• Dark Side of the Moon 40th anniversary tone tutorial

    Dark Side of the Moon 40th anniversary

    This March marks the 40th anniversary for Dark Side of the Moon. The album took Pink Floyd into super stardom over night and they soon had to learn how to cope with the very issues they were dealing with in the album’s lyrics. More importantly, Dark Side of the Moon also sees David Gilmour growing tremendously as a guitarist, finding his place within the band and establishing himself as a vital creative force. In this feature we’ll look at some of the history of the album and how you can recreate David’s album and live tones.

    Dark Side of the Moon was released on March 24th 1973. The album ranks as the third best selling of all time with over 50 million copies sold and nearly 800 weeks on the UK charts (including reissues). By the early mid 70s, Pink Floyd had already established themselves as a super group in Europe and UK but although they’d toured the States many times, they never really breaked there. That changed when Money was released and the single exploded on American radio. The album skyrocketed and Floyd toured all the large halls and stadiums with a tour that never seemed to end.

    David and his Black Strat 1972. The second mic (not in use) was lined to a Leslie cabinet and David would sing along with his guitar playing during Any Coliur You Like.

    David and his Black Strat 1972. The second mic (not in use) was lined to a Leslie cabinet and David would sing along with his guitar playing during Any Coliur You Like.


    Eclipse 1972

    Dark Side of the Moon was premiered in January 1972. Over a year prior to its release. The suite Eclipse was written over a two weeks period during christmas 1971-72 and worked out and re-arranged during a long world tour in 1972. Listening to the early shows in the UK and the late shows from the tour in Asia, it’s evident that they spent a lot of time rehearsing and fine tuning the songs. On the Run, Time and Great Gig in the Sky in particular went through several changes but it wasn’t until the album was finished and mixed that the songs saw the arrangements that we’re celebrating today.

    It’s interesting to hear how much David’s playing and tone changed from the 1970-71 Atom Heart Mother and Meddle/Live at Pompeii period to Eclipse and Dark Side of the Moon. Pink Floyd changed and much had to do with Roger’s new lyrics and songs. The whole piece was written because they badly felt they need new material and to get away from the post-Syd era that had been haunting them for the past few years. Dark Side of the Moon was a new approach and it demanded something new from David Gilmour as well.

    David’s tone – change of style

    When David joined the band in early 1968, his job was pretty much to fill the huge void after Syd. It didn’t even seem that the rest of the band knew what role David would have. They were still a largely psychedelic act and David’s playing was very much influenced by Syd (although he’d learned Syd how to play). By the early 70s, Pink Floyd had moved in a slightly more blues oriented direction although still firmly based in the psychedelic space rock genre. David now sounded more like Hendrix, Beck and other contemporary guitarists but he had also embraced his early influences. Songs like Atom Heart Mother, Fat Old Sun and Echoe featured playing that had a strong blues heritage. This change of style fully blossomed with Dark Side of the Moon.

    By early 1972, David had already started using silicon fuzz and he also incorporated a Colorsound Powerboost and a UniVibe in his stage setup. Now, keep in mind that this is the early 70s and guitarists didn’t have a gazillion different brands and clones to choose from. You got your tone from your guitar and tube amp and using pedals was something new and quite unexplored. Back then, it was the era of pioneers – for both effect makers and guitarists.

    David and his Black Strat 1973. During the recording of Dark Side of the Moon the Strat featured the '63 rosewood neck and an additional mini pickup selector switch allowing the neck pickup to be used with either the middle or bridge pickup.

    David and his Black Strat 1973. During the recording of Dark Side of the Moon the Strat featured the ’63 rosewood neck and an additional mini pickup selector switch allowing the neck pickup to be used with either the middle or bridge pickup.

    Ever since before their first album, Pink Floyd had always experimented with new sounds and equipment. Manufacturers would send them stuff to try out and use the band for showcasing their products – like Watkins did with WEM amps and PA systems in 1969-70. David would pick up on this and started very early to mod his guitars and use effects to create new sounds and textures. Neither of the guys were great musicians but Pink Floyd wasn’t about showing off how good you were. It was all about creating a mood and a certain atmosphere that would touch the listener and evoke feelings and emotions. Using new equipment and experimenting with new sounds was a huge part of how they wrote and created music.

    David’s Dark Side of the Moon live tone

    David might have been inspired by Hendrix when he started using the UniVibe. However, rather than making it a dominating effect, like Hendrix would, David rolled back the speed and intensity and got this smooth haunting tone that blended perfectly with his guitar tone. A very good example of this is the Rainbow, London, UK show from February 1972 (check out the Moonwalk bootleg). Most of his tones are clean but you can hear this very mild phasing on all the songs – Breathe, On the Run and Time in particular. This was, sadly IMO, abandoned on the album and subsequent tours – although Breathe does feature a UniVibe on the album.

    David’s Dark Side of the Moon setup
    Complete listings of all the guitars, amps and effects used on the album and tours, including settings for each effect and song.
    Dark Side of the Moon 1972-75
    Live at Wembley 1974

    One of my favourite pre-Dark Side release moments is the Rainbow version of Any Colour You Like. The song is a slow blues-ish number drenched with Rick’s Hammond and David’s Leslie guitar. Actually, on this early version, David sang along with his guitar, just like he does on WYWH – like Hendrix, he is a master at that. He used a second vocal mic that was fed to a Leslie cab, so that both his guitar and vocals were modulated. The guitar also featured the UniVibe, Binson Echorec and possibly the Colorsound Powerboost. Quite different from the album version but heaven to listen to and play along with!

    Another favourite moment is David’s tone on Breathe from the newly remastered Live at Empire Pool, Wembley Arena, London UK show. What you hear is a great example of how David’s guitar sounded with a Leslie cabinet (and the Binson Echo). Compared to the more familiar Yamaha RA200 cabs he used during the Animals – Final Cut era and the Doppolas on PULSE, a Leslie is much darker sounding with a more pronounced rotary and a hint of breakup. As later on, David would split the signal from his pedal board, feeding one line to his Hiwatts and one to the Leslie. Listen to Shine On You Crazy Diamond from that show and hear how he’s switching on/off the fast rotary during the (missing) sax solo section!

    David’s Dark Side of the Moon album tone

    Dark Side of the Moon was really the first time that David would experiment in the studio with several different guitars, amps and effects. He’d done this before but not to the same extent. His main guitar was the Black Strat. The album was recorded between June 1972 and January 1973 and at this point, the guitar featured the ’63 rosewood neck, original late 60s pickups and a custom mini switch for combining the neck pickup with either the middle or the bridge.

    David and his custom Bill Lewis guitar during the recording sessions in Abbey Road 1972. The guitar was used for the solo on Money.

    David and his custom Bill Lewis guitar during the recording sessions in Abbey Road 1972. The guitar was used for the solo on Money.

    David also used a Bill Lewis custom guitar with 24 frets on Money. It might also have been used on Us & Them, Brain Damage and Eclipse. The slide on Breathe and Great Gig in the Sky, were recorded with a Fender 1000 twin neck pedal steel set up with an open (semi) G chord tuning (D G D G B E). David bough the guitar at a pawn shop in Seattle in October 1970, during the band’s visit to the US on the Atom Heart Mother tour. The pedal steel was used for a handful of shows in France in June 1974, which was the first time he used a slide guitar on stage. The guitar can also be seen on the 2003 BBC Dark Side of the Moon documentary.

    There are different reports and conflicting sources on which amps that were used on the sessions. It is most likely though that David used his usual Hiwatt Custom 100 head and WEM 4×12” speaker cab and a Fender Twin Reverb. According to engineer Alan Parsons, the Twin, together with a (silicon) Fuzz Face and the Binson Echorec, was employed for the solo on Time. The amp was possibly used for most of the stuff on the album. David also used a Leslie rotating speaker cabinet (Brain Damage and Eclipse) and reportedly also a Maestro Rover.

    Listening to David’s guitars on the album it’s apparent that the solos on Time and Money must have been recorded at a glass shattering volume. Alan Parsons also mentioned this in an interview, saying that the guitars were so loud that no one but Gilmour managed to be in the studio while they recorded. You can hear it in the tone on those solos, how the fuzz is smooth and saturated, almost on the edge of screaming feedback.

    Pedals and effects

    For Dark Side of the Moon, David would mostly record his guitars clean, with the tone and character of the amp shining through. On Breathe, Us and Them and Any Colour You Like, he used a UniVibe, while Brain Damage and Eclipse featured the Leslie. The rhythms on Time and Money sounds very much like a Colorsound Powerboost. It could be a cranked Twin but the character of the tone, suggests the Powerboost, which he did use for the live versions.

    The solos for Time and Money was recorded with a Dallas Arbiter silicon Fuzz Face and the Binson Echorec. It is possible that David used the Colorsound Powerboost for getting more gain but again, judging by the tones, I assume that he just used the fuzz.

    David also used a EMS HiFli for the sessions. This was the very first multi effects processor made for guitar. The huge beast was all analog and operated in real time, which made it quite a hassle to use. It is not documented whether it made it on the album or not but he did use it on a few shows on the 1973 tour, including the Earl’s Court, London UK shows in May.

    Setting up your Dark Side of the Moon rig

    David’s setup for the 1972-75 period was very basic and easy to replicate. It’s more about knowing the effects and amps and how they can perform, rather than using a bunch of stuff that will mess things up.

    My favourite setup feature a Fender Stratocaster with D Allen Voodoo 69 neck and bridge pickups and a Seymour Duncan SSL5 bridge pickup. David used a full late 60s set, which has a lower output bridge but the SSL5 compliments the tones nicely. My amp is a Reeves Custom 50 with a Sound City 4×12” speaker cabinet loaded with Weber Thames ceramic 80w speakers. This should be very close to David’s Hiwatt and WEM stage setup.

    For the heavier lead tones I’m using an AnalogMan Sun Face BC109. Most sources indicates that the BC109 transistor was David’s choice as well. It has a bit more gain and lower end than the usual silicon models. The signal then goes into a Colorsound Powerboost. This is a 2005 9V reissue with a master volume control. I’ve set it up for a nice crunchy tone that I use for rhythms and for boosting the fuzz.

    For modulation I use both a UniVibe and a phaser. By 1974, David had replaced the UniVibe with a Phaser 90, which was mainly used for the new songs (Shine On, Have a Cigar and You Gotta Be Crazy) but it sounds great for Breathe, Us and Them and some of the other songs as well. I like to switch between the two. For the UniVibe I’m using a Dry Bell Vibe Machine. This sounds amazing and you got those deep throbbing sounds even on the lower speed settings. The phaser is a MXR Custom Shop 1974 reissue Phase 90.

    For delays I’m using a TRex Replica. It has a nice warm analog tape sound perfect for those Binson tones. Check out the new Catalinbread Echorec if you want even more authentic tones and the MojoHand Recoil, MXR Carbon Copy, EHX Deluxe Memory Man… among others.

    Last in the chain, after the delay, I have a Strymon Lex rotary sim. Of course, no pedal can fully replicate the acoustics of a rotating speaker but the Lex is probably as close as you’ll get. The proper way would be to split the signal after the delay and feed it to two amps, with the Lex on one of the lines. However, I mostly use it for Breathe and Any Colour You Like (1972 version), so I like to keep it in the main chain and with a full volume mix.

    Dark Side of the Moon budget setup

    David’s early setups relied heavily on the tone from his Stratocaster and Hiwatt tube amps. This doesn’t mean that it’s impossible to recreate the tones without an expensive tube amp. Regardless of what you have, set it up to produce a warm, punchy clean tone that will be the basis for all your tones. See the Buyer’s Gear Guide – Amps for some tips on great sounding tube amps for bedrooms and tight budgets.

    Any guitar will do but if you’re looking for something new then check out the Squier Classic Vibe series or, if you can spend a bit more, the excellent Fender Classic Series. See the Buyer’s Gear Guide – Guitars for more tips. Also, check out the Buyer’s Gear Guide – Pickups for some tips on how you can turn a budget guitar into a high class instrument.

    Need more tone tips?
    Tone (part 4) – pedals. A comprehensive guide to all the basics of setting up your gear and arranging the pedal board.
    Tone (part 3) – amps. Learn how to set up your amp for different purposes – bedroom, studio, gigs.
    Simulating rotating speaker. Tips on how to recreate David’s rotary speaker setups and sounds.

    Which effects you should choose, depends on your guitar and amp. Fuzz and bright sounding overdrives can be a challenge on smaller amps and solid states in particular. If you think your setup can handle it, then check out the new Fuzz Face minis from Dunlop (silver or blue) or the MXR Classic Fuzz. If you need something a bit more versatile then you can’t really beat a RAT. It can produce anything from overdrives, classic distortion and pretty convincing Muff and fuzz tones.

    For overdrive and boost you need a transparent unit with moderate gain that won’t colour your signal. Check out the Boss BD2, TC Electronic Spark Booster or the Mooer Blues Mood. All of these works equally well as boosters and for overdrive, with that classic Colorsound Powerboost character.

    UniVibes are expensive and although there are a few budget models available, they don’t really nail the complex sound good enough IMO. Besides, UniVibes aren’t that versatile either. If you do want one then check out the VoodooLab Micro Vibe or, if you’re budget allows it, the excellent Dunlop RotoVibe. You’re probably better off with a phaser though. It will cover the UniVibe tones and the WYWH songs as well. The Mooer Ninety Orange is a great sounding clone of the Phase 90 with a few extra features.

    Any delay will do. Your best choice is probably a multi processor that’ll deliver both digital and analog tones as well as banking. That way you can cover all your delays with just one unit. Check out the TC Electronic Flashback or the slightly more expensive Nova Repeater. If you want a single echo unit, then the EHX Memory Toy and MXR Carbon Copy will cover your needs.

    Control your tone

    David Gilmour is an old-school guitar player and like many before him, not least Hendrix, he learned how to create a large palette of tones with a very limited setup. Using the guitar volume control to control your tone is a key element in getting the right tones. Rolling down to 8 or 9 on the guitar, makes the cleans warmer and smooths out most of the nasty transients you often get without compression. Listen to Wembley 1974 and the solo on Breathe. The super smooth tone you hear is achieved by rolling down the guitar volume and using a careful picking technique.

    Again from Wembley 1974, listen to the rhythms on Money. That’s the Fuzz Face with the guitar volume at about 4 or 5. Even with a pretty aggressive silicon fuzz you can get a nice bright overdrive. The middle section is also a great example of how you can get almost pure clean tones and heavy overdrives by constantly adjusting the guitar volume and the strength of the picking.

    I hope this feature has been useful for creating your own Dark Side of the Moon tones. Whether you prefer the studio version or the live recordings, the essence is to keep it simple with just a few effects and a good basis from your guitar and amp. Feel free to use the comments field below and share your favourite Dark Side of the Moon moment and your setup!

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68 Responsesso far.

  1. Brad Roller says:

    Hey Bjorn, old article I know, but on the live at Pompeii footage, there’s some footage of Gilmour noodling around on his Lewis guitar while they are interviewing the band. He has some weird phaser going, that’s a hi-fli synth hes using isn’t it? Is that a phase or…? Sounds dumb but Ive been trying to get that sound here lately lol Im verrrry bored! Ive read on the hi-fli and understand that’s what he probably used . You know of anything that could get something similar? Btw, your new album sounds very promising! I cant wait to hear it!

    • Bjorn says:

      Hi Brad, if we’re talking about the same clip, it sounds like he’s using some pitch or ring modulation effect, which are both on the Hi-Fli. I think you can find something similar on the Pog and the Micro Synth pedals, which sort of are based on the HiFli.

  2. David says:

    FWIW, if you compare the spec sheets of the BC109C and the BC108C transistor (which were the two most common silicon transistors used in early fuzz faces), the only difference between these transistors is the Noise Figure. Thus, the BC108C produces a bit more noisy than the BC109C, but the effect on the overall sound shouldn’t be very noticeable if at all. However, the gain specs are the same (the small signal gain can vary between 450 and 900), thus, the actual gain varies from individual transistor to transistor (as well as different batches of transistors).. Nevertheless, in the BC109C Fuzz Faces, Dallas Arbiter could have used “select” transistors that had higher gains than the transistors used in the BC108C units.

  3. Justin Bomar says:

    I meant dry section of “Money” lol We Rocked Out on Time Last night Guess I Was thinking About It. Time was The First Floyd Song I’d Ever Heard And Then When The Solo Came I Was Mesmerized, zoned In On What I Think Is The best Solo of All Time. I Was 16 so that Was 12 years Ago And I Still Get That Same Feeling. I Love The RAH/Gdansk Versions Even better But Pulse Is My Favorite Version…muffed Out Dripping With Univibe And Smooth Delay. Hope You Are Doing Great My New Friend and Stay warm In Norway..it Is 30 degrees Here In Virginia And its Only Early November…

  4. Justin Bomar says:

    Ahhh yes I can Hear It In The Dry Section of The Time Solo…What Do You Want From Me Is An Amazing Piece of Music. Division Bell Is my Favorite floyd Album Then Wish You Were Hear, The Wall, DSOTM, Meddle, The Final Cut Has my Favorite MISTRESS Tone, Atom Heart and Umma. I ordered The Rat And a Laney CUB12R 15W 1X12 . That Will Be My 5th Tube Amp. I Play A Fender MIM STRAT AND A P-90 LES PAUL WHICH IS AMAZING AND I GOT A CUSTOM STRAT WITH A TELE NECK. MY STUDIO IS MY BEDROOM WHICH IS A HUGE ROOM. I RECORD WITH A FENDER SUPERCHAMP INTO MY LAPTOP USING VARIOUS SOFTWARES BUT I AM SAVING UP FOR SOME GOOD RECORDING GEAR AND A FEW MORE MICS ( U87 SM57 OR SM58). WE HAD BAND REHEARSALS AND YOU ARE RIGHT MY EHX LITTLE BIG MUFF SOUNDED SO GOOOOOD WITH MY AMP (LAST NIGHT I USED MY JET CITY JCA22H 20W W/ 2X12 MARSHALL CAB. WOW AND WHEN IT CAME TIME FOR SOLOS I USUALLY USE STRAT OR LES PAUL -> MODDED ROUGE VINTAGE COMPRESSOR -> MXR PHASE 90 -> EHX LIL BIG MUFF -> EHX HOT TUBES OVERDRIVE (BOOSTING AND ADDITIONAL TONE SHAPING THE MUFF) -> MXR Carbon Copy and The Tone Was Amazing. We Did 10 of Our Songs That Are Going To be On our Next Record, 5 floyd Songs And A Few Zztop Songs( Gibbons Is My Second Biggest Influence Gilmour Number One). My Tone Has Improved Exponentially From Your Articles/advice. Ill Have To Donate Some Money But How? We Live Across The pond. If You Didn’t Know JET CITY Amps Are Designed By Mike Soldano And They Are Excellent Amps I Have The 20w Jca22h and It Is Amazing. The Rat And Laney Will Be Here This Week Im Really Excited. I Got Some JJ Tubes Coming With Them For One of My Amps I AM UPGRADING. BTW MY P-90 LES PAUL IS ALL BLACK WITH ROSEWOOD NECK, SEYM.DUNC. STK1 STACKED P90 Pickups With Cream Covers. It Is Like A Black Strat Themed Les Paul And Its A Tone Monster I Love It. I Want To Get Your Debut Solo Album Can I Purchase It Online?

    [Thanks for sharing, Justin! Don’t know if I maybe missed a question in there but anyhow… My album can be purchased on my website bjornriis.com, Amazon, iTunes etc. Thanks! – Bjorn]

  5. Justin Bomar says:

    Hi Bjorn very nice article and extremely informative. If it wasn’t for you I would never have discovered Effectrode, ThrowBak and BuffaloFX and other pedals. I know David has used the proco rat but can you point me to a specific video or clip where he is using it? I am sure it will be one of the pulse videod but I don’t know which one. Great playing as always.

    [He rarely used it. It’s on What Do You Want from Me and possibly Money from PULSE. – Bjorn]

  6. Elliot Glos says:

    A different Elliot here, and another thanks to another great article. I’m just wanted to know if you have heard the different versions of Floyd’s concert at Wembly, the official, and the boot Wembly wizards, and last the censored version that was aired by BBC? The all sound so different when compared, and all have different speeds, and the wembly wizards has the encore, echoes, which was the first time that they played echoes with backup vocals.

    [Yes, they’re different because all the bootlegs are from old tape sources that have been altered through time. Floyd’s newly released version is the truest to the actual performance. – Bjorn]

  7. wesley says:

    Hey Bjorn,

    I see you mention using the bd-2 or mooer blues mood to boost. I recently got the mooer but I am not figuring out a good way to use it as a boost with either my iron bell or my bad monkey. Any thoughts?

    [Whether or not a booster works, also depends on how your guitar/pickups and amp are voiced. The BD is very transparent and should work with most amps. There are many different ways of boosting but the way David does it, is to use the booster or overdrive more as an EQ, with the gain low and the volume just slightly above unity. Check out this feature for some tips. – Bjorn]

  8. KSHAW says:

    Hello. I am wondering what Gilmour’s lap steel pedal board looks like? Which effects does he use for the slide work on Dark Side? The same as his lead board… or different? Thanks!

    [In recent years it’s been hooked up to his main stage board/rig. Back in the mid 70s, he had a Fuzz Face and volume pedal lying under the lap steel. There was also a line to the Binson Echorec. – Bjorn]

  9. Oliver says:

    Hi Bjørn,

    is there a bootleg out that you can recommend for the early Eclipse tours?

    Thank you

    Oliver

    [They played Eclipse throughout 1972 so any bootleg from that era really. The Rainbow, London show in February 1972 has the best sound quality and it’s one of the more common and easy to find boots with Floyd. It’s available as “Best of Tour 1972″, “MoonWalk”, “Complete Rainbow Tapes”… among others. I also love their performance in Sapporo, Japan. Check out “Great Gig on the Moon”. Then you have Böblingen and of course Hollywood Bowl (“Bowl de Luna”). Neither have the best sound quality but the perfomances are awesome. – Bjorn]

  10. Tomas says:

    Hello Bjorn!

    I think the best way to examine David’ tone is to listen to the quadraphonic version of the album, especially the isolated rear left channel will give you the best possible idea how he made his tone. Anyway I mostly agree with all your posts, I personally tested all the setups on various amps and after reading this post I can verify your newest research :) some little variations could be found but in general you are on the spot. Btw, did you test the Tech 21 Boost Overdrive pedal? I have read some nice reviews :)

    best regards

    Tomas

    [Agree. I’ve used the quads for DSotM and WYWH in my research for those two albums. They reveal lots of details and on WYWH especially there’s lots of stuff that you don’t hear on the stereo mix. Not least all the synth and piano dubs underlining the guitars. In this feature I’ve tried to examine the set up he used for the DSOTM sessions but there are many conflicting sources and the sessions aren’t documented that well either, so I’ve been kind of vague although there are some certainties. Haven’t tried the 21 Boost… – Bjorn]

  11. David says:

    Hate to nit pick, but Open G is DGDGBD, you put DGDGBE. great site though, been going to this page for nearly a decade now

    [I know but all the sources says that David altered the open G a bit :) The high E is correct. – Bjorn]

  12. Toni says:

    Hi Bjorn,
    Do you place the RT-20 after the delay? Shouldn’t it be before the delay? Sort of modulation stompbox placement? I’ll try and let you know what I find but I’d appreciate your answer.
    Honestly, reading you is learning… ; )
    Thanks,
    Toni

    [Hi Toni! Well, the RT20 sounds more like a very deep and dynamic chorus but it’s really meant to be a rotary simulator. I’m considering it a chorus but are using it for rotary sounds and place it after the delays. Makes sense since you’d feed all your effects into a Leslie cabinet. – Bjorn]

  13. Bill says:

    Bjorn – great reference.

    I’m in a progressive rock tribute band in New York, and I have built the simplest rig possible to cover 9 different guitarists, and their sonic styles. It ain’t easy. Gilmour’s one of them. I now realize I should have a phaser, plus a Leslie simulator for TDSOTM. I’m currently using an MXR Phase 100, that sounds great on ACYL. I thought the Roto-Choir might be the ticket, but now I’ll consider the Lex. I’m dreading the day that I’ll need to acquire an EMS Synthi Hi-Fli for Hackett, and Gilmour tricks…

    (These guys, of course, would use the rarest effects unit on the planet – right?)

    But most of the tone really does come from your fingers. I love to play David’s leads because they’re so expressive, and many guitarists really don’t get the value of holding on to that one note!

    Gilmourishly,

    Bill S.

    [Hi Bill! Yeah, Hacket and Gilmour isn’t the easiest to cover :) I’m sure you are aware but you can cover most of the HiFli with stand alone pedals. It had some very unique features but the guy who invented it went on to design some of Electro Harmonix’ pedals. The Small Stone phaser, Graphic Fuzz, Q-Tron, HOG and Micro Synth should be able to cover most of the ultra rare HiFli and Hackett, Fripp etc. :) – Bjorn]

  14. Chris says:

    Ah I guess it DOES post as a hyperlink! :) Cheers.

  15. Chris says:

    As requested, hope this is ok to post here (not sure if it’ll post as a hyperlink):

    http://www.thegearpage.net/board/showthread.php?p=15701284&posted=1#post15701284

    All the best, sir. :)

    [Thanks a lot! Really appreciate your support! – Bjorn]

  16. Chris says:

    Great article Bjorn, thank you. Hope it’s ok: I posted a link to this article from a “props” I gave you on thegearpage.net; lots of DG love on that site (as you may know). I can give you the link to that thread if you want; several comments already expressing appreciation for your article and your site in general. Again, thanks for a great write-up on DSOTM and for maintaining a great site. I check your page and read your articles often, and you’ve been very helpful with helping me find my own guitar tone.

    Cheers,

    Chris

    [Thanks for your kind words and support, Chris! Please send me the link :) – Bjorn]

  17. Josh says:

    Bjorn,
    If david uses the volume controll on the guitar for the purpose you stated in the article, what does he use the volume pedal for?
    thanks,
    Josh Jacobs

    [The volume pedal is a master volume control. When you adjust the guitar volume, you’re basically adjusting the signal feed to the pedals or amp. Lowring it, will result in less gain from the guitar and subsequently less gain from your fuzz, overdrives and distortions. This is a great trick or tool for adding dynamics to your playing but it also allows you to use one gain pedal for several different tones. A volume pedal, when placed last in the chain, acts as a master between the guitar/pedalboard and the amp. I recommend having the delays after the volume pedal to be able to create swells and for a more natural sounding fade and mute. – Bjorn]

  18. Aron says:

    I was in our local Target store this weekend, and they had Darkside and Wish You Were Here on remastered Vinyl. I’m definatley buying a turntable.

  19. Keith says:

    That may be the case, he talked in terms I hadn’t a clue about, but he did mention somewhere, something about digital to analog conversion, so perhaps Sony wants to cash in on the resurgence of vinyl. He said that they’d lost more money on the playstation3 more than any previous product, and bought the catalog to regain some profits? Hmmm. Vinyl would be nice!

    [Indeed! – Bjorn]

  20. Keith says:

    Bjorn, I went to look at a maintenance issue for a customer yesterday, and the tenant had a really nice editing studio in his apartment. Upon questioning him, I found he works remastering recordings for Sony, who just puchased a large portion of EMI, which explains why all the EMI Floyd has recently been removed from YouTube. The upside is, that he is in the midst of remastering a large portion of EMIs catalog, including newly remastered version of all of Pink Floyds EMI recordings! So everyone, get ready for new Remastered Pink Floyd albums to be hitting a store near you in the not too distant future. You’d never imagine it’s being done in a bedroom full of Budweiser bottles, but I heard some of the mixes, and the equipment is incredibly top dollar stuff!
    Peace, Keith

    [The Floyd catalogue was remastered by James Guthrie a couple of years ago. Strange that they would do the whole operation again. Vinyl perhaps? – Bjorn]

  21. Luca says:

    Hi Bjorn, congrats for the update of the pig hoof, great clip!
    Regarding my previous comments, I choose a modded MXR phase 90 (block) that has a very warm and swirly tone. Now I have in chain: Rat2 (keeley), ts9 (hot rodded by Dr.Valvola here in Tuscany), BD2 Keeley, Phase90, Deluxe el.mistress, dd3+Flashback delay.

    How can arrange my rig for Breathe/time/money? You should put the bd2 always on with a little od for boosting and rhythms?
    I use an AMSTD strat cs69+ssl5 combo in a cub12r at home and a JVM 100 with the band, that is completely different and ultra-bright, I used to roll down all the treble….Many times I lost myself in the mix…… Any Suggestion?

    Regards,
    Luca

    [Thanks Luca! For Breathe I’d just use a clean tone with phaser and delay. Perhaps just a hint of that BD2 but you don’t really need it. For rhythms on Time and Money I’d set the BD2 for a crunchy overdrive with the gain at about 50% and a fairly bright tone setting. If needed roll down the treble and presence on your amps to avoid harsh overtones. Add the RAT on top of the BD2 for fuzz tones but be careful with the RAT’s gain. Match it with the already crunchy BD2. Roll down the tone on the RAT for a darker PULSE kind of tone. See this feature for some amp setup tips. – Bjorn]

  22. Keith says:

    Hey Bjorn, while I’ve wanted the CPB since before I ever found Gilmourish, I have one question. If I get the Throbak, would the CPB benefit me since the basic circuit is about the same, but the throbak has the extras. I guess I’m asking if the Throbak will do the CPB well, and be more versatile, or is the CPB better at what it does? I’d like to think I could spend $300 on just the Throbak,
    instead of $800 for both.
    Thanks, Keith

    [They’re very similar so, unless you’re collecting or can’t sleep without having both, I’d say that you don’t need them both. The ThroBak has a bit more headroom, smoother breakup and seems to be a bit more punchy – in lack of a better word. I rarely use the extras but the pre-gain is quite useful. The CPB is slightly darker and it has more gain and lower end. I think it works better for crunch and mild overdrives than clean boost but that depends on your setup as well. – Bjorn]

  23. Ai says:

    Hi bjorn

    Just received the power boost yesterday, WOW should’ve bought it way sooner
    Really love the sound and having power boost and TD in the set up really gives me a more option to play with

    I feel that power boost sound is more open than TD, well not better its just different and its giving mr hard time to choose which for mild or dedicated OD because both have a unique sound -_-

    Whats your fav setting for this beastt?

    [Congrats! They’re very different indeed. I usually use the TD for overdrive and the CPB for clean boost or crunch. The settings depends on what amp I’m using it with and the amp settings. – Bjorn]

  24. Ai says:

    Hi Bjorn,

    Very nice article Bjorn !!

    I want to ask about overdrives for DSOTM tone because I think you have both Colorsound Power Boost and BK Butler Tube driver.
    How do you use these two pedals,

    which one you use for mild OD and OD?

    Which one go first after Big Muff in the pedalboard?

    Thanks man

    [Thanks! There are no rule but usually you want the overdrive and boosters after the fuzz and distortions. I have both the CPB and TD after all my high gains. They both have that mids scooped glassy tone but the TD is much more aggressive and doesn’t really have that much headroom, although you can set it pretty clean. I like using the CPB for clean volume boost and for boosting Muffs and the TD as a dedicated overdrive. – Bjorn]

  25. Sean says:

    Hi Bjorn.
    I see on another part of your site that you list 4 different manufacturers for tremolo pedals – Boss, Empress, BYOC, and another, which escapes me.
    Does one of them in particular really nail the sounds Gilmour got for Money?
    Thanks a lot man!

    [Any tremolo will do :) – Bjorn]

  26. Aaron Amador says:

    Really enjoy this website.!!! Great job long live dark side of the moon:D

  27. Miroslav says:

    Sadly, Storm Thorgerson had passed away today…

    [Very sad. – Bjorn]

  28. Luca says:

    Hi Bjorn! Great article indeed!
    One of the best and the natural extension of the tone tips series I think, really useful and inspiring as always!

    So it made me ask you about phasers and univibes! What do you think about using the Nebula IV from Mojohand?
    Iit’s better of the classic MXR Phase90? How can I arrange the phase effect using a budget chorus at the very end of the chain, for the slow speed rotating simulation? It could be redundant? I also have a Deluxe El.Mistress that I use for simulating leslie for fast speed as you suggested sometimes and I’m pretty satisfied, but I don’t like it very much to replicating DSoTM tone. Any Suggestion?

    Thanks for your great work, keep rocking!

    Luca

    p.s. can’t wait for the new Airbag album, the last clip on YT promises a great score!

    [Thanks for your kind words, Luca! As you know chours, flanger and phaser are very different sounding effects. You can use the Mistress for rotary tones but it doesn’t work for those UniVibe and phaser tones. The Nebula is a great sounding pedal. Very similar to the Phase 90 and the additional controls makes it very versatile. – Bjorn]

  29. alex.loudass says:

    @Euan

    I recently picked one up second hand. Unfortunately it arrived in pieces… seems the postal service was having lots of fun kicking it around :/ The good thing is I could manage to put the parts back together and the unit is actually working – plus, I now know how they are built :) Well, what can I say… it does what it’s supposed to do. Sounds very nice. But I guess I won’t use i that much at home. I see it more as a candy add-on in a live set-up. But that’s just me and the reason are just space issues in my livingroom :) Personally, I would rather have P26s than Yammies – again mainly due to space (and weight) issues… Any specific questions?

  30. josh says:

    Hey bjorn, do you write any tabs and post them on a particular site? If so wear could i find them?

    [Never really found anyone that’s accurate enough. – Bjorn]

  31. Euan Smith says:

    Has anyone got any experience of the tolerance sound revolver p26?

    Great review. Wish the discovery sets were cheaper!

    Euan

  32. Martin Pryce says:

    Regarding Gabriel’s comment on my guitar straps, I should make it clear that the restoration I carried out on David’s strap, involved the leather tab at the bottom of the strap. I did not have the main part of the strap sent to me to work on, however I did get to hold the strap when I delivered the ‘EL MAGNIFICO’ strap, commissioned by David for Phil Manzanera. David did ask me to make other straps like the one in the picture featured on my website, but as far as I know, David uses his original Hendrix strap when performing. I have no knowlege of him using a replica.
    Many customers have asked me about the original colour. It was a long time ago when I saw the original strap close up. If anything the original is a bit lighter than the shade that I use. The problem is that in most pictures you see of David with the strap, it looks darker. I have spent several years now tring to find a suede/leather that looks darker with stage lights on and lighter in day light. It is most likely to do with the ageing of the leather and flash photography. Some people believe that David’s strap is the one Hendrix is using at The Isle of White and that it has faded from purple. You can see yet another version of the strap if you look at the ‘Wine’ strap that I make. That came from a Hendix poster sent me. I could imagine that Hendrix maybe had a few of the crosses straps. I have also had people contacting me saying that they used to have one these straps many years back.
    It all makes an interesting story though and I think that both Jeri Heart and myself have made you guys some nice straps.

    Martin.

    [Indeed Martin! Thanks for your comment and great work! – Bjorn]

  33. Dave A says:

    Hey Bjon just thouht I would comment on Gabriels post above regaurding Martins straps, as you yourself know that the David Gilmour Gear Forum yearly Jam is held in Ludlow England,well that just happens to be where Martin himself lives and he is a regular at the Jam himself and a mean Bass player as well,he comes along and plays a bit,keeps us entertained with some amazing stories and also makes some straps,I and a few others have comissened a fair few orders from him and I must say the straps are top notch.I got a new strap last month for my newly aquired DG NOS.Yup it never ends mate . Your fault remember :)

    As always hoping your good Bjorn

    Dave A

    [Thanks for sharing, Dave! – Bjorn]

  34. Alex says:

    Hello Bjorn,

    What do you think of the Electronic Orange Banana Boost, is it a good alternative to the power boost colorsound. Have you already tested. I think I buy it for the couple to my pig hoof and my Rat. For his approaching the dark side of the moon.

    Thank’s

    Alex

    [I use the Banaboost in my home studio. Very close to the old Colorsound. – Bjorn]

  35. Gabriel says:

    Hi Bjorn!
    A bit off topic here, but I´ve just found some interesting info about David´s Hendrix Strap (maybe you already know this but it was a revelation to me)
    Looking on the web for good pictures of the strap to make my own I found this site, some leather artisan in the U.K.
    http://www.martinpryceleather.co.uk/pages/famous-clients

    I quote:
    “… It was Davids birthday and that day he had been presented with the famous original Jimi Hendrix guitar strap ! The strap required some restoration work which I later carried out for him. David subsequently commissioned me to make several other leather guitar straps like the one you can see in the picture.”

    And there is a picture of David and the strap we know as the Hendrix strap. This means that the one he uses all the time is a replica and the original is kept in his home? Seems logical, not to tour with such a gift.

    [Thanks for the link Gabriel. I’ve seen this before and Martin’s making some really nice stuff! – Bjorn]

  36. Jim says:

    I’ve been playing guitar for 25 years and for some reason have just started to learn to play Pink Floyd songs (though I’ve always listened to and love their music). I have been on a quest to capture Gilmore’s tone with what I’ve got at home, which is a lot, but your site has been incredible in helping to nail it down…..thanks man. Great work. Love the site since I found it.

    [Thanks a lot for your kind words and support Jim! Glad you enjoy the site :) – Bjorn]

  37. ed says:

    Hey bjorn one of my favorite articles you’ve written. Excellent job! I have a question. I have an electronic orange moon vibe and i absolutely love it. However i am considering buying the dry bell vibe machine mostly for real estate purposes. I know you’ve reviewed both of them. Which univibe would be you’re choice? Thanks!

    [Thanks Ed! Glad you enjoyed the article :) The Vibe Machine has a slightly brighter tone and seems to have a more pronounced throb on lower speed settings, which is important for your Breathe tones. The Moon Vibe is perhaps a bit more vintage sounding with a dark lo-fi character. I love them both but I think I’d go for the Vibe Machine. – Bjorn]

  38. Keith says:

    Thanks Bjorn, I really appreciate your extensive reply. I do understand the perception, and sort of, on any given day I’ll be closer than others. I’m playing at the volume of your particular set up shown in the Amps section of the tone tutorials, but my room is very cramped, and full of materials that soak up sound. There are few hard items in the room, but tons of fabrics, a huge bed two feet from the cab, and heavy carpet. So, I imagine that a more open space, that has some balance, instead of being 100% dead would help. I also want to clarify that while I often refer to DG’s tones from specific periods, I am really using those as a starting point for a sound to call my own. As you know, I am new to pedals, and to high power, high headroom, clean amps, and while I’ve owned more Strats than I can remember, I’ve basically always played Gibsons with humbuckers, through Marshalls, and it’s almost like I’m learning to play from scratch. While asking questions always helps, I just need to continue experimenting with the pedals I have, and have ordered, and find the combination, and order, as well as settings that suit my ear best. But as I said, the starting point, at least for me, is the tones I hear on some of your clips, and having a great deal of the same gear, should be able to a great extent be able to emulate. This is long, and mostly personal, so only post it if you think it relevant to others. I’m not overly frustrated, quite the contrary, I’m intrigued with the process, but there are definite steps I need to take to improve the circumstances of my location, because of the dead, cramped room, as well as poor grounding, and RFI from the four towers I spoke of earlier. All in all, I’m having fun, not the least bit discouraged, and as is witnessed by the volume of my posts, willing, and determined to learn all I can from you, and others I’ve met through Gilmourish. I also enjoy the occasional help I can give others here through my research of some of the technical aspects of guitars. I was taken aback yesterday as I scrolled through posts, and saw how many times I saw,”Keith Said:”, and hope that neither you, nor other readers get frustrated with the number of posting I do, but be assured, it’s always with an eye to valid questions to benefit everyone, as opposed to being a selfish effort to monopolize your time. So, once again, thank you my friend, you are truly an inspiration to us all, a real gentleman, and a very patient man to put up with my constant inquiries, and comments. If you only knew how much I appreciate you, the site, and the friendship you’ve shown to me on, and off the site, you’d have a better understanding of what Gilmourish means to me personally. Through the site, I’ve also had the pleasure of the friendship I’ve developed with Stephen, who also is extremely knowledgeable, and has helped to guide me, and like you has shown a genuine interest in me, and my quest for my own sound. I didn’t intended to pour my heart out in an on site novel, but that’s the way I feel about THE sound, THE gear, THE site, and two men I’ve never met, but consider friends, and I don’t throw that word around lightly. I have many people I’ve known, and hung with since high school, and still don’t describe as friends, but if I know anything about life, it’s my ability to KNOW what’s in someone’s heart, and in you, and Stephen beat two very sincere hearts, and to me sincerity is the most important attribute a human can possess. Please try not to cry, he he, I know I’m a bit sappy, but I mean every word in this post, and only hope that you guys feel like you know me a little, and feel my sincerity as well.
    Peace be with you, and all you love, your friend, and grateful student, Keith Clarke 4/8/13

    [He he, thanks Keith! And as always, I’m thankful for your support and posts :) – Bjorn]

  39. Alex says:

    for my clean chanel i only have Bright, gain and volume

  40. Alex says:

    I use a boutic amp clean chanel type fender with bright 4 positions and a second chanel type JC800 i use and self built black strat with duncan ssl5 and Custom shop 57’s bosse cs2, dd3, voodoo vibe, mxr phase 90 and boss CH-1,

    [For DSotM I’d use the Pig Hoof alone without a booster. Try setting the volume a bit higher than unity gain, the tone around none depending on how bright your amp is, and the gain as high as you can go without too much noise. – Bjorn]

  41. Alex says:

    Great tutorial,

    I think with my pig hoof my jam pedal tubedreamer+ i can approach this sound, you have some tips to use my pig hoof and how to set it fot dark side of the moon tone ?

    Thanks

    Alex

    [What amp and guitar/pickups do you have Alex? – Bjorn]

  42. Brad says:

    Bjorn,

    As always, thanks!

    Is a review of the Strymon Mobius coming? The idea of getting convincing EH Mistress, Univibe, Phaser, Leslie Sim, Chorus, Trem, Auto Swells, and more out of one pedal seems pretty promising for we “Gilmourish”…

    Brad

    [I haven’t had the chance to try it yet. Hope I get to one day though :) – Bjorn]

  43. Keith says:

    I just remembered! You give the Musket a 10/ 10 score, and state that it covers all Davids tones. So, since you’ve encouraged me to spend too much to put anymore pedals in the ” purchasing next” list, I wondered if you thought the AVS London Fuzz, Musket, and TC Spark could get me clise enough to suffice until I can afford another Fuzz, after my purchase of yet another delay, and the Vibe Machine? Not to mention the repair, and cost of modding my wah! I NEED money, but I WANT more pedals! Hehe :)
    Thanks, Keith

    [Well, Keith… Since you’ve become the postmaster, allow me to reply a lenghty answer… I understand your frustration. You hear the tone you want but you’re far away from the goal. One minute you think you got it, the other minute it sounds nothing like it. You’ve played guitar for a long time but from what I understand, you’re pretty new to the whole pedal thing, so I want to welcome youj to the club and say – you’ll never reach the goal. Now, before you behead me and refuse to post no more, let me explain. Tone is subjective and the result you get is based on too many factors to mention.

    As I’ve tried to explain in the Tone features, you need to consider tone as an ongoing thing. Even if you want to replicate a specific tone that you’ve heard, it’s always going to change becuase your perception of that tone changes as you get more experienced and calibrate your ears to new tones. Keep in mind too that replicating a tone is often much more difficult than to come up with something new or a tone for your own music. Your not only trying to replicate the actual tone but a perception of that tone, which is coloured by subjective perception, affection, memories etc etc. I have many favourite Gilmour moments and tones and when I think of it, half of the tone I’m trying to replicate is the thought of how David really must have sounded like at the time, how he felt, his mind… anything you want to add to that.

    Now, to the point… The Spark Booster, BC109, London Fuzz etc, not to mention your Cymbaline and Reeves, will all get you close to THE tone. By carefully combining the right pedals and adjusting their settings to match each other, you will be able to get very close to David’s 1970-75 tones. Still, the tone you get from the Reeves depends very much on what environment you’ve placed the amp in. The material and objects in a room can have a huge impact on the tone and ultimately how you perceive the tone. Your ear can fool you and your position to the amp is likewise important. The Reeves is a very bright sounding amp and you need to push it hard to get those smooth violinlike fuzz tones from your pedals. Also, the volume control on your fuzz interacts with the amp and you’ve probably noticed that there’s a lot going on between 2 and 4 o’clock.

    My point has always been that you can get almost any tone you want with any pedals, if you know how to use them. I’m not sure buying more stuff will get you that much closer although part of this whole tone search is the fun of aquiring new equipment. Oh well, before I loose my thread here… I hope this makes sense. – Bjorn]

  44. Keith says:

    Hey Bjorn, I’m having an extended “Zen Time” this morning, and have spent the last hour listening to many of your YouTube clips. I have noticed a few things that really stood out. In no partcular order, here they are! I listened very closely through very goosld headphones, and find that the Vibe Machine clip sounds leaps and bounds better than the Moon Vibe IMO. I think the throbing bottom of the Moon becomes just a bit too muddy. Of course it could be the recording. Second, try as I may, I cannot get the JH-F1 to cone anywhere close to the sound of the Analogman bc-108, or 109. I do have a serious RFI problem because of four very large and powerul radio station antennas about 1000 metres from my house, and the grounding in my house is bo existent. I also notice a lot of tone coloring when the JH-F1 is engaged. I lent my M1 to a friend to try, and they are supposed to be the same exact pedal, but while the clean up of the F1 is smoother, the overall smoothness of the M1 is better. I think a good tuning would solve some of these issues, but I think I’ll be needing the bc-109 for my ’71- the changeover to Muff period. I seem to gave forgotten the ither thing I was curious about, but I’m sure it’ll come to me again. So, I think it’s the Vibe Machine, and bc-109 for my Dark Side of the force master! Of course I have to mention the playing, which is always superlative!
    Thanks for the clips, you are my only subscription on YouTube! KEITH

    [Thansk, Keith! Keep in mind that the MoonVibe clip was recorded with the PC mic, while the Vibe Machine was properly recorded by micing the cab with a Suhre SM57. However, the Vibe Machine does have a more pronounced throb at lower settings. A bit brighter and a bit more musical IMO. I didn’t have any problems with JH-F1 when I tested it for the Buyer’s Guide. Of course, being a fuzz, it was noisy but I managed to get some very cool tones with it similar to the AnalogMan BC108. Didn’t notice much colouring although it has a bit more mid range than the AnalogMan. – Bjorn]

  45. Martin says:

    Hi Bjorn,

    nice to hear that you like the ’74 Phase 90. I use mine with a clip adaptor, and at least with my rig, I couldn’t notice any audible difference between this and (alkaline) batteries. Have you ever tried that?

    Cheers,
    Martin

    [No difference as far as I can hear :) – Bjorn]

  46. Yoel says:

    Hey Bjorn!

    Which model RAT do you use/reccomend?

    [I’m using the old big box “vintage” Rat. Bought mine in ’97 I think. The ’85 reissue is also great and check out the Jam Pedals Rattler. – BJorn]

  47. Matteo says:

    Hi Bjorn,
    I remember reading how you considered the Small Stone Nano to be your favorite phaser pedal ever, that was before MXR released the Phase 90 ’74 reissue, did something change in the meantime? what’s the big difference between them and which one you prefer nowadays?
    Thank you!
    Cheers!

    Matteo

    [I always change pedals around and since I got the 74 Phase 90 reissue, that’s been my main phaser. I think it works better for my tones but it’s very similar to the Small Stone. I rarely use Phasers on my boards though but prefer the RotoVibe, which is kind of a mix between a UniVibe and Phaser. The Nano has true bypass, led and runs on adapter, which makes it easier to operate and not as tone sucking as the Phase 90 reissue. Apples and oranges really :) – Bjorn]

  48. Nick says:

    Great Article Bjorn. What I have to say will be very subjective of course, while SOYCD will always be my ultimate Floyd song, for me, DSOTM is without doubt their greatest work, their true masterpiece… Every other album has it’s moments, but none flow with greatness from start to finish like DSOTM. Great music creates ambience and stirs feelings within your soul, and this album delivers that in spades. the other day I got stuck in crap Auckland traffic and started to stress, and I remembered it was DSOTM’s 40th anniversary. I put the CD on and it completely chilled me out. Evertime I listen to it I think of it in a different way. for example on this occasion I thought of how superb nick’s drumming was, maybe the glue for the whole set? Anyway, my favourite album of all time, with daylight in second place.. Awaiting the delivery of my Caroline Olympia fuzz to team up with my Catalinbread echorec, any day now… A sincere thanks as always for keeping the dream alive Bjorn!
    Kind regards,
    Nick

    [Thanks for your kind words, Nick! Personally I favour WYWH and Animals over DSotM but I agree that there’s something about that album that makes it very special. As you say, it’s a flow and thread throughout that makes the album feel like a whole piece. Much more so than WYWH and Animals, which isn’t all that strange considering that Dark Side was written as a suite, while the other two consists of songs from different periods. And yes, Nick’s drumming is superb. Not to mention the sound of the drums. Cheers! – Bjorn]

  49. Julius says:

    Hi Bjorn!
    Had a gig at a band competition, I was using my Gilmour inspired board and the judges said my tone was the best of the night and all the credit goes to you. Thank you!!!

    [Congratulations! Glad to hear :) – Bjorn]

  50. Ben says:

    A bit off-topic, but in the article you mention that David taught Syd how to play. Is this true? It’s just that I’ve never heard that before! Thanks.

    [David and Syd grew up together. This was pre-Floyd and apparently they learned to play guitar together in their early teens. According to most sources, David either thought or inspired Syd to use slide. – Bjorn]

  51. Daniel Saavedra says:

    As usual, an awesome article…
    I know some purists out there will want to shoot me when I say this; I recently purchased the new Boss GT-100 multi-effect and changed the pickups in my 57’s 84 reissue from Lace Sensors to Wilkinsons single coil Alnico V magnets with the following specs: Neck: 5.8k ohms, Middle: 5.9k ohms, Bridge: 6.4k ohms… very fat and warm sound and very loud; great to control with the volume knob.
    I did followed your recommendations when setting up my old GT-3 and worked very well (Oooops, was I supposed to say that you owned one of these sometime ago?)
    Anyway, the amp modeling is fantastic and easy to adjust to any amp configuration you plug it into.
    Not sure if you had a change in checking it out, or even the inclination… but any suggestions on setting up this album in it?
    A lot of your instructions refer to the knob position on an actual pedal; what about %?
    There aren’t many things about the GT-100 in the web and none in Gilmour’s tone.. the ones who tried are awful…
    Thanks bud, after Google News your site I visit as frequently

    Thanks from Toronto !
    Dan

    p.s… by the way, when playing live I have in my pedal board the GT-100 plus a 80′ DynaComp, a 74′ Rat, two analog Tokai pedals (Delay and Flanger), an analog Ibanez Twin Chorus and a 76′ Cry Baby… so, yes, I am all over the place

    [GT3? Me? No…. Oh well, yes I did use one of those way back :) I mostly used it for delays and modulation, with standalone gain pedals. I think it worked and sounded pretty good actually. The possibility to bank up all the delay settings I needed and be able to assign different parameters to the onboard expression pedal helped me a lot when we did the Floyd tribute shows. I don’t have it anymore though and I haven’t tried any of the newer models, which I’m sure is even better. – Bjorn]

  52. Keith says:

    No Stephen, just an attempt at a little humor. Bjorn didn’t laugh out loud,so I won’t waste space like that again. However I do have a serious question. BJORN! I was in a used gear shop yesterday, and saw wgat Ron, the EH guy says is a ’77 solid state memory man delay/chorus. It substitutes the bright switch, with a chorus switch, and is silkscreened blue. Not a Deluxe, the same circuit as the ’76 Memory man, and has a bright input for more volume. Are you familiar with this MM? He’s asking $399.00, but I think I can get it for alot less. What say you? Early Memory man,(120volt cord), or Catalinbread Echorec? Please let me know your opinion in case it’s a must buy pedal in your opinion! And I forgot to mention, looks almost brand new, and still has the original box!
    Thanks, Keith

    [Sorry about that Keith. Me no speak English that well :) Anyway… If you ask me, I’d definitely go with the MM. Try it and make sure it works nicely. Those old EHX pedals has a nasty habit of not ageing well. You should also be aware that the Mem Man has some noise issues but personally I think it has some of the finest analog echo tones there is :) – Bjorn]

  53. Stephen Ford says:

    Diesel engines??? Am I missing something Keith???

  54. Sebastien says:

    Hello M; Riis!

    Great review, very instructive again… I think you’ll write reviews for a guitar mag very soon!
    You should!

    Just wanted to know what happened to the beloved MJM sixties vibe ?????
    And what is your opinion about using the Boss CE-5 Chorus ensemble instead of your Strymon Lex. You’ve written in your “How to simulate Leslies ” article last year, that you could use either a Boss Ce-5, “just after the gains and just before the delays”….

    What would be your recommendation, when using the CE-5 ? I’ve tried, sounds good, you have to experiment with your boss pedal knobs.

    Thanks and good work again (How do you find the time!!). Anyway, keep on working on your “Norwegian Wood” Neck, sounds awesome!

    Best regards,
    Sebastien
    France

    [Thanks for your kind words, Sebastien! The Sixties Vibe is still one of my favs but I tend to use the Machine Vibe a lot now. Sounds better on the lower speed settings and the size is easier on the pedal board :) It’s been awhile since I’ve used the CE5 but I think I’d set the filtering pretty neutral (around noon), the speed around 11:00 and the depth at 10:00. Set the level as desired. This should produce a pretty mild chorus for your slow Leslie tones. – BJorn]

  55. Ege says:

    Thanks for the great in-depth tutorial Bjorn! I’m in the process of putting together my pedal board and I’ve listened to your great advice so far on my questions about the amp and booster pedal. I read in your 2007 demo of the Small Stone that you prefer the Small Stone Nano to the Phase 90. Does this still hold? If you compared compared the Small Stone Nano to the Phase 90 Script ’74 Reissue, which one would pick? From what I’ve heard and tested, both have similar creamy, warm sounds.

    As well, I need your wise opinion on delays. I’m considering two options for delay:

    1) MXR Carbon Copy + Boss DD2 for separate dedicated analog and digital delay units
    or
    2) TC Flashback (for covering analog sounds and pristine digital delay with one unit).

    Thanks a lot for your help so far! :)

    Ege

    [Hi Ege! The 74 Phase 90 is my favourite now. I think it sounds warmer and closer to the phase tones I was looking for, compared to the Small Stone. The SM is a great pedal too and it has true bypass and adapter powering as well. Perhaps a bit easier to feature on a pedal board. In regards to the delays – I’d go for option 1 :) – Bjorn]

  56. Marvin Brown says:

    Bjorn – awesome, as usual. Just wondering – I don’t have a Rat, but I do have a Large Beaver (which I bought after reading your review). Think it would be ok to substitute one rodent for another? Also, this tutorial reminded me to go ahead and order “All Rights Removed,” which I have on my Amazon wish list … and that I’m overdue for sending a PayPal donation to Gilmourish!

    [Thanks a lot for your support, Marvin! Depending on which LB you have, it can be set up to produce very convincing fuzz tones. Max the gain and set the tone around noon. – Bjorn]

  57. Nathan says:

    Have you heard of the new Leslie pedal by Hammond? I really hope you review it, I really want to see how it sounds! It has Model 122 and 147 modes, as well as the SRV Vibrolux model.

    [I’ve seen a couple of clips. Not sure if it’s available yet. Looking forward to try it out though :) – Bjorn]

  58. Keith says:

    I finally found the Holy Grail for all Gilmour,Hendrix, and every other guitarists tones! Just connect the kinippling pin to the wobbling shaft, and Voila, instant tone!
    Try it, you’ll like it! Postmaster K~

  59. Stephen Ford says:

    @Toni,

    Consider a rotary pedal as if it where what it is intended to be…A leslie speaker, since the speaker is the point at which the electrical signal is converted back into audio waves any delay would have to come prior to this point. Rotary Simulators and Univibe pedals (although similar are two different beasts) I place my Univibe before my dirt but place my Rotary Simulator after delay. Now I still place my Reverb (when I use it) post Rotary because I want the reverb to come across as ambient more than effect.

    The Lex is a great simulator but I think from the tests I have seen that the Neo Instruments Ventilator pedal is probably the best simulator out there at present designed to emulate the Leslie 122 cab and all the variables. It is pricey but damn it sounds incredible!!!

    Thanks for putting all the effort into this article and video Bjorn…Really liked it and hope that you will make more tone tutorials in the future.

    Cheers

    [Thanks for the input, Stephen :) – Bjorn]

  60. Toni says:

    I would have never thought of placing the rotary speaker simulator (mine is a Boss RT20) after the delay… interesting! I’m lookin’ forward trying it.

    I strongly appreciate your dedication to write down every detail, those are the “little things” that make the “big” difference!

    I’ll repeat to myself 100.000 times every time I stare at my pedalboard your final statement: “the essence is to keep it simple with just a few effects and a good basis from your guitar and amp”.

    What would you choose as a starting point (I’m already aware that the ideal choice would be to change pickups): fender stratocaster standard with three custom fat 50 pickups, fender stratocaster ultra from 1991 with lace sensor pickups, or fender stratocaster deluxe with N3 noiseless pickups?

    Thanks from Barcelona!

    [Thanks for your kind words, Toni! All of the guitars you mention have very similar specs so it’s down to which you prefer and what pickups you want. As far as I know, the Ultra feature a humbucker or two single coils in the bridge. – Bjorn]

  61. Stephen Ford says:

    Really cool write up Bjorn!!! As always nice playing too! Thanks :)

    [Thanks! – Bjorn]

  62. Keith says:

    Great article, and glad you mentioned the DryBell Vibe Machine, after your clip, and DryBells Video, and their assertion that the new batch has even better photo cells, I’m set on the VM, and the expression pedal can set off the board with my wah, and volume pedal.
    Your Any Colour you like sealed the deal for me!
    Thanks for costing me another $300.00 Bjorn :) Postmaster K

    [How about me setting up a pedal fund for you guys? Sort of a sorry for all the trouble I’ve caused :) LOL! – Bjorn]

  63. Dave A says:

    This tutorial was like going back in Time,no pun mate. Great tutorial Bjorn and perfect timimg,Im in a DSOTM place at the mo myself.Really impressed with that Rat tone on Money mate.The Lex sounds fine,really nice.Theres lots of great tips in this tutorial,thanks and obviosly hope your well ;)

    [Hi Dave! Long time… Hope you’re doing fine :) Thanks for your kind words! – Bjorn]

  64. Matthias says:

    Thanks for that tone tutorial ! Delightful playing as always, and you’ll only get better ! I have the Analogman BC 108 as well as a Colorsound PB, but boosting it is not neccessary for me, because the BC108 does not open until about 2 o’ clock, and this is gain enough, a bit too much for my location… I’m looking forward to have the possibility somewhen to make use of a Muff/Fuzz-Booster !! Meanwhile, I swear on the musket. PS: Maybe you can upload the Breathe backing track from your video… best wishes from Germany !

    [Thanks Matthias! I’m not really using the Colorsound for boost. It’s set to more or less unity gain/volume with a clean tone. I’ve increased the bass a bit and rolled down the treble to compensate for the bright fuzz. More like an EQ really. Whether or not this setup works depends on how aggressive sounding your amp is. An amp with lots of mid range will make the fuzz a bit harder to tame. – Bjorn]

  65. Shervin says:

    Can I use a phase 90 instead of the Uni Vibe and Leslie? If so, what are the settings for speed?

    [Yep. It’s not quite the same but it works fine. Time setting should be around 3 o’clock. You might need to adjust that slightly. – Bjorn]

  66. Elliot says:

    Awesome tutorial! I love your site and have used it a ton when building my rig. Keep up the awesome work!

    [Thank you Elliot! – Bjorn]

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