(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
All of you guys are talking about the MXR 90 phaser. I’ve got that too and I know that this has been Dave’s choise for years, but I’ve read somewhere that on the Dark Side recording sessions he used a Electro Harm. Small Stone Phaser. Is this true? I prefer the Small stone ’cause it’s smoother I think . The MXR’s got a little overdrive in it. Any thoughts on this?????? If anything I highly recomend the Small Stone. It’s very versatile and it’s got a mode 2 that gives a strange swirling long range phaser. Very cool.
Well I’ve never tried the Small Stone but I have the MXR Phase 90 and I love it. I turn it to about 9 o’clock and I get Breathe, I turn it to 12:00 and I get the middle section of Pigs (three different ones), and then if I turn the knob to 3:00, I get Any Colour You Like (with adding some gain). Another thing I like about that pedal is the fact that there is only one knob. It keeps things simple. I hate when pedals have all sorts of knobs and adjustments. The only other knob that I wouldn’t mind is an output knob, but the Phase 90 doesn’t need one.
I really like the 90, I checked the PF Encyclopedia, for DSoTM it doesn’t list any small stone, but it
does say various MXR pedals (comp, and phaser most likely) It also lists the Uni-vibe….
Floyd
: Well I’ve never tried the Small Stone but I have the MXR Phase 90 and I love it. I turn it to about 9 o’clock and I get Breathe, I turn it to 12:00 and I get the middle section of Pigs (three different ones), and then if I turn the knob to 3:00, I get Any Colour You Like (with adding some gain). Another thing I like about that pedal is the fact that there is only one knob. It keeps things simple. I hate when pedals have all sorts of knobs and adjustments. The only other knob that I wouldn’t mind is an output knob, but the Phase 90 doesn’t need one.
Can anyone give me the delay settings (just m.s.) for the following songs?; Another brick 2 solo(PULSE), Comf. Numb solo (PULSE), Money wet solos (PULSE). Thanx.
For Another Brick… and Comfortably Numb use a delay time of 440ms, feedback at 5 and delay volume at 3. For Money use the same but set the delay time at 550ms.
: Can anyone give me the delay settings (just m.s.) for the following songs?; Another brick 2 solo(PULSE), Comf. Numb solo (PULSE), Money wet solos (PULSE). Thanx.
Ok. In the funk section on Echoes, both CD and Pompeii, Dave’s playing some noisy, bending stuff with lots of vibrato. Is there any of you guys who can give me the exact tab for the very first bend? On the Cd it sounds like one finger on the B string at 12th fret and a simultaneous bend on the G string from 11th to 13th. A straight blues bend. But the pompeii version is more aggressive and screaming. Anyone?
You’re right about the bend on the G with the B 12 fretted, Sometimes I play this by fretting the B at 11 and G at 11 and bending them both up to the 12th and 13th fret respectively, slightly different sound, but still a basic blues type thing. Can’t help with the Pompeii version.
: Ok. In the funk section on Echoes, both CD and Pompeii, Dave’s playing some noisy, bending stuff with lots of vibrato. Is there any of you guys who can give me the exact tab for the very first bend? On the Cd it sounds like one finger on the B string at 12th fret and a simultaneous bend on the G string from 11th to 13th. A straight blues bend. But the pompeii version is more aggressive and screaming. Anyone?
Can anyone tell me how he is producing the ‘Dinosaur bird’ sounds in the strange middle section?
: You’re right about the bend on the G with the B 12 fretted, Sometimes I play this by fretting the B at 11 and G at 11 and bending them both up to the 12th and 13th fret respectively, slightly different sound, but still a basic blues type thing. Can’t help with the Pompeii version.
: : Ok. In the funk section on Echoes, both CD and Pompeii, Dave’s playing some noisy, bending stuff with lots of vibrato. Is there any of you guys who can give me the exact tab for the very first bend? On the Cd it sounds like one finger on the B string at 12th fret and a simultaneous bend on the G string from 11th to 13th. A straight blues bend. But the pompeii version is more aggressive and screaming. Anyone?
This has been covered further down in the forum.
The sound is produced by plugging your guitar into the OUTPUT of a wah pedal and the INPUT of the wah goes into the amplifier (ie the wah is plugged into the chain backwards). With guitar volume up full, adjust guitars tone controls, pickup selector and wah pedal position to achieve all those weird sounds.
This works best with single coil pickups and only seems to work with wah directly after guitar, ie no other effects between the guitar and the wah. Add chorus, delay, reverb etc AFTER the wah to produce a more lush sound.
I use a Dunlop Crybaby and a Fender Tele with single coils and the sound is very cool. Adjusting the guitars volume has a similar efect as adjusting the tone, but the tone produces more gradual and controllable squeels and howls.
Have fun!!
: Can anyone tell me how he is producing the ‘Dinosaur bird’ sounds in the strange middle section?
:
: : You’re right about the bend on the G with the B 12 fretted, Sometimes I play this by fretting the B at 11 and G at 11 and bending them both up to the 12th and 13th fret respectively, slightly different sound, but still a basic blues type thing. Can’t help with the Pompeii version.
: : : Ok. In the funk section on Echoes, both CD and Pompeii, Dave’s playing some noisy, bending stuff with lots of vibrato. Is there any of you guys who can give me the exact tab for the very first bend? On the Cd it sounds like one finger on the B string at 12th fret and a simultaneous bend on the G string from 11th to 13th. A straight blues bend. But the pompeii version is more aggressive and screaming. Anyone?
It says above that Gilmour uses the Russian (Sovtek) Big Muff, but is there any major difference between the Russian and the USA version (silver casing)? I have a USA reissue because at the time it seemed like the general consensus out there was that it sounds better, but now I’m a little disappointed to find out that my favorite guitarist DG uses the Russian version. Do you guys have any opinions on this?
I tried both, the difference in sound is neglible. However, the Russian is poorly built and looks bad. To save money I first bought the Russian and later on (fearing it might break up) replaced it with a USA Muff.
Shit, are you sure he uses the Russian version? I bought the U.S. version just cuz I figured Gilmour’s was a U.S. If not, I am gonna take it back or something. LOL. Let me know if you anyone knows for sure that Gilmour uses the Russian model of a Big Muff. Thanx
Gilmour uses both the Sovtek Russian version and an original US version. Search the net and see the pic for yourself.
http://www.gargantuansound.com
I use russian, but in fact he does not use russian, he uses a vintage 70’s muff. I find the russian
mimics it quite well though.
Floyd
: Shit, are you sure he uses the Russian version? I bought the U.S. version just cuz I figured Gilmour’s was a U.S. If not, I am gonna take it back or something. LOL. Let me know if you anyone knows for sure that Gilmour uses the Russian model of a Big Muff. Thanx
This popular thread has been given its own page : Re: Big Muff Russian vs USA
: Gilmour started to use the Big Muff around 70-71. He most >likely use the original US verion. Around 77, when Pete >Cornish started to work with Dave for the Animals tour, he >modified the Muff and gave it a smoother output and added >some sustain. Later, for the 87-88 tour, Phil Taylor (Dave’s present guitar technic.), fitted this unit into a >rack module and and modified the in/out puts to fit it >with the controllboard. So, Dave’s still using his >original vitage US Muff. I can’t hear mutch of a >difference between the two.
From what I gather, Gilmour didn’t start using the Big Muff until the Animals tour in 77. The Fuzz Face was his main distortion until that time. I’m not familiar with any differences between the various Big Muff pedals. Pictures of Gilmour’s 1977 and 1994 pedal boards show him using two types of Big Muffs. The electronics were taken out and placed in his custom pedalboard by Cornish for The Wall shows.
Richard
I use a us model big muff and when comparing the two together find that the russian doesn’t have true bypass, or if it does then the bypass circuits are distorting, it has much less control in the tone knob and sustain, no offense to people who own the russian model because I understand that everyone has their own opinoin and preferance. and I agree that Dave uses the original big muff, the russian and the us models that are available today are both reissues.
Gilmour started to use the Big Muff around 70-71. He most likely use the original US verion. Around 77, when Pete Cornish started to work with Dave for the Animals tour, he modified the Muff and gave it a smoother output and added some sustain. Later, for the 87-88 tour, Phil Taylor (Dave’s present guitar technic.), fitted this unit into a rack module and and modified the in/out puts to fit it with the controllboard. So, Dave’s still using his original vitage US Muff. I can’t hear mutch of a difference between the two.
Hi,
I want to know how get the Telesound from Brent Mason.
I’ve got a Fender Custom Shop Relic’"nocaster".
1 Twin Reverb from 1973
1 Twin Reverb Amp Reissue ’65
1 CS 3 Boss
1 DD 5 Boss
1 CE 5 Boss
I have a good sound, but I can’t reach the Fat, Strong and sustainful Clean sound like Brent Mason.
What would I do ?
Maybe a load box ? Which one ?
Pre Amp ?
Please tell me.
I come from Holland
Regards,
Eppo Franken
: Hi,
: I want to know how get the Telesound from Brent Mason.
: I’ve got a Fender Custom Shop Relic’"nocaster".
: 1 Twin Reverb from 1973
: 1 Twin Reverb Amp Reissue ’65
: 1 CS 3 Boss
: 1 DD 5 Boss
: 1 CE 5 Boss
: I have a good sound, but I can’t reach the Fat, Strong and sustainful Clean sound like Brent Mason.
: What would I do ?
: Maybe a load box ? Which one ?
: Pre Amp ?
: Please tell me.
: I come from Holland
: Regards,
: Eppo Franken
He was interviewed in Guitar Player around a year ago. He uses a Tele mostly with non-stock pickups through a Deluxe Reverb. Check out the interview.
Based on the transcription in the 10/95 issue of Guitarworld mag, there’s a point (towards the end of the solo, when it’s fast again after the interlude) where it is necessary to choke the 22nd fret of the first string, to achieve a (24)th fret pitch.
Now, the 57 RI strat only has 21 frets, and as far as I know, so does Dave Gilmour’s. So how does DG play the note? Does he use a different guitar that has more frets?
My best guess is that the solo is modified when using the 21 fret strat in a live performance. If that’s the case, does anyone have a transcription of a modification by any chance?
Yes he played a different guitar for that part with 24 frets. When he plays live he plays the first few bars of that solo pretty much the same as the studio version but then wanders off into improvisation so he doesn’t attempt to play that note and he doesn’t really substitue anything either, the whole solo is different.
When I play it I play that note as a 3 semitone bend from the 19th fret, which brings it up to the 22nd. You could also bend the 21st up to 24 I spose.
: Based on the transcription in the 10/95 issue of Guitarworld mag, there’s a point (towards the end of the solo, when it’s fast again after the interlude) where it is necessary to choke the 22nd fret of the first string, to achieve a (24)th fret pitch.
: Now, the 57 RI strat only has 21 frets, and as far as I know, so does Dave Gilmour’s. So how does DG play the note? Does he use a different guitar that has more frets?
: My best guess is that the solo is modified when using the 21 fret strat in a live performance. If that’s the case, does anyone have a transcription of a modification by any chance?
Gontakun – Here is a fragment from and interview in the Febuary 1993 Guitar World with David Gilmour. In this he is talking about "Money"
Gilmour: The first solo is ADT’d–Aritificially Double Tracked. And the Third one is actually double-tracked. I think I did the first two solos on a Fender Stratocaster, but the last one was done on a different guitar–a Lewis, which was made by some guy in Vancouver. It had a whole two octaves on the neck, which meant I could get up to notes that I couldn’t play on a Stratocaster."
GW: What amp did you use on that?
Gilmour: I imagine it was a Hiwatt, but I’m not too certain. I used Fender Twin Reverbs in the studio a lot, too. But I’m certain the effects consisted of a Fuzzface fuzz box and the Binson echo/delay.
Me: Well I hope this is able to help you out a little. If you post some more questions I will try my best to answer them. If I can’t answer them Richard Mahon probably will be able to. He is really good at all that stuff. See ya!
do you know what effects he uses to get his solo tone on Learning to Fly and Shine On Your Crazy Dimonds from Pulse?? I need to know the exact formula if possible. Thanx
It’s definetly the EMG’s working (active pickups). Also I think he use a little compression mixed with a warm overdrive, possibly the Tube Driver 911. There’s a long delay ,450ms, and lots of warm chorus. I find the EMGs to be way to prossessed. I play 70’ies Floyd and use the old vintage single coil 50’ies pick-ups. This may give you a more album version sound. My set up for Shine On is a 57′ strat (as seen on Pompeii), smooth compression (for sustain), Ibanez Tube Screamer (slightly overdrive). This is fed through the Boss GT-3, in whitch I add chorus, delay and reverb. I recomend using a chorus. The Electric Mistress, whitch is a flanger, tends to get a little too much for this song, but agian a must for a more Animals tour ’77 sound for Shine On. My amp is a Sound City 50 plus, quite similar to a Hi Watt. A fairly budget set, but it will give you a warm vintage sound. You sould also remember that Dave’s ALWAYS using new strings (0.10 set). This gives the sound a more crispy tone. Also, an important componant is of course your choise of amp. Marshalls and other rock’n’roll amps is best when you’re playing KISS or whatever. Use a Fender Twin, Sound City (as seen on the Ummagumma album cover) or preferably Hi Watts for the perfect match. On the PULSE version, Dave’s not using any phaser, whitch he did in the album. Notice that for Syd’s theme (the four notes in the beginning) he adds a lot of reverb and increases the feedback of the delay. This can easily be done by adding some expression pedals to your equipement.
OK?
Notice that for Syd’s theme (the four notes in the beginning) he adds a lot of reverb and increases the feedback of the delay. This can easily be done by adding some expression pedals to your equipement.
OK?
-What do you mean by that? Sids Theme? Also: I thought dave uses 100W Hi-Watt heads with MARSHALL cabnets? I dont think he uses fender.
: Notice that for Syd’s theme (the four notes in the beginning) he adds a lot of reverb and increases the feedback of the delay. This can easily be done by adding some expression pedals to your equipement.
: OK?
: -What do you mean by that? Sids Theme? Also: I thought dave uses 100W Hi-Watt heads with MARSHALL cabnets? I dont think he uses fender.
He uses what ever amps he has to produce the sound he wants in the studio, he has used Fender amps in the studio, but not for live work. The guitar at the beginning of sorrow is a Fender Champ.
Syd’s theme is the common name given to the 4 note riff which comes in just before the band comes in on Shine On.
I really don’t know much at all about Learning to Fly and what gear he uses one it. As far as Shine On goes (the pulse version)I can hear the EMG’s in action. I know for a fact that he uses the neck pickup through the whole song on pulse. It doesn’t really sound like he is using the SPC but he may be using the EXG. The EXG is more for a clean tone but I am not sure if he actually has it on during the song or not. Post some more questions or comments, I love talking about Gilmour and his stuff!
He definately uses the boosters that give the begining solo that low bluesy tone. Probabily some compression. Question: does anyone know what fret that first bend is on? The WYWH tab says like 19 or 20 but it sounds way too high. I think i play it on 17. How does he get that boooo wooo buuuuu hehe tone. who knows. ive been playing 2 years but floyd is ill i play. i love talking about this stuff too.
good luck to me and you guys trying to get his tone. 🙂
I am almost positive that on the Wish You Were Here studio album, Gilmour used a Tele for shine on. I am also positive that for the first two notes of the intro, he bends from the 18th to the 20th fret on the B string. Then he stays in the G minor pentatonic scale where the main root note (G) is played on the D string at the 17th fret. If you get the Wish You Were Here tablature book, it shows you to play the intro this way.
Now the version that is on pulse, he plays similar but at a different place on the fretboard. With this version he starts the intro with bending the 13th fret to the 15th fret and the high E string. Then the main G root note is played on the G string at the 12th fret. I studied how he did this from watching the video. Post some more questions or comments, if you have any. I am sorta enjoying this. For once, I get to help people with Gilmour stuff instead of other people helping me. lol
: I am almost positive that on the Wish You Were Here studio album, Gilmour used a Tele for shine on. I am also positive that for the first two notes of the intro, he bends from the 18th to the 20th fret on the B string. Then he stays in the G minor pentatonic scale where the main root note (G) is played on the D string at the 17th fret. If you get the Wish You Were Here tablature book, it shows you to play the intro this way.
: Now the version that is on pulse, he plays similar but at a different place on the fretboard. With this version he starts the intro with bending the 13th fret to the 15th fret and the high E string. Then the main G root note is played on the G string at the 12th fret. I studied how he did this from watching the video.
They dont show that first bend on the pulse video. Maybe the pay-per-view version but i never saw that. Could you please describe that first bend. Its on the high E on the 13th?! maybe… are you sure?
I am positive that the first two bends of Shine On (pulse) are on the high E string. He bends from the 13th fret to the 15th fret (which is G). I am guessing that the reason he does this is to get a more brighter tone. It sounds a little thicker when you play the same thing but higher on the neck. I play both ways sometimes, depends on what kind of mood I am in. If you have any more questions you can post them here or just email me. See ya!
: I am almost positive that on the Wish You Were Here studio album, Gilmour used a Tele for shine on. I am also positive that for the first two notes of the intro, he bends from the 18th to the 20th fret on the B string. Then he stays in the G minor pentatonic scale where the main root note (G) is played on the D string at the 17th fret. If you get the Wish You Were Here tablature book, it shows you to play the intro this way.
: Now the version that is on pulse, he plays similar but at a different place on the fretboard. With this version he starts the intro with bending the 13th fret to the 15th fret and the high E string. Then the main G root note is played on the G string at the 12th fret. I studied how he did this from watching the video. Post some more questions or comments, if you have any. I am sorta enjoying this. For once, I get to help people with Gilmour stuff instead of other people helping me. lol
Thanx for all your info, but the main question was what Effects was he using on this solo? Tube Driver with compressor and eq or something??
Also what eq setup would you use to get that really smooth and liquidy sound???
: I am almost positive that on the Wish You Were Here studio album, Gilmour used a Tele for shine on. I am also positive that for the first two notes of the intro, he bends from the 18th to the 20th fret on the B string. Then he stays in the G minor pentatonic scale where the main root note (G) is played on the D string at the 17th fret. If you get the Wish You Were Here tablature book, it shows you to play the intro this way.
: Now the version that is on pulse, he plays similar but at a different place on the fretboard. With this version he starts the intro with bending the 13th fret to the 15th fret and the high E string. Then the main G root note is played on the G string at the 12th fret. I studied how he did this from watching the video. Post some more questions or comments, if you have any. I am sorta enjoying this. For once, I get to help people with Gilmour stuff instead of other people helping me. lol
Thanx for all your info, but the main question was what Effects was he using on this solo? Tube Driver with compressor and eq or something??
He uses the cs-2 compression, long delay (400 ms, low feedback) phaser. reverb (2 secs) and chorus, on very low setting
that is for the first solo. Also anylyzing the first few notes, you can see his nice bend vibrato, it can be accomplished
by using the tremelo arm very lightely, or doing it with your fingers going up and down, its worth learning, he uses it alot.
As for the notes, on Pulse it starts out on fret 13 on string e. I believe its the same for the studio version, but with different pickups
(siunce by pulse he was using the EMG setup.) If you mess with delay and reverb you can get the studio version.
: : I am almost positive that on the Wish You Were Here studio album, Gilmour used a Tele for shine on. I am also positive that for the first two notes of the intro, he bends from the 18th to the 20th fret on the B string. Then he stays in the G minor pentatonic scale where the main root note (G) is played on the D string at the 17th fret. If you get the Wish You Were Here tablature book, it shows you to play the intro this way.
: : Now the version that is on pulse, he plays similar but at a different place on the fretboard. With this version he starts the intro with bending the 13th fret to the 15th fret and the high E string. Then the main G root note is played on the G string at the 12th fret. I studied how he did this from watching the video. Post some more questions or comments, if you have any. I am sorta enjoying this. For once, I get to help people with Gilmour stuff instead of other people helping me. lol
:
: Thanx for all your info, but the main question was what Effects was he using on this solo? Tube Driver with compressor and eq or something??
I just got the DD-5, love it. Does anyone have any information on the Tap-Tempo that one could get with it. Does anyone think that would be useful playing floyd.
Set the delay mode to 3, the speed to between 11 and 12 o’clock to get the speed right. Play around with the feedback, it really depends on which song you’re trying to play for this setting. The same goes for the effect level knob.
If you’re familiar with Edge from U2’s delay setting this is just about the same.
another thing to do to impress your friends with this pedal and to try to imitate the clock ticking in "time" with the "hold" mode. The pedal is pretty fun to play around with for floyd.
mark.
: I just got the DD-5, love it. Does anyone have any information on the Tap-Tempo that one could get with it. Does anyone think that would be useful playing floyd.
: Set the delay mode to 3, the speed to between 11 and 12 o’clock to get the speed right. Play around with the feedback, it really depends on which song you’re trying to play for this setting. The same goes for the effect level knob.
: If you’re familiar with Edge from U2’s delay setting this is just about the same.
: another thing to do to impress your friends with this pedal and to try to imitate the clock ticking in "time" with the "hold" mode. The pedal is pretty fun to play around with for floyd.
: mark.
: : I just got the DD-5, love it. Does anyone have any information on the Tap-Tempo that one could get with it. Does anyone think that would be useful playing floyd.
Yea i do the clock and the heart beat in Speak to me/ Breathe. Does anyone have any other intresting things they do with delay?
I was wondering if anyone knows were I can get some patch settings for the GT-3 that would emulate Gilmour’s tone? Patches for any of the songs would help. Thanks, Jon
: I was wondering if anyone knows were I can get some patch settings for the GT-3 that would emulate Gilmour’s tone? Patches for any of the songs would help. Thanks, Jon
Please, if someone can answer this — do copy me on!
THANKS! I’m wondering why BOSS/ROLAND do not provide any guidance on how to do it! (Not to mention the money they charge for the gear!).
Dmitry
I read everywhere that David Gilmour uses shortened tremelo arms, but how exactly does one go about it? Just saw it off? Anyone know the ideal length?
Well one day I decided I would do it. They do not sell shortened ones.
Required items:
Blow Torch
Pliers
Something to hold the tremelo arm steady whilst you blow, and bend it
Like a Dremal or something, to buff it clean and get the burnt metal off.
His goes to the second pickup, after it. So What I did is measure the current tremelo I had
and do a ratio chart, measure the angle of the bend, how long it is at the bend, how long it is all together,
Now make seperate measurments for how long it is from the tremelo hole on the bridge, to the end of the second pickup.
See how much you will need to cut off. Now use the blow torch and hold it down (I forget what their called, two metal pieces that you
can turn a lever and it will close thus holding whatever is in it, just a typical tool, usually mounted on something.)
Now make the metal red hot and use the pliers to take the original bend out. Next cut off any uneeded length.
Referring to your ration chart calcualte where the bend should be at. Begin the torch again and bend it.
Once done you will have a fried piece of tremelo, then use a dremel or sandpaper to rub off the burnt shit on the arm, it will
look similiar to a delorian metal body.
Sorry if this is complicated, it took me about an hour and a half to do, first try, and I absolutely love it.
I am going on vacation for a week and a half, so I can’t respond to anything, however if you send me the arm I suppose
I could do it for you if this explination is too unclear, or just e-mail me ([email protected]) and I will re-explain, I wish
I had those original calculations, bah.
hope this helps
Floyd
: I read everywhere that David Gilmour uses shortened tremelo arms, but how exactly does one go about it? Just saw it off? Anyone know the ideal length?
:i just purchased a standard tremelo bar from a music shop and bent the bar simply by compressing it between two pieces of aluminium in a vise and an aluminium pipe to get leverage, its about 5 inches long and i played with it until i could cup it with my three fingers and still pick with my hand against the bridge, in sure this is the way dave or anyone would set the lenght, to try to scale it and draw it out in autocad would be nonesense, its all about feel and being able to use the vibtoto while still picking,.
:i just purchased a standard tremelo bar from a music shop and bent the bar simply by compressing it between two pieces of aluminium in a vise and an aluminium pite to get leverage, its about5 inches long and i playid with it untill i could cup it with my three fingers and still pick with my hand against the bridge, in sure this is the way dave ore anyone would set the lenght, to try to scale it and draw it out in autocad would be nonesense, its all about feel and being able to use the vibtoto while still picking,.
My dad owns a body shop. I just put mine in a vice, got a hacksaw, cut it-just so it was shorter than it was, got a rubber mallet and beat it till it was curved to my liking. Much better than the long ugly ones. good luck! mark
hiwatt amps hh amps with vibrato
binson echorec
fuzz box
harmonica
slide
vcs3 sytnh
vibrato pedal
vox wah wah
wah wah pedal
I assume eithe rof the last two wah wahs are the ones he used for the sound, most liekyl
they both made slightely dif tones, as the first one was from pompeii
and the second was from studio, you can hear the diference in the songs.
If you listen to the Pompeii version of Echoes, Dave’s using a screaming distortin for the solo, witch i quite different from the album version. Did he use Big Muff at this point? A Fuzz Face? Is it a clean signal or is it coloured with lots of delay? He didn’t use any modulation fx at this point. He swithces quickly between clean and distortion at the funky jam. If he uses delay he must have some sort of a multi box with both distortion and delay.
: He didn’t use any modulation fx at this point.
you got to be BSing me!!! If u see pompeii, you’ll notice the leslies in the background. It’s classified as an amplifier but it’s the primitive chorus effect.
you’re right that he doesn’t use any chorus stomp boxes but that’s because there was none except for a phaser which gives a different tone.
You can’t really tell that the leslie’s on because of the distortion and delay but he’s using it. because if you try to nail the solo you’ll notice something’s missing.
: If you listen to the Pompeii version of Echoes, Dave’s using a screaming distortin for the solo, witch i quite different from the album version. Did he use Big Muff at this point? A Fuzz Face? Is it a clean signal or is it coloured with lots of delay? He didn’t use any modulation fx at this point. He swithces quickly between clean and distortion at the funky jam. If he uses delay he must have some sort of a multi box with both distortion and delay.
After doing quite a bit of research on this subject I’m pretty certain that Gilmour’s main distortion was a Fuzz Face until the Animals tour when he added the Big Muff.
The middle/seagull section is definately a wah-wah plugged in backwards. It’s much more effective with a single coil pickup, the pitch seems to be higher than a double coil.
As for the Pink Floyd Encyclopedia, I was a contributer to the equipment section. The only information that was used was information that was confirmed from a member of the band or sound engineer. If an entry in the book seems vague it’s because the original source of the information was unfortunately just as vague.
assuming your not talking about the echoes guitar, I’d say he uses his big muff with the vol extremely loud
thats about the only distortion he really used in the early days. For the echoes guitar (squealing bit) I believe
it was a wah wah pedal in backwords, theres a discussion about i a few messages down…
Floyd
: If you listen to the Pompeii version of Echoes, Dave’s using a screaming distortin for the solo, witch i quite different from the album version. Did he use Big Muff at this point? A Fuzz Face? Is it a clean signal or is it coloured with lots of delay? He didn’t use any modulation fx at this point. He swithces quickly between clean and distortion at the funky jam. If he uses delay he must have some sort of a multi box with both distortion and delay.
Didn’t get much of that discussion. What do you mean by using the wah backwards. If you’re swithcing the cables you’ll only get a bypass singnal. Or did I miss the point???
Floyd is correct about the wah, it’s well worth a try. It works best with single coil p/us and will only work with certain wah pedals and they must come directly after the guitar.
I use a tele plugged into the output of a Dunlop Crybaby. The crybabys input then goes through my other pedals, distoriton, delay, chorus etc and the amp.
Turn the guitars volume all the way up, turn the guitars tone control all the way down, depress the wah about half way and bring up the tone on your guitar, twiddle with tone knobs, p/u selection and pedal position to get ALL the sounds heard in the middle section of echoes. Very simple and very efective.
Re the distoriton for the guitar solo: The original poster was saying that the solo in Pompeii is widely different from the one on the album. Actually, if you listen carefully you can here a Pompeii type grungy solo very low in the mix on the studio version. You can hear the first note quite loud and clearly and then it’s mixed down as soon as the bluesy solo starts. It seems that the clean guitar on the studio echoes was an after thought.
: Didn’t get much of that discussion. What do you mean by using the wah backwards. If you’re swithcing the cables you’ll only get a bypass singnal. Or did I miss the point???
I am ordering the Pink Floyd Encyclopedia, which I hear has equipment lists for each tour, I’ll write
out the stuff he uses for meddle, I don’t think it says song to song though.
Floyd
: Floyd is correct about the wah, it’s well worth a try. It works best with single coil p/us and will only work with certain wah pedals and they must come directly after the guitar.
: I use a tele plugged into the output of a Dunlop Crybaby. The crybabys input then goes through my other pedals, distoriton, delay, chorus etc and the amp.
: Turn the guitars volume all the way up, turn the guitars tone control all the way down, depress the wah about half way and bring up the tone on your guitar, twiddle with tone knobs, p/u selection and pedal position to get ALL the sounds heard in the middle section of echoes. Very simple and very efective.
: Re the distoriton for the guitar solo: The original poster was saying that the solo in Pompeii is widely different from the one on the album. Actually, if you listen carefully you can here a Pompeii type grungy solo very low in the mix on the studio version. You can hear the first note quite loud and clearly and then it’s mixed down as soon as the bluesy solo starts. It seems that the clean guitar on the studio echoes was an after thought.
: : Didn’t get much of that discussion. What do you mean by using the wah backwards. If you’re swithcing the cables you’ll only get a bypass singnal. Or did I miss the point???
The Encyclopedia isn’t very thorough on the equipement list. Nothing one doesn’t know already.
: I am ordering the Pink Floyd Encyclopedia, which I hear has equipment lists for each tour, I’ll write
: out the stuff he uses for meddle, I don’t think it says song to song though.
: Floyd
: : Floyd is correct about the wah, it’s well worth a try. It works best with single coil p/us and will only work with certain wah pedals and they must come directly after the guitar.
: : I use a tele plugged into the output of a Dunlop Crybaby. The crybabys input then goes through my other pedals, distoriton, delay, chorus etc and the amp.
: : Turn the guitars volume all the way up, turn the guitars tone control all the way down, depress the wah about half way and bring up the tone on your guitar, twiddle with tone knobs, p/u selection and pedal position to get ALL the sounds heard in the middle section of echoes. Very simple and very efective.
: : Re the distoriton for the guitar solo: The original poster was saying that the solo in Pompeii is widely different from the one on the album. Actually, if you listen carefully you can here a Pompeii type grungy solo very low in the mix on the studio version. You can hear the first note quite loud and clearly and then it’s mixed down as soon as the bluesy solo starts. It seems that the clean guitar on the studio echoes was an after thought.
: : : Didn’t get much of that discussion. What do you mean by using the wah backwards. If you’re swithcing the cables you’ll only get a bypass singnal. Or did I miss the point???
The solo is just a fuzz pedal, I didn’t think he used a Big muff that far back? Big Muff will give the right sound anyway. The guitar through the funky jam is no where near as fuzzy more of a very overdriven amp sound. He uses delay through the seagull bits and there is a lot of reverb through the funky jam. He may be using delay through the jam, but if he is it’s subtle and is left on through the clean bits as well.
: assuming your not talking about the echoes guitar, I’d say he uses his big muff with the vol extremely loud
: thats about the only distortion he really used in the early days. For the echoes guitar (squealing bit) I believe
: it was a wah wah pedal in backwords, theres a discussion about i a few messages down…
: Floyd
: : If you listen to the Pompeii version of Echoes, Dave’s using a screaming distortin for the solo, witch i quite different from the album version. Did he use Big Muff at this point? A Fuzz Face? Is it a clean signal or is it coloured with lots of delay? He didn’t use any modulation fx at this point. He swithces quickly between clean and distortion at the funky jam. If he uses delay he must have some sort of a multi box with both distortion and delay.
: The solo is just a fuzz pedal, I didn’t think he used a Big muff that far back? Big Muff will give the right sound anyway. The guitar through the funky jam is no where near as fuzzy more of a very overdriven amp sound. He uses delay through the seagull bits and there is a lot of reverb through the funky jam. He may be using delay through the jam, but if he is it’s subtle and is left on through the clean bits as well.
: : assuming your not talking about the echoes guitar, I’d say he uses his big muff with the vol extremely loud
: : thats about the only distortion he really used in the early days. For the echoes guitar (squealing bit) I believe
: : it was a wah wah pedal in backwords, theres a discussion about i a few messages down…
: : Floyd
: : : If you listen to the Pompeii version of Echoes, Dave’s using a screaming distortin for the solo, witch i quite different from the album version. Did he use Big Muff at this point? A Fuzz Face? Is it a clean signal or is it coloured with lots of delay? He didn’t use any modulation fx at this point. He swithces quickly between clean and distortion at the funky jam. If he uses delay he must have some sort of a multi box with both distortion and delay.
For Pompeii, It’s a later model of a Dallas-Arbiter Fuzz Face in the blue housing; you see it clearly during the freakout section of "Saucerful." Just behind Nick’s kit, to his right, is a red Fuzz Face, probably a spare. Looks like he has a DeArmond Voulme, then the Fuzz Face and a footswitch for the echo unit. Nice, no pedalboard or fancy switching setup. Just very dusty. The Fuzz Face gives that screaming distortion that is very thick, too. I believe the Hiwatts are set clean and the Fuzz Face handles the distorto sounds. It’s a later FF, one with the silicon transistors, just has that sound…..
I think he may have had the big muff, not quite sure, but you do get that distortion like during the lyrics.
I don’t have reverb, I need it badly so I can’t really give any suggestions for that. I am not sure exactly what
pedals he had then, I’m sure the pink floyd encyclopedia tell about it though, its only like 20 bucks at amazon, I need to buy it.
For the segulls part, word of mouth has it thats it just a wah wah pedal reversed, so output goes where input, and vice versa, I don’t
have the money to test it out, but thats the general rumor of that. Not sure if its just a loud pitched squeal, that he
uses reverb and mass delay (more than 2 seconds, for that I’m sure he used his binson) and just twiddle wth his volume to do that,
it can’t be hard to make that sound because I have a few ROIO’s that have him go to that tone in concert….
Floyd
: The solo is just a fuzz pedal, I didn’t think he used a Big muff that far back? Big Muff will give the right sound anyway. The guitar through the funky jam is no where near as fuzzy more of a very overdriven amp sound. He uses delay through the seagull bits and there is a lot of reverb through the funky jam. He may be using delay through the jam, but if he is it’s subtle and is left on through the clean bits as well.
: : assuming your not talking about the echoes guitar, I’d say he uses his big muff with the vol extremely loud
: : thats about the only distortion he really used in the early days. For the echoes guitar (squealing bit) I believe
: : it was a wah wah pedal in backwords, theres a discussion about i a few messages down…
: : Floyd
: : : If you listen to the Pompeii version of Echoes, Dave’s using a screaming distortin for the solo, witch i quite different from the album version. Did he use Big Muff at this point? A Fuzz Face? Is it a clean signal or is it coloured with lots of delay? He didn’t use any modulation fx at this point. He swithces quickly between clean and distortion at the funky jam. If he uses delay he must have some sort of a multi box with both distortion and delay.
I am having trouble getting the money "wah-roto-vibe-phase-delay" sound when the sax solo starts. What is doing that?
I can do everything else in the song such as main riff, tremolo, wet and dry solos, etc. I have a Boss CS-2, Univibe, Cry Baby, Phase 90,
and a Digitech 2112 with all the delay combinations and other effects you can think of, but what does Dave use and how does he play it?
How do I chain up and dial in this sound? The tone is not easy to match either. I run this all into a Marshall EL34 stereo power amp
and Marshall 4×12. Thanks for any help I can get.
I’m having difficulty picturing the part you mean. Are you sure it’s not the keyboards?
: I am having trouble getting the money "wah-roto-vibe-phase-delay" sound when the sax solo starts. What is doing that?
: I can do everything else in the song such as main riff, tremolo, wet and dry solos, etc. I have a Boss CS-2, Univibe, Cry Baby, Phase 90,
: and a Digitech 2112 with all the delay combinations and other effects you can think of, but what does Dave use and how does he play it?
: How do I chain up and dial in this sound? The tone is not easy to match either. I run this all into a Marshall EL34 stereo power amp
: and Marshall 4×12. Thanks for any help I can get.
It is possible it could be keyboards. What is your opinion on what is going on there during the sax solo? Take another listen to the song. It sounds like multiple guitar tracks.
: I’m having difficulty picturing the part you mean. Are you sure it’s not the keyboards?
: : I am having trouble getting the money "wah-roto-vibe-phase-delay" sound when the sax solo starts. What is doing that?
: : I can do everything else in the song such as main riff, tremolo, wet and dry solos, etc. I have a Boss CS-2, Univibe, Cry Baby, Phase 90,
: : and a Digitech 2112 with all the delay combinations and other effects you can think of, but what does Dave use and how does he play it?
: : How do I chain up and dial in this sound? The tone is not easy to match either. I run this all into a Marshall EL34 stereo power amp
: : and Marshall 4×12. Thanks for any help I can get.
OK, having a listen now, and you’re right it is guitar. It sounds to me like it’s going through one of those automatic wah pedals where it wahs with your attack, or maybe a normal wah.
: It is possible it could be keyboards. What is your opinion on what is going on there during the sax solo? Take another listen to the song. It sounds like multiple guitar tracks.
: : I’m having difficulty picturing the part you mean. Are you sure it’s not the keyboards?
:
: : : I am having trouble getting the money "wah-roto-vibe-phase-delay" sound when the sax solo starts. What is doing that?
: : : I can do everything else in the song such as main riff, tremolo, wet and dry solos, etc. I have a Boss CS-2, Univibe, Cry Baby, Phase 90,
: : : and a Digitech 2112 with all the delay combinations and other effects you can think of, but what does Dave use and how does he play it?
: : : How do I chain up and dial in this sound? The tone is not easy to match either. I run this all into a Marshall EL34 stereo power amp
: : : and Marshall 4×12. Thanks for any help I can get.
Hello. Is there anybody out there who can give me the settings on the Big Muff for the Comf. Numb (studio) solo? I guess it’s depending on what you’re using it with. My setup is quite simple. I use alot of vintage Electro Harmonix peds. I do however think that my Comf. Numb sound is great, but I want to take it that extra bit. I use the Big Muff as a boost with the distortion turned off. It’s placed betwen my guitar and the rest of my pedals. I guess the ultimate setup would be – compressor, big muff, electric mistress for flanger, delay and reverb. I some of you mention use of a MXR phaser. Does he really use phaser on this one????????????? I can’t even hear a leslie. His signal sounds quite like a normal amp. If anyone would bother, pleeeeease send me a mail with your thoughts on the Gilmour sound.
I can hear the MXR phase on that solo. I get a close sound with a phaser that I build myself. The secret is putting the phaser BEFORE the distortion. The distortion become slightly wah`ed with a liquid and cool sound. I even had a Big Muff and can get convincing sounds this way.
if their vintage it won’t work, I use a russian reissure, with settings right to left at 2, 11, 2
I also have an mxr 90, it works but its not best, I believe the complete effects includes chorus
along with the electrc mistress. He most likely uses a maestro rover (leslie speaker) for it in the studio
but I am working up to, Compressor, Big Muff, Chorus, Flanger, Delay, the phaser can almost create a similiar
speaker rotatign sound but not quite.
Floyd
: Hello. Is there anybody out there who can give me the settings on the Big Muff for the Comf. Numb (studio) solo? I guess it’s depending on what you’re using it with. My setup is quite simple. I use alot of vintage Electro Harmonix peds. I do however think that my Comf. Numb sound is great, but I want to take it that extra bit. I use the Big Muff as a boost with the distortion turned off. It’s placed betwen my guitar and the rest of my pedals. I guess the ultimate setup would be – compressor, big muff, electric mistress for flanger, delay and reverb. I some of you mention use of a MXR phaser. Does he really use phaser on this one????????????? I can’t even hear a leslie. His signal sounds quite like a normal amp. If anyone would bother, pleeeeease send me a mail with your thoughts on the Gilmour sound.
ahh, meant that the settings won’t work unless its the russian reissue
sorry bout that
Floyd
: if their vintage it won’t work, I use a russian reissure, with settings right to left at 2, 11, 2
: I also have an mxr 90, it works but its not best, I believe the complete effects includes chorus
: along with the electrc mistress. He most likely uses a maestro rover (leslie speaker) for it in the studio
: but I am working up to, Compressor, Big Muff, Chorus, Flanger, Delay, the phaser can almost create a similiar
: speaker rotatign sound but not quite.
: Floyd
: : Hello. Is there anybody out there who can give me the settings on the Big Muff for the Comf. Numb (studio) solo? I guess it’s depending on what you’re using it with. My setup is quite simple. I use alot of vintage Electro Harmonix peds. I do however think that my Comf. Numb sound is great, but I want to take it that extra bit. I use the Big Muff as a boost with the distortion turned off. It’s placed betwen my guitar and the rest of my pedals. I guess the ultimate setup would be – compressor, big muff, electric mistress for flanger, delay and reverb. I some of you mention use of a MXR phaser. Does he really use phaser on this one????????????? I can’t even hear a leslie. His signal sounds quite like a normal amp. If anyone would bother, pleeeeease send me a mail with your thoughts on the Gilmour sound.
Ah, what do mean by : if their vintage it won’t work, I use a russian reissure. Are you saying that the reissue won’t do the job or did you spell the sentence wrong. Thax for the settings!
Does anyone have info on when Dave started using the red Strat that he used for the ’94 Earls Court gigs? Is that the first time he used the guitar?
: Does anyone have info on when Dave started using the red Strat that he used for the ’94 Earls Court gigs? Is that the first time he used the guitar?
Gilmour’s red strat was purchased in 1984, one of about a half dozen guitars he bought before the About Face tour. He didn’t want to take his older, more valueable guitars on the road so he purchased these 57 & 62 re-issues. The red strat with the EMG setup was first seen at Live Aid 7/13/85 when Gilmour sat in with Bryan Ferry’s band at Wembley Stadium. When the Momentary Lapse tour began in September 1987 Gilmour switched between a blonde strat and the red one. As the tour continued he eventually shifted to using the red Strat full time.
Well he started using it just after the wall I believe. His main strat was getting to old, and he didn’t want it
to get stolen, so in response he went guitar hunting for something he liked. Eventually he found the red strat
57 reissue. He did mess with it a bit, using it for various gigs, I am pretty sure he used it for his solo tour, and
posotive with the 87 tour, although he changed the color of it. Really the only other one I see him use consistently
is the esquire for tunes like run like hell.
Floyd
: Does anyone have info on when Dave started using the red Strat that he used for the ’94 Earls Court gigs? Is that the first time he used the guitar?
What do you guys use for reberb? Also, what do you think gilmour uses? I heard his
TC delay can do reverb, but not sure if its true, and I am not paying 2 grand for that
;o)
Floyd
What about Davids wah wah pedals?
: What about Davids wah wah pedals?
I don’t think he’s used a Wah live since the last time he played the middle part of Echoes.
Does anyone have an opinion on the Reissues of both these pedals?
Are they close to the originals?
I got a vintage rat2, sorry
the big muff I got is russian reissue just like at the store, its similiar not exact
it doesn’t have as much low end, and its alittle raspy with the feedback
other than that its a bargain for its price, don’t get the usa version, its a waste
they sound the same to me, I used both at guitar center, no dif to me, but try it yourself.
Floyd
:
: Does anyone have an opinion on the Reissues of both these pedals?
: Are they close to the originals?
can anyone give any advice on gilmour sounds using a digitec 2120, i.e compression settings/distortion etc.thanks.
I have many patches that I have created on a Digitch 2112 for Gilmour tones and various Floyd songs. I think that the 2120 would be backward compatable with these patches. My masterpieces for 2112 are the intro and solo for "Time" and "Run Like Hell"
Let me know what songs you would like and chances are I’ve got a patch. I will send a few to you and you let me know if they work on 2120.
How can i perfect the string bending technique Dave uses in nealry all of his solos? I can’t seem to bend clearly.
: How can i perfect the string bending technique Dave uses in nealry all of his solos? I can’t seem to bend clearly.
The key is technique. Make sure your thumb is wrapped completely around the neck, almost as if you were holding a baseball bat in your left hand. The other way to keep your bends smooth is to back them up with your other fingers. Most guitarists bend with their 3rd finger but if you watch video closely you’ll see that they’re using their 1st, 2nd and 3rd fingers to raise the note.
lots of practice. Gilmour doesn’t really do anything with bends that other good guitarists don’t do, they are just clear and articulate. You have to make sure that when you release the bend you don’t accidently allow other strings to ring out. For bends such as heard on Another Brick in the Wall Pt II, there’s really nothing particular you can do except practice bending to one note and then bending the string further to the next note. Make sure you have a clear notion of what notes you are trying to bend to. Bend to the note and then play the fretted note and compare them, how accurate are you at getting the pitch correct? Practice until you can bend to the note you hear in your head perfectly.
: How can i perfect the string bending technique Dave uses in nealry all of his solos? I can’t seem to bend clearly.
Could someone know what type of distortion gilmour uses for the solo to TIME and both solos in MONEY? thanks mark
: Could someone know what type of distortion gilmour uses for the solo to TIME and both solos in MONEY? thanks mark
On the original DSOTM recordings – Time was a Fender Strat into a Fuzz Face into a Hiwatt amp. I think he may have used his Binson Echorec for delay. For Money, Gilmour again used a Fender Strat into a Fuzz Face and a Hiwatt. A device referred to as ADT (automatic double tracking) was used during the first solo. This was added to the sound during the mix. The second solo used the same setup (without the ADT) and was dry (no effects.) I think the same setup was used when the songs were performed live in the 1970’s.
I’d say big muff for sure, tube driver for money, rat for money, big muff for money…lots delay for time
none for money.
floyd
: Could someone know what type of distortion gilmour uses for the solo to TIME and both solos in MONEY? thanks mark
I wanted to know what to set it to get "Another Brick in the Wall (one)" Type of delay.
Thanx alot
I”d assume there basicly conigured the same for the dd-5 which I use.
Try effect level at 3, feedback at 11 or so, delay at about 11 and setting 3 or 4 I forget right
off the top of my head, enough to let you be able to do the riff once without the delay actually doing
the feedback.
Floyd
: I wanted to know what to set it to get "Another Brick in the Wall (one)" Type of delay.
: Thanx alot
I have been playing guitar for 65 years and I still don`t know what changes in a guitar make for good quality sound, Sharp, ringing sound, holding sound longer. hard to play and etc in acoustic guitars. Will the wood play a major part in sound. Just wondering. Thanks a lot.
I wouldn’t say the wood plays that big of an important role. Try placing your fingers in dif positions on
the fret, (like closer to it, or further away) try playing soft, hard, whatever you like. Strings can make a difference
theres a whole shitload of little things you can do to achieve them all.
: I have been playing guitar for 65 years and I still don`t know what changes in a guitar make for good quality sound, Sharp, ringing sound, holding sound longer. hard to play and etc in acoustic guitars. Will the wood play a major part in sound. Just wondering. Thanks a lot.
Wood makes a diference to the tone of the guitar, the type of fret board can make a difference, with Maple having a bright sound and Rose wood having a more mellow sound. On an acoustic a lot of the difference in sound comes from the shape of the body and also the construction of the sound board.
An acoustic is harder to play due to having heavier strings which require more effort to fret.
They are general tonal diferences, but as Floyd said, your technique plays a big part.
: I wouldn’t say the wood plays that big of an important role. Try placing your fingers in dif positions on
: the fret, (like closer to it, or further away) try playing soft, hard, whatever you like. Strings can make a difference
: theres a whole shitload of little things you can do to achieve them all.
: : I have been playing guitar for 65 years and I still don`t know what changes in a guitar make for good quality sound, Sharp, ringing sound, holding sound longer. hard to play and etc in acoustic guitars. Will the wood play a major part in sound. Just wondering. Thanks a lot.
I would love if someone could find the tab to David Gilmour’s guitar part in atomheartmother in the funky dung section- its such a hard solo. I have looked everywhere and all I can find is the slide part. Or maybe someone could at least tell me what key it is in or what that first piercing note is. I believe it is e, or at least thats how I play it, but i would love to know how he plays it because I can’t totally figure it out by myself. thanks
I saw it a bit ago I remember, but its basicly penatonic, high, I believe it was 18 or 20 on high e
that starts it out, but it stays around there, his early stuff all went on this scale, and you can hear where he got alot
of it, anyways, I’d say learn the penatonic because he almost always stays in the boundries,
|-20(22) 20 (22) 20 (22) 20(22) 20(22) 18—–18
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: I would love if someone could find the tab to David Gilmour’s guitar part in atomheartmother in the funky dung section- its such a hard solo. I have looked everywhere and all I can find is the slide part. Or maybe someone could at least tell me what key it is in or what that first piercing note is. I believe it is e, or at least thats how I play it, but i would love to know how he plays it because I can’t totally figure it out by myself. thanks
congratulations, you have just discovered the secret message. please send your answer to old pink (presumably sid) care of the funny farm, chalfont!
in the background you can hear a door knock and someone call out "roger, carolines on the phone!"
this approaching distraction seems to cause roger to hurry the clandestine message he is covertly adding to the wall album.
the band (including rog) seem to deny all knowledge!
any one else with any incite?
I think of it more as in the eye of the beholder…old pink could be pink floyd ( the character in the movie)
however the insanity part did come partly from syd. Pink Floyd is a very secretive band, you read about the oz/dsotm
and they all deny it, but when you look at the PULSE cover you can clearely see dorothy, with her shiny red shoes
in the eye. I think it is nothing more than just a interesting addition…you’ll notice at the beggining and end it says
we came in""isn’t this where" signifying a loop in the process, theres no esscape really, you see it on alot of albums, animals
with the pigs on the wing, dsotm with the pulsing, all make the album a loop, telling the message is all a giant circle
in a sense, however thats just my view…in the end I think its all in the eye of the beholder, when it says welcome to the machine, the band could
mean anything, and who cares in the end, its what you think it means, sure the wall is full of symbolism, which I love, and take it for that
but you can always take your own view rather than someone elses.
Floyd
: congratulations, you have just discovered the secret message. please send your answer to old pink (presumably sid) care of the funny farm, chalfont!
: in the background you can hear a door knock and someone call out "roger, carolines on the phone!"
: this approaching distraction seems to cause roger to hurry the clandestine message he is covertly adding to the wall album.
: the band (including rog) seem to deny all knowledge!
: any one else with any incite?
Now, I have single pedal’s and i was wondering if i should stick witht the sinlge pedals or go with the GT-3. BUt if I go with the GT-3
is there any websites that have some sort of patches to get the sounds of Gilmour. Thanx
Well I don’t think so, but its cheaper. I’m going all single analogues because thats what he uses
I could if my budget was evan smaller than it is now, go for multi-effects, but you sacrifice tone. One great
tone, or a bunch of mediocre tone? Your choice, I only got 5 effects, but he uses all of them, not to mention the dg20
Floyd
: Now, I have single pedal’s and i was wondering if i should stick witht the sinlge pedals or go with the GT-3. BUt if I go with the GT-3
: is there any websites that have some sort of patches to get the sounds of Gilmour. Thanx
Floyd: what are the five effects peddles that you have? just wondering. I was thinking the same thing…should i go with the boss gt-3 or get the analolgues. You definitaly loose tone with the multi-effect peddles. I have one peddle so far the boss cs-3…i love it…however i did try it on the multi and it definitaly does not sound as smooth. hope that helps. mark
Currently I have cs-2 compressor/sustainer, proco rat 2, big muff (rus.), mxr phaser, dd-5 delay
and I’m currently saving for the hiwatt sig series david gilmour amp, but the only other effects I want
are electric mistress ce-2 chorus, and maybe an extra delay.
Floyd
: Floyd: what are the five effects peddles that you have? just wondering. I was thinking the same thing…should i go with the boss gt-3 or get the analolgues. You definitaly loose tone with the multi-effect peddles. I have one peddle so far the boss cs-3…i love it…however i did try it on the multi and it definitaly does not sound as smooth. hope that helps. mark
Floyd: I’m a huge Gilmour fan and I’m trying desperately to get THE sound. Are you saying that HI WATT has a custom Gilmour model??????? Never heard of it. If so- It’s mine! And I strongly advice you to get the EHX El. Misterss! It’s the most awesome chorus/flanger unit I’ve ever heard. A must for the right Gilmour sound and a perfect match for the EHX Big Muff!
: Currently I have cs-2 compressor/sustainer, proco rat 2, big muff (rus.), mxr phaser, dd-5 delay
: and I’m currently saving for the hiwatt sig series david gilmour amp, but the only other effects I want
: are electric mistress ce-2 chorus, and maybe an extra delay.
: Floyd
: : Floyd: what are the five effects peddles that you have? just wondering. I was thinking the same thing…should i go with the boss gt-3 or get the analolgues. You definitaly loose tone with the multi-effect peddles. I have one peddle so far the boss cs-3…i love it…however i did try it on the multi and it definitaly does not sound as smooth. hope that helps. mark
I don’t think you lose very much tone in case of the GT-3, it’s a very good multi-effect. Im gonna buy the Gt 6 over a month. Ofcourse single pedals still sound a lot better, but i think the gt is worth it. One thing also, don’t try to find the exact Gilmour sound, just go out from a few basic points dave uses in his setup, and create your own sounds from that. Think that works the best and maybe even sounds the best.
I have a POD (v. 2.0) and i was wondering if any of you guys have found a REALLY nice gilmour sound…maybe like some of his sounds on monentary lapse of reason…Or like the comfortably numb solo.
I know it doesn’t relate to anything about the man, the myth, the legend but just a quick question:
I have a Fender American Standard and want to hollow it out to give it a fatter tone. Have any of you done this? If so, which tool do you recommend using? A dremel? Just use a drill bit to make a bunch of little holes? It’s made out of swamp ash and is already pretty resonant. I just want it to have a warmer, more acoustic-like tone. Any help would be greatly appreciated. Also, if you know of any web places where I might check, that’d be great too. Peace!
Ben
Sorry, that’s an American Standard Strat…not a Tele. Forgot to mention.
I guess you could throw humbuckers in, I only really go fer the tone I want, so I can’t help much
Floyd
: Sorry, that’s an American Standard Strat…not a Tele. Forgot to mention.
: I guess you could throw humbuckers in, I only really go fer the tone I want, so I can’t help much
: Floyd
: : Sorry, that’s an American Standard Strat…not a Tele. Forgot to mention.
: get a set of David Gilmour EMG pickups they are the ones he used for the momentary, pulse, and division bell tours. They have a very warm tone when you turn the exg expander up all the way. and a clean strat tone when turned down. they also require a 9volt which means they are active. good luck!
I know your all going to think I’m an idiot for asking this, but I recently bought a squire by fender stagemaster HSH with locking strings. I’m quite new to playing the guitar and didn’t really know how to deal with the locking strings. yesterday I changed the strings and this is my problem. I start by tuning low E then I go to in order: a, d, g, b, high e. when I’m done, all the other strings are de-tuned, even if I lock them when I’m done tuning them. for example, I’ll tune e, a, and d, then I’ll hit e and it is much looser then it should be because the whammey bar is being pulled like it’s being dive bombed. so my question is how do I stop the whammey from being pulled or is there anything I can do, it’s really driving me crazy. I didn’t go to a actuall guitar forum to ask because alot of the people there are inmature. any help would be much appreciated.
I have a locking system on my ibanez, and although I don’t have that problem it probally comes from using strings at wrong tension or teh spring. are your strings a differnt gauge then the ones that it had when you bought it? a locking system is a joy once you figure it out. I only have to tune my guitar once a week and the strings have lasted longer too. happy struming
: I know your all going to think I’m an idiot for asking this, but I recently bought a squire by fender stagemaster HSH with locking strings. I’m quite new to playing the guitar and didn’t really know how to deal with the locking strings. yesterday I changed the strings and this is my problem. I start by tuning low E then I go to in order: a, d, g, b, high e. when I’m done, all the other strings are de-tuned, even if I lock them when I’m done tuning them. for example, I’ll tune e, a, and d, then I’ll hit e and it is much looser then it should be because the whammey bar is being pulled like it’s being dive bombed. so my question is how do I stop the whammey from being pulled or is there anything I can do, it’s really driving me crazy. I didn’t go to a actuall guitar forum to ask because alot of the people there are inmature. any help would be much appreciated.
Check out this link, it is for Floyd Rose style Trems. Best advise I can give is to start high E to low E and remove one string at a time. Make sure you use something under the bridge so that it floats, I use an artist eraser or a 9 volt wrapped in tape. You will keep tuning and re-tuning. If your bridge has fine tune adjusting knobs try to get your guitar in tune a half step below and then lock down the nut it will bring it up almost perfect. Remember to stretch you strings before locking down. Hope this helps.
http://www.jacksonguitars.com/Techtips/floyd_setup.htm
OK, have you had a guitar with a trem before? I’m not familiar with locking systems but it sounds like a tremelo problem rather than a string locking problem. If you feel the trem is pulled too much like it’s being dive bombed then try adding more springs to the trem and/or screw the tail of the trem down more so it doesn’t float so much – some guys have their trems screwed right down at the back so it doesn’t get pulled forwards at all.
Anyway, generally when you tune a trem equiped guitar you have to tune it, then tune it again, then tune it again because each time you tighten the strings it pulls the trem slightly forward putting the other strings out of tune, so keep tuning till it’s tuned then stretch the strings either by pulling them at around the 12th fret or just by playing lots of solos that invlove heavy string bending. Eventually it’ll be in tune!!
P.S. Can I suggest that you try asking the guys at the Fender Discussion Page http://www.fenderforum.com, it is a moderated forum and the guys are mature enough to answer questions like yours. Make sure you read the FAQ first if you haven’t been there before.
: I know your all going to think I’m an idiot for asking this, but I recently bought a squire by fender stagemaster HSH with locking strings. I’m quite new to playing the guitar and didn’t really know how to deal with the locking strings. yesterday I changed the strings and this is my problem. I start by tuning low E then I go to in order: a, d, g, b, high e. when I’m done, all the other strings are de-tuned, even if I lock them when I’m done tuning them. for example, I’ll tune e, a, and d, then I’ll hit e and it is much looser then it should be because the whammey bar is being pulled like it’s being dive bombed. so my question is how do I stop the whammey from being pulled or is there anything I can do, it’s really driving me crazy. I didn’t go to a actuall guitar forum to ask because alot of the people there are inmature. any help would be much appreciated.
Not too familiar with that. It might be just you need to pick yer strings up at around 12 fret and
stretch them, then retune, do it about 10 times lifting an inch or two up on each string that should strech them
enough to keep them in tune, and used to bending, or use of a whammy bar.
Floyd
: I know your all going to think I’m an idiot for asking this, but I recently bought a squire by fender stagemaster HSH with locking strings. I’m quite new to playing the guitar and didn’t really know how to deal with the locking strings. yesterday I changed the strings and this is my problem. I start by tuning low E then I go to in order: a, d, g, b, high e. when I’m done, all the other strings are de-tuned, even if I lock them when I’m done tuning them. for example, I’ll tune e, a, and d, then I’ll hit e and it is much looser then it should be because the whammey bar is being pulled like it’s being dive bombed. so my question is how do I stop the whammey from being pulled or is there anything I can do, it’s really driving me crazy. I didn’t go to a actuall guitar forum to ask because alot of the people there are inmature. any help would be much appreciated.
Also, if thats not what you meant, go to the back where the springs are located, and push them in or out, whichever, that should
lower the saddle, you might also want to get it reconfigured after you find the set ad gauge of string you want to sart sticking with.
: Not too familiar with that. It might be just you need to pick yer strings up at around 12 fret and
: stretch them, then retune, do it about 10 times lifting an inch or two up on each string that should strech them
: enough to keep them in tune, and used to bending, or use of a whammy bar.
: Floyd
: : I know your all going to think I’m an idiot for asking this, but I recently bought a squire by fender stagemaster HSH with locking strings. I’m quite new to playing the guitar and didn’t really know how to deal with the locking strings. yesterday I changed the strings and this is my problem. I start by tuning low E then I go to in order: a, d, g, b, high e. when I’m done, all the other strings are de-tuned, even if I lock them when I’m done tuning them. for example, I’ll tune e, a, and d, then I’ll hit e and it is much looser then it should be because the whammey bar is being pulled like it’s being dive bombed. so my question is how do I stop the whammey from being pulled or is there anything I can do, it’s really driving me crazy. I didn’t go to a actuall guitar forum to ask because alot of the people there are inmature. any help would be much appreciated.
I am trying to match the delay setting on Run Like Hell. I am using a Digitech 2112. What delay times are used and how is it picked? What delay effect does he use for this song? I need all the info I can get… please help.
THANKS
Larry
There just triplets, duh duh duh duh duh duh pick down, up, then down fast
allow enough time in the delay for you to completly do the whole triplet.
: I am trying to match the delay setting on Run Like Hell. I am using a Digitech 2112. What delay times are used and how is it picked? What delay effect does he use for this song? I need all the info I can get… please help.
: THANKS
: Larry
: There just triplets, duh duh duh duh duh duh pick down, up, then down fast
: allow enough time in the delay for you to completly do the whole triplet.
No, they are not triplets, they are 16th notes. The technique is the same as used on Another Brick in the Wall part 1. When you play, you play the down strokes only and set the delay at 1 and 1/2 down strokes so that the delay from your first downstroke actually provides the note heard after the second down stroke. The ultimate effect is that you are playing at half the apparent speed.
I have the mix set up so the delayed notes are just slightly quieter than the picked notes to allow the beat to come through, have it so that around 8 repeats are heard, this means you can stop playing and no one will notice for a while 🙂
: : I am trying to match the delay setting on Run Like Hell. I am using a Digitech 2112. What delay times are used and how is it picked? What delay effect does he use for this song? I need all the info I can get… please help.
: : THANKS
: : Larry
I use a Korg SDD 2000 digital delay and for Run Like Hell, I use 370 ms with 40 % feedback.
I am trying to match the delay setting on Run Like Hell. I am using a Digitech 2112. What delay times are used and how is it picked? What delay effect does he use for this song? I need all the info I can get… please help.
: : THANKS
: : Larry
does anyone know the exact fingering for lead in Take it back on PULSE. thanks for help
no, I’ve never seen PULSE TABS except for comfortably numb, which I made, and lost
use your ear?
Floyd
: does anyone know the exact fingering for lead in Take it back on PULSE. thanks for help
Any colour you like solo (Pulse)
I want to know the set up….That underwater chorus or …
please give me the manifacturer’s name
Well most likely its his univibe, but it goes hand in hand with his leslie simulators and rotating speakers.
: Any colour you like solo (Pulse)
: I want to know the set up….That underwater chorus or …
: please give me the manifacturer’s name
Here’s one for ya. If you can’t afford 2 leslie cabbinets, like me, run to your lokal guitar stor and buy the Deluxe Electric Mistress by Electro Harmonix. Thais is the best chorus-flanger-leslie simulator I’ve ever heard, apart from thr Uni Vibe. But this one is more versatile.
Ok i was looking at getting the dg 20 emg kit for my strat. However i am more into his 70s guitar sound. what would you recommend for pick ups the kit or what he used back in the 70s?
The only thing Gilmour changed pickup-wise on his black Strat was the bridge pickup to a Dimarzio FS-1.
: Ok i was looking at getting the dg 20 emg kit for my strat. However i am more into his 70s guitar sound. what would you recommend for pick ups the kit or what he used back in the 70s?
What do you all use for delay? to my knowledge the most widely used cheap delay is a Boss DD-5, is that correct?
<a href="http://geocities.com/Freddy_vs_Michael">Man I Never heard Of It befor</a>
: What do you all use for delay? to my knowledge the most widely used cheap delay is a Boss DD-5, is that correct?
Yeah, or the older DD-3, both will do all the basic delays. I use the loop function on the DD-3 to repeat a tick tock sound (made by muted plucking a couple of strings) that I can play over for the beginning of Time
I´ve just bought the Tc-electronic D.two Delay, and it´s Tc´s "cheaper" edition of the Tc2290 Delay, which David uses, and it´s the best quality actually, but 3 times more expensive than a Boss D-5
does anyone know the correct position your fingers should be in for the very begining of the first solo of comfortably on pulse. the rake part…how do you guys do it?…do you do a three finger bend on 14? or two? dave does it so fast.. help me out with that solo as much a possable. thanks mark
I usually rake across the strings and hit the 14th fret on the first string with my 3rd finger (with a singing vibrato backed up by my 1st and 2nd fingers.) Then I bend the note up a half step up to G and back.
: does anyone know the correct position your fingers should be in for the very begining of the first solo of comfortably on pulse. the rake part…how do you guys do it?…do you do a three finger bend on 14? or two? dave does it so fast.. help me out with that solo as much a possable. thanks mark
Ahh, I spent 2 months learning that solo by ear. Let see at the beggining, its all the same as on the wall
I slide from 15 down to 7 on g, with my index finger, middle finger to 9 and bend up, one finger, I’m not quite sure
what you mean by rake part tho?
Floyd
: does anyone know the correct position your fingers should be in for the very begining of the first solo of comfortably on pulse. the rake part…how do you guys do it?…do you do a three finger bend on 14? or two? dave does it so fast.. help me out with that solo as much a possable. thanks mark
I´ve listened a lot to that number, and i believe that he plays a D-major (normal position) just an octave up, starting on the g-string on 14´s fret raking the D-major, but he palmmutes the g-and b-string.
I´ve tried that, and it sounds a lot like him.
Hello. I just got a 7 String guitar (Esp F-207) which has a whammy bar on it and the strings are extremely tight. It could eat through a 1.5 pick within an hour of play. How do I fix this. Is my guitar defected.
I own a DIGITECH 2120 artist and a ROCKTRON intelliflex and I’d like to approach david gilmour’s guitar sound.what setting should I use on these devices to do that? thanks
Hi!
I’m looking for the same info; I have an RP-20, but I’m not explicitly looking files to download to the device; I would be very happy with info like:
On that&that solo-part of this&that song, David uses 300ms Delay, Tube distortion 55% gain etc. Info like that is very welcome (refer to my request: reproducing Dave’s Guitar sounds).
I hope someone will help us!bye,
Frank.
I got an all black DG20 from guitar center for $275.00 and it was the best thing I have done for my sound in years. The EXG and the SPC along
the sweet EMG-SA have been what I have heard in my head since Dark Side of The Moon. The EMG DG20 is the best
set-up for the money and you get million dollar tone.
Check them out. JJF
I bought the DG20 and took it back. Gilmour has only been using EMGs since 1984. They do not automatically make your guitar sound like Pink Floyd. Not that I was expecting that, but I was expecting a whole lot more for $270. Standard Strat will work just as well. Or put a humbucker in the bridge position. Does the same as EMG setup.
I totally agree bro i have the same ones…the only thing is the very processed sound that you cant get rid of when playing songs from the old days like dark side and animals…but for the later stuff…i looovvveee them. great pickups
I have the dg-20 as well. I love them for most things, but it sometimes can be alittle thin,
what were the pickups he used for songs like shien on you crazy diamond -off wish you were here?
Floyd
: I totally agree bro i have the same ones…the only thing is the very processed sound that you cant get rid of when playing songs from the old days like dark side and animals…but for the later stuff…i looovvveee them. great pickups
I agree that the EMG’s don’t do enough for what they cost. I had bought them but then I returned them. The only real thing I hear them do is cancel hum. Just think, all of the best music from Floyd came out from 79 and back. He didn’t use the EMG’s then. For Shine On, Gilmour uses a Tele. You can definetly tell on the intro and stuff.
: I have the dg-20 as well. I love them for most things, but it sometimes can be alittle thin,
EMG’s SPC mid booster is supposed to help give the SA pickups more punch. Some have compared it to getting a humbucker sound out of the single coils (which sort of defeats the reason for having single coils.)
: what were the pickups he used for songs like shien on you crazy diamond -off wish you were here?
If you mean the album version, he most likely used the stock pickups on the black Strat he was playing at the time (either a 1970 or 1971 according to guitar tech Phil Taylor.) A photograph taken by Taylor during the Wish You Were Here sessions shows Gilmour with that guitar on page 62-63 of the Shine On book released with the box set.
If you’re wondering about which pickups were used then the answer is the neck pickup with the tone rolled back for the intro and the bridge pickup for the rest of the song.
: : I have the dg-20 as well. I love them for most things, but it sometimes can be alittle thin,
: EMG’s SPC mid booster is supposed to help give the SA pickups more punch. Some have compared it to getting a humbucker sound out of the single coils (which sort of defeats the reason for having single coils.)
: : what were the pickups he used for songs like shien on you crazy diamond -off wish you were here?
: If you mean the album version, he most likely used the stock pickups on the black Strat he was playing at the time (either a 1970 or 1971 according to guitar tech Phil Taylor.) A photograph taken by Taylor during the Wish You Were Here sessions shows Gilmour with that guitar on page 62-63 of the Shine On book released with the box set.
: If you’re wondering about which pickups were used then the answer is the neck pickup with the tone rolled back for the intro and the bridge pickup for the rest of the song.
Gilmour actually experimented with Dimarzio pickups alot during that time. They were hotter than the standard strat.
The stock pickups on his 1969 Stratocaster but with a DiMarzio (i believe) in the bridge. However gilmour said he couldn’t really tell the difference between his stock 69 pickup in the bridge and the Dimarzio. I’m looking into buying a Custom Shop 69 set from fender for that tone.
: I have the dg-20 as well. I love them for most things, but it sometimes can be alittle thin,
: what were the pickups he used for songs like shien on you crazy diamond -off wish you were here?
: Floyd
: : I totally agree bro i have the same ones…the only thing is the very processed sound that you cant get rid of when playing songs from the old days like dark side and animals…but for the later stuff…i looovvveee them. great pickups
Hi there,
I am looking for a cool web site that will tell you in detail how a specific guitar sound is build up of one of the Pink Floyd songs.
For example the solo-sound in ‘Sorrow’ or ‘Run like Hell’, or any available info. I want to learn to use my effects well.
My device is a Digital RP-20, a real good effectprocessor with all possibilities inside + a Cry baby Wahwah, which is the best. My guitars are Fender Strat USA and a Gibson LP Custom, not bad at all too! I really need detailed info to re-create sounds of David, and learn from him. I’m sure one of you will have this info, or knows a good web-site!
I’m also very interested in guitar-sounds of other bands like U2 and Skunk Anansie.
Best regards,
Frank.
I´ve just bought a 100 watt Hi-watthead, which is 22 years old. Thats a really big step one the way, getting Gilmours sound, because that amp has that "Shine on your…" sound in it self almost, and a whole lot of feedback. You can even turn the volumeknob to 10 and the 100watt amp is still clean. That amp, combined with the real effects should do it. My 360 Watt Marshall Cabinet has a cool Gilmoursound also.
Anyone have an idea which celestions he uses in his Marshall stack. ie vintage 30 etc?.(refer to web site if possible)
thanks.
nick
Anyone have an idea which celestions he uses in his Marshall stack. ie vintage 30 etc?.(refer to web site if possible)
thanks.
nick
hi
Thanks for the site! Very helpful. Only the puncy, bassy yet slightly fuzzy sound on amother brick II solo eludes me. I have an alembic f2b, big muff, strat with emg pickups and 2 fender amps (after you’ve heard stereo chorus you’ll never go back to one amp!) My sound is so humongous. I’ve found the 2 most critical pieces to achieve his sound is the f2b and the big muff (for his basic huge sound). Without the f2b- the treble is way to high since you can’t set the muff tone too low or else its muddled. I know he used a les paul to record this and then I believe went through a yamaha preamp? Anyways how do I get the puncy yet fuzzy tone?
much appreciated,
nick
: Thanks for the site! Very helpful. Only the puncy, bassy yet slightly fuzzy sound on amother brick II solo eludes me. I have an alembic f2b, big muff, strat with emg pickups and 2 fender amps (after you’ve heard stereo chorus you’ll never go back to one amp!) My sound is so humongous. I’ve found the 2 most critical pieces to achieve his sound is the f2b and the big muff (for his basic huge sound). Without the f2b- the treble is way to high since you can’t set the muff tone too low or else its muddled. I know he used a les paul to record this and then I believe went through a yamaha preamp? Anyways how do I get the puncy yet fuzzy tone?
: much appreciated,
: nick
For the studio version, I won`t use any fuzz or dist. units, I`d go for guitar-compressor-equalizer-amp. For the live version, of course it`s another story. Anyway, how do you usually set the tone control on the Big Muff?
Bye!
AndreaD
: : Thanks for the site! Very helpful. Only the puncy, bassy yet slightly fuzzy sound on amother brick II solo eludes me. I have an alembic f2b, big muff, strat with emg pickups and 2 fender amps (after you’ve heard stereo chorus you’ll never go back to one amp!) My sound is so humongous. I’ve found the 2 most critical pieces to achieve his sound is the f2b and the big muff (for his basic huge sound). Without the f2b- the treble is way to high since you can’t set the muff tone too low or else its muddled. I know he used a les paul to record this and then I believe went through a yamaha preamp? Anyways how do I get the puncy yet fuzzy tone?
: : much appreciated,
: : nick
:
: For the studio version, I won`t use any fuzz or dist. units, I`d go for guitar-compressor-equalizer-amp. For the live version, of course it`s another story. Anyway, how do you usually set the tone control on the Big Muff?
: Bye!
: AndreaD
I should learn how to spell first. I believe punchy still features an " h ". I swear I can hear some overdrive (especially evident on low notes – boom!) Easy to get the popping, clicking, punchiness when clean put as soon as you add minimal fuzz as per above topic- you lose it. Am I imagining things? Anyways, I’m picking up an MXR dyna comp which apparantly is good for this (my last hope) as well as a rat II which is more smooth than the muff in this case. I set my tone on the big muff at about 10 o’clock, minimal distortion as this pedal is already on acid or something (7 o’clock) and minimal volume (output). But its still tough to squeeze the huge tone without the f2b (it’s expensive but necessary), I sound like an AM radio without it and can’t imagine playing now without it. A great site for Dave’s complete gear is flashcast.com/dg/. It helped me alot. Thanks for the tip Andrea, I’ll try to turn my fuzz down at least!
Chiao
: I should learn how to spell first. I believe punchy still features an " h ". I swear I can hear some overdrive (especially evident on low notes – boom!) Easy to get the popping, clicking, punchiness when clean put as soon as you add minimal fuzz as per above topic- you lose it. Am I imagining things? Anyways, I’m picking up an MXR dyna comp which apparantly is good for this (my last hope) as well as a rat II which is more smooth than the muff in this case. I set my tone on the big muff at about 10 o’clock, minimal distortion as this pedal is already on acid or something (7 o’clock) and minimal volume (output). But its still tough to squeeze the huge tone without the f2b (it’s expensive but necessary), I sound like an AM radio without it and can’t imagine playing now without it. A great site for Dave’s complete gear is flashcast.com/dg/. It helped me alot. Thanks for the tip Andrea, I’ll try to turn my fuzz down at least!
: Chiao
No problem for your English spelling, I know I still am making some errors, too!
Visiting the page http://www.pinkfloyd-co.com/band/interviews/djg/djg96.html
I`ve discovered (read Dave`s interview) that "Another Brick… pt.2" guitar solo was first recorded directly into the board, and then sent into the amp for that kind of "amp tone". This may be the overdrive effect you can hear from the recording, simply the amp running at higher volume. Maybe a simple overdrive pedal at low drive settings (unfortunately, I don`t have much experience about OD types and models: Ibanez TS-9?) could help you.
Ah, I forgot, of course I`d add some reverb at the end of the chain!
Thanks for all your infos about the Alembic F2-B preamp and the Muff settings. At the moment, I can`t afford the F2-B, maybe in a future… I think by now I`ll begin trying to do some Equalizer work to remove some high-end from my signal.
Greetings from Italy!
AndreaD
what is a F-2B???? why is it so crutial? thanks for the info.
I dont have too much money , but i want to buy a strat, whats the best strat for not to much money?
: I dont have too much money , but i want to buy a strat, whats the best strat for not to much money?
Any kind of Strat from the Fender company should be fine if the price is right. The key is the 3 single-coil pickup sound. I know someone with a Squire and it played and sounded much better than I expected. You can always find a good deal on Ebay.
: : I dont have too much money , but i want to buy a strat, whats the best strat for not to much money?
: Any kind of Strat from the Fender company should be fine if the price is right. The key is the 3 single-coil pickup sound. I know someone with a Squire and it played and sounded much better than I expected. You can always find a good deal on Ebay.
You can install an on-board preamp into your guitar and change the pick-ups. This really enhance the sound of your guitar
Get a strat fer sure- try a standarn mexican strat for about 300$
or a cheap squire for 180$, maybe evan a used standard.
Dustin
: I dont have too much money , but i want to buy a strat, whats the best strat for not to much money?
dont get a squire they suck. go for a used mexican. or just use the cheapest thing you can find.
skot
http://www.geocities.com/computer_jones
: Get a strat fer sure- try a standarn mexican strat for about 300$
: or a cheap squire for 180$, maybe evan a used standard.
: Dustin
: : I dont have too much money , but i want to buy a strat, whats the best strat for not to much money?
What`s the best effect to use to emulate a rotating speaker? Chorus or phaser?
I use a mxr phase 90 just cause I got it for christmas it kind of does it. But I hear the electro-harmonix
electronic mistress is a great one.
Dustin
: What`s the best effect to use to emulate a rotating speaker? Chorus or phaser?
: : What`s the best effect to use to emulate a rotating speaker? Chorus or phaser?
I use the Hughes & Kettner Tube Rotosphere for Leslies..It does it better than the MXR 90 because the depth is adjustable and it can be kicked in without raising your volume…It will set you back a few bucks but it is worth every penny….
: : What`s the best effect to use to emulate a rotating speaker? Chorus or phaser?
I use the Hughes & Kettner Tube Rotosphere for Leslies..It does it better than the MXR 90 because the depth is adjustable and it can be kicked in without raising your volume…It will set you back a few bucks but it is worth every penny….
Gilmour has used the MXR Phase 90 & 100 in the past and he’s used the Boss CE-2 Chorus more recently. But I think the best pedal to simulate that rotating speaker sound is the Dunlop Uni-Vibe. It’s a bit expensive but this is the "rotating speaker sound" pedal that guitarists have been using since the late 60’s.
: I use a mxr phase 90 just cause I got it for christmas it kind of does it. But I hear the electro-harmonix
: electronic mistress is a great one.
: Dustin
: : What`s the best effect to use to emulate a rotating speaker? Chorus or phaser?
In my opinion the chorus and phaser can work good in their own way. both pedals work good for leslie simulation at different speeds. for example a "chorus pedal is a fine choice for emulating the slow speed (chorale-chorus) let’s assume that the chorus you’re using is a BOSS CE-2 because it is a fantastic analog pedal that gives you a warm, lush sound. for me, the settings i use to get a competent simulation is i turn the "rate to about ten o’ clock and the ‘depth to about one o’clock.
a phaser is good for emulating the fast speed. it’ll sound more like a full rotating speaker as opposed to the treble horns of a leslie but it’s close enough and sounds just as cool. let’s assume you’re using a MXR phase 90, just turn the rate to about 3 o clock for that liquid tone.
if u want a leslie simulator in a stomp box that sounds like an original leslie is a BOSS VB-2 Vibrato. they’re pretty rare and expensive but it’s worth it since is’s a pitch modulating vibrato not tremolo
note i own a CE-2 and think the sound is more rich than a leslie, and i own a Hughes and Kettner rotosphere which is a tube leslie simulator and that’s a nice unit to own let me tell u
I use a Big Muff as the main pedal for P.Floyd solos: sounds great, but on the lower notes it`s quite too "fat" sounding compared to Dave`s sound, and
setting the tone control higher makes it sound too thin.
What whould you suggest? Should I use an overdrive pedal in front of it?
: I use a Big Muff as the main pedal for P.Floyd solos: sounds great, but on the lower notes it`s quite too "fat" sounding compared to Dave`s sound, and
: setting the tone control higher makes it sound too thin.
: What whould you suggest? Should I use an overdrive pedal in front of it?
Try rolling back the "sustain" knob a bit. The tone is smoother that way.
try a Proco Rat2 distortion its not quite as fat compared to a big muff.
Dustin
: I use a Big Muff as the main pedal for P.Floyd solos: sounds great, but on the lower notes it`s quite too "fat" sounding compared to Dave`s sound, and
: setting the tone control higher makes it sound too thin.
: What whould you suggest? Should I use an overdrive pedal in front of it?
what do you think is better? i know gilmour useds the mxr phase 90 but do you guys think i can get the same tone on a boss super phaser?
If in doubt, it’s hard to go wrong using the equipment any guitarist used to recreate a sound you like. Gilmour used an MXR Phase 90 for the majority of the 1970’s.
: what do you think is better? i know gilmour useds the mxr phase 90 but do you guys think i can get the same tone on a boss super phaser?
: what do you think is better? i know gilmour useds the mxr phase 90 but do you guys think i can get the same tone on a boss super phaser?
I use a mxr-I’d get that, I mean if you think about it, its what he used, I use it in tons of songs, comfortably numb
cause it gives a nice rotating speaker feel, shine on you crazy diamond, high hopes, I think you’ll find the phaser is nice
and it fits into alot of his tunes. The boss may be good, but it won’t create the same sounds
: : what do you think is better? i know gilmour useds the mxr phase 90 but do you guys think i can get the same tone on a boss super phaser?
: I use a mxr-I’d get that, I mean if you think about it, its what he used, I use it in tons of songs, comfortably numb
: cause it gives a nice rotating speaker feel, shine on you crazy diamond, high hopes, I think you’ll find the phaser is nice
: and it fits into alot of his tunes. The boss may be good, but it won’t create the same sounds
: For the Comfortably solos do you use distortion too…or just the MXR??? btw… in the 2nd solo..how do you do the first really fast part that starts with the pull of from 10 to the 8th fret? iam having a problem getting it to sound right.
For the comfortably numb solo’s he uses a small delay, big muff pi, rotating speakers, chorus
what I use is, rat 2, and phaser at 11 oclock. Not sure exactly where your talking about, but
go here:
http://pinkfloyd-co.com/band/tab/wall/tab_wall-cn2.txt
this is what I learned off of, and minus the added parts in the PULSE version, there the same
if you could ellaborate alittle more and e-mail me at [email protected] I can give you a more ellaborate
response.
: : : what do you think is better? i know gilmour useds the mxr phase 90 but do you guys think i can get the same tone on a boss super phaser?
: : I use a mxr-I’d get that, I mean if you think about it, its what he used, I use it in tons of songs, comfortably numb
: : cause it gives a nice rotating speaker feel, shine on you crazy diamond, high hopes, I think you’ll find the phaser is nice
: : and it fits into alot of his tunes. The boss may be good, but it won’t create the same sounds
: : For the Comfortably solos do you use distortion too…or just the MXR??? btw… in the 2nd solo..how do you do the first really fast part that starts with the pull of from 10 to the 8th fret? iam having a problem getting it to sound right.
Hey there… I’ve owned a boss ph-2 super phaser for sometime now, and I just recently sold it off on ebay. The first phaser I ever played with and owned was the ph-2, and until I heard the sounds of an MXR I thought that the PH-2 was the only way to go. But the ph-2 isn’t perfect. It’s very good in some respects–like it’s setup very well to really adjust the speed, depth, etc.. but the sound of the phase effect itself is incredibly dry if you ask me. I like a really rich saturated tone.. like what you’ll find from a smallstone (electro-harmonix). The MXR isn’t as wet sounding as a smallstone, but it’s very bright and it almost seems to shimmer like glass. It’s really incredibly sounding.. the only drawback to the MXR phaser is that it isn’t as easy to control as the ph-2. With the MXR phase 90, you have one knob.. that adjusts speed and depth together. So if you want flexibility, go with the ph-2. If you want to go after the gilmour sound, go with the MXR. BUT–BOSS just released a new phaser, the ph-3 phase shifter.. and this pedal if you ask me is the master of all phasers. Best advice I can give you though is to try as many as possible and buy what YOU like the most. Good luck.
I know a lot is known and has been said about Gilmour’s recent gear setup. Would anyone happen to know the details of his setup prior to what he’s using lately (especially his guitar pickups)? I’m interested in the "Wish you were here"/"Animals" era. I heard he was using DiMarzio’s on his guitar but not sure what model/models. Also I’ve heard his pedal boards had changed a couple of times. Thanks in advance for any info, it is greatly appreciated.
: I know a lot is known and has been said about Gilmour’s recent gear setup. Would anyone happen to know the details of his setup prior to what he’s using lately (especially his guitar pickups)? I’m interested in the "Wish you were here"/"Animals" era. I heard he was using DiMarzio’s on his guitar but not sure what model/models. Also I’ve heard his pedal boards had changed a couple of times. Thanks in advance for any info, it is greatly appreciated.
Go to:
http://members.nbci.com/RichM66/sbarchive.htm
Here you`ll find many infos on Dave`s guitars,amps and effects during the `70s.
: I know a lot is known and has been said about Gilmour’s recent gear setup. Would anyone happen to know the details of his setup prior to what he’s using lately (especially his guitar pickups)? I’m interested in the "Wish you were here"/"Animals" era. I heard he was using DiMarzio’s on his guitar but not sure what model/models. Also I’ve heard his pedal boards had changed a couple of times. Thanks in advance for any info, it is greatly appreciated.
All I really know is he uses his black strat-tends to use fender twin reverbs along with hiwatt, I had a list
of all his equipment prior to the wall, I need to shoot myself for loosing the link, its in the pf encyclopedia book tho I think
or one of them. Sorry but thats all I know about that, I too am looking for a prior to current stuff-but you take what you
can get
I am always going to guitar forums, and I get so sick of people not giving Gilmour enough credit. everybody always talks about hendrix and vai. but no one ever gives gilmour the respect he deserves. vai is great guitarist, but gilmour can show so much emotion and has such a wide range of sounds. I just personally think he’s the best. do you agree
: I agree for sure. I never hear anyone say how great Gilmour is except for the die-hards. I can’t figure out why that is. I hope people aren’t ignorant and just write him off because he is in Pink Floyd. But I definetly agree that his greatness goes unnoticed. He knows every single sound on a guitar neck and he commands them to let the listener know exactly how he feels. Of course Jimi is the greatest and Jerry wasn’t too bad himself, but Gilmour’s guitar playing was more reserved and more important. His music gives you the straight up musical orgasm.
: I am always going to guitar forums, and I get so sick of people not giving Gilmour enough credit. everybody always talks about hendrix and vai. but no one ever gives gilmour the respect he deserves. vai is great guitarist, but gilmour can show so much emotion and has such a wide range of sounds. I just personally think he’s the best. do you agree
Yes, I agree 100% with you. Ok, Hendrix was a legend because
he was the first, and I still am a great fan of Steve Vai, but I
think that Pink Floyd music and the same Gilmour`s idea of
"sound" is something that places Dave over all the world`s
"guitar heroes". His solos have something special, which arrives
straight to my mind, something "psychedelic", there`s no one
like him!
: I am always going to guitar forums, and I get so sick of people not giving Gilmour enough credit. everybody always talks about hendrix and vai. but no one ever gives gilmour the respect he deserves. vai is great guitarist, but gilmour can show so much emotion and has such a wide range of sounds. I just personally think he’s the best. do you agree
: I think your 110% right bro. people are so ignorant. oh well. i look at it like..its them missing out on what we have…and thats a love for his music. mark
‘Course I agree – that’s why I’m here. The thing is, with guitarists like Vai(especially) and Hendrix, there seems to be more to dissect than with someone like DG. DG’s approach is generally fairly simple and supportive, even in his solos, as opposed to being as extroverted as those guys, and supportive players
(including guys like Edge, Andy Summers, George Harrison )don’t usually get the accollades from the guitar community that they should. I love Hendrix, but am not a big Vai fan – probably because of the Roth association.
: : yeah, your right. oh well. as long as we’re happy.
whats gilmour use to overdrive and get tones like on dogs?
Funny…I happen to be listening to that very song right now! Okay, I would go about finding this tone as follows:
First, COMPRESSION & gobs of it (possibly a combination of a few different compression pedals)–play with whatever compression pedals you may have; if you don’t have any compression, buy a good pedal like the MXR dynacomp
He’s also got a Big Muff going on here, almost certianly–just a little to add creamyness. Now, there’s also some sort of overdrive (I think that he uses Chandler’s but an Ibanez Tube Screamer or Boss SD-1 would do the trick).
Lot’s of mid-range–LOTS of mid-range (probably more than you’ll get out of an amp’s EQ, he uses a mid-booster: ~25db,I think).
After that there are time-delay type effects like chorus and delay–just play until you find it. That formula works pretty well for most of the sounds he uses, just mix in different amounts of each for his different tones.
Hope thats helpful, & good luck keeping your hair (I spent ~2 years working on Gilmour’s tone!:) )
Jeff
: whats gilmour use to overdrive and get tones like on dogs?
Dave`s pedalboard during the "Animals" tour included an Orange (or Colorsound?) Treble-Bass Booster: I don`t know the way Dave used it, but I believe that at higher gain settings it would give some nice overdrive effect by itself, or simply "boosting" the amplifier`s input stage.
I`m trying to find the schematic to build it, or at least something similar!
You could also try to use a more common overdrive pedal like for example the Ibanez TS-9 or the Boss SD-1, though I`ve never tried with them…
Bye!
What is the best echo to simulate early floyd echo, without spending the big bucks for a tape echo?