Dave Gilmour’s Guitar Equipment

Signal Flow
The Guitars Gilmour’s main stage guitar is a USA 57 Vintage Reissue Strat fitted with EMG-SA pickups. He has also installed the EMG-EXG expander & SPC midrange presence controls. Apart from the electrics, the only other custom feature is a shortened tremolo arm so that he can keep it in his picking hand more comfortably while playing. Other guitars used live are an Esquire Telecaster in dropped D tuning for Run Like Hell, two Jensen lap steel guitars one tuned to E B E G B E for One Of These Days & the other tuned to D G D G B E for The Great Gig In The Sky. He also uses two Gibson J-200 Celebrity acoustics one tuned in standard & the other in D A D G A D for Poles Apart & a Gibson Chet Atkins Electro Classical. Both the Jensen Lap Steels & the acoustic guitars are fitted with EMG-H pickups. (These are basically a single coil pickup in a humbucker cap). Strings On the Strats Gilmour uses GHS Boomers with a customized gauge of (.010 .012 .016 .028 .038 .048) On the acoustics he uses Ernie Ball Earthwound Light’s. How To Gilmour-ize Your Strat To go along with David Gilmour’s taste for pristine Strat tone is his use of EMG active electronic (i.e. battery powered) pickups. Each of his Stratocasters is loaded with low impedance EMG-SA single coils, which he beefs up with two more tone modules: the EXG mid-cut/expander & SPC mid booster. As far as the SA pickups go, they have Alnico magnets which have a little more mid range than the ceramic S magnets. He also has the SPC midrange boost control on there which produces more of a singing humbucker tone. Finally, theres the EXG which David uses alot for rhythm, since it really helps define the notes, especially when there’s a little distortion on and he’s moving chord voicings around. The EXG works like a V configuration on a graphic EQ when you turn it up, the midrange gets cut, while the bass & treble get boosted. The SPC is where you really here the Gilmour sound emerge. Turn the SPC all the way up & you get that thick bluesy sound used in Shine On. The Analogue Footpedals
Footpedals

(A) Boss CS-2 Compression/Sustainer.

These are no longer available new from Roland. You can only purchase the CS-3 which (to my ear) does not sound as smooth as the CS-2.

(B) Pro Co. Rat II Distortion.

The first generation Rat’s distortion, filter & volume knobs yield various Marshally distortion tones.

(C) Cornish Big Muff.

Pete Cornish custom Big Muff. (looks like Pete has taken an original Big Muff and housed it in a custom box). I don’t know if this has been modified in any other way.

(D) Boss GE-7 Graphic Equalizer.

This GE-7 has been set to be used in conjunction with the Rat distortion pedal.

(E) Cornish Soft Sustain.

This is obviously a Pete Cornish custom effect. Notice the combination of the GE-7 graphic EQ sliders & the knobs for sustain & volume.

(F) Sovtek Big Muff II.

The Big Muff is a very heavy-vibed fuzz with volume, tone & sustain controls. The muff sounds huge & powerful despite it’s feeble tone control range & is looser & more gargantuan than say a Pro Co. Rat II.

(G) Chandler Tube Driver #2.

The Tube Driver offers lots of tight girthy gain and has an openness that sets it apart from other distortion boxes. Features high/low EQ, tube drive & output controls. These later became known as Tube Works Tube Driver.

(H) MXR Dynacomp Compressor.

The Dynacomp has a natural sounding expansion & a nice bright tone to it.

(I) Ibanez CP-9 Compressor.

(J) Boss Metalizer.

No longer available new from Roland.

(K) Chandler Tube Driver #1.

The Tube Driver offers lots of tight girthy gain and has an openness that sets it apart from other distortion boxes. Features high/low EQ, tube drive & output controls. This later became known as Tube Works Tube Driver.

(L) Boss GE-7 Graphic Equalizer.

This GE-7 has been set to boost the top & bottom ranges. Labelled T&B

(M) Boss GE-7 Graphic Equalizer.

This GE-7 has been set to boost the bass ranges. Labelled BASS

(N) Boss GE-7 Graphic Equalizer.

This GE-7 has been set to boost the mid ranges. Labelled MID The Rack
With Dave Gilmour’s rack system we meet a marriage of technologies, old & new. He has always exhibited a preference for older, analogue effects but has had Pete Cornish create a switching system which guarantees ease of use with optimum, low noise performance. The Rack

(A) Furman PL-8 Power Conditioner And Light Controller.

I can only guess that this controls the lights on top of the rack so Dave can see the pedals.

(B) TC. Electronics TC-2290 Dynamic Digital Delay + Effects Control Processor.

This is Dave’s primary delay unit. He uses this on most songs.

(C) Uni-Vibe.

The Uni-Vibe unit featues volume & intensity controls, a chorus/vibrato switch & sepearate speed controls for the slow or fast speed options. It also requires a seperate foot switch pedal for fast or slow. Gilmour does not use the chorus option! This effect was originally a footpedal, however Gilmour had his longtime technician Phil Taylor make a rack system out of it. He even had the old logo embossed on the face plate of the new rack.

(D) Digitech IPS-33B Super Harmony Machine.

Diatonic pitch shifter.

(E) Lexicon PCM-70 Digital Effects Processor.

Dave uses the PCM-70 to store the circular delay sounds you hear in Shine On & Time. Because it has a multi tap function it can pretty accurately duplicate the kind of echo Dave used to get from his old Binson echo unit.

(F) MXR Delay System II.

This is another rack system that began life as a footpedal. Phil also added a digital readout that he says is really nowhere close to being an accurate indication of delay time.

(G) Phil Taylor Custom Rack.

This is yet another custom made rack from footpedals. It contains the following effects.

Boss CE-2 Chorus

The original chorus from Boss has rate & depth knobs & sounds sweet, rich & dynamic. There are two CE-2’s loaded into this rack one is marked Mono Chorus & the other Left Chorus. (The left chorus is inserted in the signal path for the left channel of Dave’s amp setup).

Electric Mistress

The Electric Mistress has rate, range & colour controls, plus a filter matrix switch. This is sort of a bizzarre sounding flanger that gets extremely detuned & twisted.

Tremulator

The Tremulator has speed and depth controls.

(H) Dynachord CL5222 Leslie Simulator.

(I) Samson UHF Dual Receiver.

(J) Peterson Strobe Tuner.

Other Effects & Equipment
There are a few footpedals & other items which are not pictured or part of Dave’s current live rig but have been and still are used by him in the studio.

MXR Phase 90

This was MXR’s first effect and only has a speed knob that yields complex, swirly phase textures with silky highs & lots of vocal inflection. Also does decent rotating speaker imitations at higher speeds.

Arbiter Fuzz Face

The classic of classic fuzzes sounds big, deep & bad. The Fuzz Face takes you from clean to insanity with a mere twiddle of your guitars volume knob.

Boss HM-2 Heavy Metal Distortion

An 80’s classic Gilmour used on About Face (notably at the end of Murder). It delivers incredibly gutsy grind & tons of deep bass boost. Features low/high and colour mix controls.

Maestro Rover

The Maestro Rover looks like a late 1950’s NASA satellite (I will try and get a scan of this thing) but it’s a rotating speaker designed to go between your guitar and your amp. This sure fire attention getter has amp & instrument inputs & features volume, speed, slow & fast controls. A crossover routes the upper frequencies through the Rover’s amplifier to the rotating speaker, while the lower frequencies are sent to your stage amp.

Orange Treble/Bass Boost.

Heil Voice Box

The Midi Foot Controller
This Bob Bradshaw designed pedalboard is used to select individual or different preset combinations of effects. This doesn’t do the actual switching though. The left side of Dave’s rack unit contains his Pete Cornish custom built switcher, which has 24 sends & returns & uses gold plated relays to turn individual effects on and off. In addition to this, it also sends standard MIDI program numbers to the various MIDI processors that are contained in his rack (such as the Lexicon). It can also send almost anything he wants to the rack, such as a delay time or whatever. I’m not sure if he uses any of these features, but it’s there.

For information on a similar type of pedalboard designed by Rocktron/Bradshaw. Footboard

(A) TC. Electronics TC-2290 Digital Delay + Effects Control Processor. On/Off

(B) Lexicon PCM-70 Digital Effects Processor. On/Off

(C) Doppola’s. On/Off

(D) Leslie. On/Off

(E) Left Chorus (Rack Mounted Boss CE-2). On/Off

(F) Acoustic. On/Off

This seems to be a switch Dave uses to toggle between electric & acoustic setups.

(G) Midi.

(H) Store.

(I) MXR Delay System II. On/Off

(J) Graphic B (Mid). On/Off

(K) Graphic A (Bass). On/Off

(L) Graphic C (T & B). On/Off

(M) Tremulator (Rack Mounted). On/Off

(N) Chorus (Rack Mounted Boss CE-2). On/Off

(O) Univibe. On/Off

(P) Electric Mistress. On/Off

(Q) Chandler Tube Driver #2. On/Off

(R) Sovtek Big Muff. On/Off

(S) Cornish Soft Sustain. On/Off

(T) Pro Co. Rat II. On/Off

(U) Chandler Tube Driver #1. On/Off

(V) Pete Cornish Big Muff. On/Off

(W) Hyper. On/Off

This toggles the Boss Metalizer

(X) Ibanez CP-9 Compressor. On/Off

(Y) Digitech Whammy. On/Off

(Z) Bank Switch.

Selects the bank number for preset sounds.

(1) Preset Numbers. 1/0

(2) Preset Numbers. 2

(3) Preset Numbers. 3

(4) Preset Numbers. 4

(5) MXR Dynacomp Compressor. On/Off

(6) Boss CS-2 Compressor. On/Off

(7) Doppola’s. Slow/Fast

Selects which speed the doppola’s rotate at.

(8) Leslie. Slow/Fast

Selects the speed of the Dynachord CL5222 Leslie Speaker Simulator.

(9) Univibe. Slow/Fast

Selects the speed of the univibe rotating speaker simulator.

(10) Ernie Ball Volume Pedal.

(11) Digitech Whammy Pedal.

FX Facts
Despite the apparent complexity of Dave Gilmour’s set up, the actual contents of each track may come as something of a surprise. Essentially his sound is fairly clean, choosing different distortion units to add their characteristic sound to his signal. As an example, to reproduce the track Money from Dark Side Of The Moon live in concert, Gilmour uses this effects combination.

Main Riff: Pete Cornish Soft Sustain with Chandler Tube Driver #2.

Solo: Boss CS-2 Compressor with Chandler Tube Driver #1, Sovtek Big Muff & TC Electronics digital delay.

Solo (Dry Sound): Chandler Tube Driver #1 with Pro Co. Rat II Distortion. The Amplification

Preamp

After journeying through the rack system the signal meets an alembic F2-B bass guitar preamp. This has been modified with an extra tube, lowered output impedance & a different capacitor to help cut the low end.

Amps

Gilmour has always been a fan of Hi-Watt amps, tending to use AP-100 watt heads on stage and combo’s in the studio. Live three of the heads are used as power amps & another three are used as slaves. All use Mullard E-34 valves which are desperately difficult to get a hold of these days, but Floyd head of backline Phil Taylor still has a cupboard full!

(A) Right channel output to 4×12’s 1+10 8 ohm.

I am guessing that (1+10) refers to channel inputs on a mixer i.e. channel 1 left, channel 10 right.

(B) Left channel output to 4×12’s 2+9 8 ohm.

Again (2+9) could be channel 2 right, channel 9 left. If this is the case then Dave could have, for instance, channels 1+2 as a stereo pair for the Marshalls & channels 9+10 as a stereo pair for the WEM’s.

(C) Spare AP-100.

(D) Output to Heil Voice Box via Pete Cornish Dummy Load Box 8 ohm.

(E) Output to Doppola’s 87, 88 8 ohm.

(F) Output to Doppola 89 8 ohm.

Speaker Cabinets & Doppola’s

Speaker Cabinets

The right channel Hi-Watt powers a WEM 4×12 which is loaded with Fane Cresendo speakers and a Marshall loaded with Celestion speakers. A second Hi-Watt does the same thing for the left channel which also carries a chorused signal from a Boss CE-2 Chorus. (See Footpedals Incorporated Into A Rack Space). In the second rack, one AP-100 feeds the Jim Dunlop Heil Voice Box, another feeds Doppola’s 87 & 88 (8 ohm) & a third feeds Doppola 89 (16 ohm).

Doppola’s

These rotating speaker units were designed by Phil Taylor & Paul Leader to provide Gilmour with that ‘Leslie’ effect on his guitar. Leslie cabinets themselves might have seemed the obvious choice, but Gilmour was after a slightly different sound. In the studio he had been using Maestro Rover units which are revolving full range speakers but they are too low powered for live use and so the Doppola’s were born. Three units are used on stage each loaded with two six inch 100 watt drivers.

(A) Marshall 4×12 cabinet with Celestion speakers.

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

(C) Custom Doppola rotating speakers.

Further info/images from Webpage by Murray Browne

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

  1. Gilmour Effects
    Vince

    Hello,

    Right now I am really into Jimi Hendrix, but I’ve loved Pink Floyd for a while and I am hoping to start a cover band in the next few years. Over the next four years I hope to buildup my pedalboard and rackmount collection, so I was hoping if you guys could give me some help. I would like to buy the BASICS first, and then maybe add onto the list (e.g. instead of three compressors, just buy one originally). I guess my favorite Floyd sounds would have to be:

    Dark Side of the Moon, Wish You Were Here, The Wall, Animals, Meddle, Pipe at the Gates of Dawn (almost in that order … they are all tied closely. 🙂

    To make this easier, I am going to break down his setup like this:
    – Guitar Setup
    – Amps
    – Compressors
    – Distortion/Fuzz
    – Leslie Imitations
    – Delay

    By the time I hope to start building my collection, I hope to have the following setup:

    Standard Strat –> Jim Dunlop Crybaby Wah –> Roger Mayer Octavia –> Ibanez FZ-7 Fuzz –> Dunlop Univibe –> Marshall 1959 SLP Super Lead Plexi Head –> 1 or 2 4×12 Marshall Cabinets

    For guitar, I’m planning on purchasing the EMG DG-20s, so I think that covers the guitar area. The only thing left there is to actually play like him … and try to imitate his amazing bending and rhythmic style.

    For amps, I’m going to stick with those two Marshall cabinets, but for live shows, do you guys think adding a Hiwatt 100-watt head would be worthwhile? That way I could switch between the two.

    For compressors, I really like the Boss CS-2 and the MXR Dyna-Comp. I haven’t looked at the Ibanez CP-9. Which of the three is the best to start with? Namely for the DSOTM sound? I’ve heard the Boss is used most by Gilmour.

    Then comes Distortion and Fuzz. I love my Ibanez fuzz box, and it is great combined with the Univibe for getting that Time Solo. I am planning on purchasing a Chandler Tube Driver rackmount in the next few months. Will that combination handle most of Gilmour’s distortion, or do I really need to spring for a Big Muff or a ProCo Rat? Also, I read somewhere that he used the Electro-harmonix Electric Mistress Flanger on almost every electric song on the Wall. Is this true? Is that effect really used that much?

    And now for the Leslie speaker imitation. I currently own a Dunlop Univibe and I love it. With the chorus mode on, and the speed at around 9 or 10 oclock, there is perfect Dark Side / Have a Cigar rotating speaker sounds. BUT, I have recently listened to a MXR Phase 90 and I was VERY impressed with that. It is a smaller pedal (good for the pedal board!) and it is about $120 cheaper! Do you think it would be worth it to sell my Univibe and obtain a new reissue of the Phase 90? I’m really not that interested in the Univibe’s Vibrato anyway.

    And finally delay. I just bought a Boss RV-2, but it has yet to arrive. That should be able to handle basic delay for songs like Time, right? Then maybe down the road the rackmount TC Electronics delay system … that looked pretty sweat.

    Is there anything else I’m missing? Reason I am asking about this all at once is because I’d like to be able to develope some kind of plan as to what I’ll be purchasing over the next few years, so I’m not just randomly buying pedals that I like at guitar center. Ultimately I want to create my own sound, but I’d like to base it off of Gilmour’s, since I’d like to be able to cover him extensively live. Thanks 🙂

    1. Re: Gilmour Effects
      Paltsa

      For a compressor buy a dynacomp. And for a fuzz I think your Ibanez will do it just fine. But if you really want
      to buy a new one, buy a tube drive or a tube screamer (both will do it just fine) or some other tube overdrive
      because you already have a fuzz. And don´t sell your univibe, keep it and buy a MXR Phase 90. You
      also need EHX flanger. No boss or Ibanez will do it like EHX. Boss RV-2 is a reverb, but it also has a Delay, right.

        1. Re: Gilmour Effects
          Vince

          Also, is it true that he used the Electric Mistress Flanger for most of the Wall? Is that a big essential part of the sound?

          : While Gilmour uses the Boss today, from what you are trying to do, he was using the MXR Dynacomp, so you should go there.

          : For Fuzz, he used a Fuzz Face until around animals when the Muff was prominent in his line up.
          : As far as the Chandler Tube Driver goes, Don’t get the rack mount. It doesn’t come close to the Pedal. You can pick the pedal up on e-bay or harmony central. There is a difference in sound between the two. get the early BK Butler Model.

          : Get a delay, for the early stuff you should get a MXR Phase 90, keep the univibe, and your don’t really need a leslie, you can "make one" out of the univibe and the phase 90.

          : John

          : : For a compressor buy a dynacomp. And for a fuzz I think your Ibanez will do it just fine. But if you really want
          : : to buy a new one, buy a tube drive or a tube screamer (both will do it just fine) or some other tube overdrive
          : : because you already have a fuzz. And don´t sell your univibe, keep it and buy a MXR Phase 90. You
          : : also need EHX flanger. No boss or Ibanez will do it like EHX. Boss RV-2 is a reverb, but it also has a Delay, right.

        2. Re: Gilmour Effects
          Vince

          Okay, so the next two pedals I should get are an MXR Dynacomp and a MXR Phase 90.

          I like the Univibe, but the reason I was talking about selling it was because if I did sell it, I could buy both MXR pedals for the selling price. And if the Phase 90 can get that univibe sound, then why keep the big univibe pedal which I have read so many bad reviews about its reliability?

          And in terms of the Chandler Tube Driver, I want to get one, but I am really interested in the rack version, especially the boost feature. I assume Gilmour had two pedals because he didn’t have the boost option. Do you really think there is THAT much of a difference between the rackmount and the pedal? Everyone I have talked to prior to this have said there isn’t a difference. Also note that generally the rackmount is $100 cheaper on Ebay and Harmony Central.

          : While Gilmour uses the Boss today, from what you are trying to do, he was using the MXR Dynacomp, so you should go there.

          : For Fuzz, he used a Fuzz Face until around animals when the Muff was prominent in his line up.
          : As far as the Chandler Tube Driver goes, Don’t get the rack mount. It doesn’t come close to the Pedal. You can pick the pedal up on e-bay or harmony central. There is a difference in sound between the two. get the early BK Butler Model.

          : Get a delay, for the early stuff you should get a MXR Phase 90, keep the univibe, and your don’t really need a leslie, you can "make one" out of the univibe and the phase 90.

          : John

          : : For a compressor buy a dynacomp. And for a fuzz I think your Ibanez will do it just fine. But if you really want
          : : to buy a new one, buy a tube drive or a tube screamer (both will do it just fine) or some other tube overdrive
          : : because you already have a fuzz. And don´t sell your univibe, keep it and buy a MXR Phase 90. You
          : : also need EHX flanger. No boss or Ibanez will do it like EHX. Boss RV-2 is a reverb, but it also has a Delay, right.

          1. Re: Gilmour Effects
            John

            Well, the Chandler Tube Driver Pedal gets its value because of the big names associated with it, Rob Johnson, Gilmour etc. You’ll want to make sure that when you buy it, it is the BK Butler model. It should say on it on the fron Concept and design by BK Butler. After he was not associated with Chandler the quality of the sound deteriorated a bit. Check out Harmony central on the reviews of the rack as opposed to the pedal and make an informed decision. I prefer the pedal. Like anything though I guess it goes on taste. A friend of mine had the rack mount version (with the same tube in it that I have in my pedal) and it didn’t quite sound the same. Alot of people get the CTD and don’t like it because its not what they expect. Remember that for Gilmour he runs a VERY clean amp, no gain. Thats the beauty of the Hiwatts, no matter what level you play, it is always crisp. He then adds different tonal charachteristics using his various pedals. The key is to blend the pedals to get a decent sound. The CTD is essential for his "now" sound as he favors the CTD and Cornish Soft Sustain.

            I think Gilmour has two Tube drivers because he uses two different tubes. Each tube will produce a little different tone.

            As for the Mistress—there isn’t a Flanger made that compares to the sounds that the Mistress gets. Combine it with a Big Muff and it is out of this world. The Flanger and the Muff were Gilmours main Wall effects in the live shows.

            Depending on what you want, I would go with the Mistress then the Phaser.

            For the Univibe, I would definately keep it.

            For what you are looking for, I’d go with a Fuzz Face, EQ, Delay, Compressor (MXR for early stuff), Phaser and Mistress. Big Muff for some of Animals and the Wall. That should encompass most everything up to the Wall.

            Hope this helps!

            John

            : Okay, so the next two pedals I should get are an MXR Dynacomp and a MXR Phase 90.

            : I like the Univibe, but the reason I was talking about selling it was because if I did sell it, I could buy both MXR pedals for the selling price. And if the Phase 90 can get that univibe sound, then why keep the big univibe pedal which I have read so many bad reviews about its reliability?

            : And in terms of the Chandler Tube Driver, I want to get one, but I am really interested in the rack version, especially the boost feature. I assume Gilmour had two pedals because he didn’t have the boost option. Do you really think there is THAT much of a difference between the rackmount and the pedal? Everyone I have talked to prior to this have said there isn’t a difference. Also note that generally the rackmount is $100 cheaper on Ebay and Harmony Central.

            : : While Gilmour uses the Boss today, from what you are trying to do, he was using the MXR Dynacomp, so you should go there.

            : : For Fuzz, he used a Fuzz Face until around animals when the Muff was prominent in his line up.
            : : As far as the Chandler Tube Driver goes, Don’t get the rack mount. It doesn’t come close to the Pedal. You can pick the pedal up on e-bay or harmony central. There is a difference in sound between the two. get the early BK Butler Model.

            : : Get a delay, for the early stuff you should get a MXR Phase 90, keep the univibe, and your don’t really need a leslie, you can "make one" out of the univibe and the phase 90.

            : : John

            :
            : : : For a compressor buy a dynacomp. And for a fuzz I think your Ibanez will do it just fine. But if you really want
            : : : to buy a new one, buy a tube drive or a tube screamer (both will do it just fine) or some other tube overdrive
            : : : because you already have a fuzz. And don´t sell your univibe, keep it and buy a MXR Phase 90. You
            : : : also need EHX flanger. No boss or Ibanez will do it like EHX. Boss RV-2 is a reverb, but it also has a Delay, right.

          2. Re: Gilmour Effects
            John

            Well, the Chandler Tube Driver Pedal gets its value because of the big names associated with it, Rob Johnson, Gilmour etc. You’ll want to make sure that when you buy it, it is the BK Butler model. It should say on it on the fron Concept and design by BK Butler. After he was not associated with Chandler the quality of the sound deteriorated a bit. Check out Harmony central on the reviews of the rack as opposed to the pedal and make an informed decision. I prefer the pedal. Like anything though I guess it goes on taste. A friend of mine had the rack mount version (with the same tube in it that I have in my pedal) and it didn’t quite sound the same. Alot of people get the CTD and don’t like it because its not what they expect. Remember that for Gilmour he runs a VERY clean amp, no gain. Thats the beauty of the Hiwatts, no matter what level you play, it is always crisp. He then adds different tonal charachteristics using his various pedals. The key is to blend the pedals to get a decent sound. The CTD is essential for his "now" sound as he favors the CTD and Cornish Soft Sustain.

            I think Gilmour has two Tube drivers because he uses two different tubes. Each tube will produce a little different tone.

            As for the Mistress—there isn’t a Flanger made that compares to the sounds that the Mistress gets. Combine it with a Big Muff and it is out of this world. The Flanger and the Muff were Gilmours main Wall effects in the live shows.

            Depending on what you want, I would go with the Mistress then the Phaser.

            For the Univibe, I would definately keep it.

            For what you are looking for, I’d go with a Fuzz Face, EQ, Delay, Compressor (MXR for early stuff), Phaser and Mistress. That should encompass most everything up to the Wall.

            Hope this helps!

            John

            : Okay, so the next two pedals I should get are an MXR Dynacomp and a MXR Phase 90.

            : I like the Univibe, but the reason I was talking about selling it was because if I did sell it, I could buy both MXR pedals for the selling price. And if the Phase 90 can get that univibe sound, then why keep the big univibe pedal which I have read so many bad reviews about its reliability?

            : And in terms of the Chandler Tube Driver, I want to get one, but I am really interested in the rack version, especially the boost feature. I assume Gilmour had two pedals because he didn’t have the boost option. Do you really think there is THAT much of a difference between the rackmount and the pedal? Everyone I have talked to prior to this have said there isn’t a difference. Also note that generally the rackmount is $100 cheaper on Ebay and Harmony Central.

            : : While Gilmour uses the Boss today, from what you are trying to do, he was using the MXR Dynacomp, so you should go there.

            : : For Fuzz, he used a Fuzz Face until around animals when the Muff was prominent in his line up.
            : : As far as the Chandler Tube Driver goes, Don’t get the rack mount. It doesn’t come close to the Pedal. You can pick the pedal up on e-bay or harmony central. There is a difference in sound between the two. get the early BK Butler Model.

            : : Get a delay, for the early stuff you should get a MXR Phase 90, keep the univibe, and your don’t really need a leslie, you can "make one" out of the univibe and the phase 90.

            : : John

            :
            : : : For a compressor buy a dynacomp. And for a fuzz I think your Ibanez will do it just fine. But if you really want
            : : : to buy a new one, buy a tube drive or a tube screamer (both will do it just fine) or some other tube overdrive
            : : : because you already have a fuzz. And don´t sell your univibe, keep it and buy a MXR Phase 90. You
            : : : also need EHX flanger. No boss or Ibanez will do it like EHX. Boss RV-2 is a reverb, but it also has a Delay, right.

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

          While Gilmour uses the Boss today, from what you are trying to do, he was using the MXR Dynacomp, so you should go there.

          For Fuzz, he used a Fuzz Face until around animals when the Muff was prominent in his line up.
          As far as the Chandler Tube Driver goes, Don’t get the rack mount. It doesn’t come close to the Pedal. You can pick the pedal up on e-bay or harmony central. There is a difference in sound between the two. get the early BK Butler Model.

          Get a delay, for the early stuff you should get a MXR Phase 90, keep the univibe, and your don’t really need a leslie, you can "make one" out of the univibe and the phase 90.

          John

          : For a compressor buy a dynacomp. And for a fuzz I think your Ibanez will do it just fine. But if you really want
          : to buy a new one, buy a tube drive or a tube screamer (both will do it just fine) or some other tube overdrive
          : because you already have a fuzz. And don´t sell your univibe, keep it and buy a MXR Phase 90. You
          : also need EHX flanger. No boss or Ibanez will do it like EHX. Boss RV-2 is a reverb, but it also has a Delay, right.

  2. Pedal order ?!?!?!?!?!?
    SCOTT

    How should these go to get the best sound:
    Crybaby535Q,TS-9, SansAmp GT2(dist.), MXR phase90,
    MXR Dynacomp, MXR Micro Amp(booster), DM-3 Delay, Volume pedal,
    Noise Suppresor, Equalizer. *I also have an FX loop if
    that helps.

    Thanx again

    1. Re: Pedal order ?!?!?!?!?!?
      filmour

      Try this order:crybaby,dynacomp,mxr booster,ts9,GT2,phase 90, equalizer all in the noise suppressor.
      Than volume pedal and delay (experiment this one in the fx loop)

    2. Re: Pedal order ?!?!?!?!?!?
      John

      Your pedal order should go by how you want it to sound. You will have different tonal qualities if you say put the mistress before the muff, and then try the muff before the mistress.

      I run my board like this, Compressors, Distortions, modulations, delays to Amps.

      Try it, if you don’t like it play around until you find something you do like.

      John

      : How should these go to get the best sound:
      : Crybaby535Q,TS-9, SansAmp GT2(dist.), MXR phase90,
      : MXR Dynacomp, MXR Micro Amp(booster), DM-3 Delay, Volume pedal,
      : Noise Suppresor, Equalizer. *I also have an FX loop if
      : that helps.

      : Thanx again

    1. Re: Distortion on "dogs"? which does he use
      Manu Duran

      I think is only the Hiwatt amplifier distortion (low distortion), because there is not a very sustain, and is a clean saturation (tipical for the Hiwatt amps). Perhaps all with a Telecaster (bridge pick-up).

      1. Re: Distortion on
        riis

        I totally disagree. The Muff is far to dirty and has more sustain to it than the sound on Dogs. He probably used either a Fuzz Face or a distortion channel on one of his studio amps, probably a Fender. He also used a Pete Cornish custom fuzz, which is a blend of the Face and the Muff. On the tour though, he used the muff.

        1. Re: Distortion on
          gilmourdude

          : I totally disagree. The Muff is far to dirty and has more sustain to it than the sound on Dogs.

          The muff is never dirty when playing single note style leads.
          I use the muff when I play it live and it asounds like the record.

  3. Fuzz face and early overdrives
    riis

    Hi, I was wondering if any of you guys knew what kind of overdrive unit Dave used on the earlier stuff. I believe he didn’t start using the Muff before the Animals period. He used the fuzz face on most solos up until that. But as I’m familliar with this pedal I can’t tell if it’s the Fuzz face he uses on stuff like Childhoods End, Mudmen and live versions of Atom Heart mother, Cymbaline and all of that overdrive-not-quite-fuzz- stuff.
    Anyone?

    1. Re: Fuzz face and early overdrives
      Farley

      How about the stock overdrive that he used in his studio amps? Just a suggestion. Boss seems to probably be your best bet.

      1. Re: Fuzz face and early overdrives
        John

        He mostly used the Fuzz on all his early stuff. There is a big difference in tone of the fuzz (distortion) if you use an EQ with it. fool around with a Fuzz Face and an EQ and you’ll get pretty much what you’re looking for.

        : How about the stock overdrive that he used in his studio amps? Just a suggestion. Boss seems to probably be your best bet.

    1. Re: Floyd Cover Band In Seattle?
      mark

      go to yahoo and type in "pink floyd tribute bands" I think they are call…several species…

      good luck

      mark

      1. Re: Floyd Cover Band In Seattle?
        Floyd

        Thanks Mark

        : go to yahoo and type in "pink floyd tribute bands" I think they are call…several species…

        : good luck

        : mark

        1. Re: Floyd Cover Band In Seattle?
          Dan

          I can’t remember their name, but I saw their flyer at Guitar Center. They are an ACOUSTIC Pink Floyd cover band!

    1. David effects in 1980´s
      Manu Duran

      He used the same equipment always (normaly, he incremented with the time). You can see in this web site. But the real diference is in the 80´s he began to use a new pick-up’s set. The EMG DG-20 set. You can buy today. I have a Fender Stratocaster with this set and the sound is very great!!! I recomended if you a searching for Dave sound.

  4. about mistress
    filmour

    Why my mistress (great sound!), combined with distortion or overdrive,is so hysterical and exaggerated when I turn up the color? The sound is very deep and rounded but I hear a tiresome…uiiiuiiiuiiiuiii (forgive me!).
    When Dave use the mistress I hear the flanger and oscillating sound but not squeak or jet-airplane.
    If I set the rate at 9 it’s more acceptable but the sound is empty.

    1. Re: about mistress
      john

      Thats the beauty and down fall of the Mistress. It is a noisy flanger, but nothing else really comes close. You can try adjusting the rate, color and range, but you said it is flat. Try upping the sustain or tone on your distortion. I’ve tried the Mistress with other distortions, but it doesn’t sound the same without the Muff. It’s like they were made for each other.

      The other thing you can do is try a noise gate, but make sure that your not cutting off frequencies that you want.

      Or…you can just live with it 🙂 But, that really shouldn’t be an option.

      Hope this helps

      John
      : Why my mistress (great sound!), combined with distortion or overdrive,is so hysterical and exaggerated when I turn up the color? The sound is very deep and rounded but I hear a tiresome…uiiiuiiiuiiiuiii (forgive me!).
      : When Dave use the mistress I hear the flanger and oscillating sound but not squeak or jet-airplane.
      : If I set the rate at 9 it’s more acceptable but the sound is empty.

  5. Signs of life
    filmour

    What i have to do to replicate the intro-solo in the Momentary album?
    Clean guitar, compression and neck-pickup…ok!
    But what about the strange oriental sound? The mistress?

    1. Re: Signs of life
      John

      That sound is pretty much a clean guitar, compression, EMG pickups and Reverb

      John

      : What i have to do to replicate the intro-solo in the Momentary album?
      : Clean guitar, compression and neck-pickup…ok!
      : But what about the strange oriental sound? The mistress?

    1. Re: Take It Back
      john

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

      John

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

      1. Re: Take It Back
        ge

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

        : John

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

    1. Re: sound with only boss
      john

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

      John

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

  6. SYD BARRETT GEAR?!
    gen

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

    1. Re: SYD BARRETT GEAR?!
      régie

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

    2. Re: SYD BARRETT GEAR?!
      Floyd

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

      Floyd

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

        1. Re: SYD BARRETT GEAR?!
          Madcap

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

          : Syd guitars are a Danelectro DC1 and Fender Tele.I have a Danelectro DC1 pro and it sounds close to Syd’s.

          I have a video of him playing ‘Arnold Layne’ on a live BBC show and he was playing a Strat (although he used them much less extensively than Gilmour). For wah-wah, he used either a Crybaby or a Vox. And a Fuzzface for distortion.

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

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

          : Floyd

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

          Syd guitars are a Danelectro DC1 and Fender Tele.I have a Danelectro DC1 pro and it sounds close to Syd’s.

  7. Phase-90 Mod
    Floyd

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

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

  8. Hello JOHN W!
    RIIS

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

  9. Best Leslie Sim???
    d_l_m

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

    Thanx

    1. Re: Best Leslie Sim???
      Mark

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

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

      : Thanx

    1. Re: Uni-Vibe on Breath???
      filmour

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

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

      1. Re: Uni-Vibe on Breath???
        Mike M

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

  10. Electric Mistress/Delux Electric Mistress
    d_l_m

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

    1. Re: Electric Mistress/Delux Electric Mistress
      John

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

      Either one will do you well..

      John

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

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

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

    1. Re: Electric
      filmour

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

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

        1. Re: Electric
          filmour

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

      1. Re: Electric Mistress
        matt

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

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

  12. Thoughts Feelings blah
    Floyd

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

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

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

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

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

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

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

    Floyd

    1. Re: Thoughts Feelings blah
      matt

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

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

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

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

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

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

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

      : Floyd

    2. Re: Thoughts Feelings blah
      John

      Well Spoken!

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

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

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

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

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

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

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

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

      Picks I believe he uses the Tortex Greens now.

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

      John

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

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

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

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

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

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

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

      : Floyd

    3. Re: Thoughts Feelings blah
      John

      Well Spoken!

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

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

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

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

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

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

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

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

      Picks I believe he uses the Tortex Greens now.

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

      John

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

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

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

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

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

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

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

      : Floyd

      1. Re: Thoughts Feelings blah
        Floyd

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

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

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

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

        Floyd

        1. Re: Thoughts Feelings blah
          Ralph

          http://www.analogman.com he does the mods for the Fuzz Face. –Ralph

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

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

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

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

          : Floyd

    1. Re: Animals Tour
      j_hotch

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

      As far as I can gather:

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

    1. Re: house of the rising sun?!?
      Alex

      pink floyd NEVERR did a cover of the song. they never recorded a version of the song. the cover your probably thinking of is done by frijid pink in the 1970’s but i’m completely sure it was not pink floyd

      1. Re: house of the rising sun?!?
        Claus old fan o pf

        : pink floyd NEVERR did a cover of the song. they never recorded a version of the song. the cover your probably thinking of is done by frijid pink in the 1970’s but i’m completely sure it was not pink floyd

        Just downloaded the piece,limewire, agree too, the solo gives it away in the end. confused though, how are y so sure? got it all?

    2. Re: house of the rising sun?!?
      Armstrong14

      Pink Floyd NEVER remade the House Of The Rising Sun in any way, shape, or form. The copy you have starts out with hard, weird rock, right? That is Frijid Pink’s House Of The Rising Sun. Frijid Pink recorded their take on the song in 1970, and well that’s why it’s considered "psychedelic rock." Pink Floyd never did a version. Look it up on Wikipedia, you’ll find that the version everyone thinks is Pink Floyd is really Frijid Pink.

    3. Re: house of the rising sun?!?
      Donal Treacy

      Did Pink floyd ever covered the House of the Rising sun? I’ve the song but I’m not shure of pink floyd ever covered the animals?

      first of all, Yes they did do a cover of "House Of The Risig Sun" but secondly, it was not a cover of a song by The Animals it Was a cover of an Old Folk song, witch was Originally released by Bob Dylan…

    4. Re: house of the rising sun?!?
      Raymond Ingram

      : Did Pink floyd ever covered the House of the Rising sun? I’ve the song but I’m not shure of pink floyd ever covered the animals.

      1. Re: house of the rising sun?!?
        Raymond Ingram

        : : Did Pink floyd ever covered the House of the Rising sun? I’ve the song but I’m not shure of pink floyd ever covered the animals.

        No Pink floyd never did but Fridgid Pink did and it’s a great song done well they play it once in awhile on direct tv channel 819.Anbody got a copy send me a file.

        1. Re: house of the rising sun?!?
          Robert L

          : : : Did Pink floyd ever covered the House of the Rising sun? I’ve the song but I’m not shure of pink floyd ever covered the animals.

          : No Pink floyd never did but Fridgid Pink did and it’s a great song done well they play it once in awhile on direct tv channel 819.Anbody got a copy send me a file.

          Hello. It was Fridgid Pink from Detroit – 1969 – but also, It was not a Animals song they covered it to. It is a traditional blues song from New Orleans author unknown. The first recording of it was by Josh White. His son Josh White Jr. may have covered it also but is was his fathers version that inflenced the Animals.

    5. Re: house of the rising sun?!?
      dylumph

      : Did Pink floyd ever covered the House of the Rising sun? I’ve the song but I’m not shure of pink floyd ever covered the animals.
      A band called Fridgid Pink did it.

      1. Re: house of the rising sun?!?
        Roger Waters

        : : Did Pink floyd ever covered the House of the Rising sun? I’ve the song but I’m not shure of pink floyd ever covered the animals.
        : NO — Pink Floyd never did it. I was there, and I DON’T have a recording of it.
        :

      2. Re: house of the rising sun?!?
        David Gilmore

        Pink Floyd Did do a version of this song – i have it. definately Gilmore singing. Its a great version, better than any others. i would like tofind the guitar tabs for it…

        1. Re: house of the rising sun?!?
          Jack Woods

          I have a piano teacher see Pink Floyd Play House of the rising sun live, but it isnt actually on any of their albums.

    1. Re: HIWATT DR504 FOR SALE
      Brandon Kubiac

      : I am selling my Hiwatt head to buy the rare combo that I recently found. It is the AP Custom 50 DR504 from the late 70’s with the 2 inputs.Serial # 15297, it is from the Harry Joyce and Dave Reeves Hylight Electronics era. The glory days of Hiwatt. It has MULLARD premp tubes in it and Mesa Power tubes. Excellnt cosmetic and perfect functional condition. Head version of the amp that Dave uses in the studio. $700 + $35 shipping. I am firm on the price. I have pics to e-mail .–Ralph

      Extrememly interested if its still available. Could you send me pics please. My number is 586-610-0634 if you want to give me a call.

      Brandon

    2. Re: HIWATT DR504 FOR SALE
      mike

      is this amp still for sale?

      -mike

      : I am selling my Hiwatt head to buy the rare combo that I recently found. It is the AP Custom 50 DR504 from the late 70’s with the 2 inputs.Serial # 15297, it is from the Harry Joyce and Dave Reeves Hylight Electronics era. The glory days of Hiwatt. It has MULLARD premp tubes in it and Mesa Power tubes. Excellnt cosmetic and perfect functional condition. Head version of the amp that Dave uses in the studio. $700 + $35 shipping. I am firm on the price. I have pics to e-mail .–Ralph

    3. Re: HIWATT DR504 FOR SALE
      Bryan Herring

      Dear Ralph – I’m interested in the Hiwatt (if it’s still available). Would you mind e-mailing the pictures to me at [email protected]> Feel free to give me a call if you wish… 818-593-5066 (work) or 818-421-3981 (cell). Thank you, Bryan.

    4. Re: This popular thread has been given its own page :... Ralph
      Ralph

      I am selling my Hiwatt head to buy the rare combo that I recently found. It is the AP Custom 50 DR504 from the late 70’s with the 2 inputs.Serial # 15297, it is from the Harry Joyce and Dave Reeves Hylight Electronics era. The glory days of Hiwatt. It has MULLARD premp tubes in it and Mesa Power tubes. Excellnt cosmetic and perfect functional condition. Head version of the amp that Dave uses in the studio. $700 + $35 shipping. I am firm on the price. I have pics to e-mail .–Ralph

  13. Phase 90 problem
    Leo

    Hey all –

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

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

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

    Leo

    1. Re: Phase 90 problem
      chris

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

    2. Re: Phase 90 problem
      chris

      : Hey all –

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

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

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

      : Leo

      1. Re: Phase 90 problem
        Mike

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

    1. Re: please help me
      RALPH

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

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

  14. What does Gilmour use for reverb?
    Gstring

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

    1. Re: What does Gilmour use for reverb?
      matt

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

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

    2. Re: What does Gilmour use for reverb?
      john

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

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

  15. Strats..MAN
    Farley

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

    1. Re: Strats..MAN
      chris

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

  16. Gilmour's effects switcher
    d_l_m

    Does anyone know anyhting about the switcher that is controlled by the Bradshaw pedalboard??? Where can I get a switcher? Are they easy to build??? Any help or advice would be appreciated!

    1. Re: Gilmour's effects switcher
      John

      : Does anyone know anyhting about the switcher that is controlled by the Bradshaw pedalboard??? Where can I get a switcher? Are they easy to build??? Any help or advice would be appreciated!

      I believe the router is made by Pete Cornish.
      http://www.pacifix-ltd.com

    1. CLS 222 Remote - Switcher
      Dieter Rubach

      Hello,
      I´m looking for a Remote Switcher for my Leslie Simulator CLS 222 from Dynacord, or the way to make one by myself.
      Who can help me?
      Thanx
      Dieter Rubach

      1. Re: CLS 222 Remote - Switcher
        Dave Bates

        Hello
        Are you still looking for the info?
        I have just recently got a CLS 222 with foot switch. It is a stereo jack at the cls end with two on/off switches – I assume it is wired one to the tip, the other to the ring to switch slow/fast and rotor/stop. I can open it up and check the wiring if necessary.

        I am after info on how to adjust the slow and fast rotor speeds. The slow is ok but the fast is too fast – if anyone can help.

      2. Re: CLS 222 Remote - Switcher
        Dieter Rubach

        : Hello,
        : I´m looking for a Remote Switcher for my Leslie Simulator CLS 222 from Dynacord, or the way to make one by myself.
        : Who can help me?
        : Thanx
        : Dieter Rubach

        1. Re: CLS 222 Remote - Switcher
          Christian

          : : Hello,
          : : I´m looking for a Remote Switcher for my Leslie Simulator CLS 222 from Dynacord, or the way to make one by myself.
          : : Who can help me?
          : : Thanx
          : : Dieter Rubach

          You should be able to gather the wires from two normal switch pedals into a stereo jack – you will have to twist the ground wires together. Then you have two wires one for the tip and one for the back of the stereo jack. I cant remember which is which one is for stop and one i for fast/slow switching.

          I have assumed that the CLS 222 usess non-latching switch pedals.

          Hope this helps.

          Christian

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

      I would like to hear any input of how to nail Gilmours leslie sound. I noticed his CLS-222 is modified although I don’t know in what way. Let me know of any tips from getting that good Hammond B3 overdrive to that sweet leslie modulation sound. I am Currently using a Bogner Ecstacy 100B. Its all tube but I haven’t got that good overdrive sound down yet. List everything I should look into including pedals and racks of any sort. Thanks for your help!

    1. Re: Modes/Scales
      Manu Duran

      If you want to study hard the use of this kind of scales and modes, I recommended the "Frank Gambale technique book -Book one", from DCI Music Video – Legato publications".

    2. Re: Modes/Scales
      Manu Duran

      If you want to study hard the use of this kind of scales and modes, I recommended the "Frank Gambale technique book -Book one", from DCI Music Video – Legato publications".

    3. Re: Modes/Scales
      Manu Duran

      The relative minor blues, and the minor pentatonic in the major mode; and the same minor blues and pentatonic in the minor mode. All based in the "melodic minor scale", with very, very feeling, and talent… (that’s is the more dificult part to play…)

    1. Re: fender mex strat
      numbed

      To tell you the truth, I bought a Standard Black Strat with a Rosewood fretboard about 9 months ago, and I haven’t had any problems with it since…If ya ask me I think they are nice guitars, afterall it’s a fender and that’s what Gilmour used 🙂

      1. Re: fender mex strat
        gilmourdude

        The mex strats are not bad guitars by any means. I had a few of them and just recently bought an American standard. I like the American better though. The hardware is higher quality. The bridge is stainless steel. It feels better and in my opinion sounds better. Either one is fine though.

  17. Pink Floyd Back tracks
    John

    Does anyone have the following Backing Tracks (minus lead Guitar) for the following songs:

    Anything from the Final Cut,
    Sorrow,
    Sings Of Life
    Great Day for freedom
    Poles apart
    Keep Talking
    Have a Cigar.

    I only need the solo parts. If you have them please cantact me, I am putting together a Back track Cd and so far have over 64 minutes of Floyd Backing tracks.

    John

    1. Re: Pink Floyd Back tracks
      John

      Oh yeah, Contact me at [email protected]

      : Does anyone have the following Backing Tracks (minus lead Guitar) for the following songs:

      : Anything from the Final Cut,
      : Sorrow,
      : Sings Of Life
      : Great Day for freedom
      : Poles apart
      : Keep Talking
      : Have a Cigar.

      : I only need the solo parts. If you have them please cantact me, I am putting together a Back track Cd and so far have over 64 minutes of Floyd Backing tracks.

      : John

        1. Re: Pink Floyd Back tracks
          john

          I have CN both solos, and shine on, but not WYWH. Is it the whole song or just the soloing. E-mail me [email protected]

          : And are you going to eventually start distributing this CD? In which case I will be interested in getting a hold of one. I only have Comf Numb, Shine On, and Wish You Were Here back tracks.

          : : Oh yeah, Contact me at [email protected]

          : : : Does anyone have the following Backing Tracks (minus lead Guitar) for the following songs:

          : : : Anything from the Final Cut,
          : : : Sorrow,
          : : : Sings Of Life
          : : : Great Day for freedom
          : : : Poles apart
          : : : Keep Talking
          : : : Have a Cigar.

          : : : I only need the solo parts. If you have them please cantact me, I am putting together a Back track Cd and so far have over 64 minutes of Floyd Backing tracks.

          : : : John

          1. Re: Pink Floyd Back tracks
            Leo

            Yeah, it’s the whole song. It’s actually the Pulse version, with the extended intro and outro.

            : I have CN both solos, and shine on, but not WYWH. Is it the whole song or just the soloing. E-mail me [email protected]

            :
            : : And are you going to eventually start distributing this CD? In which case I will be interested in getting a hold of one. I only have Comf Numb, Shine On, and Wish You Were Here back tracks.

            : : : Oh yeah, Contact me at [email protected]

            : : : : Does anyone have the following Backing Tracks (minus lead Guitar) for the following songs:

            : : : : Anything from the Final Cut,
            : : : : Sorrow,
            : : : : Sings Of Life
            : : : : Great Day for freedom
            : : : : Poles apart
            : : : : Keep Talking
            : : : : Have a Cigar.

            : : : : I only need the solo parts. If you have them please cantact me, I am putting together a Back track Cd and so far have over 64 minutes of Floyd Backing tracks.

            : : : : John

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

          And are you going to eventually start distributing this CD? In which case I will be interested in getting a hold of one. I only have Comf Numb, Shine On, and Wish You Were Here back tracks.

          : Oh yeah, Contact me at [email protected]

          : : Does anyone have the following Backing Tracks (minus lead Guitar) for the following songs:

          : : Anything from the Final Cut,
          : : Sorrow,
          : : Sings Of Life
          : : Great Day for freedom
          : : Poles apart
          : : Keep Talking
          : : Have a Cigar.

          : : I only need the solo parts. If you have them please cantact me, I am putting together a Back track Cd and so far have over 64 minutes of Floyd Backing tracks.

          : : John

  18. Light Strings
    Adam

    The other day I went out and bought a pack of medium strings… The guy looked at me and asked "Are you sure you want string that are THIS THICK!?" and I was like "uhhhhhhh, yeah" and then when I went to go get a replacement at another shop the guy asked me the same thing "Are you sure this is the right size? This looks really thick!" So what’s the deal with everyone using light strings? Wouldn’t medium be the choice? Afterall it’s MEDIUM!

    1. Re: Light Strings
      numbed

      Well the lighter they are, the easier it is to bend and if you’re considering playing floyd, then be prepared for lots of bends 🙂 in case you’re wondering…On the Strats Gilmour uses GHS Boomers with a customized gauge of (.010 .012 .016 .028 .038 .048)

  19. Rat2 or Turbo Rat
    joan

    I´ve heard that the turbo rat is way better than Rat2.
    That you can get same sounds as Rat2, but way more fuzzer if you want.
    Is that true?
    Have anyone tried Turbo Rat?
    Please tell me.
    Thank you

  20. What chorus should i buy?
    I don´t want Boss Chorus cos´ i already have few boss pedals and I don´t wanna be any kind of " Boss dude".
    My other effects are Boss Ds-2, Roger Mayer Classic Fuzz and EHX Echoflanger (It´s mix between Electric mistress and clone theory chorus).
    Thanks

  21. What would be a good delay pedal to recreate gilmour’s sound and should i use analog delay or digital? er whats the difference. someone help please 😛

    1. Re: Delay
      Renato

      I use the Line 6 DL4 (15 types of delays) + TRI AC Sansamp
      + Equalizer + Electric Mistress (Flanger) > Fender Strato and Ampli Fender.
      With this equipment is possible play a most songs of Pink
      Floyd.

    2. Go to TC Electronics & get the exact one David uses…TC-2290. Got a few grand??? $$$$$$

      Try using the Boss dd-3 and a second delay pedal…play around with them. It’s much cheaper.

      : What would be a good delay pedal to recreate gilmour’s sound and should i use analog delay or digital? er whats the difference. someone help please 😛

  22. The Wall - Is There Anybody Out There
    numbed

    Howdy folks, I was just wondering if anybody of you would happen to know what Mr. Gilmour uses to pick the notes of the song
    ‘Is there anybody out there’ in the studio and live versions? I know it’s played on a nylon string acoustic but does he use a pick or does he fingerpick the song? Thanks,
    -numbed

  23. the wall - is there anybody out there
    numbed

    Howdy folks, I was just wondering if anybody of you would happen to know what Mr. Gilmour uses to pick the notes of the song
    ‘Is there anybody out there’ in the studio and live versions? I know it’s played on a nylon string acoustic but does he use a pick or does he fingerpick the song? Thanks,
    -numbed

    1. Re: the wall - is there anybody out there
      matt

      It depends whether he’s playing chords or single notes. If it’s single notes he uses his fingers. If it’s chords he uses a pick.

      : Howdy folks, I was just wondering if anybody of you would happen to know what Mr. Gilmour uses to pick the notes of the song
      : ‘Is there anybody out there’ in the studio and live versions? I know it’s played on a nylon string acoustic but does he use a pick or does he fingerpick the song? Thanks,
      : -numbed

    2. Re: the wall - is there anybody out there
      joe james

      : Howdy folks, I was just wondering if anybody of you would happen to know what Mr. Gilmour uses to pick the notes of the song
      : ‘Is there anybody out there’ in the studio and live versions? I know it’s played on a nylon string acoustic but does he use a pick or does he fingerpick the song? Thanks,
      : -numbed

      I learned it by fingerpicking and it’s pretty easy if you practice. If you can do hey you then it shoudn’t be that hard.

    3. Re: the wall - is there anybody out there
      Floyd

      Well fingerpicked in the studio-actually it isn’t evan gilmour playing, he couldn’t finger-pick it, so someone else
      did.

      However in the live concerts he just used picks, I’d assume there Herco, same as with the electric. (Herco Heavy-Gauge)

      : Howdy folks, I was just wondering if anybody of you would happen to know what Mr. Gilmour uses to pick the notes of the song
      : ‘Is there anybody out there’ in the studio and live versions? I know it’s played on a nylon string acoustic but does he use a pick or does he fingerpick the song? Thanks,
      : -numbed

      1. Re: the wall - is there anybody out there
        steve-O

        : Well fingerpicked in the studio-actually it isn’t evan gilmour playing, he couldn’t finger-pick it, so someone else
        : did.

        : However in the live concerts he just used picks, I’d assume there Herco, same as with the electric. (Herco Heavy-Gauge)

        : : Howdy folks, I was just wondering if anybody of you would happen to know what Mr. Gilmour uses to pick the notes of the song
        : : ‘Is there anybody out there’ in the studio and live versions? I know it’s played on a nylon string acoustic but does he use a pick or does he fingerpick the song? Thanks,
        : : -numbed

        you bet me to it…i was gonna say the same thing…dave didnt play it..but..its all finger picking…nice song to play.

  24. see emily play bass and guitar tabs
    Bob

    can someone out there give me detaled bass and guitar tabs for see emily play. i know its a david gilmour site but i hope you people can help me Thanks….

    Bob

  25. see emily play bass and guitar tabs
    Bob

    can someone out there give me detaled bass and guitar tabs for see emily play. i know its a david gilmour site but i hope you people can help me Thanks….

    Bob

  26. see emily play bass and guitar tabs
    Bob

    can someone out there give me detaled bass and guitar tabs for see emily play. i know its a david gilmour site but i hope you people can help me Thanks….

    Bob

  27. Muff, Mistress & Phase90
    filmour

    Please, help me! i need to know the best order and setting for the Big muff (or Rat?), mistress and Phase 90 (ok for Dynacomp, chorus and delay…) to emulate comfortably numb as in "Is there anybody out there?" (live Wall). And what about amp equalization? Help me! Help me! I have a concert!

    1. Re: Muff, Mistress & Phase90
      Floyd

      Well the muff I have vol at 1 or 2, the other ones are botha t around 11; for the phaser, at 11 to emulate rotating speakers kind of, it adds a bit more distortion than I want so I don’t always use it. The Mistress I set to generally 11, 11, and the rat at 1 or 2-in order ot get more drone like on IAOT try moving the rate up alittle, or the other two up…

      Floyd

      : Please, help me! i need to know the best order and setting for the Big muff (or Rat?), mistress and Phase 90 (ok for Dynacomp, chorus and delay…) to emulate comfortably numb as in "Is there anybody out there?" (live Wall). And what about amp equalization? Help me! Help me! I have a concert!

Leave a Reply