Meddle settings and setups

Effects, guitars and amps Settings and setups

Keep in mind that all effect settings and setups are based on pictures and video from a certain date and/or interviews and 3rd hand transcriptions that are subject to interpretation. David often make adjustments and may not even be consequent in how he’s using the equipment. This feature should therefore only be used as a guideline for your own setup and not as a gospel. It’s also wise to acknowledge that technique, place and time, studio trickery and who knows what plays a role in David’s tones in addition to the equipment.

Fuzz Face
– v 70%, fuzz 100%
Note: David would roll down the guitar volume knob to create overdrive sounds for rhythm parts.

Binson echo
– 310ms (repeat mode) with variable feedback and volume.

One of These Days
studio
Stratocaster, bridge pickup
Fender twin neck pedal steel with open Em tuning E B E G B E
– rhythm and picking; Fuzz Face
– slide solo (2 guitars); Fuzz Face

live (BBC, London, UK, September 30. 1971)
Stratocaster, with open Em tuning E B E G B E, bridge pickup
– slide solo; Fuzz Face and delay

Note: On early live version of One of These Days (1971-1973) David would perform the song on his Stratocaster, which he tuned for an open Em chord (E B E G B E) as seen and heard on the Live at Pompeii concert film. David didn’t start using lap steels on stage until 1974 and by then One of These Days was ditched from the set.

A Pillow of Winds
studio
Stratocaster, bridge pickup
Acoustic steel string guitar
– rhythm and picking 1; acoustic guitar
– rhythm and picking 2; clean signal
– slide/lead 1; clean signal
– slide/lead 2 (at end); acoustic guitar

live
– no known live performance

Fearless
studio
Stratocaster
Stratocaster with open G tuning G G D G B B
Acoustic steel string guitar with open G tuning G G D G B B
– rhythm; acoustic guitar
– rhythm and picking (middle pickup); clean signal
– slide/lead 1 (bridge pickup); clean signal

live
– no known live performance

San Tropez
studio
Stratocaster, neck pickup
Acoustic steel string guitar
– rhythm; acoustic guitar
– rhythm; clean signal
– slide 1; clean signal
– slide 2, octave; clean signal

live
– no known live performance

Seamus (a.k.a. Mademoiselle Nobs)
studio
Acoustic steel string guitar, tuned down one whole step (D G C F A D)
– rhythm; acoustic guitar
– slide; acoustic guitar

live
This song was only performed live at the Pompeii concert with David playing the harmonica and Waters playing David’s Black Strat.

Echoes
studio
Stratocaster
Bill Lewis custom guitar (solo)
– violin effect/intro; verse (bridge pickup); Fuzz Face (mild overdrive) with echo using a slide
– intro solo; rhythm picking (neck pickup); clean signal, roll down tone control
– main riff/ run-down from chorus (middle pickup); clean signal
– solo/ lead 1 (bridge pickup); clean signal
– solo/ lead 2 (bridge pickup); Fuzz Face and echo
– funky part/rhythm 1 (middle pickup); clean signal
– funky part/rhythm 2 (bridge pickup); Fuzz Face
– funky part/lead fill-ins (bridge pickup); Fuzz Face and echo
– seagull effect (bridge pickup); guitar through a reversed wah wah with echo
– rhythm/build-up from mid-section (middle pickup); clean signal with echo
– echo melody (bridge pickup); clean signal with echo

live (BBC London, UK July 16. 1970)
Stratocaster
– violin effect/intro; verse (bridge pickup); mild Fuzz Face with echo using a slide
– intro slide solo (neck pickup); clean signal and echo
– rhythm (middle pickup); clean signal
– main riff/run-down from chorus (middle pickup); mild Fuzz Face
– solo (bridge pickup); Fuzz Face and echo
– funky part/rhythm (middle pickup); clean signal
– funky part/lead fill-ins (middle pickup); Fuzz Face and echo
– seagull effect (see below); guitar through a reversed wah wah with echo
– rhythm/build-up from mid-section (middle pickup); clean signal with echo
– echo melody (bridge pickup); clean signal with echo
– outtro solo (bridge pickup); clean signal and echo

Note: While David started out performing the Echoes with a clean tone and fuzz for the leads, he added a Colorsound Power Boost on the rhythm parts and for boosting the fuzz on the solos in 1972 and throughout the 1973-75 tour. In 1974-75 he would also use a Phase 90 on rhythm parts and Dick Parry played the solo in his saxophone.

The seagull effect in the mid-section is achieved by using a wah wah and reversing the input/outputs.
Note that this effect doesn’t work that well with humbuckers or active pickups pickups. It’s best achieved with either Vox or Cry Baby wahs.
1. Connect the guitar to the OUTPUT and your amp/next effect to the INPUT on the wah wah,- reversed connection.
2. Set the pickup switch on the guitar in the 4. position (2. position from the bottom). Make sure that all 3 knobs are on 10.
3. Turn on the wah wah and let it stay with the “heel” all the way down. Turn the lower tone knob “off”. You should now hear a loud feedback.
4. Adjust the pitch of the feedback by carefully rolling down the lower tone knob (farthest from you). You should hear that the tone is pitched down. Somewhere between 2-3 the tone fades and by making a really slow fadeout you can achieve the laughing or stuttering tremolo effect.
5. Combine these techniques with switching the pickup switch up and down from position 1-5 and by adjusting the pitch on the wah wah.
– you’ll need to play quite loud and use some delay, 310ms.