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your best Gilmour setup?

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57Deluxe57Deluxe Frets: 7329
edited September 2018 in FX
I have stumbled on the most accurate Shine On You Crazy Diamond tone to date and without spilling the beans upfront wondered what other devotees of the tone use??

Any Gilmourish members here??
<Vintage BOSS Upgrades>
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Comments

  • tekbowtekbow Frets: 1686
    I had a whole period of Gilmour tone chasing that gave way to a general pointless big muff obsession... ended up with way too many muff variants, Skreddy's, D*A*M, a tube driver etc etc.
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  • you might want to tap up @Gassage ;
    The Bigsby was the first successful design of what is now called a whammy bar or tremolo arm, although vibrato is the technically correct term for the musical effect it produces. In standard usage, tremolo is a rapid fluctuation of the volume of a note, while vibrato is a fluctuation in pitch. The origin of this nonstandard usage of the term by electric guitarists is attributed to Leo Fender, who also used the term “vibrato” to refer to what is really a tremolo effect.
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  • KebabkidKebabkid Frets: 3301
    edited September 2018
    Gassage also informed us a little while back that the Gilmour from one of the tribute bands was using 2 Zoom MS-70 CDRs for his effects! If he's getting results from these cheaper events, I wonder if his drives would come from a similar end of the market or that's where the money's been spent?
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  • I don't recall Shine On having any spectacular signature tone, just a good strat with slightly-driven but quite compressed sound? It's far more about playing style than pedals in my experience - particularly phrasing and the timing of bends.
    The Assumptions - UAE party band for all your rock & soul desires
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  • schrodinger1612schrodinger1612 Frets: 390
    edited September 2018
    The Shine On solo was played was played directly into a console, with the ‘snappy’ compression effect imparted by the console itself. But like stickyfiddle said, most of that sound is down to subtle bending techniques and phrasing
    Feedback Thread: https://goo.gl/bquaSD
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  • 57Deluxe said:
    I have stumbled on the most accurate Shine On You Crazy Diamond tone to date and without spilling the beans upfront wondered what other devotees of the tone use??

    Any Gilmourish members here??
    oh aye what pedals and amp u using?
    shine on when i play it, i use 2nd pup position, tone back at half way clean boost, comp, and a smatter of delay, strat into 2 hiwatts in stereo with another amp as a dry in the middle. then instead of a phaser i use a rotary for the 4 note intro tone back up full, bit more delay and then a power boost for the od solos etc, outro back to intro tone (hehehe) with dual delay. easy enuf eh ;)

    for all things pedal boards please visit www.custompedalboards.co.uk
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  • jdgmjdgm Frets: 850
    edited September 2018
    RM Voodoo Vibe for the riff.  Sure that must be what he used. (And some delay!!)
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  • Jonathanthomas83Jonathanthomas83 Frets: 3466
    edited September 2018
    Do all mine with a CS Strat (not compulsory) on the neck and a Kemper with a profile of Gilmour's Hiwatt from the Wall era. The profile gets stupidly close to that dark, compressed clean that's going on in that song. I whack on the phaser or vibe (mood dependant) for Syd's Theme and it always sounds nice to me.

    Managed to find myself a good muff sound using onboard effects on the Kemper too.

    Sorry, I'll remove myself now, I'm well aware this digital talk does not belong here ;-)

    EDIT: I should really have prefaced all this with the fact that I've been chasing this tone for years and that I've owned a Reeves Custom 50 which cost a fuck load and a couple of Laney Lionheart's as well as a shite load of Gilmour's pedals...all costing me and arm and a bollock. So, the fact I'm now using the Kemper and ONLY the Kemper, should hopefully speak volumes of its quality and that it can do great tone and deliver Gilmour in spades, if you want it to and depending on if your fingers are up to the job (always roll my eyes at that but it's a bit true).
    Read my guitar/gear blog at medium.com/redchairriffs

    View my feedback at www.thefretboard.co.uk/discussion/comment/1201922
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  • sweepysweepy Frets: 4158
    His touch and phrasing is always overlooked in the race for the “correct” gear, always amuses me that the most iconic Guitarists could play a CV Squier or an Epi LP and still sound like themselves, but it keeps pedal makers in business ;)
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  • OctafishOctafish Frets: 1937
    I'm a big Gilmour fan and have had a good dig around the Gilmourish site. The Shine On sound is something I've messed about with on and off over the years. The opening solo is supposed to be straight into the board with compression etc, but from what I can tell the guitar from the four note Syd's theme riff on is amped with (according to Gilmourish) some Phase 90 and Coloursound boost/drive.

    I've recently been getting something pretty close (from the Syd's riff into the 2nd and 3rd solo) from a Phase 45 clone>Hudson Broadcast clone (very light drive setting)>Boss DD500 (Echorec setting on 310ms)>Dead Astronaut reverb clone>EP3 boost clone>Bassbreaker 15.

    As sweepy says a lot of 'getting it to sound right' is in Gilmour's touch and phrasing and getting this right makes the biggest difference when nailing the Gilmour sound.
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  • OctafishOctafish Frets: 1937
    jdgm said:
    RM Voodoo Vibe for the riff.  Sure that must be what he used. (And some delay!!)
    Apparently he had just moved on from the Shin-ei Univibe used on DSOTM to an MXR Phase 90 for WYWH, but yes it sounds equally right with a univibe. I've tried a Phase 90, but I prefer a Phase 45 which is a two stage phaser and closer to a univibe sound.
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  • GassageGassage Frets: 30824
    Gilmour used the Univibe on the RTL tour

    *An Official Foo-Approved guitarist since Sept 2023.

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  • 57Deluxe57Deluxe Frets: 7329
    edited September 2018
    ...well it seems there is more than one way to skin a cat and that is the interesting thing - employing creativity is often more rewarding than just trying to buy a tone or sound and expect it 'out the box'

    I am not a die hard Gilmour tone hound and I was just experimenting with the presets sounds in Guitar Rig4 when I stumbled on one that showed some potential, but as with many of GRig sounds, they can be over-gain noisy or too whimsical for anything serious. Thus many of the patches needed lifting in some way and astonishingly, adding in even MORE distortion/gain and modulation from external pedals didn't result in a swamp - it actually improved it 100% resulting in this case, that glorious Live at Pompei 2016 sound and ambience exactly. Inexpensive pedals but top quality sounds and performance. The PROEL is a clean boost even though is labelled distortion.

    http://i64.tinypic.com/2i96vt3.jpg

    http://i67.tinypic.com/1z821h.jpg




    <Vintage BOSS Upgrades>
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  • GassageGassage Frets: 30824
    the key thing to the Gilmour tone that bedroom players overlook is sheer VOLUME. He plays loud.

    *An Official Foo-Approved guitarist since Sept 2023.

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  • FretwiredFretwired Frets: 24601
    I got a good recorded tone on a POD 2 bean.















    Remember, it's easier to criticise than create!
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  • OctafishOctafish Frets: 1937
    Gassage said:
    Gilmour used the Univibe on the RTL tour
    Was that his old Shin-ei Univibe?
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  • I'll remove myself now, I'm well aware this digital talk does not belong here ;-)
    In similarly heretical vein, I often resort to a Charvel Model 1 / Model 3 bitsa with EMG-SLV, -SLV, -HA pickups and an -SPC midrange booster. 

    Another thing that gets close - but shouldn't - is an Ibanez RG321 with an EMG-H in the neck position and the -SPC booster again.
    Be seeing you.
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  • OctafishOctafish Frets: 1937
    Do all mine with a CS Strat (not compulsory) on the neck and a Kemper with a profile of Gilmour's Hiwatt from the Wall era. The profile gets stupidly close to that dark, compressed clean that's going on in that song. I whack on the phaser or vibe (mood dependant) for Syd's Theme and it always sounds nice to me.

    Managed to find myself a good muff sound using onboard effects on the Kemper too.

    Sorry, I'll remove myself now, I'm well aware this digital talk does not belong here ;-)

    EDIT: I should really have prefaced all this with the fact that I've been chasing this tone for years and that I've owned a Reeves Custom 50 which cost a fuck load and a couple of Laney Lionheart's as well as a shite load of Gilmour's pedals...all costing me and arm and a bollock. So, the fact I'm now using the Kemper and ONLY the Kemper, should hopefully speak volumes of its quality and that it can do great tone and deliver Gilmour in spades, if you want it to and depending on if your fingers are up to the job (always roll my eyes at that but it's a bit true).

    Wouldn't say that. Gilmour was an early adopter of digital technology, I think he was using a MXR digital delay in the late 70s.
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  • I'll remove myself now, I'm well aware this digital talk does not belong here ;-)
    In similarly heretical vein, I often resort to a Charvel Model 1 / Model 3 bitsa with EMG-SLV, -SLV, -HA pickups and an -SPC midrange booster. 

    Another thing that gets close - but shouldn't - is an Ibanez RG321 with an EMG-H in the neck position and the -SPC booster again.
    I'll remove myself now, I'm well aware this digital talk does not belong here ;-)
    In similarly heretical vein, I often resort to a Charvel Model 1 / Model 3 bitsa with EMG-SLV, -SLV, -HA pickups and an -SPC midrange booster. 

    Another thing that gets close - but shouldn't - is an Ibanez RG321 with an EMG-H in the neck position and the -SPC booster again.
    I can get close with a Jazzmaster, a dod carcosa or a Bright onion muff and a boonar into a hiwatt. 
    I appreciate the last two equations in the chain help but I think it emphasises its more about how it is played rather than what its played through. 
    The Bigsby was the first successful design of what is now called a whammy bar or tremolo arm, although vibrato is the technically correct term for the musical effect it produces. In standard usage, tremolo is a rapid fluctuation of the volume of a note, while vibrato is a fluctuation in pitch. The origin of this nonstandard usage of the term by electric guitarists is attributed to Leo Fender, who also used the term “vibrato” to refer to what is really a tremolo effect.
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  • Baltic Blue Fuzz (which I am getting rid of as it overlaps with other things), Rams Head Muff (clone built from a kit by me) or Skreddy Lunar Module (also a clone), plus Obscura for delay, and  Phase 45 with univibe mod for modulation.

    It's not quite perfect, Rams Head Muff has slightly too much gain for me, Skreddy clone is great but a little edgy for later Gilmour tones. 

    For the cleaner boosted tones, I use a Durham Sex Drive clone or an ODR-1 clone with the gain down. That tone is do-able with lots of things, I think. Zendrive also does it with the gain down.
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