Live at Pompeii
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.

– 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); clean signal
– 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

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” 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.

Careful with that Axe Eugene
Stratocaster, with dropped D tuning, bridge pickup
– solo picking/fade-ins; clean signal, use the volume knob to create fade-ins
– solo; Fuzz Face and echo

A Saucerful of Secrets
Stratocaster, bridge pickup
– slide effects/intro; clean signal with echo
– slide effects/drum solo; Fuzz Face and echo
– e-bow effect/part 3 intro; clean signal with echo using a slide rubbing it over the frets
– rhythm/part 3; clean signal

Notes about A Saucerful of Secrets
– During the drum solo/part 2, David sits on the ground with his Strat in his lap and makes feedback effects with a slide. He is controlling the Binson echo to achieve the right amount of echo and creates the “screams” by turning on/off the volume on the Fuzz Face.

One of These Days
Stratocaster, with open Em tuning E B E G B E, bridge pickup
– slide effects/intro; clean signal with echo (7th fret on every “crash”)
– slide effects/mid section; clean signal and echo, use volume pedal to create fade-ins
– slide solo; Fuzz Face and echo

Set the Controls for the Heart of the Sun
Stratocaster, bridge pickup (unless otherwise noted)
– main riff/intro (neck pickup); clean signal
– main riff/climax; clean signal with wah wah and echo
– slide effects/mid section; clean signal and echo, use the slide to create “popping” effects by hitting the strings gently over the pickups

Mademoiselle Nobs (a.k.a. Seamus)
This song was only performed live at the Pompeii concert with David playing the harmonica and Waters playing David’s Black Strat.