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“Gilmour comes
from a time where
the development
of an artist meant

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Of all the guitarists featured in Guitar Interactive, no one has generated more
reader interest than David Gilmour. Research carried out by our sister company,
Lick Library, shows that Gilmour remains one of the world’s two or three most
influential guitarists – the player everyone wants to find out about. No one is
more qualified than Jamie Humphries to delve into the mysteries of what
makes David Gilmour the guitarist other guitarists want to sound like. Jamie’s
pro career really got going when he toured extensively in the world famous
Australian Pink Floyd tribute, before he went on to work with a host of top
bands and players including Brian May, so we asked Jamie to explain the
phenomenon...before he set out to show you how you can play like DG, too.

‘ve been playing guitar for approximately 40
years now, and have had a career in music
for the past 24 years. Many guitarists have
inspired me, but several really stand out as
an inspiration in so many more ways than just
their playing. One of these guitarists is David
Gilmour, master lead guitarist and composer with
the progressive rock legends Pink Floyd, and also a
highly successful solo artist.

David Gilmour for me was the force who, when he

joined Pink Floyd as the replacement for original
singer/guitarist Syd Barrett, really pushed the band 15

into a different musical direction. The coming Rock publications? How is it that in a world
together of Gilmour and bassist/singer Roger full of hyper speed shredders Gilmour is
Waters was one of those cosmic alignment still at the top of his game, and seems to be
of the stars moments, and although the two getting better with age? Like many of the rock
musicians clashed, with a somewhat volatile “elite” Brian May, Eric Clapton, Jimmy Page
relationship (full marks for understatement and Jeff Beck, Gilmour comes from a time
there, Jamie! - Ed), the writing partnership where the development of an artist meant
of Gilmour and Waters resulted some of the something, and also a time when there was
greatest and best loved songs and albums in money in the music industry to record over
the history of modern music. Even today, long periods of time in expensive studios -
years after the original line-up recorded nothing like a bit of inspiration and seclusion
together, their fan base continues to grow, to get the creative juices flowing!
with legions of fans flocking to see the solo
outings of Gilmour and Waters. And then Look at how albums are recorded now, on
there’s the catalogue of work that keeps selling a laptop in a bedroom! Look at how the
and selling. music industry has so dramatically changed
in the last 10-15 years, with the growth of
So what is it about Gilmour’s guitar style that the Internet. Back in the ‘60s, ‘70s, ‘80s and
is so appealing? What is it that Gilmour has ‘90s bands were given an opportunity to grow
that still sees his classic solos topping polls in and evolve, which is very apparent in Floyd’s


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catalogue. You can hear the progression from

the psychedelic pop of “Piper at the Gates
of Dawn”, to the experimental progressive
sounding “Meddle”, and “Atom Heart
Mother”. The blend of these two different
sounding Floyd periods seems to collide with
the explosion of “Dark Side Of the Moon”.
This album not only had the psychedelic
experimental edge, but also oozed perfectly
crafted songs such as Money, and Us and
Them. Let’s look at the time of its release
during the ‘70s; a volatile time, and a time
of historic change; songs such as Breath and
Great Gig in the Sky touched people on
in me and my friend gravitating towards her
many levels.
record collection. I have very vivid memories
I can’t remember a time in my life not of myself and my friend armed with a bass,
listening to Pink Floyd, as I was bought up a guitar and a home keyboard for drums,
on a healthy dose of Floyd courtesy of my experimenting with multi track recording on
Dad’s record collection. My best friend’s sister a twin cassette home hi-fi! At the age of 12
was a huge Floyd fan, resulting we were already trying to compose and record

So what is it about Gilmour’s guitar

style that is so appealing? What is
it that Gilmour has that still sees
his classic solos topping polls in
Rock publications? 17

concept albums replicating pedals, yet switch them using phrasing. His vibrato, often
our heroes Gilmour and a designated board. This generated by the whammy
Water. My love of Floyd and was something that I always bar, was subtle and vocal
Gilmour continued, and I wanted, and eventually got to like. He often embellished
was lucky enough to see them have and still use! his melodies with rakes and
in the late ‘80s on the “A pinched harmonics. Gilmour
Momentary Lapse of Reason”, There was also his playing was also a master at lap steel
and “Delicate Sound of style; what set Gilmour head and pedal steel, inspiring me
Thunder” tours. and shoulders above other to learn to play lap steel.
guitarists for me were his
For me David Gilmour had melodies. His solos were I’m sure that everyone has
the sound; his lead tone was extensions of the songs; their own opinions and views
smooth and full, enhanced melody lines in their own about Gilmour, and I have
with ethereal delays, his right. He would fuse Blues probably overlooked some
rhythm tone was thick lines, slow, melodic extended areas, but for me these were
and rich. But also he had arpeggios, with his signature the things that set him apart
experimental tones using the strings bends. Gilmour is from other guitarists; I guess
rotary speakers, or Univibe, as a master at string bending. also the sheer size of a Floyd
well as the vintage fuzz tones. Inspired by Albert King, show, it was an overwhelming
I was drawn towards his who not only strung his experience. To wind things up
rhythmic delay parts heard guitar upside down so he I have a couple of things that
on Another Brick in the Wall pulled his strings when he really make my connection
Part 1, and Run Like Hell. bent them, he also tuned with Floyd special. The first
Gilmour had such a wide the entire guitar down by was when one of my best
variety of sounds, and for a tone and a half, resulting friends and fellow guitarist
the most part he was using a in less tension so he could David Kilminster became
Strat! achieve much larger string the new guitarist for Roger
bending intervals. Gilmour Waters, a position he still
Gilmour’s rig was also the applied this approach to a holds. I was honoured to have
first “proper” rig I had seen, regular strung and tuned been asked by Dave to mix
and I was fascinated by the guitar, and developed a and produce two of his solo
fact he had pedals in a rack; technique whereby he would albums, sold at Roger’s shows.
‘pedals in his rack?! How the not only bend regular half Through Dave and Roger’s
hell does he turn them on and full tone bends, but also management I ended up
and off?!’ It was from seeing as much as two full tones! filling the position as guitarist
Gilmour’s rig I learnt about Gilmour also had a wonderful in the world renowned
switching systems, and how touch, use of dynamics and Australian Pink Floyd show,
you could mix rack gear and 19
”...and it’s thanks to
my connection to
Dave and my love
of Floyd that I got
to really learn my
craft on the road..”



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and completed two long American and South my craft on the road, and okay some of the
American tours! Through this position I biggest and most famous venues in the world.
got to really delve into his style and learn
the parts to such detail. I had a replica rig Now join Jamie as he takes us on
built, with a switching system, with a rack a journey through the impeccable
containing vintage pedals and rack effects. I Gilmour style in our exclusive David
also started playing lap steel for these tours, Gilmour Tech Session, Tone on a Budget
and it’s thanks to my connection to Dave and a short history of the legendary
and my love of Floyd that I got to really learn Black Strat. END >


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A David Gilmour special

issue wouldn’t be complete
without a look at the
legendary Black Fender
Strat that Gilmour has

played on some the


best-loved songs in Rock


Jamie Humphries takes

a look at the legend played
by the legend. 25

uitars can occasionally be over by Fender in black as a custom
as famous as the guitarists order. The guitar came fitted with
that play them. Think a three-way switch as standard,
of Rock legends like Peter Green, with the regular single volume and
Brian May, Steve Vai and Edward two tone controls. Fitted with a
Van Halen. David Gilmour’s famous synchronized tremolo system the
black Strat is certainly one you can guitar was originally supplied with
add to that illustrious list. His black a standard length tremolo arm. The
Fender Stratocaster has been used guitar was originally fitted with
on countless classic recordings and chrome tuners, with the Fender “F”
concerts and has to be one of the stamped on the back.
most listened to guitars in the world,
responsible for some landmark Although the back Strat made its
recordings. In this brief history we live debut in 1970, David wasn’t
shall take a look at how the guitar has totally satisfied with the new guitar,
evolved and been modified from its and so began a long process of
humble beginnings. modifications. He experimented with
various other guitars before finally
It seems fate played a huge part in settling on the black Strat as his main
this lifelong relationship between guitar, which he used on the 1971
man and guitar when in 1970, Pink album “Meddle”. From there, he
Floyd were force to cut their US continued to record with the guitar,
tour short after their equipment using it on “Obscured by Clouds”,
was stolen. Gilmour stopped off “Dark Side of the Moon”, “Wish You
in Manny’s Music in New York Were Here”, “Animals”, “The Wall”,
to purchase a replacement Fender and “The Final Cut”! The same black
Stratocaster and walked out of the Strat was also used on all of his solo
store with a humble black standard albums.
Stratocaster, The guitar was a CBS
Strat with a maple neck with a For some reason, Gilmour retired the
maple “cap” fingerboard and a large guitar in the mid-’80s, at which time
headstock. It also originally had a he was experimenting with the then
white scratchplate. new Fender ‘57 reissue guitars, fitted
with EMG pickups. He was also
Like many of the Fender guitars toying with the small bodied headless
of the late ‘60s it started out as a Steinberger guitar. As a consequence,
sunburst, and was sprayed straight the faithful black Strat was displayed

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“Gilmour retired the

guitar in the mid-’80s,
at which time he was
experimenting with
the then new Fender
‘57 reissue guitars”

David Gilmour Comfortably Numb Guitar Solo in HD! 27

on a semi-permanent loan to the Hard Rock Gilmour has also experimented with a
Café in Dallas, Texas. variety of necks at times, including various
Fender necks, rosewood and maple boards,
Sadly, the guitar wasn’t protected by a glass and even a custom bird’s eye maple 22 fret
a case and many parts were stolen and Charvel neck! Currently it’s fitted with an
damaged. Eventually, the guitar was returned early ‘80s ‘57 vintage replica neck.
and restored to its former glory during the
late ‘90s, but it didn’t make its return to a The pickups have been through some
main stage until 2005, when the original changes, too. David has experimented with
line up of Pink Floyd reunited for the Live various types, including a DiMarzio bridge
8 performance in Hyde Park London. Since single coil, around the “Animals” period.
then the black Strat has resumed its position This was replaced with a Seymour Duncan
as Gilmour’s main guitar, and a few years pickup for “The Wall”. At one point he
ago recently Fender’s custom shops luthiers even fitted a Gibson humbucker between
and David’s long term tech Phil Taylor the bridge and middle single coil pickups,
stripped down the original black Strat and but this modification was later removed.
analysed it to produce two stunning custom The guitar is currently loaded with early
shop replicas, the NOS, (new old stock) and ‘70s Fender pickups in the neck and middle
the Relic version. See our review elsewhere positions, and a Seymour Duncan SSl-1 in
in this issue! the bridge.

Today. The Gilmour black Strat is a much As if all that wasn’t enough, Gilmour
modified guitar but some of the minor also experimented with various electronic
mods really don’t need to concern us for the options. One such was having an XLR
purposes of this article as they include things socket fitted that sent the signal of the guitar
like different neck plates, knobs and the use directly out into a fuzz pedal, and then back
of more traditional Kluson tuners. into the guitar. This was engaged with a
small switch, with the volume on the guitar
However, there are a few key modifications acting as an overall master volume for the
that altered both the appearance and sound effected sound. This alteration didn’t work
of the black Strat, resulting in the guitar that as he had planned, and the XLR routing
we know and love today. The most visually was filled and repaired. One modification
striking being the replacement scratchplate, that has lasted, however, and to my mind
changing the standard white plate for an one that is a great addition to the guitar, was
all-black single ply plate which changed the the fitting of a small switch that engaged
appearance of the guitar radically, with the the neck pickup with both the bridge and
contrast of the white pickups and controls middle pickups. Remember the guitar had
against the black painted body and newly only a 3-way switch, so neck and middle
fitted black plate. This small alteration has switching options were not available. The
made this guitar instantly recognisable.

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This guitar is steeped

history, and if it
in history
could talk it would tell
many stories.

bridge and neck option was a very unique Signature “Relic” version of David’s guitar,
modification, and resulted in a very rich incidentally! For the record, he also began
tone. experimenting with shorter tremolo arms,
which aided his unique “palming” technique
As you’d expect considering his skilled use with he employed to achieve vibrato and
of it, Gilmour has also experimented with fluttering effects.
alterations to the tremolo system. In the
early ‘80 the original unit was replaced This guitar is steeped in history, and if it
with a modern Kahler locking system. The could talk it would tell many stories. It is
guitar had the Charvel neck at the time, itself an icon, and has carved its signature in
and a locking nut was also added. When popular culture; the beautiful tones that sing
the guitar was returned from the Hard Rock from it have been heard the world over by
Café, the original bridge was refitted, and a countless people. Like the Red Special, and
piece of wood was used to block the Kahler the Frankenstrat, it’s earned its place in Rock
routing. This battle scar is evident on the n’ Roll history! END > 31


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Just a bluesy melodic player with a Strat? There’s a lot more to
David Gilmour’s style than meets the eye, as anyone who has
tried to get close will have found out! Following the success of
Gilmour’s current solo album Rattle That Lock, in this special
Tech Session Jamie Humphries takes a look at the evolution of
Gilmour’s style, from Pink Floyd to his current solo material. 45

ver the years I’ve written a lot about to look at Gilmour as a solo artist; although
David Gilmour and Pink Floyd. there is some Floyd inspiration in there!
In fact the first ever issue of Guitar
Interactive Magazine featured a full Gilmour David Gilmour has released four solo
issue where I examined several different albums, the self titled “David Gilmour”,
aspects of his playing, from rhythm to lead, 1978’ “About Face”, 1984, “On An Island”,
old to modern (Sadly, GI Issue One was 2006, and “Rattle That Lock”, 2015. The
lost due to technical problems, see this issue’s albums cover a wide variety of styles, as
editorial for more! Ed). I have also produced well as Gilmour collaborating with artist as
several DVDs under the Lick Library banner! diverse as David Crosby, Graham Nash, Jools
When our editor approached me about Holland, Mica Paris and Pete Townsend!
composing and writing another piece on Gilmour has also collaborated with artists
Gilmour, at first my thoughts were ‘What as diverse as Bryan Ferry, performing on his
else can I do? I’ve looked at Gilmour style in album “Boys and Girls”, and The Orb, who
depth!’ But then I looked at this piece from a called on Gilmour for his ethereal sonic skills
different angle, and as opposed to looking at for the album “Metallic Spheres”. 2014 and
Gilmour in context of Floyd, I have chosen saw the release of the final Pink Floyd album,

David Gilmour Tech Session Performance

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“The Endless River”, which was largely an Bars 3-4 include a classic Gilmour chord
ambient instrumental album. figure based around the A7 chord. This
chord is embellished with the shifting minor
Although Gilmour’s playing style has 7th and major 6th shapes, performed on
its feet firmly planted in Blues, his the 2nd and 4th strings, with the 3rd string
musical composing style crosses over allowed to ring out. This section concludes
into the progressive/art rock genre, with with the Cmaj7/G to B7 chord. Again these
his compositions featuring extended chords feature a fairly sparse rhythm and are
arrangements and multiple time signatures. embellished with arpeggio techniques.
His playing style is mainly based around
pentatonic and Blues scales, and features Bars 5-8 repeat the previous four bars,
long sustaining melodies, slow melodic with a few rhythmic and performance
arpeggios, and a subtle whammy bar vibrato. variations. With this verse section really
One of his signature techniques is his use try to be dynamic, and laid back with the
of string bends, often bending notes as far performance, and try to sit back on the beat.
as two whole tones. His bending style was
a direct influence from listening to Albert Bars 9-11 features a bridge section including
King. the bare chords of E minor, B minor, A
major and G major. This section concludes
For our Tech Session track I have drawn with the altered chord of B7#9 shifting
inspiration from such tracks as “On An to B7b9, before resolving to the Emadd9
Island” and “Mihalis”. I have also included chord. Also pay attention to the shift in time
a “nod” towards some classic Floyd, namely signature, 12/8 bar to 6/8 bar and back to
the “Animals” period and “Shine On You 12/8 bar.
Crazy Diamond”.
Bars 12-13 kick the solo off over a new
Bars 1-2 kick things off with a raked section, with the accompanying chords of
Emadd9 chord, performed with sparse chord Em11 and Am. I have given the “Shine On”
arpeggios, reminiscent of the tracks “Breath” chord a huge nod on the backing track, by
and “On an Island”. Bar 2 includes a G performing it a tone higher than normal,
Lydian chord change, with the A/G to G with a capo at the second fret, helping with
triads, (written as A/E on the transcription, the Floydian vibe. The solo kicks off with the
as it’s written in relation to the chords B minor pentatonic over the Em11 chord,
lowest note, and not what is implied by which is a technique often used by Gilmour.
the bass guitar). This change is very similar You can add a fresh sound to your pentatonic
to harmony movement heard in the track soloing by simply using a pentatonic scale a
“Dogs” and “Mihalis”. 5th above the chord you’re playing over. This 47

David Gilmour Tech Session Rhythm Parts

technique outlines the 2nd or 9th, adding Bars 16-18 features some classic
a modal sound without you needing Gilmour bluesy based licks, as well as
to know any new scales! We shift back a whopping two tone bend! Really pay
to the E minor pentatonic over the A attention to the pitch of the bends and
minor chord, which again uses the 5th the feel of this section, as we mix searing
above technique. bends with fluid lines.
Bars 14-15 kick off with an extended Bars 19-21 conclude with a descending
E minor arpeggio that is embellished bending figure that follows the “Shine
with whammy bar slurring. This is an On” inspired chords of F major, C/E, D
extended arpeggio that covers a wide minor, Dm/C to B7. We outline the B7
portion of the neck, so take care with chord with an arpeggio that isn’t used
the position shifts. We then introduce that often by Gilmour, the B dominant
the new chord, C/F, aiding an F 7th arpeggio, but I’ve performed it in
Lydian sound, which is outlined with a a Gilmour-esque way to show how
climbing series of string bends. you can add flavours of his playing

48 Gi_47

to other techniques and approaches. Some ambient delay was added in the
We conclude with bends that outline mixing process.
the chords of E7#9 to E7b9 before
concluding the solo over the final. I would aim for a semi-clean tone for
the verse rhythm, backing off the guitar
THE GEAR volume, and add some modulation,
preferably a phaser or flanger. For the
For this track I used a Musicman solo aim for a mild overdrive, that
Cutlass guitar, which does s similar job sustains, and add a healthy dose of
to a vintage Strat style guitar and you delay, preferably running the delay unit
could use a Strat instead, of course. This in the effects loop of your amp, or place
was plugged into a Mesa Boogie King the delay after the amp if you’re using a
Snake combo, which is based on the software based amp program.
Mark 1 Boogie, which Gilmour had in
his rack in the late ‘70s. For the verse For more on getting that Gilmour
rhythm part I used an MXR flanger sound, see this issue’s exclusive Tone on
pedal, and for the solo I added more a Budget! END >
gain with a Wampler Tumnus pedal.

David Gilmour Tech Session Lead Parts

50 Gi_47


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Looking to get that classic Gilmour tone from gear you don’t
need to be a multi-millionaire to afford
Jamie Humphries shows you how! 55

‘A longside the likes of Brian May

and Edward Van Halen, David
Gilmour has one of the best loved
and most sought after guitar tones in Rock.
switching systems, giving him ultimate
flexibility whilst retaining a pure and clean
signal path. Gilmour mainly uses clean amps,
adding drive pedals on top, although he
His multi-faceted use of sound ranges from has used Boogie amps in his rig specifically
an aggressive fuzz tone, to rich smooth for drive. His main amps are Hiwatt heads,
overdriven tones laced with ethereal delays, powering WEM 4x12 cabinets. He also
to driving rhythmic clean chorus delay tones. uses modified Alembic guitar/bass pre-
His unique approach to tone shaping helped amps to add low end to the system. Effects
to craft some of the best loved songs in include Big Muff fuzzes, Tube Drivers, an
Rock music including “Shine on You Crazy Electric Mistress flanger, an MXR phaser
Diamond”, “Another Brick in the Wall”, and compressors, plus a variety of Boss EQ
“Time” and “Comfortably Numb”. pedals, and Providence effects.

For many years Gilmour has mixed both His rack has included a variety of rack
stomp boxes and rack effects, often with effects units for delays and reverbs including
multiple amps, with elaborate custom built MXR, TC Electronics and Lexicon. Gilmour
also uses rotary effects including a
rack Univibe, Leslie cabinets and a

56 Gi_47

“Gilmour’s tone has to be one of the

most requested tones that I get asked
to analyse...”
Yamaha RA 200 rotary cabinet. His rig has amp and a series of stomp boxes. As this
included a variety of customer routers and feature is about getting his Tone on a Budget,
switching systems, built by Pete Cornish, but I had to make sure that the equipment used
more recently he has been using Skrydstrup was friendly on the wallet, so to start with I
loop systems and MIDI board. With his set- choose the Marshall Code range amp. This
up he can select any amp or stomp box or amp includes plenty of effects and amp
rack effect combination, as well as switching models to choose from, is very well priced
midi patches with one press on his board. and widely available. I opted to produce a
When the effects are not selected they’re out good rich clean tone to enable me to build
of his signal chain, resulting in a clean pure my tones on. For the choice of stomp boxes I
signal. opted for the very budget friendly, but great
sounding, Mooer pedals. We shall discuss
Gilmour uses a variety of guitars, and lap effects in a little more detail later.
steel guitars, although he is most famously
associated with the Fender Strat, namely We thought hard about the choice of guitar.
his famous ‘Black Strat’ with white pickups Obviously, a cheap Strat, or even a copy,
(see our review of the official Fender clone and would have been the easy route, but in the
Jamie’s history of this unique guitar elsewhere end I went for something a little different
in this issue - Ed). This guitar has been that wouldn’t just be budget friendly, but also
heavily modified, and was even donated to great sounding, versatile, well set-up, and
the Hard Rock Café for a period of time, look right, so I decided to go for the Sterling
but thankfully was returned to David. He by Musicman Sub Silo.
also uses Fender Telecasters and Esquires and
occasionally Gibson Les Pauls. As I mention in the video, I was also partly
influenced by wanting to use an HSS guitar,
Gilmour’s tone has to be one of the most as many readers will have humbucker guitars
requested tones that I get asked to analyse. and will want to recreate the Gilmour tone
When we decided to look at it in this feature, and this guitar lets me do both.
there were a few ways we could have gone;
a multi effects unit with amp modelling, a Now let’s move on to effects! When tackling
computer or iPad based app, but instead I the Gilmour tone there are going to be
choose to go the traditional route, with an a few ‘must have’ effects which are vital 57

when trying to recreate his sound. Gilmour Compression. Compression will help even-
obviously has many variations on hand, as out performance, especially when playing
well as other pieces of equipment that help with a clean tone. It can also be used to alter
shape his sound, but the list below forms the attack of a note, producing a smoother
the basis of how we shall achieve a close sound, almost squashed. This effect is very
approximation of his tone and it was also important when performing the “Shine on
how I went about building my rig when I You Crazy Diamond” intro solo, creating
toured with the Australian Pink Floyd Show: a “pop” sound to the picked note. The
compressor also adds sustain, which will
1. Compression help with the clean solo, as well as the intro
2. Fuzz rotary effect chord. Another great use for
the compressor is to push your drive pedals
3. Drive harder. David Gilmour uses several Tube
Drivers with differing levels of gain. With
4. Modulation the compressor you can push a lower setting
5. Delay/echo on your drive pedal into a more saturated
sound. For our lesson I used the very
6. Reverb inexpensive Mooer Yellow compressor, for
a classic smooth optical compressor sound.

Tone on a budget

58 Gi_47

Overdrive/boost. Gilmour has used

a variety of drive and boosts, including
Chandler Tube Drivers, and an old
Colorsound drive. He has also used a Rat
pedal, and the Boss HM2. For this session I
chose the Mooer Black Secret pedal, which is
similar in sound to a Rat. If you can afford a
Rat that would be a great choice but as this
is about saving money, the Mooer is a great
alternative. I was looking for a pedal that
would be able to produce a full rich warm
tone, reminiscent of the Tube Driver. Once
again I can set this pedal to a mild over drive
and boost it with the compressor. The Black
Secret is ideal for the solo tone of “Another
Gilmour uses several compressors, including Brick in the Wall”, and “Comfortably Numb”
models by Boss and MXR. You could use any I also used this pedal to add slight break up to
of these. the front end of the “Shine On” chord.

Fuzz. This effect is essential for

the Gilmour lead tone, and can be
used for a mild drive up to a more
aggressive solo tone. Gilmour will
often drive this pedal hard, but
back off the column on the guitar
to clean the sound up, but retain
a biting trebly tone. He favours
the classic Electro Harmonics
Big Muff, the Cornish P1, or
the Sovtech Big Muff, but for
this session I used the Mooer
Triangle Buff pedal, which is a
way to get your cost down! As
I’ve mentioned, we can drive this
pedal harder with the compressor
to achieve a more saturated
sound, ideal for the “Time” solo. 59

pedal, giving us every modulation

effect we need. This will produce
the Electric Mistress style flanger for
“Comfortably Numb”, the Phaser
effect for “Us and Them” as well as the
Rotary effect on “Shine On You Crazy

Delay/echo. A huge piece in the

Gilmour tone puzzle is delay and echo.
Gilmour has used a variety of Delay and
Echo units including Binson Echorec,
TC 2290, and a pair of humble Boss
DD2 delays. He uses delay in a variety
of ways, either as adding ambiance to
solos and soundscape effects, or as a
rhythmic effect for tracks such as “Run
Like Hell” and “Another Brick in the
Wall”. As Gilmour uses different types
of delay I have once again opted for a
multi pedal, in the shape of the Mooer
Modulation. David Gilmour uses a lot of Recho delay, that is a small compact
modulation effects, including rotary effects pedal featuring three classic echo effects.
such as Univibe, Leslie, Phaser, Tremolo, This pedal was able to produce the “Run
Chorus and Flanger. As we needed so Like Hell” delay and the “Time” echo with
many different modulation effects I have ease!
chosen to use the Mooer Mod Factory,
which is a fantastic multi modulation Reverb. Although this effect isn’t really

“Hopefully from this article and the

accompanying video you can see
how Gilmour uses effects in a very
creative way...”

60 Gi_47

the time to shop around you may find

alternatives that work as well – but they will
probably cost you a bit more! In the end,
you could simply buy a lower priced Strat,
a cheap combo and a bunch of affordable
pedals and still get a decent sound, once
you’d auditioned all your local guitar shop’s
range of FX, but what I have opted for
should be easy to find and will do the job
at a minimal price. The choice, of course, is

And of course, if money isn’t really an object,

check out the reviews section of this issue
in which we’ve reviewed some of the more
featured in Gilmour’s rack, other than being expensive options you can find.
in multi effects units such as the Lexicon
PCM-70, it’s an essential effect for producing Hopefully from this article and the
large ambient space and an ethereal quality. accompanying video you can see how
Much of Gilmour’s studio reverb comes Gilmour uses effects in a very creative way,
from the traditional route, recording in large sculpting his tone to fit the part in the song.
spaces, and getting distance from the cabinet His tone is very difficult to emulate, and is
with the mic, or miking the room itself!! For one of my most favourite tones, one I had
the session I used the Mooer Sky Verb to to emulate on three large tours with The
produce a clear clean reverb, adding space to Australian Pink Floyd Show. I went the route
the tones created on the video. of an off the shelf switching system made by
Voodoo lab, and a mixture of pedals and rack
If all this sounds like a Mooer-fest (it does! equipment. This was still pretty expensive,
- Ed) I apologise but my aim was to keep but using these relatively low priced pedals
the budget down and also to use a brand of for our feature I have gained some great
pedal you can probably get your hands on results. At the end of the day trust your own
anywhere where you can read GI. Obviously, ears and really listen to these classic David
there are thousands of pedals on the market Gilmour recordings. END >
to choose from, from the dirt cheap to the
frighteningly expensive, and if you have 61



aunched just a few weeks ago at the NAMM show in the USA, Orange’s new
Rocker 32 combo promises to be the next in this venerable company’s long
line of killer guitar amps! The all-tube Rocker is partnered with the equally
impressive Rocker 15 but it’s a Rocker 32 that we have up for grabs. We also
have it on review elsewhere in this issue and Tom Quayle says of it: “Orange has really
pushed the boat out with the Rocker 32 and has given the fantastic tonal palette of the
Rocker 15 more power, more bottom end and tightness plus the ability to run stereo
effects and even a ‘wet-dry’ set-up from a single amp.” Summing up the newcomers,
Tom says: “Another pair of winners from Orange!”

Just one lucky

winner is going to
scoop the board
this time around,
so don’t forget to
enter this entirely
free competition!

1/ All entries must be received by 12th March 2017. 2/ Only one entry per person is allowed 3/ All entrants must be registered readers of G

ineligible for this competition. 5/ One winner will be chosen, at random, from registered readers of Guitar Interactive who provide the co
respond to email notification of having won within 10 days, otherwise prizes may be forfeited and alternative winners chosen. 8/ Winners
always be possible. 9/ Prizewinners must consent to having their name and city/country (e.g. ‘Andres Segovia, Madrid, Spain’) published i

64 Gi_47



How do you win? It’s easy! All you have to do is click to enter, simply answer the simple
questions (tick A, B or C) and fill out the form! One lucky winner with the correct
answers will be chosen at random and will receive an Orange Rocker 32 combo!

Q1. The Orange Rocker 32 is a valve/ Q 2 This issue’s review of the Orange
tube amp. Rocker 32 reveals the speaker
format. Is it:
A/ True
A/ 1x12”
B/ False
B/ 2x10”

C/ 4x10”


One lucky winner with the correct answers will win an Orange Rocker
32 combo. The winner will be notified by email. Be sure to check your
emails regularly and don’t use a ‘throw-away’ email address. We have had
unclaimed prizes, which have been reallocated to other entrants!

Guitar Interactive 3/ No cash alternative is offered instead of the stated prize. 4/ Employees of Guitar Interactive or Orange Amplification are
orrect answers. 6/ The judges’ decision is final. No correspondence will be entered into regarding this competition. 7/ Winning entrants must
s may be responsible for import duty where levied. Where possible prizes will be despatched from the winner’s own country, but this will not
in a future issue. 65

Fender Signature David Gilmour

Custom Shop Relic Stratocaster
Way back in the first issue of Guitar Interactive we reviewed Fender’s NOS Signature
David Gilmour Strat in our Gilmour tribute launch issue. Sadly, that issue was
completely lost in a server crash, which is why we have revisited Mr Gilmour now.
When we decided to try again, we assumed the Fender’s Gilmour relics would
be long gone, all in the hands of collectors. In glass cases. Unplayed. But we were
wrong, as Jamie Humphries found out to his (and our) surprise!

or the fan, owning a replica of the Guitar Interactive, but if I am honest I wasn’t
guitar played by their favourite is very happy with my review; the guitar landed
the ultimate prize in their collection, with us literally just before I was due to film
and with the guitars being as famous as the and there were a few key points I missed.
guitarists that play them, there are plenty of With this issue heavily featuring David
signature guitars on the market to choose Gilmour and associated equipment, we had
from. Fender has had a very successful to feature a Strat but we didn’t expect to be
signature series, with models for Yngwie able to find any of the originals still around.
Malmsteen, Jeff Beck, Eric Clapton, Buddy But we were wrong. In fact I walked into
Guy and Ritchie Sambora to name but a our local guitar store, DV24/7 in Romford,
few. Now, David Gilmour is one of the Essex, UK, and there was one hanging on the
most famous and renowned Stratocaster wall! Needless to say, we borrowed it for this
players, so it was only a matter of time before review.
Fender introduced his now famous and
much documented ‘Black Strat’, which the First, let’s establish that this guitar is an exact
company duly did, way back in 2008. replica of David’s famous Black Strat; and if
you read the piece in this issue I have written
I actually reviewed the David Gilmour NOS on the guitar you will know how David
signature Strat in the ill-fated first issue of chopped and changed parts including the

STAR RATING PROS As close as you’ll get to the original » Extremely

CONS Huge price

78 Gi_47

bridge, several necks and pickups. So with that in mind this guitar
represents several eras of Fender Strats all bolted together! This guitar
can be heard on some of Floyd’s most famous recordings including
Dark Side of the Moon, Wish You Were Here and The Wall. This
guitar has also been used on many of his solo recordings. Apparently,
to make this replica, the original was stripped down, analysed and
faithfully replicated, with two versions made available, the NOS
and the Relic. As I say, we had no idea these were still available but
checking around it seems they are.

Let’s start at the headstock and work our way down. The neck on
this guitar is a one-piece maple type and is based 1983 ‘57 vintage
reissue neck, featuring a walnut skunk stripe on the back. The neck is
a duplicate of David’s actual neck on his Black Strat. The headstock
features a vintage ‘spaghetti’ style logo and houses the six Kluson
machine heads and a single string tree for the 1st and 2nd strings.
The fingerboard includes 21 vintage style frets and a synthetic bone
nut. Being a faithful replica of DG’s original, the fingerboard
features some wear marks, as well as black dot inlays, and is
finished in beautifully smooth nitrocellulose lacquer. The
neck is attached to the guitar body with a four bold plate
with the serial number stamp.

Now let’s talk about the body. The original guitar body
was from the late 1960s, and was, like many Fender guitars
from that period, a sunburst that was over-sprayed in black.
The body on this relic features accurate wear marks as well
as the signs of modifications made to the original guitar,
including the outline of where a Kahler bridge was
fitted and also evidence of where an XLR socket was
once added. The body is constructed from alder, and is
also finished in nitrocellulose lacquer and it sports the
famous single ply black scratch plate which houses the
three white single coil pickups.

y well made » Extras are nice 79

The pickups are: bridge,

Seymour Duncan SSl-5 single
coil, middle, a custom wound
Strat single coil and, for the
neck position, a Custom
Shop Fat 50’s single coil. The
guitar includes a single master
volume and two tone controls
for the neck and middle
pickups, as well as a five-way
selector switch. There is also an
additional switch that engages
the neck pickup with the bridge
and middle pickup. Originally

Fender Signature David Gilmour Custom Shop Relic Stratocaster

80 Gi_47

“Overall, the guitar sounded fantastic

used both clean and distorted, with the
bridge pickup sounding huge and thick
with saturated tones.”
the Strat had only a three-way switch, so this modification allowed additional combinations.
Although the three way was replaced, this additional switching makes this Strat unique, by
allowing both the bridge and neck pickup to work together. The pickups, knobs, and scratch
plate have all been authentically aged. The guitar includes a vintage synchronised tremolo

82 Gi_47

unit with a bevelled tremolo block and a I was slightly disappointed with the NOS
shortened arm. version that I tried before, but this Relic
surpassed all my expectations. The guitar
On test, the guitar performed fantastically, looks fantastic, the Relic work and ageing
in both sound and playability. The guitar has is exceptionally well done, and I have to
a good weight and, unamplified, it sounded applaud Fender’s fanatical attention to detail.
very resonant. Like most Strats it was very
well balanced, and the “C” profile neck felt As you might expect this is quite an
very played in, with no rough fret edges or expensive guitar, but you do get a lot more
sloppy finishing. than just the guitar. It comes with a custom
case with lots of extras including the Black
I loved the short whammy bar. Being a Strat book, by Gilmour’s long time tech Phil
Gilmour fan I am aware of the ‘palming’ Taylor, custom leather strap, DG’s GHS
technique he uses for vibrato and flutters, Boomer strings, a David Gilmour “Live
which I find slightly tricky on a regular in Gdansk” CD/DVD package, and an
sized arm but these techniques were a lot Evidence Audio guitar cable. This really is a
more comfortable, and I found I was able to great guitar and commemorative package for
control the bar a lot better. the Gilmour fan.
Overall, the guitar sounded fantastic used Is it worth the money? For the devoted fan,
both clean and distorted, with the bridge it has to be. There’s no doubt that Fender
pickup sounding huge and thick with has put a lot of work into it and it’s as close
saturated tones. The ability to engage the as you are going to get to the original unless
neck pickup with the bridge really adds you plan on a career in burglary! END >
weight to the sound, and great for thickening
up solo tomes, when swapping from rhythm Our grateful thanks to DV247 for the
crunch. loan of his review guitar: