(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!
In Roger Mayer´s web site in users, there is mention of David Gilmour
Does anyone knows what roger mayer product he uses
so david use ghs boomers on hi strat. i have try these strings with a similar gauge and i have verify that these are very bright but less flexible when i use bhending. so i use d’addario and i don’t think that david use these type of strings. what do you think abuot this?
Realy is very dificult to compare diferent strings, because on depend to the guitar too (kind of bridge, neck, etc…) and anothers external factors (is not the same to play at house, and to play in always very hot stage ambience (for the ligths, equipment, etc…) I also use D’addario whit my EMG/DG-20 Fender Strat, but a very special gauge: the 0.95 (is in the middle of 0.9 and 0.10). I recomended for you because are a very good and hot sound and is not very hard like the 0.10 gauge. You can sound like DG and not destroyer yours fingers!!!!
Hey guys, I just bought a new Fender Standard Strat. I notice that the bridge is propped way up high! WHy is that? Everyone says I need to lower it…how do I lower it?
You lower it by opening the back panel of your guitar and turning the screws connected to the springs in a clockwise direction (righty-tighty) until the bridge is about 1/8 inch high.
: Hey guys, I just bought a new Fender Standard Strat. I notice that the bridge is propped way up high! WHy is that? Everyone says I need to lower it…how do I lower it?
Did you change the string gauge? Was this bought new. Srats usually come with .09’s on it. I feel .09’s are too thin so I have to switch to .010’s. The problem with strats is that if you change the gauge the bridge popsup like you describe. Once this happen you have to have the guitar setup. You can go in and turn the screws which will raise your springs and bring the bridge back down but once you do this your intonation will be fucked. You will notic that the guitar doesn’t feel right. You need to have someone set it up right.
Well when I bought it it came with rather light Fender Super Bullets. I changed them to a medium gaged GHS boomers…
Yeah, you have to have it re-setup to be able to handle that gauge. Then once it’s set, next time you change your strings keep the gauge thats on them and change them one at a time so that the bridge doesn’t go out of whack again.
Oh yeah, and when i changed my strings after I first got my guitar, I took off all the strings at once…
Couldn’t I just unscrew the back and adjust the bridge again?
If you bought it new, it must have come with extra springs (or replacement strings that are harder). Don’t forget to experiment with adding/replacing strings, as sometimes this is necessary when you increase the string gauge.
By the way, an alternative to restringing one at a time is to block the bridge in place from behind with a thin block of wood or something. I keep a wedge-shaped piece of wood just for this purpose and stick it in the back every time I restring or adjust the guitar’s action. It really makes things much easier. Leo
:Oh yeah, and when i changed my strings after I first got my guitar, I took off all the strings at once…
: Couldn’t I just unscrew the back and adjust the bridge again?
Oh yeah, and when i changed my strings after I first got my guitar, I took off all the strings at once…
Hi!
Should i buy Big Muff or Fuzz Face.
I want to create an early 1969-1973 era Pink Floyd sound.
Thanks.
Paltsa
Early distortion would be a Fuzz-face. The Big Muff wasn’t around until 1975 or so. He used both a Fuzz-face and a Big Muff in his ’76 rig.
: Hi!
: Should i buy Big Muff or Fuzz Face.
: I want to create an early 1969-1973 era Pink Floyd sound.
: Thanks.
: Paltsa
So for Echoes or earlier that’s the fuzz face? Could you explain the differences a bit?
: Early distortion would be a Fuzz-face. The Big Muff wasn’t around until 1975 or so. He used both a Fuzz-face and a Big Muff in his ’76 rig.
:
: : Hi!
: : Should i buy Big Muff or Fuzz Face.
: : I want to create an early 1969-1973 era Pink Floyd sound.
: : Thanks.
: : Paltsa
I am interested in getting a wireless system for my guitar but I don’t know what I should be looking for. What type does David Gilmour use? Any help would be great!
Gilmour used a Schaffer Vega wireless system on the Wall tour but now he uses a Samson system. I’m not sure about which models he used.
: I am interested in getting a wireless system for my guitar but I don’t know what I should be looking for. What type does David Gilmour use? Any help would be great!
i have buy a fender stat vintage ’57 made in american and the emg pro-serie DG20,
but these pickup are too big and i must modify the guitar.
is it possible?
Yes, you must modify the guitar, and yes, it is possible.
If your problem is the same one that I had, then your pickups sit too high and touch the strings when the strings vibrate, correct?
What you’ll need is a hammer and chisel. Measure how much lower the pickups need to get, and simply dig deeper into where the pickups sit. A couple millimeters should suffice. I did this, and the everything fits just fine. Go slow and careful to not damage the guitar! You’re not dealing with a Squire here!!
Of course, next you’re going to have the problem of the number and locations of screw holes not matching. For this, I simply bought a new pickguard and transferred all the electronics over from the DG20. I didn’t like the cheesy pearloid pickguard anyway 🙂 Hope this helps.
LEO
: i have buy a fender stat vintage ’57 made in american and the emg pro-serie DG20,
: but these pickup are too big and i must modify the guitar.
: is it possible?
Man I HAVE to get some sort of delay pedal. I have been looking on Ebay and stuff but I really don’t know what to get. Do I get analog or digital? Which represents Mr. Gilmour more for both new and old Floyd? Does anyone have any reccomendations for me? I have a mistress, muff, phase 90, american strat with stock neck and mid pickups and a dimarzio fast track 2 in the bridge all going into a marshall vs65 combo with NO delay pedal. Delay is essential yet I don’t have it. Give me a hand fella’s. Thank you!
– Chris Failla
Hi,
I use the Line6 DL4 (16 delay types).
Is great for Pink Floyd Songs (Ecos/Reverse/Memory Man/Boss
are efects presents in this stomp box).
Try picking up a lexicon reflex quality delays and verbs at low cost also pick up a compressor pedel ideal for shine on
Try picking up a lexicon reflex quality delays and verbs at low cost also pick up a compressor pedel ideal for shine on
You are quite a hero for surviving this long without a delay – what a feat!
From personal experience, I’d recommend a Boss DD-3. They’re not that expensive on eBay.
: Man I HAVE to get some sort of delay pedal. I have been looking on Ebay and stuff but I really don’t know what to get. Do I get analog or digital? Which represents Mr. Gilmour more for both new and old Floyd? Does anyone have any reccomendations for me? I have a mistress, muff, phase 90, american strat with stock neck and mid pickups and a dimarzio fast track 2 in the bridge all going into a marshall vs65 combo with NO delay pedal. Delay is essential yet I don’t have it. Give me a hand fella’s. Thank you!
: – Chris Failla
You’re right you do need a delay pedal right away!!
just get a Boss digital delay pedal. You will be all set, trust me.
What are the best and worse Pink Floyd albums, and why???
The best Floyd album for me is Animals! It just takes you for that endless ride right form the start. It has the perfect mix of acoustics and features by far the best playing from all ecspecially Gilmours leads and the drums. It’s like Prog rock… Awesome album!!! The worst Floyd album for me is prob Ummagumma. Not because I dont like it but because I just couldn’t listen to it anymore without going insane! I love this album but it just brings back too much crazieness from my youth.. Anyway I love all floyd albums…
The best for sure IS Animals! Second best I’d say is Dark Side of the Moon followed by Wish you were here or Obscured by clouds. The Wall would come next, then More, then Saucer, then Piper. Ummagumma just isn’t quite there to me. All the post Wall stuff just plain sucks I think. You can totally see a change in sound…not even Floyd sounding.
Hi!
Does anyone knows what effects David Gilmour used in 1975-1977 era.
In some Pink Floyd books have a pictures where David is having huge pedalboard.
I would really like to know what those effects are in the board.
Thanks
This popular thread has been given its own page : Re: Gilmours efeects 1975-1977 era?
: Hi!
: Does anyone knows what effects David Gilmour used in 1975-1977 era.
Oh yes…
—Spare Bricks Archive—
The 1977 tour for Animals also brought new technology forward as Gilmour toured with a Pete Cornish pedal board for the first time. Three Cry-Baby Sweep Pedals sat on the left side of the board as a tone control (for Fuzz Bass), volume pedal and wah-wah. An earlier version of an Electro-Harmonix Electric Mistress Flanger can be seen next to an Electro-Harmonix Big Muff. The photograph also shows an extensive line up of foot switches – each used to control pedals and combinations of pedals. Other pedals included an MXR Phase 90, Orange Treble and Bass Booster, Arbiter Fuzz Face, Noise Gate, and an MXR Digital Delay. A Binson Echorec that Gilmour had used for many years sat at the top of his amp heads.
Another set of three independent output switches was used to send the signal to any of his amps or any combination. The amplifier list included Hiwatt heads and WEM speaker cabinets.
—End—
—More Animals Era Details—
March 4 1976 was the day that Pete Cornish, one of the world’s top guitar amplification and effects authorities, started work on designing his first effects pedalboard for David Gilmour. And more than 20 years later, he is still assisting the band’s frontman. Gilmour’s first Cornish board consisted of:
o a two guitar input selector and strobe tuner feed
o Dallas Arbiter Fuzz Face
o MXR Phase 100
o MXR Dynacomp
o noise gate
o Uni-Vibe
o Pete Cornish Custom Fuzz
o Cry Baby
o three Cry Baby sweep pedals, modified as:
o tone control
o volume pedal
o wah-wah
o three outputs with independent on/off switches allowed Gilmour’s simultaneous use of any or all of his amps.
Modifications, including the addition of a Colorsound treble and bass boost unit, were made to the board for the "In The Flesh" tour of 1977.
—End—
—Dave himself in 7/78 interview—
I do have a pedal-board, but it’s nothing that miraculous. It’s just got a whole bunch of regular effects pedals built-into it – volume controls, tone controls. It’s also got send and return so that I can insert new battery things into the circuitry so it doesn’t have to come out at the beginning or the end."
"I’ve got two different fuzz-boxes. One’s a Big Muff and one’s a Fuzz Bass, which has a tone control with it so when you switch into that circuit, you get the tone control as well. There’s a flanger, a phaser, noise gate, treble, bass boost. That’s basically about it. There was a Univibe, but I took it out when something else had to go in, and I use an MXR Digital Delay now instead of a Binson."
—End—
—Guitar Player May 1979—
Gilmour’s current stage panel consists of an MXR Phase-90, an Electro-Harmonix Electric Mistress flanger, an Orange treble and bass booster, a Big Muff fuzz, an Arbiter Fuzz Face, and a custom-built tone pedal.
All pedals are wired so that any one of them can be bypassed. At various points in the circuitry there are outlets which connect externally to the pedalboard. These have two sockets housing short-circuit connectors so that two short wires can be attached to connect another external effect into the system. There are also three output switches allowing David to route the signals to different amplifiers.
The board is on at all times and there are no individual on/off switches; there is one in/out selector switch so that the signal goes through the circuitry only when a pedal is being used. Thus, David can preset any combination of pedals he desires and send the signal through them simultaneously.
—End—
—Wall Tour Details—
Effects include an Electro-Harmonix Deluxe Electric Mistress Flanger, Electro-Harmonix Big Muff, MXR Phase 90, Dallas Arbiter Fuzz Face, Uni-Vibe, Jim Dunlop Cry Baby Wah and 3 Cry Baby Sweep Pedals (tone control, volume pedal, and wah-wah.)
There is no listing for a delay pedal in 1979 though it should be mentioned that Gilmour used an MXR Digital Delay pedal during the 1977 tour for Animals.
—End—
Anybody have pics or know what website has pics of Dave Gilmour’s lap steels.
: Anybody have pics or know what website has pics of Dave Gilmour’s lap steels.
: : Anybody have pics or know what website has pics of Dave Gilmour’s lap steels.
Yes I know where they are
: Anybody have pics or know what website has pics of Dave Gilmour’s lap steels.
not a great one but the only one i can find http://www.mphase.com/gifs/gilmour.jpg
I am looking at buying a Yamaha DG-Stomp multi fx unit and would like to know how easy it is to get a good David Gilmour sound out of it. Any suggested settings? Any help or info would be appreciated!
Make sure it has. delay, compression, phase, tremelo, distortion, wah, flange.
I’d stick with stomp boxes, as Gilmour said, "you can’t get an accurate sound out of Multi Fx’s that you can get from stomp boxes."
: Make sure it has. delay, compression, phase, tremelo, distortion, wah, flange.
I’m shopping for a Twin Reverb, and I’d like some guidance from those who are familiar.
First of all, what is the big deal that people make about silverface vs blackface?
Is there a desirable year range (60’s, 70’s, etc) that I should target, or are they all the same?
Anyone know about the particulars of the Twin Reverb(s) that Gilmour used (uses)? Did He make any modifications?
Thanks a million in advance! Leo
Well, the one Gilmour used was a 1965 Twin Reverb, which I also own. The difference between the ones sold during that year and the reissues are the point to point wiring. Not a big difference, slighty noticable, the reissues should be just fine, except they’re also EXTREMELY LOUD. Loud enough to use by itself and compare up to Marshall Fullstacks cranked. You can lower the wattage by taking out some tubes which can help, and I think there’s something else you can do….can’t remember, talk to someone at a music store. I really like this amp a lot. It’s a lot more solid and crisp than the hiwatts, and the price is a lot nicer. Countless musicians have used these, such as just about every surf band during that time period, Doobie Brothers (listen to that crispness during the Johnston era)…and contless other bands…great amp
I’ve heard that the Mistress (well, flangers in general) can be used a Leslie simulator. Has anyone done this, and if so, at what setting have you found it to work best?
: I’ve heard that the Mistress (well, flangers in general) can be used a Leslie simulator. Has anyone done this, and if so, at what setting have you found it to work best?
I never heard that but you can get a tremelo pedal and simulate a leslie pretty well.
hi all, does anybody know where i can find tabulatures of division bell? tnanks.
Hi, you can try free in this web site:
http://utopia.knoware.nl/users/ptr/pfloyd/index.html
: hi all, does anybody know where i can find tabulatures of division bell? tnanks.
should be a book available at amazon.com
hi there
in echoes-intro from the "live in pompeii"-video david slides up and down the fingerboard with his bottleneck without picking.
i´ve tried all different kinds of effect-setup, but my strings remain silent.
how can i make my strat sing like this?
thanx, vini
You need some delay.. turn the feedback way up… make sure you pickup is in the bridge position.. give yourself a little extra volume.. with your right hand hold down the low E to the B string leaving open the high E…. hold your slide over the fret not sure which one right now try around the 17th-19th…and slowly start sliding up and down right on the fret… move the slide to approprite frets till you have echoes pompeii. Importnat factor is you have to use a metal slide and not glass or it wont work! you also need to use the bridge pickup.. If you need the fretting positions I can give them to you just let me know.. also let me know when you try it if it works or not.
peace
There’s another question about ECHOES (about the middle section): How do Dave imitate the bird singing or seagulls with his guitar?
Do he connect it with a VCS 3?
There’s another question about ECHOES (about the middle section): How do Dave imitate the bird singing or seagulls with his guitar?
Do he connect it with a VCS 3?
: There’s another question about ECHOES (about the middle section): How do Dave imitate the bird singing or seagulls with his guitar?
: Do he connect it with a VCS 3?
He uses a slide really high up on the strings and loads of reverb.
http://www.gargantuansound.com
or use your right hand with the slide and cover the strings with your left hand.. Whatever feels better.
hi all, my question is what kind of fx dave used on "keep talking" from division bell in last solo. i think that’s any variation of talker…
: hi all, my question is what kind of fx dave used on "keep talking" from division bell in last solo. i think that’s any variation of talker…
Helix box is the talker he probly used, in the first part he uses a e-bow
I am looking to buy the boss super Overdrive but i have question first. Is over drive strictly associated with distortion overdrive? Or is it possiable to overdrive a Clean channel. Also, is it overdrive i hear a little on the Pulse Version of Shine On in the 1st solo? and also on ABITW II…what else does he use it for? thanks guys..all the best-mark
Hey guys
Well that should be fine, I hear they have some good tube overdrives, that literally use tubes, I’ve never used one though.
I have quite a few live albums (bootlegs) and everytime
Shine On You Crazy diamond was played, it was overdriven for
solo 1. I’d assume its because it gets alittle more difficult to play clean in an arena, and the sustain with overdrive is a bit longer.
As for on Pulse, I’m not exactly sure, if I had to put money on it, I’d say its lightly overdriven, most likely from the amps.
For tunes overdriven it can be alittle more seldom. I like to use overdrive in conjunction with the Muff to improve the higher EQ sections.
Animals, used quite a bit of overdrive-its a very useful peice for rythem parts, which is seldom talked about here, but if you listen, you almost can always hear it.
For early material it is also nice to have, I find myself using overdrive more and more as time goes one, I use a vintage RAT for my overdrive, as its a bit hard to overdrive my amp – in any case, you’ll find overdrive extremely useful.
Floyd
: I am looking to buy the boss super Overdrive but i have question first. Is over drive strictly associated with distortion overdrive? Or is it possiable to overdrive a Clean channel. Also, is it overdrive i hear a little on the Pulse Version of Shine On in the 1st solo? and also on ABITW II…what else does he use it for? thanks guys..all the best-mark
Farley, is the Peavey Bandit 112 as good for Gilmour as you say it is? I might think it would be cause it’s known to be the closest to a tube sound with a solid state amp…anyone else have an opinion?
Aaaargh!!!!What i have to do with my USA Big Muff? Plase, tell me about the right setting for Shine (crunch sound) and Money or Comfortably (distort sound). Is there any kind of different between USA and Russian one? And what about black one and red one?
The last: why the Big muff is so noisy? Is it normal? Tank you and good bye cruel world
I don’t use the Muff for Shine and Money. For Comfynumb, I have the sustain at 12 o’clock. Tone setting really depends on other factors – your amp and its settings, where you set your graphic equalizer, etc, but in my case, I leave it at 12 o’clock most of the time. Level (volume) is also obviously subjective and it depends on whether or not my neighbors are home, but I usually set it between 8 and 9 o’clock.
I have the USA (silver) and I’m happy with it, since it nails Comfynumb when combined with the Mistress and some delay.
With regards to the noise, yes I think it is normal. Based on my personal experience, getting EMG SA’s really really helped. With my stock pickups, the Muff was buzzing whenever idle, but the moment I replaced the pickups, the buzzing disappeared like magic. Now I’m not suggesting you go out and get these the SA’s; I’m just telling you that for me they helped.
: Aaaargh!!!!What i have to do with my USA Big Muff? Plase, tell me about the right setting for Shine (crunch sound) and Money or Comfortably (distort sound). Is there any kind of different between USA and Russian one? And what about black one and red one?
: The last: why the Big muff is so noisy? Is it normal? Tank you and good bye cruel world
Have all controls at 12:00. That is what Gilmour uses. Don’t use it for Shine On, use a booster for that instead.
: I don’t use the Muff for Shine and Money. For Comfynumb, I have the sustain at 12 o’clock. Tone setting really depends on other factors – your amp and its settings, where you set your graphic equalizer, etc, but in my case, I leave it at 12 o’clock most of the time. Level (volume) is also obviously subjective and it depends on whether or not my neighbors are home, but I usually set it between 8 and 9 o’clock.
: I have the USA (silver) and I’m happy with it, since it nails Comfynumb when combined with the Mistress and some delay.
: With regards to the noise, yes I think it is normal. Based on my personal experience, getting EMG SA’s really really helped. With my stock pickups, the Muff was buzzing whenever idle, but the moment I replaced the pickups, the buzzing disappeared like magic. Now I’m not suggesting you go out and get these the SA’s; I’m just telling you that for me they helped.
: : Aaaargh!!!!What i have to do with my USA Big Muff? Plase, tell me about the right setting for Shine (crunch sound) and Money or Comfortably (distort sound). Is there any kind of different between USA and Russian one? And what about black one and red one?
: : The last: why the Big muff is so noisy? Is it normal? Tank you and good bye cruel world
I have the black one I think it’s russian. I’m not sure what the difference is? which one do you have? Mine can be pretty noisey as well but I usually just clck it on and play for solos n shit. You cant really hear the oise when you’re playing but more when its just sitting there on. I prety much leave my settings the same and play the tunes you mentioned above. My gain is all the way up, My sustain all the way up and my tone almost all the way up. If you take away the gain you’ll get less noise but less sustain!
i have a boss me 10 does anyone out there have any settings that imitate the gilmour sounds i could try, many thanks
Does someone know what effects Gilmour uses on "Run Like Hell". It sounds like he uses a comproser in the beginning where he strums those chords. "Thanks"
: Does someone know what effects Gilmour uses on "Run Like Hell". It sounds like he uses a comproser in the beginning where he strums those chords. "Thanks"
dynacomp compresser, digital delay (has to be set with lots of feedback and speed adjusted to the song you have to listen and tweak it) also he uses the electric mistress flanger. Also drop the low e string down to D
: : Does someone know what effects Gilmour uses on "Run Like Hell". It sounds like he uses a comproser in the beginning where he strums those chords. "Thanks"
: dynacomp compresser, digital delay (has to be set with lots of feedback and speed adjusted to the song you have to listen and tweak it) also he uses the electric mistress flanger. Also drop the low e string down to D
So he uses a compresor while he strums the cords. I have a danecho will that work in place of a digital delay. Also who makes electric mistress flanger?
first of all thier are 2 guitar tracks, one is playing the strummnig chords with distortion. The other is playing the digital delay notes with the constant picking. He used the dynacomp on lots of stuff mostly leads. But the effect I think your hearing is prob the Electric Mistress which is made by Electro Harmonix. look at this link http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1513366728
hey everyone, i need help making the chords for Coming back to life. How do i make Fsus2, Gadd9, Am7, Gsus4, Csus2, G5…i suppose you could make a rough drawing if you feel up to it or email me or something. thanks so much guys. i really have to learn theory one of these days. 🙂 mark
Well you can at least get some of the chords at
http://www.lib.virginia.edu/dmmc/Music/GuitarChords/
To get G5, maybe try inputting Gb(#5)?
Such esoteric chords including sus2’s can often be substituted with corresponding major chords and still sound just fine. Experiment. I can sing and strum Coming Back to Life using "common" chords only without sounding off pitched – so you should be able to do the same.
LEo
: hey everyone, i need help making the chords for Coming back to life. How do i make Fsus2, Gadd9, Am7, Gsus4, Csus2, G5…i suppose you could make a rough drawing if you feel up to it or email me or something. thanks so much guys. i really have to learn theory one of these days. 🙂 mark
Ok i have a LP classic and a peavey classic 30. i just bought a Boss DS-1, but i can still take it back but only if yall think i really should. i wwant the sound that dave gets for songs like Comfortbly and others. i konw he uses chorus and delay alot.so i think i migh get an H20 chorus/echo and maybe another delay. what other effect do yal suggest
I haven’t actually fooled around with a DS-1 but I suggest keep it. I’ve heard from an EXPERT and guitar GOD that it is the best distortion pedal out there.
Hello,
You definately want a Big Muff and a Mistress for anything on the Wall.
As far as the Muffs go, there really is no difference in the Sovtex and the USA models other than a little noise.
John
: I haven’t actually fooled around with a DS-1 but I suggest keep it. I’ve heard from an EXPERT and guitar GOD that it is the best distortion pedal out there.
Forget the DS1 it’s ok but if you want to get close to the gilmour sound. You need the Big Muff br electro harmonix
It is the pedal of gilmour and you will see once you play your first lead with it. It soars with sustain it’s beautiful! Also for the chours he uses actually the electro harmonix Electric Mistress Flange! You can get these pretty cheap on ebay, or you can buy the big muff for 60 bucks at guitar center, musicans friend etc.. Trust me or look down this board. These 2 pedals with delay is exactly Comf Numb you will hear it right away.
It’s interesting that you mention that he uses the mistress for chorus. I was thinking of buying a Boss CE-2 chorus, but do you think that’ll be somewhat of a redundancy if I already own a Mistress? See, I’m not exactly sure what a chorus sounded like (I had chorus a long time ago in a Boss multieffect unit, but completely forgot what it did to my sound). Could I skimp on the CE-2 and invest my money elsehwere? What do all you effect gurus here think? Leo
: Forget the DS1 it’s ok but if you want to get close to the gilmour sound. You need the Big Muff br electro harmonix
: It is the pedal of gilmour and you will see once you play your first lead with it. It soars with sustain it’s beautiful! Also for the chours he uses actually the electro harmonix Electric Mistress Flange! You can get these pretty cheap on ebay, or you can buy the big muff for 60 bucks at guitar center, musicans friend etc.. Trust me or look down this board. These 2 pedals with delay is exactly Comf Numb you will hear it right away.
: It’s interesting that you mention that he uses the mistress for chorus. I was thinking of buying a Boss CE-2 chorus, but do you think that’ll be somewhat of a redundancy if I already own a Mistress? See, I’m not exactly sure what a chorus sounded like (I had chorus a long time ago in a Boss multieffect unit, but completely forgot what it did to my sound). Could I skimp on the CE-2 and invest my money elsehwere? What do all you effect gurus here think? Leo
Well the mistress is a flange/chorus. Honestly I have a chorus and the mistress. The chorus adds some depth to your tone. If you get a stereo chours it’s a real nice lush effect esp for playing clean stuff. If you have the mistress already you can use that for chorus. I don’t use my chorus to often, if i’m playin out I may use it to cut through the overall sound a bit. The mistress is great and if your playing mostly floyd I would stick with it for now. Mess around with it and you can get lots of good stuff.
check out this site http://www.tonefrenzy.com You can listen to tons and tons of effect pedals. Each pedal listed on this page gives you sound samples of someone playing through them. Excellent resource if your looking to buy a pedal or wondering what they sound like.
You can hear Gilmour using the mistress throughout the wall album including the Comfortbly numb solo, Run Like Hell, Young lust etc.. In fact I think he uses it on the Dogs solo as well. He still plays live with the mistress.
I love this site all to death. It inspired me to get my strat and electronics…but after I did that i got really good. THen I went and picked up my other strat with the stock pickups and stuck it into a Peavey Bandit 112, I could nail the sounds almost perfectly. It’s NOT the effects. It’s 95% your playing. When I learned to bend and such I noticed that I was hitting the solos much better. It’s time to stop wasting time and money on garbage. Make sure you’re really good at guitar and can play his stuff perfectly before you waste money and all this stuff.
I hate beginners like yourself that know very little about things and start blabbin when they learn how to bend. Sure, the feel/touch is very important to playing guitar (esp floyd), but without effects and decent gear, you’re never gonna sound like them. For ex, you cannot recreate the haunting guitar sounds without the delay or the awesome swirls without the phaser or that awesome two octave bends on marooned. Do you get me? Playing is important, but without the effects, you can never NAIL the floyd tone, because the floyd tone is a good balance of EFFECTS AND PLAYING!
No no. I’m not a beginner. The effects are important too in "some" guitar playing, but you guys make too big of a deal about getting the EXACT stuff. Such as amps. WHo needs a hiwatt? Sure their good, but not THAT much better than anything half the cost. I think it’s mostly psychological. Perfect setup. Mexican Strat w/ Dimarzio Replacements with a Peavey Bandit 112. Use a dynocomp and WHAM! There’s all your distortion for ya. It sounds PERFECT!!! For anything using Flanger, Wahwah, Delay and Chorus, just get those pedals. That’s about exactly 1000 worth of equipment.
Hmmm. Its intresting. I think it is very possiable to get TOO caught up in effects usage and not as caught up in actual playing and technique. A wise man once said something that some of us have all too soon forgoten. "Its all about using the tools that are available, when there available." Boom… that says it all. Remember, You have to be equally, if not more, intelligent to know how to control all the equipment then to just control your instrument. I think everyone that contributes to this message board is an effects guru anyway. At any rate, Yes Farley your absolutely correct, you do not by any means need all these electronic goodies to sound like the floyd…but if you can…why the hell not. It is fun, just dont get toooo obsesed. I do think its very healthy though, and an execellent hobbie. That is the point of all this right? to have fun? so do it. peace*Love*Empathy- mark
Well put mark. I say if you have the money…why not. But I still say a lot of it’s still psychological. But what I’ve been seeing a lot on here is "When I get the cash to, I’m going to buy a (insert gilmour equipment here)" Obviously its a little too obssessive. Now I’ll admit, I’ve done the same thing too. I have a bunch of his equipment, effects, and such, but I’ve found that I can almost hear no difference between certain stuff.
Hello Floyd,
Do you remember? I writte about a musical work I do to dedicate to D. Gilmour.
I undestand your answer about the logical privacy of Mr. Gilmour.
But I think is possible to send him at The Astoria Thames houseboat Studios? I thik this are te studios from Mr. Gilmour, and no is a privaci postal adress. Do you know what is the postal adress about The Astoria Thames houseboat Studios? I can’t try in internet.
Thank you v. m. and best regards from Spain.
Welcome to the machine! I have the live at Madison Square Garden (22/07/1977).
What beautiful sound! Can you tell me what kind of distotrion (and other effects)is used by Gilmour for Shine 1/5 and Shine 6/9.
What’s the exact setting for delay?
The distortion is the Bigg Muff and he also used a Mxr phase 90. Not sure what the delay settings would be. Listen close to the delay feedback and speed and mess around with your delay pedal till it sounds right. It may take about a half hour of tweaking but you’ll get it.
hi guys, i have a question for all you..
i’ve have ab Ibanez Phaser PH-5, as phaser for songs like Breathe and Any Colour is quite good, but, because of a phaser is quite similar to a chorus, i was wondering if anyone knows how to modify it to make it sounding like a chorus..finally another one: on it there are three controls: speed, depth and feedback. what the hell is feedback control for? thanx and shine on..Andrea
PS: i have bought the SPC with my passive pickups and it’s a pleasure to turn it all the way up and hear Shine On tones come out of my little 10 watt amplifier..it’s another world..:-)
: hi guys, i have a question for all you..
: i’ve have ab Ibanez Phaser PH-5, as phaser for songs like Breathe and Any Colour is quite good, but, because of a phaser is quite similar to a chorus, i was wondering if anyone knows how to modify it to make it sounding like a chorus..
Why not just buy a chorus pedal? The phaser is a more intense than a chorus it’s more like a tremelo or flange.
I know "any coulor" with the mxr 90 you turn the phase control all the way up and it’s perfect.
finally another one: on it there are three controls: speed, depth and feedback. what the hell is feedback control for?
Feedback is how long a delay will go on for. in other words the lower the feedback is set the sooner the effect will end after every note.
thank for feedback response..about MXR phase 90 and "Any Colour…" you’re right, IN THE STUDIO he used phase 90 but live (Pulse) he uses the Univibe with the vibrato effect selected (that is very similar to a phaser)..
for you on what songs he uses tremulator (that is not a vibrato, it affects only signal’s volume)? what do you think?
Andrea
Floyd,
Though ive never met you, you have been a great help and contributer to this page. I thank you for all the help. I remember when this discussion was very young, I feel we’ve covered much and maybe it is time to not focus as much energy here. Do stop back though every now and then just to say hello. Until then…Gods speed and may the wind be at your back always, SHINE ON! MARK
Sorry your leavin Floyd. You are the man! Thanks for all your help. TTry to stop in whenever you get a chance.
Hello everyone,
its come time that I take a vacation of sort. As to when I come back, I’m not sure
I’ll pop in if I have the time, but its getting less and less. I bid you farewell.
Goodbye cruel world…goodbye
;o)
shine on.
Floyd
can I duplicate the sound of a second solo with a boss metalizer Mt 2
delay dd3 flanger and chorus?
maybe, experiment…
: can I duplicate the sound of a second solo with a boss metalizer Mt 2
: delay dd3 flanger and chorus?
Hello. I want to send to D. Gilmour my last musician work. Is dedicated to him, and is publised in the Guitarrist magazine. Do you
know the david’s postal adress?
send you this mail with the next request : i intend to project The Pulse on the large screen in Bucharest, capital of Romania and i want to make from this a great event.
I need for this a copyright from the author of Concert and if you can help me , please do it.
My name is Mihai Amancei and i work in advertising.
I want to do this legal and for all fans of Pink floyd, because, the Pulse is one of the great show i ever seen.
Please help me!
Its nice, you may find a fan mail address, but evan if I had it, I wouldn’t give it out
he deserves his privacy.
Floyd
: Hello. I want to send to D. Gilmour my last musician work. Is dedicated to him, and is publised in the Guitarrist magazine. Do you
: know the david’s postal adress?
: Hello,
My name’s Marine, I’m 18 and I’m french.
I don’t know if I’m at the good adress but I’ll want to know if it’s possible to have a signed photo of David GILMOUR ?( I haven’t had the chance to meet him yet (laugh))
I’m fan of Pink Floyd for I’m 9 years old; it makes me to know better this remarkable artist.
So, I have already written to another adress in England who no exist more.
Thanks a lot for what you could do for me.
Bye.
P.S: Sorry for my poor English..
Marine.
hello, i want to send David a letter, can i get an adress so he gets it?
thank you very much
How to send him a message?Please…
: Its nice, you may find a fan mail address, but evan if I had it, I wouldn’t give it out
: he deserves his privacy.
: Floyd
: : Hello. I want to send to D. Gilmour my last musician work. Is dedicated to him, and is publised in the Guitarrist magazine. Do you
: : know the david’s postal adress?
David Gilmours Address: David Gilmour/43 Portland Road/London, England/W11 41J.
you can try goin ot the intrepid aviation page and emailing the guy there askin for it. it’s possible
Can’t I imitate floyd’s sound with a multi effects processor?
Yes and No, alot of people like them, alot of people ask questions about them too…the best answer I can say
is, it won’t give you the effect texture…but yes you can immitiate floyds sound with just a guitar and amp.
Floyd
: Can’t I imitate floyd’s sound with a multi effects processor?
What do you mean with it won’t give you the effects texture?
I meant it will, I tried to refrain from saying tone, as its mostly his fingers
but I meant, it will give you alot of effects, but there not the ones "he" used
so it will never be exact-so just don’t expect to get certain tones exactly with one.
and yes, I am biased against multi-fx processors ;o)
: What do you mean with it won’t give you the effects texture?
I’m sure this has been brought up before but can someone tell me if the dynacomp would improve my tone? Would i use it clean or with the Big Muff or both? Anyifo is appreciated.
It was his first compressor, so I’d assume he used it for both things, I hear it works quite well with the
muff.
Floyd
: I’m sure this has been brought up before but can someone tell me if the dynacomp would improve my tone? Would i use it clean or with the Big Muff or both? Anyifo is appreciated.
Anyone had this problem? I can’t get enough output from my Dyna. I need a volume boost plus the compression when I use mine, but the output just isn’t enough. I’ve gone thru 5 of these in the last 30 years, and the newer ones just don’t have enough output. Help!!!
The effect is very subtle, but once my ears adapt, I can no longer live without it. For me, the pedal is on ALL the time, regardless of what I’m playing. The pedal especially shines when you are playing Shine On because it adds the signature "clicky" sound.
: It was his first compressor, so I’d assume he used it for both things, I hear it works quite well with the
: muff.
: Floyd
: : I’m sure this has been brought up before but can someone tell me if the dynacomp would improve my tone? Would i use it clean or with the Big Muff or both? Anyifo is appreciated.
How do I find out if the 70’s reissue strat from the musician’s friend catalog is American or Japanese?
Also is their any difference from this with the mexican strat? Pickup or playability wise?
Nevermind, it’s a mexican.
japanese strats are no longer brought to the U.S., but the mexicans are just as fine, if you replace the electronics. Nevermind people that say they suck, theyre almost equal to the americans.
The Mexican Strats are way better than the American Standards, you just have to get one from 1995 or earlier.
all Fenders are cut in Corona, some just happen to be assembled in Mexico, sorry to tell ya the Mex strats are far better
Do you guys use cs-2 compression combined with the delay. I think it sounds like what hes doing, iam just wondering if iam right. thanks, mark
Yeah I usually use it for that triplet set too…
Floyd
: Do you guys use cs-2 compression combined with the delay. I think it sounds like what hes doing, iam just wondering if iam right. thanks, mark
Has anyone ever used one of the digitech gnx series to reproduce Gilmours sound?
Yes, I´m just tryin´ to …
Anyone out there know on what songs we can hear the Orange Treble/Bass Boost used? I’m building a Dallas Rangemaster Treble Booster (very similar) and would love to be able to tune it to a Gilmour tone.
I think it was mainly used with the muff in the early days later replaced with a GE-7.
I saw a schematic once but haven’t gotten around to ever making one.
Floyd
: Anyone out there know on what songs we can hear the Orange Treble/Bass Boost used? I’m building a Dallas Rangemaster Treble Booster (very similar) and would love to be able to tune it to a Gilmour tone.
: I think it was mainly used with the muff in the early days later replaced with a GE-7.
: I saw a schematic once but haven’t gotten around to ever making one.
: Floyd
That’s interesting; I guess you already know most British guitarists used these types of devices so they could crank
their amps without the tone getting too muddy. The Rangemaster certainly has its own kind of distortion thanks
to the germanium transistors, as I’m sure the Orange did as well, and would color the tone much more than the fairly transparent GE-7. Once I get my Big Muff made, I’ll have to try it with the booster. Thanks Floyd, you da man.
where can I buy Herco heavy flex 75 picks ?? Dunlop’s web-site lists them but no way to purchase thru them… internet searches producing zip.
thanks in advance
http://www.bmusic.com.au/category822_1.htm
Herco Flex 50 and Flex 75 in any quantity
clarification: less than box of 100 flatpicks?
: where can I buy Herco heavy flex 75 picks ?? Dunlop’s web-site lists them but no way to purchase thru them… internet searches producing zip.
: thanks in advance
Try stopping in at Guitar Center, or various music stores. If you search the internet you can find the boxes
of them running around 35$ You may be able to find them selling seperately…
Floyd
: clarification: less than box of 100 flatpicks?
: : where can I buy Herco heavy flex 75 picks ?? Dunlop’s web-site lists them but no way to purchase thru them… internet searches producing zip.
: : thanks in advance
Ok, this is my equipment. From Strat with EMG to dynacomp, ts9, rat, USA big muff, ge7, phase100, mistress, univibe to marshall tsl 122.Intellifex Rocktron, for chorus and delay, in the effect loop.What about this order? Why the big muff is so different from money, comfortably ecc.? What’s the phaser in the wall live, Phase 90 or 100? Tank you and remember: one of these days i’m going to cut you in a little of pieces
set up sounds fine, depending what you use the GE-7 for I’d put it at the end. Maybe phaser and mistress could
be switched. other than that it looks good-its all your personal prference. Setting may be off with the big muff,
you may experiment. I’d say mistress is the most used, but I’d say 90-but don’t sell the 100, its not really worth
getting a new one, try it out at a local guitar store?
Floyd
: Ok, this is my equipment. From Strat with EMG to dynacomp, ts9, rat, USA big muff, ge7, phase100, mistress, univibe to marshall tsl 122.Intellifex Rocktron, for chorus and delay, in the effect loop.What about this order? Why the big muff is so different from money, comfortably ecc.? What’s the phaser in the wall live, Phase 90 or 100? Tank you and remember: one of these days i’m going to cut you in a little of pieces
Anybody know what "backline" means? Having to do with live sound.
: Anybody know what "backline" means? Having to do with live sound.
Backline means any amps/speakers that are used by the band. Not the actual PA out front but the actual amps that a band uses.
http://www.gargantuansound.com
: Anybody know what "backline" means? Having to do with live sound.
backline means the club provides amps, drums etc..
This may be a dumb question but.. As far as playability and sound/tone
what are the differences beetween the american and Mexican strats??
I have 2 mexicans. I cant seem to use the tremelo without the thing going way out of tune. Also when playing with a band, even if my marshall stack is cranked I sometimes get a real wimpy sound when playing the higher strings. Can this be fixed by adjusting the pickups closer to the strings? Also when I went from string gauge .09 to .10 the entire guitar went wack! It seems a real pain in the ass to have to change strings on the thing, like it has to be setup everytime. I understand it’s a bad idea to change the string gauge on a start but isn’t that stupid? What’s the deal with this thing? I need a strat! I play Floyd, I play out alot. I need to be able to change my strings without messing up the setup. I need to use the whammy and keep it in tune! I need to be able to play my solos on the high strings and have them powerful and punchy, i mean we are talking about gilmour here. I play mostly older floyd so I really would rather not go with active pickups, even though that is an option.
How are the 54 reissue pickups. Can someone help me please!
peace
Hmm,
I have an 87 USA Made Strat Plus with Sperzel Locking Tuners and Wilkinson Rolling nut that never seemed to stay in tune…. Solved the problem and blocked the trem like on the Clapton Strat. LOL….
I know exactly what you are going through, over the years I have had 4 different Mexican strats and they all did what you are describing,I was so pissed that I bought an American Standard and continued to have the same problems, fnally I sold them all and put my cash into the 57 Reissue, now it never goes out of tune. I tried every possible resource without actually spending the big bucks, stretching the strings, playing with the screws and springs in the bridge . I am not going to tell you to go out and get a 57 Reissue but maybe if you are inlcined buy a older vintage style bridge and see if you can install it or have it done. That might cure your problems.
: This may be a dumb question but.. As far as playability and sound/tone
: what are the differences beetween the american and Mexican strats??
: I have 2 mexicans. I cant seem to use the tremelo without the thing going way out of tune. Also when playing with a band, even if my marshall stack is cranked I sometimes get a real wimpy sound when playing the higher strings. Can this be fixed by adjusting the pickups closer to the strings? Also when I went from string gauge .09 to .10 the entire guitar went wack! It seems a real pain in the ass to have to change strings on the thing, like it has to be setup everytime. I understand it’s a bad idea to change the string gauge on a start but isn’t that stupid? What’s the deal with this thing? I need a strat! I play Floyd, I play out alot. I need to be able to change my strings without messing up the setup. I need to use the whammy and keep it in tune! I need to be able to play my solos on the high strings and have them powerful and punchy, i mean we are talking about gilmour here. I play mostly older floyd so I really would rather not go with active pickups, even though that is an option.
: How are the 54 reissue pickups. Can someone help me please!
: peace
i have played both the mexican and american strats quite a bit and i like the mexican much better. its got a better tone and playability. also, as far as the strings, i play 11’s on both my mexican strats and they dont go outta tune cause i set them up for the increased tension. you have to tighten the screws in the back, under the plastic cover, and it is best to put 5 springs on the back instead of the 3 that come on the mexican. the guitar works great after that. -stevo
as for the tremelo making your strings de-tune:
Go to fret 12 and lift the strings up enough to put significant tension, but without breaking
release, and repeat-then tune, then repeat a few more times. This will prevent it, same thing
happens with mine.
As for strings
I switched mine right when I got my strat, and I’ve done boomers, and ernies…I think what your talking
about is the tremelo bridge comes way out, you can change the screws to make it go in, I still haven’t
taken it to a tech to get it re-alligned.
As for the thinness
it may be its too close to the fret, and is causing a slight palm mute feel to it, it happened to me
on my G-String. When I’d play like anything above 12 I’d get this terrible tone out of it, so I raised
the screws on the bridge part where the string comes out of and haven’t had a problem since.
And finally for pickups:
EMG’s are great, active yes, but I can still nail the tones. I hear vintage noisless are good
or maybe 57 reissues, I considered changing my neck pickup to a passive, but never put much more
thought to it. Go to harmony-central and check out some reviews on them.
(I use a 2000 mexican strat with the DG20, tonally I don’t notice much except weight)
The differences are the body material primarily from poplar to ashwood I think it was
but I always thought with a few tweaks the mexican was just as good as the american. I hear
the japanese ones have had problems though. The bridge may be different too-tremelo system.
But I’d stick with the mexicans.
Floyd
: This may be a dumb question but.. As far as playability and sound/tone
: what are the differences beetween the american and Mexican strats??
: I have 2 mexicans. I cant seem to use the tremelo without the thing going way out of tune. Also when playing with a band, even if my marshall stack is cranked I sometimes get a real wimpy sound when playing the higher strings. Can this be fixed by adjusting the pickups closer to the strings? Also when I went from string gauge .09 to .10 the entire guitar went wack! It seems a real pain in the ass to have to change strings on the thing, like it has to be setup everytime. I understand it’s a bad idea to change the string gauge on a start but isn’t that stupid? What’s the deal with this thing? I need a strat! I play Floyd, I play out alot. I need to be able to change my strings without messing up the setup. I need to use the whammy and keep it in tune! I need to be able to play my solos on the high strings and have them powerful and punchy, i mean we are talking about gilmour here. I play mostly older floyd so I really would rather not go with active pickups, even though that is an option.
: How are the 54 reissue pickups. Can someone help me please!
: peace
Thanks floyd for all your help.
: as for the tremelo making your strings de-tune:
: Go to fret 12 and lift the strings up enough to put significant tension, but without breaking
: release, and repeat-then tune, then repeat a few more times. This will prevent it, same thing
: happens with mine.
I’ll give that a try, I usually bend the shit out of the strings before hand and retune a couple times but it hasn’rt helped greatly.
: As for strings
: I switched mine right when I got my strat, and I’ve done boomers, and ernies…I think what your talking
: about is the tremelo bridge comes way out,
Yes totally
you can change the screws to make it go in, I still haven’t
: taken it to a tech to get it re-alligned.
Yeah I messed with that and everytime i get the bridge where it’s good (like a half inch raised)
the tension of the strings gets terrible, so I also adjusted the the springs until It got better, but I can’t seem to get that perfect tension.
The strings seem tight and like I said the tone in places is just gone.
I have a les paul and I love it. I can change the strings whenever and it stays in tune has great tone and great feel.
The problem is it dosen’t have that strat tone I need for the Floyd stuff. It seems that the strat has to be taken in and set up whenever I need new strings.
I was wondering if the American strat would fix all that since they are so much more expensive?
: As for the thinness
: it may be its too close to the fret, and is causing a slight palm mute feel to it, it happened to me
: on my G-String. When I’d play like anything above 12 I’d get this terrible tone out of it, so I raised
: the screws on the bridge part where the string comes out of and haven’t had a problem since.
It’s more of a note mutted but just dying. Like in "have a cigar" I play the rythm and it’s nice loud and clear then i’ll go for one of the little riffs at the 12th fret
during the verse and you can barley hear it and it just sounds weak. Strange.
: And finally for pickups:
: EMG’s are great, active yes, but I can still nail the tones. I hear vintage noisless are good
: or maybe 57 reissues, I considered changing my neck pickup to a passive, but never put much more
: thought to it. Go to harmony-central and check out some reviews on them.
Cool, I’m thinkin about it. Just for curiosity why were you thinking of changing your bridge back to passive?
: (I use a 2000 mexican strat with the DG20, tonally I don’t notice much except weight)
: The differences are the body material primarily from poplar to ashwood I think it was
: but I always thought with a few tweaks the mexican was just as good as the american. I hear
: the japanese ones have had problems though. The bridge may be different too-tremelo system.
: But I’d stick with the mexicans.
: Floyd
: : This may be a dumb question but.. As far as playability and sound/tone
: : what are the differences beetween the american and Mexican strats??
: : I have 2 mexicans. I cant seem to use the tremelo without the thing going way out of tune. Also when playing with a band, even if my marshall stack is cranked I sometimes get a real wimpy sound when playing the higher strings. Can this be fixed by adjusting the pickups closer to the strings? Also when I went from string gauge .09 to .10 the entire guitar went wack! It seems a real pain in the ass to have to change strings on the thing, like it has to be setup everytime. I understand it’s a bad idea to change the string gauge on a start but isn’t that stupid? What’s the deal with this thing? I need a strat! I play Floyd, I play out alot. I need to be able to change my strings without messing up the setup. I need to use the whammy and keep it in tune! I need to be able to play my solos on the high strings and have them powerful and punchy, i mean we are talking about gilmour here. I play mostly older floyd so I really would rather not go with active pickups, even though that is an option.
: : How are the 54 reissue pickups. Can someone help me please!
: : peace
It may be time to take it to a tech, I can only say to try things…try lifting the strings, it works great for me, I normally
do it when I put strings on. Also it takes awhile to change the saddle height, and it WILL de-tune your instrument
its just trial and error.
now for the notes dying, is it on both strats? It may be a patch cord, or certain fx pedal…you could also try lowering the
string to the pickup alittle more…theres alot of things that could cause that…
Floyd
: Thanks floyd for all your help.
:
: : as for the tremelo making your strings de-tune:
: : Go to fret 12 and lift the strings up enough to put significant tension, but without breaking
: : release, and repeat-then tune, then repeat a few more times. This will prevent it, same thing
: : happens with mine.
: I’ll give that a try, I usually bend the shit out of the strings before hand and retune a couple times but it hasn’rt helped greatly.
: : As for strings
: : I switched mine right when I got my strat, and I’ve done boomers, and ernies…I think what your talking
: : about is the tremelo bridge comes way out,
: Yes totally
: you can change the screws to make it go in, I still haven’t
: : taken it to a tech to get it re-alligned.
: Yeah I messed with that and everytime i get the bridge where it’s good (like a half inch raised)
: the tension of the strings gets terrible, so I also adjusted the the springs until It got better, but I can’t seem to get that perfect tension.
: The strings seem tight and like I said the tone in places is just gone.
: I have a les paul and I love it. I can change the strings whenever and it stays in tune has great tone and great feel.
: The problem is it dosen’t have that strat tone I need for the Floyd stuff. It seems that the strat has to be taken in and set up whenever I need new strings.
: I was wondering if the American strat would fix all that since they are so much more expensive?
: : As for the thinness
: : it may be its too close to the fret, and is causing a slight palm mute feel to it, it happened to me
: : on my G-String. When I’d play like anything above 12 I’d get this terrible tone out of it, so I raised
: : the screws on the bridge part where the string comes out of and haven’t had a problem since.
: It’s more of a note mutted but just dying. Like in "have a cigar" I play the rythm and it’s nice loud and clear then i’ll go for one of the little riffs at the 12th fret
: during the verse and you can barley hear it and it just sounds weak. Strange.
: : And finally for pickups:
: : EMG’s are great, active yes, but I can still nail the tones. I hear vintage noisless are good
: : or maybe 57 reissues, I considered changing my neck pickup to a passive, but never put much more
: : thought to it. Go to harmony-central and check out some reviews on them.
: Cool, I’m thinkin about it. Just for curiosity why were you thinking of changing your bridge back to passive?
: : (I use a 2000 mexican strat with the DG20, tonally I don’t notice much except weight)
: : The differences are the body material primarily from poplar to ashwood I think it was
: : but I always thought with a few tweaks the mexican was just as good as the american. I hear
: : the japanese ones have had problems though. The bridge may be different too-tremelo system.
: : But I’d stick with the mexicans.
: : Floyd
: : : This may be a dumb question but.. As far as playability and sound/tone
: : : what are the differences beetween the american and Mexican strats??
: : : I have 2 mexicans. I cant seem to use the tremelo without the thing going way out of tune. Also when playing with a band, even if my marshall stack is cranked I sometimes get a real wimpy sound when playing the higher strings. Can this be fixed by adjusting the pickups closer to the strings? Also when I went from string gauge .09 to .10 the entire guitar went wack! It seems a real pain in the ass to have to change strings on the thing, like it has to be setup everytime. I understand it’s a bad idea to change the string gauge on a start but isn’t that stupid? What’s the deal with this thing? I need a strat! I play Floyd, I play out alot. I need to be able to change my strings without messing up the setup. I need to use the whammy and keep it in tune! I need to be able to play my solos on the high strings and have them powerful and punchy, i mean we are talking about gilmour here. I play mostly older floyd so I really would rather not go with active pickups, even though that is an option.
: : : How are the 54 reissue pickups. Can someone help me please!
: : : peace
Sorry this line should have said "not muted" guess that why i should proofread.
It’s more of a note mutted but just dying
So is better phase 90 or phase100?
The sound is the same? And what about Gilmour?
As for sound, I hear the 90 is more rich and full than the 100, however the 100 has
more versatility. I’ve heard conflicting reports, the 100 is said to be used in the animals tour
according the PF encyclopedia, but I’ve read articles of it being a 90.
I like the 90 just fine, plus its a classic. I can get the nice effect of it, I leave it on around 10, 11 o’clock
and 12 for hendrix, it almost sounds like leslie…
Floyd
: So is better phase 90 or phase100?
: The sound is the same? And what about Gilmour?
I wonder?
: I wonder?
you sir, are a fag
get a life and get common sense
no publius enigma here, just your nonsense
fuck you!
: : I wonder?
: you sir, are a fag
you sir are a total jewbag moron
: get a life and get common sense
i have a life you loser geek, I screw your ugly mom for kicks, and your grandma
: no publius enigma here, just your nonsense
: fuck you!
lick my hairy sweaty balls and learn how to play the guitar you pissdingler fuckhead loser!
: : : I wonder?
: : you sir, are a fag
: you sir are a total jewbag moron
: : get a life and get common sense
: i have a life you loser geek, I screw your ugly mom for kicks, and your grandma
: : no publius enigma here, just your nonsense
: : fuck you!
: lick my hairy sweaty balls and learn how to play the guitar you pissdingler fuckhead loser!
There is no room is this newsgroup for Flammers like you, there is only classy upstanding individuals in here, if you can’t say something good then get the F**K out. No question is too stupid to be asked.!!!!!!!!!How did you get in here AMPF not nasty enough for you.???
You know this isn’t a board of flaming-if people got a question we answer it, we don’t need fuckers
who think they can come and do this shit, so leave.
Floyd
: : : I wonder?
: : you sir, are a fag
: you sir are a total jewbag moron
: : get a life and get common sense
: i have a life you loser geek, I screw your ugly mom for kicks, and your grandma
: : no publius enigma here, just your nonsense
: : fuck you!
: lick my hairy sweaty balls and learn how to play the guitar you pissdingler fuckhead loser!
By the way, no I don’t think it does. There may be some, but i have never heard of a pedal dying because of it.
Floyd
: You know this isn’t a board of flaming-if people got a question we answer it, we don’t need fuckers
: who think they can come and do this shit, so leave.
: Floyd
: : : : I wonder?
: : : you sir, are a fag
: : you sir are a total jewbag moron
: : : get a life and get common sense
: : i have a life you loser geek, I screw your ugly mom for kicks, and your grandma
: : : no publius enigma here, just your nonsense
: : : fuck you!
: : lick my hairy sweaty balls and learn how to play the guitar you pissdingler fuckhead loser!
I don’t beleive Dave ever uses standard slide techniques. I know most of the stuff is played on the lap pedal but.. what would be the best way for me to learn his slide work quickly and effectivly. What fingers would I use the slide on, does he even put the slide over his finger or does he just hold it? How to keep the best control so the slide is not flying all over the place? Any tips anyone can give me would be great. In other words if you see a reply to this and you have a tip that would be useful please leav it. I would gain much from everyones input. Thanks
lap steel guitar (Jensen) eg. D G D G B E tuning
standard steel bar style (ie. not a ‘tube’ as for standard ‘slide guitar’) volume pedal to swell the notes in, delay effect, nice amp, a steady & accurate hand, and a good pair of ears.
There’s a DVD on ‘The making of Dark Side of the Moon’ where he displays use of all the above; simple, but inspiring, very musical.
Regards,
Guy
Well he uses a metal slide. (Syd and in the early days Gilmour used a zippo on its side)
Anywho-he puts his pointer finger on top of the slide to control it, and the rest behind the slide
and on the strings for muting and such. He doesn’t put his fingers in it.
So put the slide in between your middle finger and thumb-now put your pointer finger on top of the slide-and bend it over to hold
the top end of it in place-its natural placement, you should get it.
hope this helps.
Floyd
: I don’t beleive Dave ever uses standard slide techniques. I know most of the stuff is played on the lap pedal but.. what would be the best way for me to learn his slide work quickly and effectivly. What fingers would I use the slide on, does he even put the slide over his finger or does he just hold it? How to keep the best control so the slide is not flying all over the place? Any tips anyone can give me would be great. In other words if you see a reply to this and you have a tip that would be useful please leav it. I would gain much from everyones input. Thanks
Whomever plays this one out, do you use distortion on the solo?
I have tried it without as that’s how it sounds on the record but it just sounds too wimpy unless I hit the rat. What do you all use to play this?
well I use phaser at 11 or 10…then I like to use the big muff, and some delay.
I also switch my pick to its side (Herco heavy gauge) so it has that scratchy texture, and
adds a bit of bite to the tone…depending on my mood I’ll add the rat. Played live the song
is boosted and is alot more distorted than the studio. If you only have the rat, use that I guess
whats your fx setup?
Floyd
: Whomever plays this one out, do you use distortion on the solo?
: I have tried it without as that’s how it sounds on the record but it just sounds too wimpy unless I hit the rat. What do you all use to play this?
This popular thread has been given its own page : Re: Have A Cigar Solo effects.
I’m not sure of the quality of the phaser, but try it or the mistress…for the end solo use a big muff
memory man, mistress, or phaser whichever sounds better-other than that experiement, I’m not sure how all of that
sounds together…use alittle DD-5 delay for reverb, unless the memory man adds some…
hope it helps
Floyd
: My setup is as follows,
: Memory Man,Electric Mistress, mxr 10 band equalizer,Tuner,Chours, Boss digital delay,danelectro Phaser,Tremelo, Rat, Big Muff, Crybaby.
: : well I use phaser at 11 or 10…then I like to use the big muff, and some delay.
: : I also switch my pick to its side (Herco heavy gauge) so it has that scratchy texture, and
: : adds a bit of bite to the tone…depending on my mood I’ll add the rat. Played live the song
: : is boosted and is alot more distorted than the studio. If you only have the rat, use that I guess
: : whats your fx setup?
: : Floyd
: : : Whomever plays this one out, do you use distortion on the solo?
: : : I have tried it without as that’s how it sounds on the record but it just sounds too wimpy unless I hit the rat. What do you all use to play this?
My setup is as follows,
Memory Man,Electric Mistress, mxr 10 band equalizer,Tuner,Chours, Boss digital delay,danelectro Phaser,Tremelo, Rat, Big Muff, Crybaby.
: well I use phaser at 11 or 10…then I like to use the big muff, and some delay.
: I also switch my pick to its side (Herco heavy gauge) so it has that scratchy texture, and
: adds a bit of bite to the tone…depending on my mood I’ll add the rat. Played live the song
: is boosted and is alot more distorted than the studio. If you only have the rat, use that I guess
: whats your fx setup?
: Floyd
: : Whomever plays this one out, do you use distortion on the solo?
: : I have tried it without as that’s how it sounds on the record but it just sounds too wimpy unless I hit the rat. What do you all use to play this?
Anyone know em?
I know alittle bit of the Green is the Colour one-well its off a live bootleg, so it may not be accurate
but its a major penatonic I forget what key its in, they mixed it with careful with that axe
great song, I think I’ll pay it a listen later tonight….
Floyd
: Anyone know em?
do you know how does david guilmour makes the "uink" sound of the pig on "pigs 3 different ones" with the talkbox . i would apreciate you to send me a message 🙂
I’ve never used one, but I’d assume the talkbox does most of the work, he inserts it into his mouth, probably makes
oik noises, maybe some phasing, delay, flanging too
Floyd
: do you know how does david guilmour makes the "uink" sound of the pig on "pigs 3 different ones" with the talkbox . i would apreciate you to send me a message 🙂
Fuckin’ hell! Excuse my language but I saw God last Friday (18th)
on his last London performance in Royal Festival Hall. First thing I did was to head for the stage and there it was. The cutomized Pete Cornish pedalboard. I almost fainted. I felt really stupid with tears in my eyes over this bigger than life experience but I wasn’t alone. About 30 grown up men stood around me just 50cm from the Lord’s sanctuary and we all sounded like we had the biggest orgasm of all time. One of the guards told us to step back and kindly behave ourselves. 10 min later He entered the stage. It all went blank and I had the time of my life. It’s tough to be a Gilmour fan. I was totally exhaused.
Hey you’re pretty damn lucky to be in that position. Can you tell us a little about the Cornish pedal board?
congrats, could you give a review of the show?
I was going to try and hit both of them when I saw that he was doing them, my
neighbor being a flight attendant, I could have gotten free tickets to london-however
after 9/11 they stopped allowing them, making my trip too expensive for me…your a lucky fan
Floyd
: Fuckin’ hell! Excuse my language but I saw God last Friday (18th)
: on his last London performance in Royal Festival Hall. First thing I did was to head for the stage and there it was. The cutomized Pete Cornish pedalboard. I almost fainted. I felt really stupid with tears in my eyes over this bigger than life experience but I wasn’t alone. About 30 grown up men stood around me just 50cm from the Lord’s sanctuary and we all sounded like we had the biggest orgasm of all time. One of the guards told us to step back and kindly behave ourselves. 10 min later He entered the stage. It all went blank and I had the time of my life. It’s tough to be a Gilmour fan. I was totally exhaused.
I’ve posted a similar Q before, but this time I have bought myself a vintage RAT. It’s great, the best distortion pedal I’ve ever heard!
(The Big Muff is a sustain pedal….). My problem is that it lacks a bit bottom when used as a overdive unit. Does any of you guys have a fav setting that can help me or do I have to by the Tube Driver as well?
Riis
I use it only as an overdrive, I keep the settings on 10, 10, and 5 (5 is volume)
I have quite a bit of bass to mine, it may be just my EQ, but it has almost too much bass
sometimes…but mixed with a muff oooohhh what a sound, add alittle mistress in there, beautiful
Floyd
: I’ve posted a similar Q before, but this time I have bought myself a vintage RAT. It’s great, the best distortion pedal I’ve ever heard!
: (The Big Muff is a sustain pedal….). My problem is that it lacks a bit bottom when used as a overdive unit. Does any of you guys have a fav setting that can help me or do I have to by the Tube Driver as well?
: Riis
Hello everyone. I realize that this is a effects message board, but i have a question that i am hoping someone can help me with. I am just starting playing guitar. So far i have the dd-5, mxr phase 90 and the cs-2. Effects arent my problem. I want to learn though how to improve, which means i need to learn the key of songs and scales i guess. can someone help me with what key some songs are in and what scales to use…Comfortably, Echoes, time, just to begin with…thanks a lot guys…i love this board…really informative.
Comfortably Numb is in D Major and for the solo (outro) all you have to do is play a B minor pentatonic scale (which is still in the key of D). As far as Echoes goes, he uses a C# minor pentatonic for all of the soloing. In Time, Dave uses an F# minor pentatonic. Hope this helps!
Comfortably Numb is in D Major and for the solo (outro) all you have to do is play a B minor pentatonic scale (which is still in the key of D). As far as Echoes goes, he uses a C# minor pentatonic for all of the soloing. In Time, Dave uses an F# pentatonic. Hope this helps!
cool. thats helps alot. Could you help me out with ASTRONOMY DOMAIN, SORROW, AND DOGS. THANKS
: cool. thats helps alot. Could you help me out with ASTRONOMY DOMAIN, SORROW, AND DOGS. THANKS
Astronomy solo, try starting on the high E string at the 12th fret, eighth notes then to the 11th fret, slide down to the 3rd fret same string then slide up to the 10th fret
back to the 3rd back to the 10th. that will get you started anyway? Dogs you have to drop your tuning down a step to D. I am planning on tabbing out the solo for this song soon
I will then post it.