up to a good cab? Marshall 4 x 12 sounds good, if I can… am i wrong about anything? please help…thanks floyd, you know more than anyone else about this stuff..
i mean, not 84, 34’s…sorry
: first, hiwatts originally used Mullard tubes, but there are alternatives, as mullard is no longer in business. Ppl like Svetlana and ElectroHarmonix have replicas of those tubes, 84’s i think…so that’s not a problem. Second, i havent heard taht the speakers have no bass on the twin…i know people that are very happy with it, but its too loud and not suitable for home or anything, caues it has to get REAL loud before you get the FENDERY tone. you can hook it up to a marshall 4×12, loaded with vintage 30’s…which i think is what gilmour most likely used…those or greenbacks. But do this if youre gonna play gigs only…cause its not worth it for a home player…too LOUD!
: : The reason I really dont’ want a hiwatt is because they use different tubes I heard were kinda tough to get a hold of, I am very loyal to fender, I don’t want to buy a used amp, and fender will give me a warranty. Plus, I’m also into other kinds of guitar playing, like I LOOOVE playing rockabilly, it’s fun, and I’m also very partial to Led Zeppelin tones (although I’ve never been able to match them…any ideas?). Only thing is, I’ve heard that the speakers that come with the Fender 65 Twin Reverb have almost no bass, but and ideas about hooking it up to a good cab? Marshall 4 x 12 sounds good, if I can… am i wrong about anything? please help…thanks floyd, you know more than anyone else about this stuff..
I see, but I hear Marshall makes a thing called a power break, would that work well with the Fender Twin? Also, if I was looking for ONE hiwatt head to do it all, would you reccomend a 50 watt or 100 watt? when I say do it all, I mean Record at home, practice at home and gig…
a power break is basically something that changes the imput voltage to the amp, which means you can have a relatively quiet, yet cranked amp tone. Now, doing that will give you better tone and will keep your ears worthy, but it will muck up the tubes quicker and can cause retubing to be done earlier. Some people still argue if the poewrbrake is safe for amps, but no one really knows….but what i said is true. I dont know about the hiwatts, i hope floyd can help you on that. but my guess is, from my experience with marshalls and all, get a 100 watt head, as they would be more versatile and prob more easily servicable. Ask floyd tho, i dont know for sure.
Well in response to your first question, I haven’t heard of the "no bass" in a reverb, just thats its loud.
If it ever were a problem an EQ pedal would most likely do the trick.
Between a 100 watt hiwat and a 50 watt hiwatt, depends more for what you plan to do with it. If you take
two of the tubes from a 100 watt, and change the impediance it will go to a 50 watt (well I believe it was 65 in the tests)
but 50 watts is plenty loud, because your going to want to crank it to get the power from the tone.
I’ve heard varying reviews of a Power Brake, enough to know I wouldn’t pay that much for one, but still
the thing you have to remember is its pushing the tubes quite hard, you just can’t really hear it. Its like diming it
out, but only hearig it at half the volume-but when you push the tubes for hard and for long it can cause problems
and severely limit the life of tubes.
I agree with Genrik on the Mullards, although if your a stickler for vintage, ebay sells them from time to time.
Also there is very small differences in the Hiwatt amps, primarily its the amount of tubes, so there just about as
serviceable as any, although I wouldn’t allow any amateur repair man touch it.
Floyd
: a power break is basically something that changes the imput voltage to the amp, which means you can have a relatively quiet, yet cranked amp tone. Now, doing that will give you better tone and will keep your ears worthy, but it will muck up the tubes quicker and can cause retubing to be done earlier. Some people still argue if the poewrbrake is safe for amps, but no one really knows….but what i said is true. I dont know about the hiwatts, i hope floyd can help you on that. but my guess is, from my experience with marshalls and all, get a 100 watt head, as they would be more versatile and prob more easily servicable. Ask floyd tho, i dont know for sure.
Hi Guys! I love floyd and gilmour prob moer than all of you (i bet you find yourself saying tha same thing).haha anyway, we all know he uses 100watt hiwatts on stage, but in teh studio he uses a bassman and a 50 watt combo hiwatt. (212) Since we all love th studio tone, i think ti’s better to find a bassman reissue and a 50 watt hiwatt combo – altho, i think he began using this later on with floyd (post-roger?). If you like divison bell, this is the best for you…i also have a pic of the two amps behind gilmour as he plays with mcartney…if need, ask, ill send
This popular thread has been given its own page : Re: Gilmour’s Studio Amps
oh know, i rememver all those (in fact, you can see the twin reverb in action in the pompeii video when theyre in the studio bit) and the mesa is usualy reserved for overdrive. But my point was it would be easier and a lot cheaper replicating his tone taht way. You cannot possibly say fenders (esp teh bassman) have a dirty tone. This could be an alternative to a full hiwatt stack. Also, the speakers he used on the hiwatss, specifically the Fane Crescendoes, are a big part of his sound as well. Even with the right head, you may sound noticeably differnet than gilmour. SO that wsa just an alternative that i suggested.
Well the PF Encyclopedia says 1970’s 50 watt amps, I’d be more inclined to believe that he is talking
of a dr-504. However, you probably have seen at the hiwatt-uk site which is says of the DG sig 2×12
I’d still bet my money on the head over the 2×12. But Gilmour uses many amps in the studio so its a bit tough
to nail down certain amps-Hiwatt is the most notorious for its clean and tone that doesn’t bend, so it helps to
create a fx-tone that is clean. Of course you forogot Twin Reverb’s he’s used these quite a bit, Mesa Boogie
is also a name forgoten. And of course in the early days Selmer treble and bass. As for the hiwatt being the best
choice (and bassman) for division bell tones I’d have to somewhat agree, the combo is out-rageously expensive.
as are most new hiwatts, and ferdanandes-hiwatt suck, and I have heard reports from UK that the new hiwatt-uk amps
aren’t that great.
So its up to you, I’d personally say a 50-watt dr-504, and a twin reverb should be sufficient for most of the stuff
and in the end, the amp makes a difference, but its not that big-also remember studio tone is heavely modified through
EQ’s, processors, as well as studio tricks.
Floyd
: Hi Guys! I love floyd and gilmour prob moer than all of you (i bet you find yourself saying tha same thing).haha anyway, we all know he uses 100watt hiwatts on stage, but in teh studio he uses a bassman and a 50 watt combo hiwatt. (212) Since we all love th studio tone, i think ti’s better to find a bassman reissue and a 50 watt hiwatt combo – altho, i think he began using this later on with floyd (post-roger?). If you like divison bell, this is the best for you…i also have a pic of the two amps behind gilmour as he plays with mcartney…if need, ask, ill send
i just got a Sans Amp GT2 distortion (the greatest ever) i had a tubescreamer. Should i trade it in 4 a compressor…if so
which 1? i heard the Dynacomp was good.
Get a dynacomp, then if your still craving more, find a Boss CS-2.
I personally am attempting to build an old Orange Treble and Bass boost
to work in conjunction with my big muff right now.
Floyd
: i just got a Sans Amp GT2 distortion (the greatest ever) i had a tubescreamer. Should i trade it in 4 a compressor…if so
: which 1? i heard the Dynacomp was good.
Ok guys, I already have a pretty good amp (100 watt, but it’s solid state, but very good), but I’m thinking of getting a Fender Twin Reverb (1965), but I’m also thinking of getting some effects, (MXR Dynacomp, Big Muff, Overdriven, and DG-20)…what should I buy first? the amp or the effects and dg-20?
It depends what are you looking for in tone? I myself am getting a Sound City L120 (precursor to hiwatt)
in a few days, but twin reverb is very good too.
if I could go back in time I’d have boughten a hiwatt, big muff, electric mistress, overdrive, dynacomp,
and several other effects.
Its all what tone your after, if your more specific I can give you a bit more in-depth response.
and your current amp, what is it?
Floyd
: Ok guys, I already have a pretty good amp (100 watt, but it’s solid state, but very good), but I’m thinking of getting a Fender Twin Reverb (1965), but I’m also thinking of getting some effects, (MXR Dynacomp, Big Muff, Overdriven, and DG-20)…what should I buy first? the amp or the effects and dg-20?
to buy either the Lexicon PCM81 (mint condition) or a new Lexicon MPXG2, which would you buy..? and why ??
hmm, check out harmony-central.com and read reviews?
Floyd I almost bought a PCM81 a bit ago for reverb
: to buy either the Lexicon PCM81 (mint condition) or a new Lexicon MPXG2, which would you buy..? and why ??
ok guys..first of all..what the unit must to be used for?? if you want a multi effect unit I would buy the MPXG2, although that IS NOT one of the best multi effect unit on the market..instead if you want only a reverb unit i would buy the PCM81..the PCM unit from Lexicon are famous for their fantastic reverb..it’s one of the best reverb out there and also the PCM81 sounds very close to the old Binson echo units (not as the PCM70 Dave has but in a similar way..) so all depends by the use of the units but if i were you (and i am a huge fan of Pink Floyd and David Gilmour) i would buy the PCM81 but this is only an opinion so..hope this help..and Shine On!!!…
already done that…. thought someone here might have had personal experience or insight. guess not. in fact I’ve asked a couple of questions here lately that apparently has stumped the panel.
: hmm, check out harmony-central.com and read reviews?
: Floyd I almost bought a PCM81 a bit ago for reverb
: : to buy either the Lexicon PCM81 (mint condition) or a new Lexicon MPXG2, which would you buy..? and why ??
Thanks Floyd and Andrea…. went with the PCM-81 (given 99% studio work)
: already done that…. thought someone here might have had personal experience or insight. guess not. in fact I’ve asked a couple of questions here lately that apparently has stumped the panel.
: : hmm, check out harmony-central.com and read reviews?
: : Floyd I almost bought a PCM81 a bit ago for reverb
: : : to buy either the Lexicon PCM81 (mint condition) or a new Lexicon MPXG2, which would you buy..? and why ??
I guess you could try to go to a guitar center or some place that
you can mess with either one, I don’t like posting on things I don’t have experience with.
Floyd
and for most posts I can say something, but its not usually worth it
Andrea is a great source that can answer most questions that I can’t
:
: already done that…. thought someone here might have had personal experience or insight. guess not. in fact I’ve asked a couple of questions here lately that apparently has stumped the panel.
: : hmm, check out harmony-central.com and read reviews?
: : Floyd I almost bought a PCM81 a bit ago for reverb
: : : to buy either the Lexicon PCM81 (mint condition) or a new Lexicon MPXG2, which would you buy..? and why ??
Whats your suggestions, should I purchase a reverb, or a wah right now? I plan on getting the vox wah, but not quite sure about reverb, maybe the Boss RV-3…any suggestions on which to get first, and any cheap reverb boxes?
My setup:
DG20-CS2-Rat2-Muff-Electric Mistress-MXR Phase 90-DD5-practice amp, Sound City head should be coming in about 2 weeks!
Floyd
: Whats your suggestions, should I purchase a reverb, or a wah right now? I plan on getting the vox wah, but not quite sure about reverb, maybe the Boss RV-3…any suggestions on which to get first, and any cheap reverb boxes?
Floyd—-Get yourself an RV-2 Boss Reverb pedal. Stay away from the RV-3 IMO it’s crap.I’ve had both and now use the RV-2. The RV-2 has awesome sound for a pedal.My Mesa amp has tube reverb but it’s barely noticable so I added the RV-2 to it and it’s sweet. You can find them on Harmony-Central Classifieds cheaper than Ebay, You’ll pay @$100 + shipping for one but you may be able to steal a deal if you are picky about the search. I also have the VOX wah, another awesome pedal , 1 thing though, you’d need to buy a Carling DPDT switch for it and put it in or have someone do it. IT IS THE WAH once you have this done . it provides perfect true bypass which really helps when you aren’t using it. Otherwise it does color your tone. But it’s blows away any other WAH I’ve tried once the switch is installed. You can also put in a Fulltone 3PDT. All in all these 2 pedals are a must have (not optional for me)and 2 I can’t live without, try this , just turn the Wah on and leave the pedal down so you get treble with your foot off and use it wih the RAT 2 , what a sweet tone with single coils. It’s your choice because in the long run you’ll need both, I’d search out an RV-2 first since you can’t buy one in a store.
: My setup:
: DG20-CS2-Rat2-Muff-Electric Mistress-MXR Phase 90-DD5-practice amp, Sound City head should be coming in about 2 weeks!
: Floyd
I was about ready to order a David Gilmour Signature Hiwatt Amp Head, but when I contaced them, they said they won’t ship amps to the US anymore…FUCK THAT!
: I was about ready to order a David Gilmour Signature Hiwatt Amp Head, but when I contaced them, they said they won’t ship amps to the US anymore…FUCK THAT!
If you are interested in the straight story regarding a David Gilmour signature Hiwatt you should contact me.
This popular thread has been given its own page : Re: FUCKING HIWATT
Search music ground on the internet-I have heard bad reports evan from the UK Hiwatt owners. Music Ground carries only quality hiwatts, and you can spend another 150$ or so and have the same mods put on-trust me, buy a vintage one and put the mods in, its still generally cheaper than a new one and your guarenteed a great amp
You know its great because they only deal Hylight era units (which is the holy grail) after that they started using PC Board, the newest ones don’t but I’ve just heard reports from a few people about them.
Another thing, don’t you hate shipping charges, 150$ bucks to recieve a head from the UK, my god! I’ve heard stories of people searching around pawn shops and old used music stores for them and finding them quite cheap because the owners don’t have a clue to them…
hope this helps.
Floyd
: I was about ready to order a David Gilmour Signature Hiwatt Amp Head, but when I contaced them, they said they won’t ship amps to the US anymore…FUCK THAT!
1) WHen you buy a strat, it comes stock with 2 tone controls, but when you buy a DG-20 they’re replaced with an SPC and an EXG? Does that mean you can’t use the regular tone controls that come with a strat, cause I like them, but I also like the DG-20 sound…
2)Would Fender Vintage Noiseless pickups be a good choice to capture that 70’s sound? Cause I’m thinking the DG-20 would do it just fine…
3)How do Regular EMG-SA Pickups sound without the SPC and EXG? Would THAT be a good way to go for 70’s sound? Cause I’m thinking I could just switch the tone controls if I wanted the classic sound…(assuming there’s no way you can use stock tone controls at the same time as the SPC and EXG)
1:Well I had my strat for 2 weeks before throwing in the DG20, so can’t be much help, although I like the SPC and EXG so much more
2. These aren’t exactly 70’s feeling pickups, EMG’s are unique, but it takes the raw edge from it, and puts
in, well exactly what you play.
3. They sound somewhat similiar to a processed sound. (turn them both off to all you that have them)
Don’t get me wrong I love the DG20 and if its floyd your after you can’t go wrong, but it has its limitiations,
it throws away the raw tone, and isn’t exactly for playing metal-however if you have the effects you can get any tone you
want for the most part.
Think of it like a hiwatt, alot of people like it because its so dang clear, and allows you to color your tone
yourself.
Floyd
: 1) WHen you buy a strat, it comes stock with 2 tone controls, but when you buy a DG-20 they’re replaced with an SPC and an EXG? Does that mean you can’t use the regular tone controls that come with a strat, cause I like them, but I also like the DG-20 sound…
: 2)Would Fender Vintage Noiseless pickups be a good choice to capture that 70’s sound? Cause I’m thinking the DG-20 would do it just fine…
: 3)How do Regular EMG-SA Pickups sound without the SPC and EXG? Would THAT be a good way to go for 70’s sound? Cause I’m thinking I could just switch the tone controls if I wanted the classic sound…(assuming there’s no way you can use stock tone controls at the same time as the SPC and EXG)
I personally think of the exg and spc as enhancements rather than replacements for the original tone controls. In other words, once you get the hang of these two controls, they enable you to do everything that the original tone controls do and much more. So you’re not losing anything, only gaining.
Same cannot be said about the pickups. Yes, you will lose the "raw" sound in exchange for a very "processed" sound, which numerous people on this discussion board have complained about in the past. But for me, it’s an acceptable tradeoff.
My only complaint is the pearl pickguard that comes with the set – I wish it was plain white.
: 1:Well I had my strat for 2 weeks before throwing in the DG20, so can’t be much help, although I like the SPC and EXG so much more
: 2. These aren’t exactly 70’s feeling pickups, EMG’s are unique, but it takes the raw edge from it, and puts
: in, well exactly what you play.
: 3. They sound somewhat similiar to a processed sound. (turn them both off to all you that have them)
: Don’t get me wrong I love the DG20 and if its floyd your after you can’t go wrong, but it has its limitiations,
: it throws away the raw tone, and isn’t exactly for playing metal-however if you have the effects you can get any tone you
: want for the most part.
: Think of it like a hiwatt, alot of people like it because its so dang clear, and allows you to color your tone
: yourself.
: Floyd
: : 1) WHen you buy a strat, it comes stock with 2 tone controls, but when you buy a DG-20 they’re replaced with an SPC and an EXG? Does that mean you can’t use the regular tone controls that come with a strat, cause I like them, but I also like the DG-20 sound…
: : 2)Would Fender Vintage Noiseless pickups be a good choice to capture that 70’s sound? Cause I’m thinking the DG-20 would do it just fine…
: : 3)How do Regular EMG-SA Pickups sound without the SPC and EXG? Would THAT be a good way to go for 70’s sound? Cause I’m thinking I could just switch the tone controls if I wanted the classic sound…(assuming there’s no way you can use stock tone controls at the same time as the SPC and EXG)
: I personally think of the exg and spc as enhancements rather than replacements for the original tone controls. In other words, once you get the hang of these two controls, they enable you to do everything that the original tone controls do and much more. So you’re not losing anything, only gaining.
: Same cannot be said about the pickups. Yes, you will lose the "raw" sound in exchange for a very "processed" sound, which numerous people on this discussion board have complained about in the past. But for me, it’s an acceptable tradeoff.
: My only complaint is the pearl pickguard that comes with the set – I wish it was plain white.
: : 1:Well I had my strat for 2 weeks before throwing in the DG20, so can’t be much help, although I like the SPC and EXG so much more
: : 2. These aren’t exactly 70’s feeling pickups, EMG’s are unique, but it takes the raw edge from it, and puts
: : in, well exactly what you play.
: : 3. They sound somewhat similiar to a processed sound. (turn them both off to all you that have them)
: : Don’t get me wrong I love the DG20 and if its floyd your after you can’t go wrong, but it has its limitiations,
: : it throws away the raw tone, and isn’t exactly for playing metal-however if you have the effects you can get any tone you
: : want for the most part.
: : Think of it like a hiwatt, alot of people like it because its so dang clear, and allows you to color your tone
: : yourself.
: : Floyd
: : : 1) WHen you buy a strat, it comes stock with 2 tone controls, but when you buy a DG-20 they’re replaced with an SPC and an EXG? Does that mean you can’t use the regular tone controls that come with a strat, cause I like them, but I also like the DG-20 sound…
: : : 2)Would Fender Vintage Noiseless pickups be a good choice to capture that 70’s sound? Cause I’m thinking the DG-20 would do it just fine…
: : : 3)How do Regular EMG-SA Pickups sound without the SPC and EXG? Would THAT be a good way to go for 70’s sound? Cause I’m thinking I could just switch the tone controls if I wanted the classic sound…(assuming there’s no way you can use stock tone controls at the same time as the SPC and EXG)
I agree wih the guys, I have this set also, and at times I do wish I can take out the SPC and EXG.If you want that early Floyd droop then go with the Fender Vintage Noiseless. I like to have both on prewired pickguards so I can put them in an out depening on the mood that week. I’d like to find out which Dimarzio Pickup he used in the 70’s in the bridge but I can’t find an answer.The DG-20 is a great set but only good for late 80’s and 90’s Floyd.They are dead quiet for single coils.And they really power a long effects chain like mine, the Vintage pickups can’t do that very well.Good Luck
1) WHen you buy a strat, it comes stock with 2 tone controls, but when you buy a DG-20 they’re replaced with an SPC and an EXG? Does that mean you can’t use the regular tone controls that come with a strat, cause I like them, but I also like the DG-20 sound…
2)Would Fender Vintage Noiseless pickups be a good choice to capture that 70’s sound? Cause I’m thinking the DG-20 would do it just fine…
3)How do Regular EMG-SA Pickups sound without the SPC and EXG? Would THAT be a good way to go for 70’s sound? Cause I’m thinking I could just switch the tone controls if I wanted the classic sound…
Now I’m sure most of you guys learn to play guitar songs through tablature, which is fine, but I have trouble reading it. I understand how to read it, but Tabs always seem to get EVERY little pluck of the string in, even ones you can barely hear, or don’t even notice when you listen to the song, so when I read them, I get all confused and caught up and lost cause I think I’m playing one note from the song, but the tabs are reading some off-the-wall note he plays that you can’t even notice…can anyone help me out? Do you understand what I’m saying? Thanks guys
Well thats just part of the trouble of having to read tabs, most are nothing but reference when you teach
yourself the song, I can’t stand reading sheet music…however theres nothing much you can do, I only use three
sites for floyd (astoria guitar site, fat old sun guitar tab, and mikes guitar page) I tend to ignore ghost notes
unless I am really into the song, but in the end I’ll do my own and stray off into my own style.
Floyd
: Now I’m sure most of you guys learn to play guitar songs through tablature, which is fine, but I have trouble reading it. I understand how to read it, but Tabs always seem to get EVERY little pluck of the string in, even ones you can barely hear, or don’t even notice when you listen to the song, so when I read them, I get all confused and caught up and lost cause I think I’m playing one note from the song, but the tabs are reading some off-the-wall note he plays that you can’t even notice…can anyone help me out? Do you understand what I’m saying? Thanks guys
Has anyone had a chance to listen to both and compare? I know I want a chorus pedal from Roland, I just can’t decide which one. Any suggestions? Any other chorus pedals out there that’s worth a look?
Thanks.
Leo
THE CE-1 IS THE BEST,ONLY ITS AC POWERED,BUT HAS VIBRATO SECTION &@ STEREO OUTS,NEWER CE-5 IS A GREAT CHORUS.THE CE-2 IS GOOD BUT MONO NOT STEREO OUTS.THE CH-1 I HAVE NEVER TRIED,I DOUBT IT TOPS THE CE-1 OF CE-5.ARION ALSO MAKES GREAT CHORUS PEDALS AS DOES ANALOG MAN,WWW.ANALOGMAN.COM. HEY FOR OTHER GREAT FX & THE PROVIBE UNIVIBE CHECK OUT DAVE FOX’S http://WWW.FOXROXELECTRONICS.COM,THE GUY IS A F-ING GENIUS!! GOOD LUCK IN YOUR SEARCH!ID GO FOR THE BOSS CE-1 CHORUS ENSEMBLE CHORUS/VIBRATO,ITS A CLASSIC!!! ABOUT $150-250.00
is the Arbiter (is that what it’s called?) Fuzzface found in musicians friend a good fuzzface? THanks guys, you guys know more about this stuff than anyone I’ve ever talked to, you guys are my heroes 🙂
No I hear it sucks, that is why I didn’t buy it. I don’t have the time right now, but search the net for reviews of the
fuzzface, theres one guy in paticular who charges like 20$ and he’ll put the original transistors and make it
specificly like a vintage (who would think that re-issue is not built the same lol) I believe transistors where the biggest
part of the vintage tone, hope this helps.
Floyd
: is the Arbiter (is that what it’s called?) Fuzzface found in musicians friend a good fuzzface? THanks guys, you guys know more about this stuff than anyone I’ve ever talked to, you guys are my heroes 🙂