(A) Boss CS-2 Compression/Sustainer.
These are no longer available new from Roland. You can only purchase the CS-3 which (to my ear) does not sound as smooth as the CS-2.
(B) Pro Co. Rat II Distortion.
The first generation Rat’s distortion, filter & volume knobs yield various Marshally distortion tones.
(C) Cornish Big Muff.
Pete Cornish custom Big Muff. (looks like Pete has taken an original Big Muff and housed it in a custom box). I don’t know if this has been modified in any other way.
(D) Boss GE-7 Graphic Equalizer.
This GE-7 has been set to be used in conjunction with the Rat distortion pedal.
(E) Cornish Soft Sustain.
This is obviously a Pete Cornish custom effect. Notice the combination of the GE-7 graphic EQ sliders & the knobs for sustain & volume.
(F) Sovtek Big Muff II.
The Big Muff is a very heavy-vibed fuzz with volume, tone & sustain controls. The muff sounds huge & powerful despite it’s feeble tone control range & is looser & more gargantuan than say a Pro Co. Rat II.
(G) Chandler Tube Driver #2.
The Tube Driver offers lots of tight girthy gain and has an openness that sets it apart from other distortion boxes. Features high/low EQ, tube drive & output controls. These later became known as Tube Works Tube Driver.
(H) MXR Dynacomp Compressor.
The Dynacomp has a natural sounding expansion & a nice bright tone to it.
(I) Ibanez CP-9 Compressor.
(J) Boss Metalizer.
No longer available new from Roland.
(K) Chandler Tube Driver #1.
The Tube Driver offers lots of tight girthy gain and has an openness that sets it apart from other distortion boxes. Features high/low EQ, tube drive & output controls. This later became known as Tube Works Tube Driver.
(L) Boss GE-7 Graphic Equalizer.
This GE-7 has been set to boost the top & bottom ranges. Labelled T&B
(M) Boss GE-7 Graphic Equalizer.
This GE-7 has been set to boost the bass ranges. Labelled BASS
(N) Boss GE-7 Graphic Equalizer.
This GE-7 has been set to boost the mid ranges. Labelled MID The Rack
With Dave Gilmour’s rack system we meet a marriage of technologies, old & new. He has always exhibited a preference for older, analogue effects but has had Pete Cornish create a switching system which guarantees ease of use with optimum, low noise performance. 
(A) Furman PL-8 Power Conditioner And Light Controller.
I can only guess that this controls the lights on top of the rack so Dave can see the pedals.
(B) TC. Electronics TC-2290 Dynamic Digital Delay + Effects Control Processor.
This is Dave’s primary delay unit. He uses this on most songs.
(C) Uni-Vibe.
The Uni-Vibe unit featues volume & intensity controls, a chorus/vibrato switch & sepearate speed controls for the slow or fast speed options. It also requires a seperate foot switch pedal for fast or slow. Gilmour does not use the chorus option! This effect was originally a footpedal, however Gilmour had his longtime technician Phil Taylor make a rack system out of it. He even had the old logo embossed on the face plate of the new rack.
(D) Digitech IPS-33B Super Harmony Machine.
Diatonic pitch shifter.
(E) Lexicon PCM-70 Digital Effects Processor.
Dave uses the PCM-70 to store the circular delay sounds you hear in Shine On & Time. Because it has a multi tap function it can pretty accurately duplicate the kind of echo Dave used to get from his old Binson echo unit.
(F) MXR Delay System II.
This is another rack system that began life as a footpedal. Phil also added a digital readout that he says is really nowhere close to being an accurate indication of delay time.
(G) Phil Taylor Custom Rack.
This is yet another custom made rack from footpedals. It contains the following effects.
Boss CE-2 Chorus
The original chorus from Boss has rate & depth knobs & sounds sweet, rich & dynamic. There are two CE-2’s loaded into this rack one is marked Mono Chorus & the other Left Chorus. (The left chorus is inserted in the signal path for the left channel of Dave’s amp setup).
Electric Mistress
The Electric Mistress has rate, range & colour controls, plus a filter matrix switch. This is sort of a bizzarre sounding flanger that gets extremely detuned & twisted.
Tremulator
The Tremulator has speed and depth controls.
(H) Dynachord CL5222 Leslie Simulator.
(I) Samson UHF Dual Receiver.
(J) Peterson Strobe Tuner.
Other Effects & Equipment
There are a few footpedals & other items which are not pictured or part of Dave’s current live rig but have been and still are used by him in the studio.
MXR Phase 90
This was MXR’s first effect and only has a speed knob that yields complex, swirly phase textures with silky highs & lots of vocal inflection. Also does decent rotating speaker imitations at higher speeds.
Arbiter Fuzz Face
The classic of classic fuzzes sounds big, deep & bad. The Fuzz Face takes you from clean to insanity with a mere twiddle of your guitars volume knob.
Boss HM-2 Heavy Metal Distortion
An 80’s classic Gilmour used on About Face (notably at the end of Murder). It delivers incredibly gutsy grind & tons of deep bass boost. Features low/high and colour mix controls.
Maestro Rover
The Maestro Rover looks like a late 1950’s NASA satellite (I will try and get a scan of this thing) but it’s a rotating speaker designed to go between your guitar and your amp. This sure fire attention getter has amp & instrument inputs & features volume, speed, slow & fast controls. A crossover routes the upper frequencies through the Rover’s amplifier to the rotating speaker, while the lower frequencies are sent to your stage amp.
Orange Treble/Bass Boost.
Heil Voice Box
The Midi Foot Controller
This Bob Bradshaw designed pedalboard is used to select individual or different preset combinations of effects. This doesn’t do the actual switching though. The left side of Dave’s rack unit contains his Pete Cornish custom built switcher, which has 24 sends & returns & uses gold plated relays to turn individual effects on and off. In addition to this, it also sends standard MIDI program numbers to the various MIDI processors that are contained in his rack (such as the Lexicon). It can also send almost anything he wants to the rack, such as a delay time or whatever. I’m not sure if he uses any of these features, but it’s there.
For information on a similar type of pedalboard designed by Rocktron/Bradshaw. 
(A) TC. Electronics TC-2290 Digital Delay + Effects Control Processor. On/Off
(B) Lexicon PCM-70 Digital Effects Processor. On/Off
(C) Doppola’s. On/Off
(D) Leslie. On/Off
(E) Left Chorus (Rack Mounted Boss CE-2). On/Off
(F) Acoustic. On/Off
This seems to be a switch Dave uses to toggle between electric & acoustic setups.
(G) Midi.
(H) Store.
(I) MXR Delay System II. On/Off
(J) Graphic B (Mid). On/Off
(K) Graphic A (Bass). On/Off
(L) Graphic C (T & B). On/Off
(M) Tremulator (Rack Mounted). On/Off
(N) Chorus (Rack Mounted Boss CE-2). On/Off
(O) Univibe. On/Off
(P) Electric Mistress. On/Off
(Q) Chandler Tube Driver #2. On/Off
(R) Sovtek Big Muff. On/Off
(S) Cornish Soft Sustain. On/Off
(T) Pro Co. Rat II. On/Off
(U) Chandler Tube Driver #1. On/Off
(V) Pete Cornish Big Muff. On/Off
(W) Hyper. On/Off
This toggles the Boss Metalizer
(X) Ibanez CP-9 Compressor. On/Off
(Y) Digitech Whammy. On/Off
(Z) Bank Switch.
Selects the bank number for preset sounds.
(1) Preset Numbers. 1/0
(2) Preset Numbers. 2
(3) Preset Numbers. 3
(4) Preset Numbers. 4
(5) MXR Dynacomp Compressor. On/Off
(6) Boss CS-2 Compressor. On/Off
(7) Doppola’s. Slow/Fast
Selects which speed the doppola’s rotate at.
(8) Leslie. Slow/Fast
Selects the speed of the Dynachord CL5222 Leslie Speaker Simulator.
(9) Univibe. Slow/Fast
Selects the speed of the univibe rotating speaker simulator.
(10) Ernie Ball Volume Pedal.
(11) Digitech Whammy Pedal.
FX Facts
Despite the apparent complexity of Dave Gilmour’s set up, the actual contents of each track may come as something of a surprise. Essentially his sound is fairly clean, choosing different distortion units to add their characteristic sound to his signal. As an example, to reproduce the track Money from Dark Side Of The Moon live in concert, Gilmour uses this effects combination.
Main Riff: Pete Cornish Soft Sustain with Chandler Tube Driver #2.
Solo: Boss CS-2 Compressor with Chandler Tube Driver #1, Sovtek Big Muff & TC Electronics digital delay.
Solo (Dry Sound): Chandler Tube Driver #1 with Pro Co. Rat II Distortion. The Amplification
Preamp
After journeying through the rack system the signal meets an alembic F2-B bass guitar preamp. This has been modified with an extra tube, lowered output impedance & a different capacitor to help cut the low end.
Amps
Gilmour has always been a fan of Hi-Watt amps, tending to use AP-100 watt heads on stage and combo’s in the studio. Live three of the heads are used as power amps & another three are used as slaves. All use Mullard E-34 valves which are desperately difficult to get a hold of these days, but Floyd head of backline Phil Taylor still has a cupboard full!
(A) Right channel output to 4×12’s 1+10 8 ohm.
I am guessing that (1+10) refers to channel inputs on a mixer i.e. channel 1 left, channel 10 right.
(B) Left channel output to 4×12’s 2+9 8 ohm.
Again (2+9) could be channel 2 right, channel 9 left. If this is the case then Dave could have, for instance, channels 1+2 as a stereo pair for the Marshalls & channels 9+10 as a stereo pair for the WEM’s.
(C) Spare AP-100.
(D) Output to Heil Voice Box via Pete Cornish Dummy Load Box 8 ohm.
(E) Output to Doppola’s 87, 88 8 ohm.
(F) Output to Doppola 89 8 ohm.
Speaker Cabinets & Doppola’s
Speaker Cabinets
The right channel Hi-Watt powers a WEM 4×12 which is loaded with Fane Cresendo speakers and a Marshall loaded with Celestion speakers. A second Hi-Watt does the same thing for the left channel which also carries a chorused signal from a Boss CE-2 Chorus. (See Footpedals Incorporated Into A Rack Space). In the second rack, one AP-100 feeds the Jim Dunlop Heil Voice Box, another feeds Doppola’s 87 & 88 (8 ohm) & a third feeds Doppola 89 (16 ohm).
Doppola’s
These rotating speaker units were designed by Phil Taylor & Paul Leader to provide Gilmour with that ‘Leslie’ effect on his guitar. Leslie cabinets themselves might have seemed the obvious choice, but Gilmour was after a slightly different sound. In the studio he had been using Maestro Rover units which are revolving full range speakers but they are too low powered for live use and so the Doppola’s were born. Three units are used on stage each loaded with two six inch 100 watt drivers.
(A) Marshall 4×12 cabinet with Celestion speakers.
(B) WEM 4×12 cabinet with Fane Cresendo speakers.
(C) Custom Doppola rotating speakers.
Further info/images from Webpage by Murray Browne
OK, I’ve done some research and I discovered some interesting things. Firts of all, I always thought that Gilmour used the RAT on Animals. It sure sounds like it. The firts RAT were made in 79. He probably used a Dallas/Arbeiter Fuzz Face. As I understand those are very soft and RATish. Infact the RAT prototype were made out of a Fuzz Face. To smooth out the fuzzy sound he might have used the MXR dynacomp.
For the MXR Phase 90, it is said that he used that on the DSOTM album. The album were recorded between june 72-january 73. The first MXR phaser to hit the stores came about the summer of 73. It is also clear that he used a phaser on the DSOTM tour of 72 (then called Eclipse). The first ever build stompbox phaser was an Maestro PS-1 ,made by a guy called Oberheim. This came out in ’71. There were also a couple of stuidio phasers, but they weren’t any good for use in concerts. This is what I’ve read, and myabe it’s a lot of crap, but can any of you guys confirm it?
Then I must say the RAT makes wonderfule Animals sounds and every Gilmour fan should have one!
Damn! Something is wrong with my web site and it wont show but one picture. I will fix this problem as soon as possible. For now, just email me and I will send you pictures. I will send yours ASAP, Riis.
Thanks and be patient. I am truly sorry about this.
Larry
You should see at least 5 pics now at http://www.users.qwest.net/~slr4/
Question about how to recreate a particular part of the second solo, at about 7 min 50 secs into the song (of Pulse’s CD #2, track 12, of course).
You know that part that goes meow-meow-meow-meow over and over? Anyone have any tips whatsoever on how to pull off that stunt? What I figured out was that the 17th fret ofthe first string and perhaps simultaneously a bend of the 17th fret of the second string, along with lots of whammy barring are all involved, but I just can’t piece all of it together and get convincing results. Am I missing something? Any suggestions? Specific techniques that you guys figured out?
you are very close but it isn’t too much right…you must hit the first string on 17 fret and the second string on 19 fret then hold the bar and do this: pick the two strings, pull down the bar, while the bar is down pick another time the strings, then pull up the bar and make a very strong vibrato effect…and then again it may seem a little hard but the practice will help you and remember all this is made quite fast…
hope this help, andrea
everybody’s getting strats even though on Wish and Animals he used a Telecaster and those are the most distinct gilmour sounds
: everybody’s getting strats even though on Wish and Animals he used a Telecaster and those are the most distinct gilmour sounds
u dumbass…….he used the tele just for shine on and on animals he did use a strat. i know this first hand.
uh, ok, everyone else on this site said he used Telecasters. and besides, unless you’re a Pink Floyd band member, you wouldn’t even know, so take that! Besides you probably just went to a concert and was using one, in the studio it really sounds like a Tele!
Hello !
I´m looking for a red Strat like David used on the PULSE-Tour. As I know it was a Fender ´57 Reissue, but I don´t know the exact color name. Was it "Dakota Red", "Candy Apple Red" or anything else ?? Thanks for your help !
candy apple red…
: Hello !
: I´m looking for a red Strat like David used on the PULSE-Tour. As I know it was a Fender ´57 Reissue, but I don´t know the exact color name. Was it "Dakota Red", "Candy Apple Red" or anything else ?? Thanks for your help !
I’m pretty sure that Gilmour strat was Frost Red (77 in fender terms), and he did use the EMG-DG20,
another expensive piece of equipment
That was one sweet guitar he used on that tour (still uses I’m sure) I’m also wondering, aside from colour, what pick-ups are in that ’57? How does he get such a fat tone out of it on some songs?
EMG SA’s with EXB and SPC… see EMG’s website for the Pro Series DG-20. It is a pickgurad assy that is seemingly very easy to install.
: That was one sweet guitar he used on that tour (still uses I’m sure) I’m also wondering, aside from colour, what pick-ups are in that ’57? How does he get such a fat tone out of it on some songs?
One thing to note is that the DG20 assembly is made for a standard strat, and not for a 57 RI. First of all, the number of screw holes do not match (the DG20 has much more holes than the body of the 57), but this is just a cosmetic problem – the assembly can be secured nevertheless if you don’t mind the extra holes showing. Second, and more importantly, the pickup cavity in the 57 is not deep enough for the SA’s and if you simply drop it in, you will likely end up with the SA’s way too close to (or even touching) the strings. What I had to do was chisel some wood out of the pickup cavity, so that the pickups can settle deep enough. So keep these things in mind if you plan on buying the equipment.
Leo
: EMG SA’s with EXB and SPC… see EMG’s website for the Pro Series DG-20. It is a pickgurad assy that is seemingly very easy to install.
: : That was one sweet guitar he used on that tour (still uses I’m sure) I’m also wondering, aside from colour, what pick-ups are in that ’57? How does he get such a fat tone out of it on some songs?
I cant figure out what note gilmour hits in the first solo. It is the SECOND BEND. If you listen to the studio verison it is different. The pulse version seems a lot lower and fatter. Can someone tell me what note it is and where it is. compare for yourselves and tell me what you think. -mark
Are you talking about the 15->(17) bend on the second string? I think it’s the exact same note – the increased fatness and seemingly lower sound could be characteristic of the EMG SA’s and SPC (which I believe he wasn’t using back in the Wall), and perhaps the difference in choice of effects, bass and treble settings, the fact that it’s a live performance as opposed to a studio recording, plus maybe an octave pedal, and possibly a myriad of other factors. Who knows? What I’m absolutely convinced of, nevertheless, after listening over and over to both, is that Dave himself is hitting the exact same note on both versions.
:I cant figure out what note gilmour hits in the first solo. It is the SECOND BEND. If you listen to the studio verison it is different. The pulse version seems a lot lower and fatter. Can someone tell me what note it is and where it is. compare for yourselves and tell me what you think. -mark
My Gilmour setup is here…
http://www.users.qwest.net/~slr4/
Where are the pictures? There’s only one that shows.
http://www.users.qwest.net/~slr4/
Hey!
http://www.users.qwest.net/~slr4/
That is the address to my website that shows my Gilmour setup. I will update it as often as possible. For now I just have some pictures with brief descriptions. Let me know what you think by posting a response here or by my email.
Go check it out
http://www.users.qwest.net/~slr4/
and bookmark it! I think you’ll like it.
Larry
MAROONED IS MY ALL TIME FAV FLOYD SONG AND I WANNA KNOW JUST WHAT THE HELL HE’S USING ON THAT.
SOUNDS LIKE MAYBE THERE’S A LITTLE OVER DRIVE………LOTS OF SUSTAIN……..MAYBE A SLIGHT CHORUS? THANX!
the most important part of marooned is the whammy pedal…that gives him those multi-octave bends. If you dont nkow what im takli about…when he bends…and it sorta goes forever…besides that, i dont kno what he usss
he also uses a slide
hey guys……….i would appreciate if yall could give me some settings for my rat…….i know he only uses primarily on time and money but im almost positive he may use it on momentary lapse and animals. i need as many options as possible,,,,,,,thanx guys and dolls
I bought my RAT just 2 weeks ago, and I love it! A fantastic pedal! Mine is the vintage RAT 2. I agree that he most certainly used it on Animals, you can copy those Dogs sound quite easily anyway. My Animals setting is Distortin 15:00/ Tone 14:30/ Volum 14:00. I also use it for that fat Shine On sound and other overdrive sounds on Momentary and Division. To get a Warm overdrive set the Distortion at 10:30 and and maybe decrease the volum alittle. To get the right cryíspy tone to it, I always use the MXR Dynacomp. I think the RAT lacks alittle bass, so I colour the sound with a little boost on the EQ with bass. Hope you agree! Rock On!
: I bought my RAT just 2 weeks ago, and I love it! A fantastic pedal! Mine is the vintage RAT 2. I agree that he most certainly used it on Animals, you can copy those Dogs sound quite easily anyway. My Animals setting is Distortin 15:00/ Tone 14:30/ Volum 14:00. I also use it for that fat Shine On sound and other overdrive sounds on Momentary and Division. To get a Warm overdrive set the Distortion at 10:30 and and maybe decrease the volum alittle. To get the right cryíspy tone to it, I always use the MXR Dynacomp. I think the RAT lacks alittle bass, so I colour the sound with a little boost on the EQ with bass. Hope you agree! Rock On!
thanx alot man!
the animals setting is perfect!………just a side note for ya……..if you wanna nail the dogs of war solo live delicate sound of thunder……..set the rat at bout 12;30, 12, 14, add a little tube drive from the chandler, and a hint of dynacomp
thanx again dude!
: : I bought my RAT just 2 weeks ago, and I love it! A fantastic pedal! Mine is the vintage RAT 2. I agree that he most certainly used it on Animals, you can copy those Dogs sound quite easily anyway. My Animals setting is Distortin 15:00/ Tone 14:30/ Volum 14:00. I also use it for that fat Shine On sound and other overdrive sounds on Momentary and Division. To get a Warm overdrive set the Distortion at 10:30 and and maybe decrease the volum alittle. To get the right cryíspy tone to it, I always use the MXR Dynacomp. I think the RAT lacks alittle bass, so I colour the sound with a little boost on the EQ with bass. Hope you agree! Rock On!
I’ve had my Rat (vintage) modded to include a switch which gives more bass or I can turn it off for the original Rat sound, also I had a much quieter opamp put in so the distortion can be up to the max (not that I ever use it like that) and still be very quiet.
hey guys……….i would appreciate if yall could give me some settings for my rat…….i know he only uses primarily on time and money but im almost positive he may use it on momentary lapse and animals. i need as many options as possible,,,,,,,thanx guys and dolls
Im looking into playing surf guitar, and I want to get a good surf sound, any reccomendations? I really like walk don’t run by the ventures and pipeline, thanks.
Well, the traditional surf sound comes from a Fender Strat with trem played through a Fender tube amp with lots and lots of deep spring reverb.
: Im looking into playing surf guitar, and I want to get a good surf sound, any reccomendations? I really like walk don’t run by the ventures and pipeline, thanks.
what is a cheap wah wah that you can use and get the echoes guitar?
Floyd
I wouldn’t buy any other Wah-wah than the VOX. It’s the nicest, Hendrix used one. It’ll nail any sound you want, and they’re only 100 dollars (too much?) the only pedal cheaper than that is the Jim Dunlop which to my ear is horrible, and the rogue pedal, which I wouldn’t even touch.
Does the Wah Echoes trick Work with the EMG Gilmour pickups? Could someone that has got it to work write back plz. thanks guys mark
Does anyone know how to play narrow way pt 1, or baby blues shuffle as it later became…
I play a version of it which satisfies me in terms of what I like about it… does that make sense?
I tune my low E down to D and fret just the top 3 strings letting the two D strings and the A ring open.
Basically I just improvise but nice chords to play over are G and F as D shaped chords, Am and also Bb is a nice one. It’s a feel thing, just get into a rhythm and see what you can do with those top 3 strings!!
: Does anyone know how to play narrow way pt 1, or baby blues shuffle as it later became…
awsome, I have been looking for a tab of them, its a beautiful song.
: I play a version of it which satisfies me in terms of what I like about it… does that make sense?
: I tune my low E down to D and fret just the top 3 strings letting the two D strings and the A ring open.
: Basically I just improvise but nice chords to play over are G and F as D shaped chords, Am and also Bb is a nice one. It’s a feel thing, just get into a rhythm and see what you can do with those top 3 strings!!
: : Does anyone know how to play narrow way pt 1, or baby blues shuffle as it later became…
Hey men! What do you think about zoom505II
I have one. They’re just emulators of real effects, so they’re not as good as the real thing. I wouldn’t use one unless you’re in a worthless punk band.
I posted a message about echoes, and I don’t think I was very clear, sorry. I meant that guitar sound you hear when he hits those notes right before the vocals come in on echoes (studio version). That’s what I want to have comming out of my guitar.
Play through a tube amp just barely touching on break up, use a single coil neck pickup with the tone control on the guitar turned down. And remember, in the studio you can EQ the sound after recording to get it exactly how you want it, some studio sounds are very hard to achieve live.
: I posted a message about echoes, and I don’t think I was very clear, sorry. I meant that guitar sound you hear when he hits those notes right before the vocals come in on echoes (studio version). That’s what I want to have comming out of my guitar.
Yeah…I didn’t reply to that one…
: Play through a tube amp just barely touching on break up, use a single coil neck pickup with the tone control on the guitar turned down. And remember, in the studio you can EQ the sound after recording to get it exactly how you want it, some studio sounds are very hard to achieve live.
: : I posted a message about echoes, and I don’t think I was very clear, sorry. I meant that guitar sound you hear when he hits those notes right before the vocals come in on echoes (studio version). That’s what I want to have comming out of my guitar.
Anybody know what the delay settings are for the Hey You solo I use the boss delay pedal. Also how does he get that sustain?
I use my muff and delay, with flanger and CS-2 compressor, I turn it up loud also to get sustain. Delay I use it
very long, around 400 MS, but the delay volume isn’t much, small feedback too.
: Anybody know what the delay settings are for the Hey You solo I use the boss delay pedal. Also how does he get that sustain?
What are the setting on gilmours guitar when he plays the last solo right before the vocals in shine on? Any distortion? is that effect he uses a phaser?
Yes, on shine on (PULSE VERSION) he does use the phaser in the 3rd solo, also overdrive
I found out he uses Herco Heavy Gauge picks, and if you switch it to the side of the pick rather than the front of the tear drop
(like say the back right one) it gives a scratchy feel to the tone, I believe this helps alot in tone likeness.
: What are the setting on gilmours guitar when he plays the last solo right before the vocals in shine on? Any distortion? is that effect he uses a phaser?
is the backwards wah pedal trick used to get that constant sustaining sound at the very begining of echoes pompei
No, the wah trick provides minimal note control. The endless sustain is from rubbing a steel slide back and forth sideways like a violin bow over the fret you want sounded.
: is the backwards wah pedal trick used to get that constant sustaining sound at the very begining of echoes pompei
hey anyone know any tips for playing the dogs solos?
Are you having troubles with the sound or the technique?
: hey anyone know any tips for playing the dogs solos?
i was wondering exactly what this effect does.
also………..any one got the schematics for it or know where i can buy a similar pedal?
It is NOT an MXR Distortion + that has been modded. That is so obsurd as to be ridiculus. I own an SS-2. It sounds nothing like a Distortion +. It is basically a pedal that sounds like David Gilmour’s tone on the live version of "Coming Back to Life" on Pulse. The solos in the middle of the song and at the end. That is exactly what it sounds like. An MXR sounds like a speaker with a screwdriver stuck trough it. A Soft Sustain isn’t even considered a distortion per se. Though, you could get a little distion out of it, it sounds nothing like it. And who is this insider? Pete is a nice guy, but he is known to be very "cagey" about sharing his schematics with anyone–except his wife, Linda. Just buy an SS-2. You’ll be happy you did. I bought three of his pedals. I love the SS-2 so much, I’m actually thinking that I should have paid more for it.
: i was wondering exactly what this effect does.
: also………..any one got the schematics for it or know where i can buy a similar pedal?
I was fortunate enough to find out from an "insider" that the Pete Cornish Soft Sustain is just a modified version of an MXR Distortion, either the Distortion + or the Distortion II was not specified though.Believe it or not the Dist + is very similar to the Rat 2, the Rat 2 is more versatile and sounds better with other pedals, the Dist + sounds better by itself but not so good combined with other pedals. I contacted Pete Cornish and the Soft Sustain is $417 . The one in the pic above is not the standard issue he installed a GE7 into it for Dave. The standard issue doesn’t have the GE7 in it. You may also want to know that the"above stated" Pete Cornish Big Muff really is called the Pete Conish Precision Fuzz which is the Pulse "Sorrow" tone AWESOME it costs $460. You an contact Pete Cornish at
[email protected] Don’t bother asking him anything about Dave though. He doesn’t freely release info on his clients etc… Good Luck.
hello boys!! i want to tell you that i found the key to obtain the Run like hell sound…i’ve got a book about Pink and their story and there there’s a photo of David thta is playing Run like hell during Pulse, and the most important thing is that i can see his pedalboard!! so i’ve seen the following effects activated: doppolas, TC 2290, boss CS-2, mxr dynacomp (if you carefully listen it you can hear some emphasys on attack) and TREMULATOR!!! this could explain the fact that altough the output of delay is set to give only effected sound, with the tremulator you can clear up the sound because of that progressive increasing and decreasing volume of the sound…when i’ll try it i’ll tell how it make the sound…Shine On!!
ok, so if you turn up the SPC you get that thick bluesy sound Dave uses, but he never had one til 84. How did he get that rich, woooooing, bluesy, sustainy sound that you hear in echoes, Shine on, Another brick in the wall, etc. Is it some kind of effect or expensive equalizer or what?
Not exactly sure which tones your talking about, the overdrives? If you are refering to the overdrive solos
for echoes I might say something along the lines of colorsound treble and bass booster, or maybe something else
with leslie speakers, perhaps a fuzz face? ABiTW probably the soft sustain…I ave no idea what he used for
overdrives, I’d think he may just push a twin reverb or hiwatt in the studio till it breaks up and use the natural
overdrive? On tubes that seems to be the best sounding…
: ok, so if you turn up the SPC you get that thick bluesy sound Dave uses, but he never had one til 84. How did he get that rich, woooooing, bluesy, sustainy sound that you hear in echoes, Shine on, Another brick in the wall, etc. Is it some kind of effect or expensive equalizer or what?
hi guys i was thinking about what SPC does…and i was wondering if i can install the VCC (Voice Contour Control) circuit on my guitar that simulates the sound of a humbucker from a single coil…but i don’t have schematics…do you have some information…i would be very happy…thanx
There’s a simple solution to that. Stick a stacked humbucker in the bridge position of your strat. A stacked humbucker is basically just a humbucker that is the size of a single coil pickup so you can place one in any position in the strat but bridge is all you need. You still get the strat tone from the neck and mid pickups and then you have that nice (gilmour) type mid rangy tone in the bridge. I would recomend any type of stacked humbucker from DiMarzio or Seymour Duncan. I pariculary like DiMarzio and I have a Fast Track 2. I’d go that route though, much easier. Have fun!
ok, so what big muff do I buy? I see 2 from musiciansfriend, one of them says Big Muff, and the other one sayd big muff pi. Are they any good? I know the regular big muff doesn’t have a power insert, but does the pi? Thanks
Big Muff Pi (NYC) does have a power insert, but an AC adapter must be purchased separately, I think for about $15.
: ok, so what big muff do I buy? I see 2 from musiciansfriend, one of them says Big Muff, and the other one sayd big muff pi. Are they any good? I know the regular big muff doesn’t have a power insert, but does the pi? Thanks
The ultimate Band would include this, Guitar = Gilmour, Bass = McCartney, Drums = Don Brewer, Keyboard = Rick Wright!
: The ultimate Band would include this, Guitar = Gilmour, bass=guy pratt drums=nick mason keys=rick wright
Corporal Clegg is the best bass player, he has a wooden leg and medals
I don’t think anyone would argue that Paul McCartney is the best rock bass player ever.
I’d put Steve Harris on bass just to see what "Pink Maiden" (or "Iron Floyd") might sound like.
: The ultimate Band would include this, Guitar = Gilmour, Bass = McCartney, Drums = Don Brewer, Keyboard = Rick Wright!
Hello,
I just got a 70’s deluxe mistress I was wondering if you guys had any other settings that I may have missed in
my experimentation….
Dude guys, I play through a Marshall MG-80 with a bunch of gimour effects and I sound perfectly like him…
Wow!
This is the site I searched for!
Does anybody knows Dave’s signal flow
on fat main (not backlight) guitar on Breathe
from Pulse?
I wonder if I can do that sound here in Czech
Republic. Here I can’t buy some MXR, Big Muffs
and so on. I know them only from museum… :]
What about some multi-fx unit like Digitech’s GNX2?
Thanks!
thank you very much…however don’t believe that i’m a secret technician of Gilmour…(ohh if i would like that…) the fact is that i’m working for two years on Gilmour sound and so…
during Breathe David uses bridge pickup, CS-2 compressor (or something similar the important thing is that it would be smooth, NOT PUNCHY), CE-2 chorus (always something that’s similar, smooth, creamy), Univibe (for that very light vibrato effect that simulates the Leslie effect) and some delay. also he use one of his Tube Driver that give a very creamy and smooth sound, but generally a good and warm overdrive will do the trick (i’ve a TS-5 mod 808 and it’s fantastic…). for the multi effects units i don’t agree they don’t give any expression, don’t have ANY personality so…this is only an opinion…hope this help and Shine On!!!
I agree with most of that, except using the compressor. here’s a link to one of my favorite reference sites for
floyd…
http://www.mikesguitarsite.co.uk/pfloyd/gear/fx_settings.htm
Floyd
: during Breathe David uses bridge pickup, CS-2 compressor (or something similar the important thing is that it would be smooth, NOT PUNCHY), CE-2 chorus (always something that’s similar, smooth, creamy), Univibe (for that very light vibrato effect that simulates the Leslie effect) and some delay. also he use one of his Tube Driver that give a very creamy and smooth sound, but generally a good and warm overdrive will do the trick (i’ve a TS-5 mod 808 and it’s fantastic…). for the multi effects units i don’t agree they don’t give any expression, don’t have ANY personality so…this is only an opinion…hope this help and Shine On!!!
Signal path that you posted David used on Pulse or on The Dark Side? I’m interested on fatty sound from Pulse. Thanks.
the right signal path is: CS-2 comp, Tube Driver (or another overdrive), Uni-vibe, delay, CE-2 chorus (yes, after the delay, this is a huge but subtle difference). i don’t know if there is also some equalization with GE-7s, but you must consider that anyway he has always a control on his equalization with the SPC/EXG units… this is the signal path that he uses on Pulse and Delicate sound…on The dark side…i don’t know…maybe Floyd can give you some help…
Thanks. I wonder how do you know this… ;]
Thank you both very much! This really kicks! Krystof
At last! I bought the RAT 2 today and it totally kicked ass! This is the vintage (re) US model (without led). I have for years looked for a pedal that provides the same distortion as my Marshall combo. This is it! I will use it alot and also in my non-Floyd band, but I will always use the Muff for Numb and diff.early stuff. I think the RAT will be perfect for the Animals stuff. I have found some nice settings, but does any of you guys have some suggestions?
Do you use it together with other pedals? A compressor or the Muff perhaps?
I tend to keep the settings the same (left to right) 10, 5, 3
this is just an overdrive for me. I think it works great with delay, compressor,
the muff isn’t too bad with it, neither the phaser-90
Floyd
: At last! I bought the RAT 2 today and it totally kicked ass! This is the vintage (re) US model (without led). I have for years looked for a pedal that provides the same distortion as my Marshall combo. This is it! I will use it alot and also in my non-Floyd band, but I will always use the Muff for Numb and diff.early stuff. I think the RAT will be perfect for the Animals stuff. I have found some nice settings, but does any of you guys have some suggestions?
: Do you use it together with other pedals? A compressor or the Muff perhaps?
i don’t agree with Floyd, because David doesn’t use it as an overdrive but as a DISTORTION unit, for overdrive we know he use chandler tube driver, that give a fantastic smooth sound. so the setting for the RAT II are (as a DISTORTION unit) volume at about 12 o’clock to balance direct output (but this depends by the output of your pickups the SA are extremely HOT :-)), filter at about 1 o’clock, and distortion at about 12:30. so hope this help…Shine On…
I’d say you may be right, although mine is alittle more muffled and smoother…
the sound is nearly the same while that setting causes more distortion, as you would hear on
such as Money….But I have only like 8 pedals, an overdrive is not one of them so I am forced
to compromise. Now what did he use for overdrive on songs such as Shine on? I find it works
better to me as an overdrive rather than distortion, because how many tunes does he use the rat on?
But just personal preference
Floyd
: i don’t agree with Floyd, because David doesn’t use it as an overdrive but as a DISTORTION unit, for overdrive we know he use chandler tube driver, that give a fantastic smooth sound. so the setting for the RAT II are (as a DISTORTION unit) volume at about 12 o’clock to balance direct output (but this depends by the output of your pickups the SA are extremely HOT :-)), filter at about 1 o’clock, and distortion at about 12:30. so hope this help…Shine On…
okay, but don’t forgive that Tube Driver IS an overdrive (plus he has got two of them…) and that he has got also other effects as Pete Cornish Soft Sustain (i’ve emailed Pete and i know what it does if you want to know…), all GE-7s, and on Shine On he uses the SPC that overdrives the sound a bit (boost 6 Db), plus the Dynacomp that gives also a fat and overdriven sound so as you see…he obtains his sound by MANY effects…i think he uses the Rat II only for Money and Time, i don’t know if on other songs…but this is an opinion so…Shine On!!…
If anybody’s a diehard Floyd fan, they will know that the Wall is a horribly overated album. 3 songs – Mother, Comfortably Numb, Another Brick in the Wall for a 2 disc album is horrible. Roger Watters is practically nothing without the rest of his band. I would rather have Obscured by Clouds than the wall, Free Four, The Gold it’s in the, Wots uh the deal, and Childhoods end – 5 great songs…
Its anyones opinion.
Thin Ice, Another Brick Pt. 2, Mother, Young Lust, One Of My Turns,
Hey You, Is There Anybody Out There, Com Numb, Run Like Hell…
in any case Obscurred by clouds is itself a great album, but its different style, they
were alittle more mortal back then, and didn’t need 10 extra musicans to duplicate
the studio album…Its all in how you look for it, either way I wouldn’t give up either
All the albums have great songs on them
Ummugumma, Saucerful, Meddle, Obscurred, Dark Side, WYWH, Animals, Wall, Momentary Lapse,
Divison Bell
I ommit Final Cut due to its basicly being a solo album of waters, its still decent but its only his.
Piper too, it has good ones but there not my taste too much except for a few (Bike lol)
Relics=repeats, More is good but too different styled for the movie. and the various others, this isn’t
a review of everything.
I go to all of them for different moods, Processed or un Processed, I find ROIO’s to often
be much more than the studio albums, but again its all in different tastes.
Also if you think about it, all the new and ignorent pink floyd fans recognize only those songs
so if you are such a die-hard fan should you not recognise the beauty in alot more than just those three
songs? If not like them atleast acknowledge them as being listenable songs, some of them would
rather hear Nobody Home rather than say another brick in the wall.
Floyd
: If anybody’s a diehard Floyd fan, they will know that the Wall is a horribly overated album. 3 songs – Mother, Comfortably Numb, Another Brick in the Wall for a 2 disc album is horrible. Roger Watters is practically nothing without the rest of his band. I would rather have Obscured by Clouds than the wall, Free Four, The Gold it’s in the, Wots uh the deal, and Childhoods end – 5 great songs…
Very true FLoyd. I agree, but I also agree that Floyd didn’t do as well on the wall as they did on the previous four. OBC, DSOTM, WYWH, and Animals were albums I could listen to WITHOUT even touching the controls on my CD player, while the wall definitley has some good stuff, there’s also a lot of "skip" parts, and Watters crap. Not really musical unless you’re really into cynical lyrics and wild stuff. The point I was trying to make is that the band is nothing without Gilmour singing and writing songs…
cool site guys, but I’d have to say that their best song is Corporal Clegg! It’s got that weird background stuff that’s similar to the Sgt. Pepper album, and the lyrics are hilarious!
All I gotta say is Les Pauls all the way. I just got a Gibson LP Standard, and it sounds WAY more like Gilmour than my American Strat with the DG20 setup…
If you want to put the EMG’s in a 57 reissue its very simple. Take all of the hardware off of the cheezy ass marble pickguard that EMG gives you and stick the pickups and stuff in the Fender pickguard
Really?? Some of my friends own Gibson LPs, and so I’ve played quite a variety of them, but I personally don’t think they even come close to my Strat (57 RI + DG20). I’m not talking in terms of "better" or "worse", but rather, the whole feeling behind the notes is different, and I really feel Strat = Gilmour, period. Well, at least the post-84, "modern" Gilmour.
That said, I love LPs in their own way, and I’m planning on either a Gibson or an Epiphone as my next guitar (and clone Angus Young LOL)
:All I gotta say is Les Pauls all the way. I just got a Gibson LP Standard, and it sounds WAY more like Gilmour than my American Strat with the DG20 setup…
Leo:
do you have the DG-20 pickguard assy or individual EMG components in your 57 RI ? I was under the impression that the 57 RI has eight pickguard screws whereas the DG-20 is designed for eleven pickguard screws…. I’m considering a texas special with the DG-20 but would rather have the 57 RI if it would work with the DG-20…. thanks in advance
: Really?? Some of my friends own Gibson LPs, and so I’ve played quite a variety of them, but I personally don’t think they even come close to my Strat (57 RI + DG20). I’m not talking in terms of "better" or "worse", but rather, the whole feeling behind the notes is different, and I really feel Strat = Gilmour, period. Well, at least the post-84, "modern" Gilmour.
: That said, I love LPs in their own way, and I’m planning on either a Gibson or an Epiphone as my next guitar (and clone Angus Young LOL)
:
: :All I gotta say is Les Pauls all the way. I just got a Gibson LP Standard, and it sounds WAY more like Gilmour than my American Strat with the DG20 setup…
You’re absolutely correct. However, the pickguard nevertheless perfectly fits. The "main" screw holes on the pickguard, i.e. the ones that secure the corners, match the holes on the guitar precisely, so there’s no worry about it being loose or falling off. So what you end up with is 4 unused holes on the pickguard.
What I’m planning to do is cut the remaining screws until they’re just screwheads, and then hotglue them on over the unused holes. But this is purely cosmetic, and everything is fine as it is.
Hope this helps.
: Leo:
: do you have the DG-20 pickguard assy or individual EMG components in your 57 RI ? I was under the impression that the 57 RI has eight pickguard screws whereas the DG-20 is designed for eleven pickguard screws…. I’m considering a texas special with the DG-20 but would rather have the 57 RI if it would work with the DG-20…. thanks in advance
:
:
: : Really?? Some of my friends own Gibson LPs, and so I’ve played quite a variety of them, but I personally don’t think they even come close to my Strat (57 RI + DG20). I’m not talking in terms of "better" or "worse", but rather, the whole feeling behind the notes is different, and I really feel Strat = Gilmour, period. Well, at least the post-84, "modern" Gilmour.
: : That said, I love LPs in their own way, and I’m planning on either a Gibson or an Epiphone as my next guitar (and clone Angus Young LOL)
: :
: : :All I gotta say is Les Pauls all the way. I just got a Gibson LP Standard, and it sounds WAY more like Gilmour than my American Strat with the DG20 setup…
thanks for your response… sounds as if you have a great setup!
: You’re absolutely correct. However, the pickguard nevertheless perfectly fits. The "main" screw holes on the pickguard, i.e. the ones that secure the corners, match the holes on the guitar precisely, so there’s no worry about it being loose or falling off. So what you end up with is 4 unused holes on the pickguard.
: What I’m planning to do is cut the remaining screws until they’re just screwheads, and then hotglue them on over the unused holes. But this is purely cosmetic, and everything is fine as it is.
: Hope this helps.
: : Leo:
: : do you have the DG-20 pickguard assy or individual EMG components in your 57 RI ? I was under the impression that the 57 RI has eight pickguard screws whereas the DG-20 is designed for eleven pickguard screws…. I’m considering a texas special with the DG-20 but would rather have the 57 RI if it would work with the DG-20…. thanks in advance
: :
: :
: : : Really?? Some of my friends own Gibson LPs, and so I’ve played quite a variety of them, but I personally don’t think they even come close to my Strat (57 RI + DG20). I’m not talking in terms of "better" or "worse", but rather, the whole feeling behind the notes is different, and I really feel Strat = Gilmour, period. Well, at least the post-84, "modern" Gilmour.
: : : That said, I love LPs in their own way, and I’m planning on either a Gibson or an Epiphone as my next guitar (and clone Angus Young LOL)
: : :
: : : :All I gotta say is Les Pauls all the way. I just got a Gibson LP Standard, and it sounds WAY more like Gilmour than my American Strat with the DG20 setup…
this is due to the SPC…yes it’s one of greatest thing to obtain that fat sound, SIMILAR to the sound of a Les Paul, however there are certain things as the great versatility of DG-20 that you can’t obtain with a simple Les Paul…Hope this help…Shine On!!!
I have Boss cs-2, Boss DD-5 and MXR phase 90…what is the correct order for those? Thanks guys…this page is sooo helpful. -mark
CS-2, MXR, DD-5 is what I do, with a few inbetween but I try to keep it as similiar as gilmours path.
Floyd
: I have Boss cs-2, Boss DD-5 and MXR phase 90…what is the correct order for those? Thanks guys…this page is sooo helpful. -mark
Ok, I have 600 dollars, what amp do I buy? I don’t want any answers that say save up for more, I just want to know that best one for that price!
Try and scout around the net for a 60-70’s hiwatt if possable (not including cab). If not try to find a vintage twin reverb.
or you could get a selmer treble and bass, with a nice cab…all floyd used.
Floyd
: Ok, I have 600 dollars, what amp do I buy? I don’t want any answers that say save up for more, I just want to know that best one for that price!
Hello,
You know I think we may have missed an essential to Gilmour’s rig. The ADT double tracking rack piece.
Now I am not sure if it will play the same thing an octive up, but I am pretty sure. Listen to the wall, on almost
all distorted guitar solo’s he has a guitar playing an octive up, comfortably numb, young lust, thin ice, hey you.
Then you start noticing it on other songs, Shine on as you know has it on the verse solo, I believe Dogs does
I think it adds quite a bit of power to his music and could be said to be a huge piece we have overlooked.
Floyd
I don’t think so…i’ve was reading an interview with Alan Parson and i’ve read that it’s true he’s used the ADT but only on studio albums (this is what you have listened on the Wall, for The Wall Live this strange effects is due also to the Electric Mistress), the greatest example is the solos on Money, there is a really evident use of ADT. For all his live stuff (also Delicate Sound and Pulse) he doesn’t use that, i can’t hear his effect…the facts that he has a big and fat sound (sometimes as thin as needed) doesn’t mean that he uses ADT but it’s the consequence of Alembic, effects, guitar, pickups, FINGER, ecc. …this is only my opinion…Hope this help and Shine On!!!
Hey Bjorn Riis
I am very sorry it took so long to get back to you.
I have read most of your posts from the web sight. You have very good information and seem to know and understand this fantastic tone. I love and appreciate it as
well.
I am in a Pink Floyd Tribute band in the near Seattle Washington. We have been working on the project for several months and have yet to perform for a live audience.
Yeah! I do the Gilmour part!
I am setting up a web site that will show all of my Gilmour gear and how I run it. Also it will contain sound files that demonstrate what I have learned as well as what
works with each song. I have come close to most of Dave’s tones and playing style, but I have not come close to actually mastering any of this. If we could master it,
then we wouldnt have this drive and Gilmour would be just another guitar player. I always remember this one thing in my relentless pursuit and passion for this amazing
gift he has…
there can only be one. Just the same as nobody else can be you.
As far as the Rat 2, you really need to hear for yourself. I highly recommend this pedal over any others. This nails Money solos. It will turn any amp into to a Marshall in
the lead channel. My opinion. You will not be dissapointed.
I am also going to post this on the web site because I am going to give a run down on what gear I use.
I use two Fender Strats
1990 U.S. HM Srat with humbucker at bridge
2000 U.S. Standard Stratocaster with Vintage Noiseless pickups.
I have tried the EMG DG20 and decided it was not worth the money because I match most of the tones with the humbucker and various EQ settings in different
patches. I am also thinking of getting rid of the Vintage Noiseless. My Strat just seems to fall short of its authentic origional sound whenever I make any pickup
changes. The origional quality of my particular instruement just isn’t there when I change it.
Here’s the chain…
Origional (not Dunlop) Cry Baby by Thomas Organ Company. >
Boss TU 2 Tuner >
Boss CS 2 (THIS IS A MUST HAVE!) >
Ibanez CP9 >
Boss AC 2 Acoustic Simulator. (works very well)
Boss LS 2 Line Selector (to bypass entire pedal setup to and use specific Digitech patches.) >
Boss SD2 Dual Overdrive >
Boss HM 2 (Guilmour has one, but I still love the great brown sound it makes for Van Halen.) >
Boss DM2 Digital Metalizer >
Pro Co Rat 2 (new, not vintage. THIS IS A MUST HAVE!)
EH Big Muff U.S. Reissue (THIS IS A MUST HAVE!
EH Electric Mistress Deluxe (from 70s or early 80s? AC power with no ground prong on power plug. Also black label with three knobs to the right side) >
THIS IS A MUST HAVE! >
MXR Phase 90 (I dont use this much)
Dunlop Univibe with foot controler THIS IS A MUST HAVE! Any Colour You Like! >
Digitech 2112 rackmount effects processor. (for delays, reverbs and EQ. I have several custom patches that get very close to Shine on…) >
Marshall 9005 50/50 watt stereo power amp EL34s. >
Marshall 1960AV 4×12 with Celestion Vintage 70 speakers set to stereo from Marshall 9005
(Alternate amp…. Marshall JTM622 60 watt combo, 2×12 + 2×12 extension.)
That’s about it.
I will let you know as soon as I get the web site going. It may be a month or so. Be patient.
I’ll look forward to reading and posting more on the web site and I will try to answer any questions as soon as I can.
Thanks
Larry
I forgot to mention I have the Dunlop Talk Box! Fantastic piece of gear… a must have!
Where are they? I’d be interested in picking one (or more) up. E-mail me direct. Thanks!
: Where are they? I’d be interested in picking one (or more) up. E-mail me direct. Thanks!
We are working with WEM. Our plans are to manufacture a genuine re-issue of the cabinets David Gilmour uses. If this intersts you, email me and I will fill you in with more details.
Ron Berger
Roadie Stuff
yeah, I think Gilmour is great, he’s almost as good as George Harrison!
Did Gilmour use Boomers during the 70’s?
No try gibson sonomatics or ernie balls
Floyd
: Did Gilmour use Boomers during the 70’s?
After reading a lot of these postings I can’t help but notice the number of people going through such pains and money to sound Just Like David Gilmour. I agree, he’s great. He’s the reason I play guitar. I have a 57 Strat, Marshall Amps, Muff, Ratt, MXR’s etc. and so forth…….and I love to play his solos. But I also like to think that I have my own style. I have learned a great deal from listening to Pink Floyd, but that’s what makes them so great. They did it first, it’s THEIR style. Their voice. You’ll never be remembered for being able to nail someone else’s stuff.
great postings guys!!! i absolutely agree with the posters have stated that copying Gilmour’s style is not a thing meaningless…is more…i’ve already stated in my others postings that you first of all must learn to play guitar with feeling and this doesn’t mean to copy HIS feeling but just playing with passion, learning to appreciate the guitar as a source of BIG emotions, as this is sometimes forgiven…for the question about buying all his effects…i also do it but i do it because i like his SOUND not to SOUND AS HIM…so this is my opinion…and Shine On!!!
I find your thought very inspiring. You’re absolutely correct. Cloning Gilmour should not be an ends, but rather a means to an ends.
I think each of us has a style that is a synergy of various guitarists that we find appealing. For us here, Gilmour would obviously be a large percentage of the total recipe. I strongly believe that it is important to NAIL the Gilmour sound first as perfectly as possible before incorporating it into my style. Starting from an established sound and then adding and subtracting to my liking is, for me, better than molding my style out of thin air or from a mediocre Gilmour imitation. In music, it seems to me that superb style often comes after a superb ability to imitate certain artists that you love.
Well, it was good of you to remind us all.
: After reading a lot of these postings I can’t help but notice the number of people going through such pains and money to sound Just Like David Gilmour. I agree, he’s great. He’s the reason I play guitar. I have a 57 Strat, Marshall Amps, Muff, Ratt, MXR’s etc. and so forth…….and I love to play his solos. But I also like to think that I have my own style. I have learned a great deal from listening to Pink Floyd, but that’s what makes them so great. They did it first, it’s THEIR style. Their voice. You’ll never be remembered for being able to nail someone else’s stuff.
Man, you are sooo right. Nobody has ever done well musically by copying other people. I’m thinking of getting some of the stuff Gilmour has just because I like how clean and crisp it all sounds, but I’m not gonna go out and match it all up perfectly and stuff, or try to solo like him, I have my own way, and I have my own ideas…
oh, you are so wrong! I totally agree with Leo and mark. This site is a true fetish site for me. At last I found someone to talk to about my illness. At last I found someone who loves this man as much as I do. His sound and style is so unique and we are desperately trying to nail it as best as we can. But as a guitarist, I feel that I have my own style. I don’t think any of us want to bring Gilmour into our own band. Even if, it would be blasfemi to me. This is simply a tool to build our own style and to really dig deep in our passion.
People that contribute to and or use the information in this site are doing it because they have a passion for Pink Floyd and David Gilmore. Not to copy to be exact just for the sake of saying…hey i can play this just like Gilmour. The love is much deeper then that. Unfortunally this concept is something that people like the last two posters will NEVER understand. Playing Pink Floyd is so much more then trying to replicate. Its a feeling, a mood and a life style in which only a select few will understand. I truely feel for people that dont feel passionate about things…
my2cents -mark
:
Dude, you COMPLETELY missed my point. I have a love and a passion for all things Pink and Gilmour. That’s why I have the ’57 strat. The Marshall / Vox dual amp combination. Analog pedals and digital rack mounts. And every album the band AND David have ever put out. (including that lame Paul Mccartney thing that was released two years ago) So kiss off with the "no passion" crap. I’ve just directed my passion into a style and voice of my own. Yes, I borrow heavily from David, Clapton, Vaughn and others. But when I play, I want people to experience and feel the emotion and passion that I put into my music. Not my passion for someone that I admire. That is of course you plan on a career with a Floyd cover band. In that case, go for it.
People that contribute to and or use the information in this site are doing it because they have a passion for Pink Floyd and David Gilmore. Not to copy to be exact just for the sake of saying…hey i can play this just like Gilmour. The love is much deeper then that. Unfortunally this concept is something that people like the last two posters will NEVER understand. Playing Pink Floyd is so much more then trying to replicate. Its a feeling, a mood and a life style in which only a select few will understand. I truely feel for people that dont feel passionate about things…
: my2cents -mark
My favourite Gilmoursound period, is the Animals tour of 77. I have lots of bootleggs from that peroid, and I try to nail his sounds as close as possible. He definetely used Telecasters for most of the songs (either fitted with a Duncan single humbuck or a standard Fender humb.). Now does any of you guys know what kind of overdrive he usded? The encyclo says that he used the Muff and the Fuzz face. Any experience using the muff for Shine on? Together with a compressor perhaps?
Gilmour used an Orange Treble & Bass booster for Shine On.
You can’t get them any more but BSM make a pedal called the Model OR which is a replica. Try their website: http://www.treblebooster.com/
: My favourite Gilmoursound period, is the Animals tour of 77. I have lots of bootleggs from that peroid, and I try to nail his sounds as close as possible. He definetely used Telecasters for most of the songs (either fitted with a Duncan single humbuck or a standard Fender humb.). Now does any of you guys know what kind of overdrive he usded? The encyclo says that he used the Muff and the Fuzz face. Any experience using the muff for Shine on? Together with a compressor perhaps?
No muff on shine on, I have a few animals bootlegs but I’d say he just used overdrive, I hear the
orange bass and boost works as an overdrive, or it could be he was just overdriving his enourmous amount
of amps? I use my proco rat as overdrive I love it, mix it with phaser and I can get close to animals tone,
but not exactly…
: My favourite Gilmoursound period, is the Animals tour of 77. I have lots of bootleggs from that peroid, and I try to nail his sounds as close as possible. He definetely used Telecasters for most of the songs (either fitted with a Duncan single humbuck or a standard Fender humb.). Now does any of you guys know what kind of overdrive he usded? The encyclo says that he used the Muff and the Fuzz face. Any experience using the muff for Shine on? Together with a compressor perhaps?
Ok, is there any difference in sound/function between the old EM (green logo, knobs horizontally across the top) and the newer EM (silver logo, knobs vertically along right)? If there is, which gives a more Gilmourish tone, as heard on songs like Comf Numb? Thanks for you suggestions.
I just bought a vintage 70’s deluxe electric mistress (silver with the knobs on the side) I’ll get back to
you, I don’t see how there could be too much of a difference though, plus there somewhat cheaper.
Floyd
: Ok, is there any difference in sound/function between the old EM (green logo, knobs horizontally across the top) and the newer EM (silver logo, knobs vertically along right)? If there is, which gives a more Gilmourish tone, as heard on songs like Comf Numb? Thanks for you suggestions.
God HIWATT AMPS COST SO FUCKING MUCH!! Would a Fender Stage 160 (twin 12" celestions) work well? Cause I know he used a Fender in the studio a lot, and most fender amps are about the same.
Yeah they cost alot, I’d say try for a vintage tinw reverb blackface is at all possable personally,
but I myself am saving up for a vintage dr-103…
Floyd
: God HIWATT AMPS COST SO FUCKING MUCH!! Would a Fender Stage 160 (twin 12" celestions) work well? Cause I know he used a Fender in the studio a lot, and most fender amps are about the same.
I came here for my first time about 3 months ago. After I saw this site, I had my heart set on getting a ’57 Strat, EMG equip, and a bunch of effects. After doing some research, I found out that EMG was started in 1974, and Dave didn’t buy anything from them until 1984. Then I found out that Dave didn’t buy a ’57 strat until the 80’s either. When I first came here, I thought that I was looking at THE STUFF that was used during the good years of Pink Floyd (1970-1979), not what he’s using now. What I really want to know is what he used for Meddle, Obscured, Dark Side, Wish you were Here, Animals, and The Wall in the studio recordings, and I think thats what most people come here for….Now I searched around the net and found other sites similar to this, and they give the exact same info…WHY ARE THEY SO INTENT ON GIVING US INFO ON WHAT HE USES NOW!? Pink Floyd doesn’t sound near as good as they did in the 70’s, and I’m sure most people would feel that way about it too. Now, Im stuck on what to buy for a guitar, effects, etc. Does anyone have any clue what he used back when Pink Floyd was in their Prime?
Well he used a 71 CBS Strat, dimarzio pickups, most of the effects are what he used back then too, but more
refined, Mistress, Big Muff, Arbiter Fuzz Face, Wah, Hiwatt, those are the biggies, maybe an orange treble and bass
boost…try a CE-2, binson echorec, univibe…sadly the prices on alot of these are quite high, remember
all those are vintage not reissues.
About the site, true, it is somewhat misleading if you don’t read it, for the 94 tour we finally got to see
a list of effects, but the only thing I am aware of that tells his effects from the glory days are in the PINK FLOYD
Encyclopedia. Now you so boldly put in caps WHY ARE THEY SO INTENT ON GIVING US INFO ON WHAT HE USES NOW!?
its because thats really all we know. But his sound hasn’t changed much, alot of his good ol tones are still in this list
Oh BTW I hear the Alembic F2-B is a pinacle in his tone after DSoTM, I haven’t tried it, but I have read
numerous reviews saying that it "the thing" of gilmours tone. I still don’t believe it but, hell he’s used it
since DSoTM.
Also, the EMG’s are great pickup set, I can still nail the old tones, but the new ones as well…thats why
gilmour got them, because the gave the same tones as the old ones, but evan more versatile, like
the slogan, its like a preamp in your guitar, and it is…I don’t think anyone knows what dimarzio pickups he
used…I also am wondering on what reverb he used, perhaps that from a fender twin reverb, which he used
alot too.
Floyd
: I came here for my first time about 3 months ago. After I saw this site, I had my heart set on getting a ’57 Strat, EMG equip, and a bunch of effects. After doing some research, I found out that EMG was started in 1974, and Dave didn’t buy anything from them until 1984. Then I found out that Dave didn’t buy a ’57 strat until the 80’s either. When I first came here, I thought that I was looking at THE STUFF that was used during the good years of Pink Floyd (1970-1979), not what he’s using now. What I really want to know is what he used for Meddle, Obscured, Dark Side, Wish you were Here, Animals, and The Wall in the studio recordings, and I think thats what most people come here for….Now I searched around the net and found other sites similar to this, and they give the exact same info…WHY ARE THEY SO INTENT ON GIVING US INFO ON WHAT HE USES NOW!? Pink Floyd doesn’t sound near as good as they did in the 70’s, and I’m sure most people would feel that way about it too. Now, Im stuck on what to buy for a guitar, effects, etc. Does anyone have any clue what he used back when Pink Floyd was in their Prime?
Ok. I don1t really understand your problem. The list at the top of the page is the equipement used for the ’94 tour. But if you read down the page, on this discussion, you’ll recognize alot of information on the vintage stuff. Open your eyes before you complain! It’s true that his "red" strat (bought in 84) is a 57, but it’s a reissue. If you look at the Pompeii video you’ll see the original one. He also used 64 and 71 models. For the aerly days he used the Fuzz face, Binson echo (try the Memory man from Electro Harmonics) and a wah wah. He used Sound Citys, Fenders but settled with Hi Watts and Marshalls. Later, he added a MXR phaser in 72 and an Electric Mistress, MXR Dynacomp and the Muff in 77. For the 75/77 tours he often used Telecasters (fat). So as you can see, he uses the same set up now, with additional effects and the EMGs. I find the EMGs too prosessed for the earlier stuff. But as I’ve stated before; it’s not the equipement, it’s the fingers! But ofcourse, some nice stompboxes will help you on your way. Look at our previous statements for settings and additional info. This site kicks ass if you want it to!
Hello, my name is George and I recently bought a Fender Champion 30 amp. This model doesn’t have a headphone
jack. It does however have an external speaker jack. By the external speaker jack is written, Maximum power 30 Watts,
MINIMUN LOAD 8 OHMS. My question is can I use the external speaker jack as a headphone jack without causing any
harm to the amp? If you can help me I would appreciate it, THANK YOU.
No you can’t a speaker jack is an output, a headphone is an input…
: Hello, my name is George and I recently bought a Fender Champion 30 amp. This model doesn’t have a headphone
: jack. It does however have an external speaker jack. By the external speaker jack is written, Maximum power 30 Watts,
: MINIMUN LOAD 8 OHMS. My question is can I use the external speaker jack as a headphone jack without causing any
:
: harm to the amp? If you can help me I would appreciate it, THANK YOU.
: No you can’t a speaker jack is an output, a headphone is an input…
: : Hello, my name is George and I recently bought a Fender Champion 30 amp. This model doesn’t have a headphone
: : jack. It does however have an external speaker jack. By the external speaker jack is written, Maximum power 30 Watts,
: : MINIMUN LOAD 8 OHMS. My question is can I use the external speaker jack as a headphone jack without causing any
: :
: : harm to the amp? If you can help me I would appreciate it, THANK YOU.
Hi,You can use the speaker output to feed your headphones,they would be in mono,but you would need to have an external cct box to attenuate the level and avoid damage to the phones and possibly your ears,any guitar shop electrician should be able to knock up a suitable unit in a small project box,it’s just a few resistors and and a couple of sockets. Regards Paul Shaw.
okay, I need to shorten my tremolo, now what part of the bar to I cut? Do i just start cutting the end where it’s bent and kind sticks out, or do I cut it in the middle and then weld the end to it so that the handle’s still there?
Check out the posts below about a shoprtened tremelo arm, I attempted top describe it if
you can’t understand e-mail me.
Floyd
: okay, I need to shorten my tremolo, now what part of the bar to I cut? Do i just start cutting the end where it’s bent and kind sticks out, or do I cut it in the middle and then weld the end to it so that the handle’s still there?
need ASAP – please email if you have one or no someone who is selling one.
Thanks
:who is selling one.
: Thanks
i have three BRAND NEW TVP 1’s, as you know they have been discontinued. i bought them from a store in spokane that was going out of business. they are$300.00 each.
I have an Ibanez CP 9 now. Brighter sounding and more punch than the Boss CS2. That’s I can say for now. I will find out more and what it works well for and keep you all posted.