[David Gilmour] How to Recreate the Pink Floyd Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

David Gilmour, the iconic guitarist of Pink Floyd, is renowned for his “singing tone,” characterized by a bluesy, delicate vibrato and a playing style that utilizes expansive delay and modulation effects. His guitar sound has captivated audiences worldwide, making it a benchmark for aspiring guitarists.

One of Gilmour’s most celebrated solos is in “Comfortably Numb,” often regarded as one of the most beautiful guitar solos in rock history. In “Shine On You Crazy Diamond,” he showcases an emotional lead within a lengthy slow buildup, while “Time” features a rhythmic delay reminiscent of a ticking clock, creating a striking musical phrase.

Gilmour’s playing style emphasizes depth, spatiality, and emotional nuance rather than excessive speed or technical display. This approach has led many guitarists to pursue ways to replicate his sound, which is a testament to its allure and complexity.

His gear choices are both experimental and practical, primarily revolving around the Stratocaster, but also including Telecasters, Les Pauls, and even lap steels and 12-string acoustics. His use of Hiwatt amplifiers, rotary speakers, and effects like the Binson Echorec and Cornish products form a meticulously crafted combination that contributes to his unique sound.

This article will delve into the confirmed gear used by David Gilmour, exploring the essence of his sound creation. We will also touch upon the variations in his equipment across different eras of Pink Floyd and his solo career, providing insights into how to recreate his iconic tone.

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List of Amplifiers and Features

When discussing David Gilmour’s sound, the Hiwatt amplifiers he has used for decades are indispensable. Models like the DR103 and DR504, paired with the WEM Super Starfinder 200 (4×12 cabinet) equipped with Fane speakers, formed the foundation of his sound from the 1970s through the 1990s. The clean, high-headroom characteristics of Hiwatt amps allow for a “clear clean tone” and ensure that effects like delay and modulation do not muddy the sound.

Notably, Gilmour has also utilized rotary speakers. During the “Animals” era, he introduced the Yamaha RA-200, achieving a unique spatial sound with a distinct rotating effect. This can be heard in tracks like “Sheep” and “Dogs,” where the ethereal wavering is prominent. In the “The Wall” era, he blended Leslie 147 and Mesa/Boogie Mark I, balancing Hiwatt’s crisp clean with a booming distortion.

In the 1990s, during the “Pulse” tour, Gilmour adopted the Alembic F-2B preamp (based on the Dual Showman circuit) in conjunction with Hiwatt power amps. This setup allowed for more flexible tone control, enabling precise sound adjustments for each venue. He also introduced the Doppola, a rotating cabinet that provided a wider soundstage compared to traditional Leslie speakers.

In his solo work and beyond the 2000s, Gilmour blended the Alessandro Redbone Special and Hiwatt SA-212 combo to create a warmer, more dimensional tone. He has even bypassed the speaker output of the Gallien-Krueger 250ML for a boost effect, showcasing his relentless exploration of guitar amplification possibilities.

These amplifiers have varied in combination depending on the era and scale of the performance, suggesting that Gilmour skillfully mixed multiple amps rather than relying on a single model. This adaptability has allowed him to maintain a “three-dimensional and clear sound image” throughout his career.

Types of Guitars Used and Features

The guitar that symbolizes David Gilmour’s sound is undoubtedly the “Black Strat,” a 1969 Fender Stratocaster. Originally refinished in black, this guitar has undergone numerous modifications over the years, including pickup swaps, the introduction of a 5-way selector, and a shorter tremolo arm tailored to his playing style. Solos in “Comfortably Numb” and “Shine On You Crazy Diamond” were recorded with this guitar, which has been a consistent part of his arsenal from Pink Floyd to his solo endeavors. In 2019, it was auctioned at Christie’s, drawing significant attention from fans.

Post-1980s, Gilmour’s primary guitar became the Fender Stratocaster ’57 Reissue (Candy Apple Red) equipped with EMG SA pickups and an active circuit (DG20 system). This setup allowed for noise-free, powerful clean to crunch tones, becoming a staple in live performances during the “Pulse” and early 2000s. Its compatibility with digital effects and rack systems played a significant role in achieving a wide dynamic range.

Telecasters have also played an important role in his sound. The 1959 Fender Telecaster Custom was used during the “Animals” era, sometimes equipped with Gibson PAF pickups, particularly in tracks like “Dogs.” Additionally, in “Run Like Hell,” he utilized the Fender Esquire “Workmate” and a ’52 Reissue Telecaster (Butterscotch) in drop D tuning, creating a hard-hitting, cutting rhythm sound.

Gilmour has also employed a Gretsch Duo Jet (from the 1950s) and a Gibson Les Paul Goldtop (1955 with P-90s) for a shorter duration. The latter is said to have been used for the solo in “Another Brick in the Wall (Pt.2),” delivering a thick, fat tone unattainable with a Strat.

Moreover, the presence of lap steel guitars is crucial in Gilmour’s sound. The Jedson Lap Steel (red, equipped with EMG-H) and Fender Deluxe Lap Steel produced memorable sounds in tracks like “High Hopes” and “One of These Days.” The Fender double-neck pedal steel supported the spatial accompaniment in “The Great Gig in the Sky.”

Acoustic guitars have also been widely used, including the Martin D-35 and D-12-28 (12-string), as well as the Gibson J-200 Celebrity during the “Pulse” era. These instruments were essential for grand stage openings and acoustic parts.

Gilmour’s diverse selection of guitars reflects a conscious effort to design tones that match the atmosphere of each song. Regardless of whether they are electric or acoustic, his guitars consistently contribute to the overall dynamics of the music.

Effects and Pedalboard Setup

To recreate David Gilmour’s sound, the presence of effects is essential. He has a unique approach to using delay and spatial effects, which, combined with the clean headroom of his amps, creates a “spacious and floating” sound.

One of the key effects from the early to the 1970s is the Binson Echorec II, an analog multi-head magnetic disc echo machine that supported the iconic delay sounds in “Time” and “Shine On You Crazy Diamond.” Over the years, due to its fragility and maintenance challenges, it was gradually replaced by the MXR Digital Delay System I/II and the now-standard TC Electronic 2290.

In terms of distortion, Gilmour has used the Dallas Arbiter Fuzz Face (silicon BC108) from the early days through the “Dark Side of the Moon” era, where fuzz sounds formed the foundation of his tone. Later, he incorporated the Electro-Harmonix Big Muff (Ram’s Head, Civil War Sovtek variants), which provided rich sustain for the solo in “Comfortably Numb.” Additionally, the Cornish P-1/P-2/G-2 and the classic B.K. Butler/Chandler Tube Driver have been used as main distortion pedals since the 1980s.

For modulation effects, the Uni-Vibe, MXR Phase 90, and EHX Electric Mistress (flanger) are particularly famous. The ethereal wavering in “Shine On You Crazy Diamond” and the flanging effect in “Another Brick in the Wall (Pt.2)” are significant elements that define his sound. Furthermore, pedals like the Boss CE-2, Demeter Tremulator, and TC Electronic 1210 have been introduced to expand the depth of spatial effects.

Other notable effects include booster pedals like the Colorsound Power Boost and Cornish SS-2, as well as compressor pedals like the Boss CS-2 and Demeter Compulator, which are integral to his sound. Gilmour has also utilized Vox Wah and Cry Baby wah pedals interchangeably, along with a custom Cornish volume pedal frequently used in live settings.

In terms of rack gear, the Lexicon PCM-70 and Digitech IPS-33B (pitch shifter), along with the Cornish T.E.S. (a modified DD-2 based tape echo simulator), have been incorporated into his system. During the 1990s tours, he employed a massive rack and custom board, allowing for seamless switching between multiple effects to recreate expansive soundscapes for each song.

As a result, Gilmour’s pedalboard is designed around the three pillars of “distortion, space, and modulation,” with combinations changing for live performances and recordings. This suggests that he did not rely on a fixed set of pedals but rather adapted his setup to suit the situation.

Tone Settings, EQ, and Mixing Approaches

David Gilmour’s sound creation goes beyond mere gear selection; it involves a meticulous approach to EQ adjustments, spatial processing, and overall mixing techniques. He primarily bases his sound on “clean amp + effects,” avoiding excessive distortion while ensuring rich sustain.

On the EQ front, amp settings are crucial. The Hiwatt DR103 often had the bass slightly cut (around 3-4), midrange emphasized (6-7), and treble kept moderate (around 5). This setup prevented excessive low-end buildup, allowing the guitar to “sing in the midrange” within the band mix. Particularly in the solo of “Comfortably Numb,” the rich midrange and appropriate compression are notable.

When constructing distortion, Gilmour typically does not use the Big Muff or Tube Driver in isolation. Instead, he lightly boosts the clean signal of the amp or layers delay after equalizing volume and sustain with a compressor (like the Boss CS-2 or Demeter Compulator). This results in a unique Gilmour tone that resonates without excessive distortion.

Spatial processing is another area of innovation. In the 1970s, multi-tap echo from the Binson Echorec became part of the rhythm and nuance, with delay functioning as an integral part of phrases in tracks like “Time” and “Echoes.” From the 1980s onward, he used digital delays like the TC Electronic 2290, setting precise delay times to recreate the sixteenth-note delay in “Run Like Hell.” In live settings, he would split the stereo output, adjusting one side to be slightly shorter and the other longer to create depth.

Modulation effects were finely tuned according to the song. For instance, in “Shine On You Crazy Diamond,” the Uni-Vibe was set lightly to create a floating atmosphere, while in “Another Brick in the Wall (Pt.2),” the Electric Mistress was used to apply a stronger flanging effect, crafting a distinctive tone.

In the overall mix, the positioning of the guitar and the treatment of reverb were key. Gilmour’s guitar often spread across the stereo field, with delay and reverb set deeply to create a sense of space. Particularly in “The Great Gig in the Sky” and “High Hopes,” the combination of reverb and delay formed a concert hall-like acoustic environment. Engineers likely positioned the guitar at the center of the mix while carefully sculpting the midrange to avoid clashes with other instruments.

Furthermore, in live performances, Gilmour utilized a custom Cornish board to simplify switching between complex effect chains. This allowed for instant adjustments like “boost for solos,” “turning spatial effects on/off,” and “switching delay time presets,” enabling him to recreate the optimal tone for each song.

Overall, David Gilmour’s sound creation is characterized by “avoiding excessive distortion, emphasizing the midrange, and creating spaciousness with effects.” While specific settings may vary by venue and era, the essence lies in “leaving space for the guitar to sing.”

Affordable Alternatives to Recreate the Tone

David Gilmour’s gear often consists of vintage and custom models, making it impractical to acquire everything he uses. However, the modern market offers a plethora of relatively affordable gear (ranging from $100 to $500) that can capture the essence of his sound. Here, we will focus on beginner to intermediate-friendly equipment and discuss their characteristics and replicability.

First and foremost, a delay pedal is essential. Gilmour’s sound heavily relies on the rhythmic feel of delay, as heard in “Time” and “Run Like Hell.” Notable options include the Boss DD-8 and TC Electronic Flashback 2. Both allow for precise delay time settings and feature stereo output and tap tempo functions, making it easier to create a Gilmour-esque spatial sound.

For distortion, the Electro-Harmonix Big Muff Pi is a top contender. While it may not perfectly replicate the Civil War or Ram’s Head sounds, the current model can get you close to the rich sustain of solos like those in “Comfortably Numb.” Additionally, pairing it with a booster like the Boss BD-2 Blues Driver can help achieve a softer drive reminiscent of the Tube Driver.

In the modulation department, the MXR Phase 90 and Electro-Harmonix Small Clone are excellent choices. To express the wavering in “Shine On You Crazy Diamond,” it’s crucial to set these effects at a subtle depth. For chorus and flanger effects, the EHX Electric Mistress Deluxe (reissue) can help achieve tones similar to those in “Another Brick in the Wall.”

A compressor is vital for replicating Gilmour’s sustain. Affordable options include the Boss CS-3 Compression Sustainer and Xotic SP Compressor, both of which smooth out clean tones and enhance sustain for solos.

Additionally, a multi-effects unit is highly recommended for beginners. Devices like the Zoom G3n or Line 6 HX Stomp consolidate delay, modulation, and distortion into one unit, covering the necessary spatial effects for a Gilmour sound. The HX Stomp, in particular, boasts high modeling accuracy and includes simulations of Hiwatt amps and the Binson Echorec, offering excellent cost-performance.

When combining these pieces of gear, focus on three key principles: “avoid excessive distortion,” “emphasize the midrange,” and “moderately expand spatial effects.” By adhering to these guidelines, even affordable equipment can bring you remarkably close to Gilmour’s “singing tone.”

Summary and Conclusion

Reflecting on David Gilmour’s sound creation, its core lies in “placing simple playing within a grand sonic space.” His guitar does not showcase rapid playing or excessive technique; instead, it emphasizes emotion in each note and values the space around them. This has led to the establishment of his unique style, often referred to as a “singing tone.”

While iconic gear like Hiwatt amplifiers, Binson Echorec, Big Muff, and Tube Driver significantly contribute to his sound, they are merely “tools.” Ultimately, it is Gilmour’s touch and the way he constructs phrases that shape the essence of his tone. For instance, while the sustain from the Big Muff plays a crucial role in the solo of “Comfortably Numb,” the most critical elements are Gilmour’s distinctive vibrato and his timing with the notes.

Moreover, despite refreshing his gear over the decades, the “core” of his sound has remained unchanged. The 1970s featured the analog wavering of the Echorec, while from the 1980s onward, digital delays and the Cornish system allowed for precise and meticulous control. Yet, the prioritization of “spatiality” and “midrange singing” has consistently defined his sound design.

For beginners aspiring to achieve Gilmour’s sound, it is not necessary to acquire all his gear. Focusing on three elements—delay, compression, and moderate distortion—can effectively capture the essence of his tone. Intermediate players might layer multiple delays to create rhythmic variations or combine boosters and fuzz to enhance tonal thickness, incorporating more practical approaches.

In summary, replicating David Gilmour’s sound requires the perspective of “not overdoing it, utilizing space, and designing the sound.” While it is easy to be captivated by the gear list, the ultimate key lies in “how the sound is placed.” In this sense, his sound creation serves as a guide to understanding a musical philosophy rather than merely replicating equipment.

For all guitarists enamored with the tones of Pink Floyd and Gilmour, understanding his approach will undoubtedly provide insights into the universal challenge of “how to make the guitar sing.”