• Classic tone: Echoes

    Although David had already established himself as a vital force in Pink Floyd it was on Echoes that he would really shine and create some of his most memorable moments. In this article we’ll look at the signatures and some of the many variations.

    Echoes was written during a period when Pink Floyd were constantly touring and at the same time trying to write new material that would (hopefully) free them from the Barrett era and the old songs they’d been playing to death. The song was written during several studio sessions in January and February 1971 and played live for the first time in Norwich, UK, April 22. 1971, – seven months before the release of Meddle.

    David Gilmour - Classic Tone Echoes

    David and Nick during Echoes in Edinburgh, Scotland, November 4. 1974.

    David’s guitar tracks were recorded in May and June 1971. Little is documented from the sessions but he did use the Bill Lewis guitar to record the main solo and the Black Stratocatser on most of the rhythm parts. The effects used were a Dallas Arbiter Fuzz Face (BC109), Vox wah wah and the Binson Echorec II.

    Main settings

    Dallas Arbiter Fuzz Face (BC 109)
    – fuzz 100%, volume about 70%
    Binson Echorec II
    – time aprox 310ms with adjusted feedback and volume
    Colorsound Powerboost
    – treble and bass at about 30%, volume set to about unity and the gain at edge of breakup or slightly above. Note that on early performances, David would use a clean tone for the rhythms. The Powerboost was added in 1972 and was used on all performances of Echoes between 1972-75.

    David was fairly true to the studio version while performing the song live but it’s interesting to hear how his sound got heavier as the shows grew bigger. Although the structure is the same, the version heard on Live at Pompeii is quite different to that performed at Knebworth Park, UK in 1975, – the last performance with Roger. Echoes was also played on a handful of shows in 1987 and again in 2006, as documented on the Remember That Night DVD. Here’s a look at some of the guitar parts and how they evolved over the years…

    The violin effect

    The “violin effect” is a long, sustained high pitch tone that rings on throughout most of the song, mainly the verse and chorus sections. This is something David frequently did at the time, especially on the many instrumentals performed in 1969-71. The effect is achieved by using a slide and gently sliding (or rubbing) it across the string – rather that up and down the neck as one would normally do – while muting the strings with the left hand.

    David used loads of echo and a very mild Fuzz Face for a slightly boosted signal. It can be a bit tricky but you need to use the bridge pickup and to find just the right balance between the amount of echo and boost (without getting too much feedback or noise). One can also achieve a boost by increasing the input signal on the echo/delay unit (both the Binson and the Electro Harmonix Deluxe Memory Man – among others – has the option).

    On live versions in the 70’s David would only do the “violin effect” during the intro before playing a “normal” slide solo (instead of the blues solo on the album) when the drums enters, as seen on Live at Pompeii. The effect is not played on the 2006 version.

    The rhythms

    The verse and chorus sections are fairly straight forward with mostly randomly strumming using the middle pickup and a clean tone. The “funky part” also includes a bright rhythm guitar with a Fuzz Face in addition to the fuzz fills (more on this below).

    Live 1971: Clean tone with a hint of echo, adding a very mild Fuzz Face on the run-downs after the choruses for a slightly crunchy tone.
    Live 1972-75: Colorsound Power Boost set to a mild overdrive used for rhythms and boost for the fuzz on the solo and fuzz fills on the “funky part”. David also added a MXR Phase 90 and a Leslie rotating speaker in 1974-75 that he’s using throughout the song.
    Live 2006: BK Butler Tube Driver and mild delay.

    The solo

    The album version includes several guitars, – the main two appears to be a clean Stratocaster and the Bill Lewis with a Fuzz Face and echo (bridge pickup). David’s playing is very typical for his style at the time with strong influences from classic blues and Jimi Hendrix. The solo is also a forerunner to his playing on Time and Money.

    Live 1971: Fuzz Face and Binson echo (bridge pickup).
    Live 1972-75: Colorsound Power Boost boosting the Fuzz Face with Binson echo (bridge pickup). During the 1974-75 tours Dick Parry plays a saxophone solo in addition to David’s solo and fuzz fills on the “funky part”.
    Live 2006: David’s using what appears to be a Pete Cornish G-2 boosted by a BK Butler Tube Driver and delay (bridge pickup and randomly using the neck/bridge combo).

    David Gilmour - Classic Tone Echoes

    David Gilmour during Echoes at Royal Albert Hall, London, UK, May 30. 2006.

    The funky part

    This section consists of two guitar parts, – the rhythm and the screaming fuzz fills. The rhythms on the album version compiles two or three guitars playing random patterns, some clean and some with a Fuzz Face. On live versions, David is following the bass and drums creating an extremely tight rhythm section. The same pattern can be heard on songs like Childhood End, Time and also to some extent on Have a Cigar. The fuzz fills are played with a Fuzz Face and echo (David stomps on both pedals simultaneously, on/off).

    Live 1971: Clean tone and kicking on/off the Fuzz Face and Binson echo simultaneously (middle pickup).
    1972-75: Colorsound Power Boost for a mild overdrive and kicking on/off the Fuzz Face and Binson echo simultaneously (middle pickup).
    2006: BK Butler Tube Driver for mild overdrive and kicking in (what appears to be) a Pete Cornish G-2 and delay simultaneously (middle pickup).

    The seagull squeals

    The seagull squeals or the reversed wah wah effect is perhaps the most innovative sound on the song. In an interview with Guitar Player in 2008 David talks about how a roadie “discovered” the effect when he plugged wah in the wrong way. On 1970’s live performances the effect was fed through the quadraphonic sound system making it even more dramatic. Here’s a step by step explanation of how the effect is achieved:

    1. Set up for a clean tone with lots of echo (or delay) at aprox. 310ms with long feedback. Make sure that the volume and the upper tone control on the guitar are set to 10 and the lower tone to 0/off (this is important to avoid any loud noises… yes, the volume should be at full).
    2. Connect the guitar to the OUTPUT and your amp/next effect to the INPUT on the wah wah (reversed connection).
    3. Set the pickup switch in the 4. position (2. position from the bottom).
    4. Turn on the wah wah and let it stay with the “heel” all the way down and turn the lower tone knob up towards 10. You should now hear a loud feedback.
    5. Adjust the pitch of the feedback by carefully turning up and down the lower tone knob. Somewhere between 3-2 the tone fades and by making a really slow fadeout you can achieve the “laughing” effect.
    6. Combine these techniques with switching the pickup switch up and down from position 1-5 and by adjusting the pitch on the wah wah.

    Note that effect is best achieved with vintage Stratocaster single coils. It can also be achieved on both humbuckers and Telecasters but the tone will be pitched differently. I also recommend using vintage type wah wahs, either Vox or Cry Baby. Modern models doesn’t allow the effect to be produced.

    Reference clip >>
    1) The first is just a fast turn of the tone knob to about 5-6 and slowly turning it down for the pitch to lower and the “laughing” effect.
    2) The second is the same technique but you turn the tone fast on then fast off and then repeat the above for the “laughing effect.
    3) On the third I’m turning the tone up while carefully pitching the wah wah forwards for a higher tone.
    4) On the fourth I’m keeping the tone off while wiggling the pickup switcher back and forth.
    5) The fifth is a bit tricky. Turn the tone on and off very fast while you pitch the wah wah up and down simultaneously for a “whistling” tone.

    The build up

    The build up is the long chord progression that leads back to the last verse and chorus after the mid section. David plays a percussive, rhythmic guitar that resembles what he did on Another Brick in the Wall (part 1). On the album version there are two guitars with a clean tone panned for stereo. The tone is slightly muted by letting the wrist gently rest on the bridge.

    Live 1971: Clean tone and Binson echo (middle pickup).
    Live 1972-75: Colorsound Power Boost for a mild overdrive and Binson echo (middle pickup). David also added a MXR Phase 90 on the 1974-75 tours.
    Live 2006: BK Butler Tube Driver for a mild overdrive and delay (middle pickup).

    The arpeggio riff

    Perhaps the most challenging part on Echoes is the arpeggio piece right before the last verse enters. Again the trick is to use lots of echo (about 310ms) and a hint of overdrive or boost to create the impression of a bigger sound or several guitars playing at once. As you can see from this figure, the pattern is fairly simple and it’s basically a matter of timing and using pull offs to make it flow effortlessly.

    Reference clip 1 >>
    Here’s the arpeggio piece note by note. See figure below.

    Reference clip 2 >>
    Here’s the same piece drenched in echo (about 310ms). It makes a huge difference and adds the impression of it sounding a lot more complicated.

    David Gilmour - Classic Tone Echoes

    This is a slightly simplified tab for the arpeggio piece but you’ll get the idea. Use the patterns randomly. 9p0 means: fret 9 pull-off to open.

    Getting the Echoes sound

    David’s setup for Echoes is fairly simple and much of his tone lies in the powerful clean tone from his Hiwatt tube amps and Fender Stratocaster with vintage single coil pickups. I think it will be hard trying to achieve the classic 70’s tone with say a Les Paul with humbuckers and a Marshall solid state. I recommend either Fender CS 69 or 54 pickups for the purest tone.

    Obviously you’ll need an echo or delay unit. An echo unit will give you the most authentic tone, like EH Memory Man, T-Rex Replica, Boss DD-2 or the Ibanez DE-7, which is a great budget model. Any unit will do really.

    I strongly recommend a good sounding silicon transistor fuzz pedal to get that wild, screaming tone heard on Live at Pompeii and the mid 70’s bootlegs. I prefer the AnalogMan Sun Face BC108, which sounds incredible with the Colorsound Power Boost. I also recommend the MJM London Fuzz II, Fulltone 70’s, Dunlop JH-F1 Fuzz Face and the BBE Free Fuzz, which is a great budget model. You can also get a great lead tone with a Big Muff (preferably a “triangle” model – read more about Big Muffs here), a RAT and the Keeley modified Boss DS-1.

    I also recommend a booster or overdrive unit for the rhythms and for boosting the fuzz for a wilder tone. The Colorsound Power Boost is an ideal match for the (silicon) fuzz and it will give you that naturally saturated tube tone for the rhythms. Do also check out the ThroBak Overdrive Boost and the VintageFX Colordrive, which both are clones of the Colorsound.

    The BK Butler Tube Driver is also an excellent choice. Mind though that these pedals are designed to work with a clean tube amp and it will sound different on a solid state. For this I recommend a Keeley Boss BD-2, which is a classic transparent booster/overdrive with fat lows. For this particular song I’d stay away from the more mid boosted overdrives such as the Ibanez Tube Screamer and other Boss pedals.

    So there you have it. I hope it made you a bit wiser and for those of you who know the song by heart, I hope you agree. Next time we’ll sink our teeth into Comfortably Numb.

    – “Meddle”, original recording 1971
    – “Pink Floyd Live at Pompeii”, concert film 1971
    – “Atom Heart Mother Goes on the Road”, BBC, London, UK, September 30. 1971
    – “Bowl de Luna”, Hollywood Bowl, USA, September 22. 1972
    – “Yeeshkul”, Toronto, Canada, March 11. 1973
    – “Live at Wembley”, London, UK, November 16. 1974
    – “Echoes in the Gardens”, Boston, USA, June 18. 1975
    – “Remember That Night”, concert film 2006
    – “Echoes – The Complete History of Pink Floyd” by Glenn Povey
    – “The Black Strat – A History of David Gilmour’s Black Fender Stratocaster” by Phil Taylor

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163 Responsesso far.

  1. BeyondFloyd says:

    Hi Bjorn

    I’m recently reproducing the tones of the Echoes in Pompeii. I suspect that the solo part was added by Mr. Gilmour in 1972. Because the distortion and sustain of this solo guitar are very, very high (especially the bend in the treble part of the G string) and my SUNFACE BC108C, fender gilmour blackstart, Boonar can’t achieve such distortion and sustain. Is it possible that mr gilmour enhanced the fuzzface using powerboost? Or is there a setup issue with my device? Really looking forward to your answer!

    • Bjorn says:

      Hi, I’m am sure there was some overdubs done to the soundtrack. Not in 72 though but probably when they filmed and recorded the night footage in Paris in December 71. Either way I think what you hear is a pretty accurate representation of how he sounded at that time. If you compare his tones with bootlegs from summer and late 71 it sounds pretty much the same. Volume is the key ingredient here so you really need to crank the amp to achieve that smooth tone and sustain.

  2. Philippe says:

    Hi Bjorn, do you have any idea, how to recreate the sound we hear in the intro of “Echoes live at Pompeii part 2”, behind the seagull sound that david makes?
    Thank you again, for your excellent site dedicated to Pink Floyd!

    • Bjorn says:

      You mean that glissando/slide effect? He’s using the bridge pickup and a lot of echo, with 300ms and high mix. Use a slide and rub it up and down over the fret. It’s a technique that require some presicion as you can get a lot of noise, fret buzz and feedback.

  3. Brad Roller says:

    Just wanted to say, I have gotten pretty good at the violin affect. Took a lot of practice and experimenting but I eventually got it. One thing I’ve noticed, when using my fuzz face as my boost, as I always do, there’s obviously a lot of noise from the fuzz and I don’t really notice that in David’s tone on bootlegs. Then again, Ricks organ or piano is usually going or some other background noise. So maybe that’s why the excess noise isn’t as audible. I’m sure I could use other boosters but I keep my setup as simple as possible. Fuzz, volume, Uni-Vibe (sometimes) and delay. I always like to put myself in the old guys shoes and figure things out like they had to.

  4. David says:

    One other question, I have a book called “The Complete Pink Floyd” and it discusses how Echoes was recorded and lists the various takes and when each take was recorded. It mentions a take in which they recorded “the bumblebee bass section and organ”. Do you reckon this is the part where Roger is using a slide to produce a “low drone that resembles a howling wind-like effect which i guess could sound a bit like a swarm of bumblebees”? The part I’m talking about starts around the 13 minute mark and at times it has wind and organ mixed in the background. Perhaps, it refers to something totally different. I just wanted to see if anybody else might have an opinion or know for sure what the bumble bee bass section is.

  5. David says:

    Great Article, Bjorn. I really appreciate all of the well researched information. I have 2 questions about the violin effect. 1) Does it work better with brand new or worn strings? 2) Does it work best with heavy, medium or light gauge strings. Thanks!

    • Bjorn says:

      Thanks! I haven’t experimented with different strings for this effect. Personally I change strings as often as I can and I use 11-48s.

  6. Kyle Kasuboski says:

    Hi bjorn, I’ve been looking for what chords or tabs are used for the funk rhythm to no luck. What are they?

    • Bjorn says:

      It’s in C#m and he’s back and forth between B and C#m.

    • Michael S Simpson says:

      Hey! A little bit better answer here: so MOST of the jam is played in C#Dorian. In layman’s terms/how Gilmour probably wrote it, he focuses around various fingerings of E major and F# major triads (triads that sound great over that C#m7 ostinato rhythm guitar). He occasionally throws in slow C# minor pentatonic passages that work well with the delay. The key to the whole part is working with the delay to just come up with pleasing eargasm stuff. Occasionally, Gilmour would switch to C# Aeolian for some modal flavor. Basically switching to alternating between A major and B major triads. Finally, Gilmour would also occasionally just throw in some G# major chords to allude to it’s usage in the vocal sections, giving it that melodic minor feel when used with the C# Dorian jams. Don’t forget random aggressive slides and bends! If you miss your C# minor pentatonic note, just fix it with some equally aggressive vibrato arm abuse!

  7. Don says:

    Hi Bjorn. What pedals do you recommend for getting the Echoes tone during Live at Pompeii? I Love that raw and punchy fuzz sound. I play through a Fender Blues Junior III with the fat switch on and use the EHX Soul Food as a clean boost. Thanks.

  8. Alex says:

    Hey Bjorn!
    I have a Stratocaster-style guitar with stock pickups (Tagima T530) and a Tri/Ram Muff from Basic Audio- also a Marshall amp. This is nowhere the gear DG has, I know, but for a Marshall CODE, what amp settings would be good?

    • Bjorn says:

      What Marshall do you have?

      • Alex says:

        A Marshall Code.

        • Bjorn says:

          Sorry, I didn’t see that you already said that :) I’ve never tried that amp so I can’t really give you any specific settings. I’d try to set it up as clean as possible. Marshalls tend to be a bit bright on the treble so I usually roll it back to around 9 o´clock, mids around 11-12 and the bass probably around 2-3 but I’ve no idea how that applies to your model.

  9. Artyom says:

    Hello Bjorn! Thanks a lot for your site – it helps me to get Floyd-esque sounds since 2014 as I got my first electric guitar. Can’t explain how much you helped and inspired me and many people around the world. Keep it on!

    I can’t get the idea of the violin effect. Does it works like slight feedback that makes sustain longer? So I have some more questions about it:
    – Should I use actual gear only because it’s impossible to replicate using digital things?
    – Should I hold slide perpendicularly to strings or just hold it along strings? Or other type of holding it?
    – Maybe I just don’t understand it until I’ll be able to do effect itself, but how to start the string sounds? I hope you’ll see what I mean. He holds the slide with his right hand, so he can’t pick the string (or can by pinky or other finger?) Or does it work like: picking the string with volume pedal down, put the slide on strings and then up the pedal?

    Some other info about that effect would be great too.

    • Bjorn says:

      You should be able to do it on a clean amp with no effects. The added delay or echo, only makes it sound bigger and more sustained. It’s always hard to describve these things but I usually mute the the strings with my left hand somehwere between the 5th and 7th. I hold the slide with my thumb and middle finger gently above each hole and rub it across the high E string. You might want to angle the slide slightly depending on the curve of the neck and string height. Don’t rub too hard. You want a light tone and not too much rubbing noise or fret buzz.

  10. Brian says:

    Eek I, always though the “clean build up” was done with an offset stereo delay.

  11. Gerardo Andrade says:

    Bjorn when you say “Colorsound Power Boost boosting the Fuzz Face” does that mean Boost into Fuzz or Fuzz into Boost?
    also I know the boost is at unity volume or just above unity, but what about the gain on it? as little gain as possible or some mild breakup from the pedal?

    • Bjorn says:

      Place the boaster after the fuzz or any high gain pedal. How much gain you want to add it up to you but I like it just at the very edge of break up. That adds a bit of bite to the fuzz. It also depends on what type of fuzz you are using and how hot your amp and pickups are so you have to adjust the gain on the booster to match this.

  12. Renzo says:

    Hey Gilmourish guys, about the arpeggio riff, I believe there’s another guitar track playing something like this:

    ——–7———7———7——-7—-|| <not really sure about this tho

    And it just plays pretty much the same stuff you posted but from frets 5-9.

    I'm not really sure about it, but you should give a listen to the track and tell me what you think about it, and if you allow me to, I'd like to send you a file with the part I'm talking about being played.

    • Bjorn says:

      Not sure I’m hearing it but it could be.

      • Frederick says:

        As Renzo says, there is in fact another guitar playing that during the arpeggio riff (the F# apparently isn’t there, thought).
        In the recording, you can hear it on the left channel.

        If you still can’t listen to it, take a look at this, at around 4:20 (kek)
        the guy with the strat, he’s playing that part, but without the F#, while the other guy is playing the part you mentioned in the post.
        There also seems to be another guy playing only the open E string, but I believe that’s just filler or whatever.

  13. KEITH says:

    Unless something has changed recently, the Vox V847 was discontinued, and replaced by the V847A. The V847A does not work for the Seagull effect as far as I’ve been able to establish. However, used ,V847’s are always available used for around $50.00.

    Peace y’all, Keith

  14. binson7475 says:

    hello :)!, reading this article of yours which incidentally, excellent work that you do, you say it is recommended for the section of seagulls have a vintage wah style, does that mean that if I get the current voxV847 the effect does not go well ? … or you could use the current V847? …….. and I have another question, does the current V847 will get along with my fuzz face JH-F1 or have to do a mod for the carrying all right?

    [The current V847 works nicely. By vintage I mean that the circuit needs to be the vintage or original one, which the V847 is. The wah should be placed after the fuzz for them to work properly together. – Bjorn]

  15. Matt says:

    Hi Bjorn. My band is going to start working on “Echoes”. I currently have a London Fuzz GE and a Nano Bass Big Muff pi on my board and like them both alot. However it appears that I need a silicon fuzz face to approach David’s sounds on “Echoes”. My question to you is whether you think the Millie Fuzz will be able to cover both the silicon ff tones on Echoes as well as David’s Ram’s head tones later on. Hoping to be able to kill two birds with one stone here:) As always, thank for your guidance Bjorn.

    [The Millie is basically a germanium fuzz and although you can stack a Muff onto of it with the burn feature, I don’t think it’s close enough to a real silicon fuzz, which has a much more aggressive and overall brighter tone. There’s a big difference between the Millie and pedals like the SunFace BC108/109 and Dunlop (grey) Fuzz Face. For Echoes and Dark Side, I’d go for one of the latter. – Bjorn]

  16. Jay Bomar says:

    Hey Bjorn I like your solo album and Mine Will Be Coming out In Next 6 months…anyway I Have Several Axes but my main Ones Is My Gibson Melody Maker with Seym. Stk-01 stacked P-90s in Neck And Bridge And My Fender Modern Player Strat Silver Burst with A TexMex In Neck Fender S.c. In Middle And Gibson P-90 in Bridge and Then My Epi.les Paul Standard ..Crate V5 combo Modded And V18 head And 212 cab, Fender Ramparte 9w 12 6L6 combo and A Jet CITY JCA20H 20W HEAD WITH MARSHALL CAB WITH EMINENCE 12S AND AN ORANGE HYBRID TERROR AND A MODEST PEDALBOARD 10 EFFECTS ON PERFORMING BOARD AND A 5 EFFECT FOR SMALL CLUBS. GILMOUR IS MY BIGGEST INFLUENCE AND LESLIE WEST, Gary Moore, Billy Gibbons, Hendrix, zakk Wylde, Knopfler, Young, Albert King, Slash, Clapton, mick Taylor, Mick Ralphs, tom Morello And Even Merle Haggard And Waylon Jennings…I Am A Country Boy From Virginia But I AM EXCITED ABOUT MY SOLO ALBUM AND MY BAND SOVAGRIT’s Upcoming Album But Cant Wait For Floyds new Ablum..couple More Weeks!

    [Thanks for sharing, Jay, and good luck with your upcoming album! – Bjorn]

  17. Tom from Chile says:

    Well, that’s one of the many things that are great about David and the band, how their roots mixed and, even though they were very similar, they created something really unique.. Cheers!

  18. Tom from Chile says:

    Hey Bjorn, this is more of a David’s bio question (I know I shouldn’t post this on this section..sorry): Do you know how David learnt to play the guitar? Was it just Autodidactism, or, was it combined with classes, etc..
    Cheers Bjorn!!

    [As far as I know he is self tought. He has mentioned that he borrowed a friends guitar at an early age and studied the old blues guys like Robert Johnson, Leadbelly, BB King etc. He has never mentioned any classes. There’s always been a debate about whether Gilmour is a blues guitarist and whether Floyd is a prog, classic rock or blues band. I think the blues lies deep in their roots, especially Gilmour, Barrett and Waters. They all grew up listening to the same stuff and I would say that the majority of Floyd’s music between 1967-1975 is based in the blues. They just used a different way to express it. – Bjorn]

  19. Oldspot says:

    First of all, thanks for creating such a great site! I really like the early Gilmour period Floyd, though I buck the trend somewhat in finding the later albums a bit tame; OBC I don’t care for, DSOTM is OK in parts, WYWH ditto, Animals and The Wall – no thanks. All the albums up to and including Meddle are superb however.

    Anyway, over the last twenty five years I’d figured out most of the separate themes the make up Echoes, but the seagull and the arpeggio part both eluded me. With your tab I got the latter down pat in about two minutes, and I tried the seagull trick and it works perfectly (you can also get an owl with a bit of experimenting).

    I note someone (I didn’t make a note of who, I’m afraid) has posted above that Gilmour has stated he didn’t use a slide on Pompeii, which has presumably caused a few scratched heads. You can’t see what he’s holding on the Echoes intro as there’s not a good enough close-up, but later on in the film, on Saucerful Of Secrets, he’s clearly using what looks like an empty cigar tube. My money is on that being used in Echoes – technically it’s not a slide, so Gilmour is quite correct (if a little disingenuous!) and I reckon the slightly dull aluminium finish is what gives it enough ‘bite’ to really vibrate the strings.

    [David is using a slide on Pompeii. It’s a Hawaiian style steel tone bar :) – Bjorn]

  20. Keith says:

    Lucio, If it’s a newer Strat, with a .022 cap, it won’t work. Have a .047 installed, and that fixed me up. My handmade Rodriguez had an. 022, and wouldn’t do the effect properly with a GCB, or V847, but a quick change to an.047 can type cap, and it works perfectly on both!
    Peace, Keith

  21. Lucio says:

    Hi Bjorn…I do have a crybaby classic gcb95-f and really can’t make the seagull effect. I’ve tried with different guitar and nothing.

    [Hmmm… I thought that one would work. Are you sure you’re doing it right? Anyone else here that has experience with the Classic? – Bjorn]

  22. Aptullah says:

    Hi bjorn,fabulous article thanks for that,i have a question about seagull effect,I Have crybaby classic ( gcb 95-f ) I tried it and connected it as you wrote in the tutorial but I couldn’t get any sound (either any guitar sound and seagull sound).My question is, isn’t crybaby gcb95-f is suitable for getting seagull sound ? ( Anyone tried crybaby classic gcb95-f please comment this if you get seagull effect or not thanks!)

    [Sorry for my late reply… I don’t have one here, so I can’t test it (I’m using the GCB95) but I’m pretty sure I’ve managed to make it work in the past. Are you sure you don’t have any conflicts in the chain? Buffers, caps or anything that might prevent it from working? – Bjorn]

  23. Shervin says:

    Hey Bjorn, thanks a lot for this article! I’ve spent the last few hours on here deciphering the song! Well, in all seriousness, a great other wah for the seagull effect is the Thomas Organ Cry Baby models from the 60s and 70s before they were bought out by Dunlop. I actually bought one today and the tone is great, and the seagull effect is better. They might be rare and expensive, but they are really worth it.

    [Thanks for the tip! – Bjorn]

  24. Anthony says:

    I play a 1997 American standard stratocaster with whatever the stock pickups (probably not optimal) would be in that…i have a jimi hendrix fuzz face, a cry-baby wah-wah and a boss dd-3 digital delay. I like to keep the pedals simple like Gilmour did up through DSOTM. My fall-back is probably my amp! I have a Marshall solid state 50w amp! This is also for bedroom/basement play.

    [Depending on what Marshall model you have, it should be a nice basis for your fuzz. Set the amp up for a fairly neutral sound with a hint of crunch. Add the fuzz and listen to how that sounds. Set the fuzz all the way up and keep the volume at about 70% for a warm tone. The stock Standard pickups has a lot of mid range, so that’s not the best option for David’s and Hendrix’ tones but you should be able to get fairly close. – Bjorn]

  25. Anthony says:

    What would be a good amp setting (bass, mid, treble) to get that live at pompeii sound?? That is the only thing I have been having trouble with!

    [What amp do you use? More importantly – what pickups, pedals and in what environment do you play? – Bjorn]

  26. Operario says:

    Hey there Bjorn ! I’ve read the entire article and browsed most of the comments ( there were just too many!) and couldn’t find and information I’m looking for:

    Right after the arpeggio riff in the studio version, you can hear David following the chord progression on the lower guitar strings… C# / G# / E / F#. He slides down seamlessly from note to note, even the E… which is played open, right ? I can play it with a slide well enough, but when we go from the G# to the E there is a “cut” on the sound, you know… from stopping to press the slide against the strings and playing the low E open… and then again when going from E to F# and pressing the string with the slide again.

    So, my question is: how does he do that without cutting the sound ? Maybe the E string is tuned a 1/2 step lower ? Or is it just really his technique ?

    Thanks in advance ! And no worries about the late reply (which this question is most likely to get, since you’ve probably been busy with Airbag and this is not exactly one of the newest articles on Gilmourish.com haha)

    [Hi Operario! You were right about the late reply :) Hard to tell how they recorded every guitar but he did use a slide on that album. One of These Days was recorded with the Fender 1000 Twin Neck, which would have made a gapless transition between the notes. He could also have just tuned down his Strat and made it that way. On the live versions, Roger would play the fuzz on his bass while David did the echo thing on the same notes. – Bjorn]

  27. Jakes says:

    Sorry, we should buy AnalogMan Sun Face BC108 and the Colorsound Power Boost OR MJM London Fuzz II, Fulltone 70’s, Dunlop JH-F1 Fuzz Face and the BBE Free Fuzz (One of the 4 fuzz or all of them?).
    Is the AnalogMan out of production?
    Sorry for the ignorance but can you schematically write me what i’ve to buy and when one thing excludes the other?
    Thank you so much

    [Sorry for my late reply Jakes. I can’t decide what you should buy. You have to trust your ears. It also depends on your guitar, amps etc. All of the fuzz models you’ve listed are fairly similar, given that they feature silicon transistors. Some are more expensive than others and some, in my opinion, sound better than others. I prefer having a booster after the fuzz for a bit more presence and focus. The Colorsound is a favourite but check out the ThroBak Overdriveboost and TC Electronics Spark Booster too. Just remember to use a true bypass one. – Bjorn]

  28. Keith Clarke says:

    @ Diogo, I have found that the effect works best for me using a tonebar, ( a solid slide used mostly for steel guitar.), and lightly sanding one side of it with a fine grain sandcloth. The mildly abrasive surface causes that E string to vibrate so much easier than two totally smooth surfaces. I think I read that DG does this, but it might have been someone else. However, it works extremely well, and you can still use it for slide!
    Peace, Keith

  29. Enthagost says:

    Sorry, I have to buy a delay, it’s better to buy Boss DD6 (or DD7) or the DD2 have a better sound for Pink Floyd?

    [They’re quite similar. The DD2 sounds warmer and smoother. – BJorn]

  30. Keith Clarke says:

    Diogo, I have found that I can make the violin sound the best using a tonebar, (a solid chromed brass slide like most lap, and pedal steel players use), and roughing it up on one side with a very fine grit sandcloth. The slightly abrasive surface causes the strings to vibrate more easily, instead of there being no resistance when rubbing a perfectly smooth object across a perfectly smooth e string! And, I just turn it around when using it as a slide! I believe I read this somewhere before I tried it, sound reasonable to you Bjorn?
    Hope this helps, Keith

    [A little friction helps. You also need to play quite loud and use either a compressor, or as David often did, a booster. – Bjorn]

  31. Diogo says:

    Think someone mentioned glass slides and the violin sound; recently got a glass slide and haven’t been able to get the sound. Funny enough, I can do it by sliding the tremolo arm across the strings :b Been finding some funky sounds with the slide-echo combo though.

  32. Andrew says:

    Cool Bjorn !
    PS you buy CPB in right time! ;)

    [Indeed! – Bjorn]

  33. Andrew says:

    Thanks for the quick reply Bjorn! im strat 69/69/ssl5 -> valve combo 15 or 50watt
    Yes, I understand that the difference between 108 and 109 may not be important like other factors … But anyway those who want buy a correct clone silicon dallas arbiter fuzz to build replication Davids fuzz tones, now face a choice of “sun face” =) 108 or 109 and have not sound examples how sounds new version. Your review would be great ..
    Your kolorsaund is “Standard” or “vintage” ?

    [I’ll have a 109 review up soon. I bought my CPB in 2005, right after they started to make them again. I bought it in the Macari’s shop new for 85£! The guy behind the counter even thought that was a bit too much since they were making them in the back :) Anyway, mine is a 9V with a master volume. – Bjorn]

  34. Andrew says:

    Happy New Year Bjorn! I wish that in the new year your website growth the popularity ( together with the number of David fans around the world) , and also I hope that you will not weaken the activity of the filling of the site and may be even increase ;)
    Tell please, in your experience with Sun faces (bc108 and bc109) what gives a better approximation to the Davids tone in “Ehoes” solo (Pompei version) ?
    And if you let , same question about “Time” solo (DSOTM) ?

    [Thank you Andrew! The site will continue to grow :) In regards to your question… It depends on what guitar/pickups and amp you use. How loud you play, in what environment you play and all those things that affects your tone. Fuzz pedals are very sensitive to all this. It’s not a huge difference between the 108 and 109. The 109 has a bit more gain and sound generally more aggressive. In terms of the album versions, you might want the 108 or even a germanium fuzz for Echoes. For 1970s live versions, I’d go for the 109 and a transparent booster like the Colorsound Powerboost to tighten up the tone a bit. – Bjorn]

  35. Steve says:

    Hi, Bjorn. I can’t add anything to the praise of this article – only to note that, more than 4 years later, we are still talking about it!

    In anticipation of receiving my Catalinbread Echorec . . . hopefully next week . . . of course the first thing I will do after dialing it in is try it on the Solo and compare it to my existing setup which uses an old TEAC reel-to-reel for delay (and may be found here http://www.youtube.com/watch?v=XO3vndkAiSA&sns=em for those who enjoy pain).

    I think I’ll be able to quickly dial in the “usual” echo parameters – time/mix/tone – easily enough but – any thoughts on the specific head-choice modes – i.e. position of the 12-position switch?

    I’m thinking:

    Position 1 (single head) for the solo and most of the song except the clean parts of the “funky part”
    Some funky multi-head position for the arpeggio buildup – who knows which one . . .

    Please tell me you’ve built a fully accurate 3-d model of David’s setup at Pompeii and can simply zoom in and read that knob!

    [Ha ha! Of course I have 3D models of all his setups :) To be honest, I’ve never tried the real thing so I have to do some research my self when I get the pedal. From what I can gather, David used the swell mode on the Time intro and a more straight up delay at around 300ms on most of the stuff. I’m looking forward to trying the pedal and figure out the setups :) – Bjorn]

  36. James says:

    Bjorn, with regard to the Albert Hall/OAI versions of Echoes, DG used the MXR set to 300ms with 6 repeats, parallel mixed, but with a 75ms slap back on the TES BEFORE the MXR.

    He also plays the second licks of the first solo on the bridge PUP, and you can hear him switching from middle to bridge on the Gdansk track.

    Hope this helps. You’ll work out who this is and where I got the info from!

    Hope all well with you…



    [Thanks for the info JW! Hope all is well :) – Bjorn]

  37. Jamie-Rhys says:

    Hi Bjorn,
    How many pedals do you think should be on a pedal board? I am also going to start on making my own custom pedal board.

    [Impossible to say. Depends on what tones you’re looking for and how your amp and guitar sounds. Some setups needs more pedals because the amp and guitar needs more tone shaping. Others needs less. A classic early Gilmour and Hendrix setup requires 3-4 pedals while a more recent Gilmour setup needs perhaps up to 7-8 pedals to get the authentic tones. If it’s David’s tones you’re after I would suggest something versatile that would at least include a distortion, overdrive, one or two modulations and a delay. – Bjorn]

  38. Jamie-Rhys says:

    Hi Bjorn,
    After you saying the Behringer Fuzz was ok, I want better than ok but for a low pric. Would you recommend the Joyo JF-12 Fuzz / Ultimate Octave Voodoo?

    [I haven’t tried that one so I can’t really tell. Check out the Mooer Grey Faze as well. Great tone. – Bjorn]

  39. Jamie-Rhys says:

    Hi Bjorn,
    What Behringer Fuzz Pedal would you recommend?

    [I’ve only tried the Ultra Fuzz. Sounded quite OK. – Bjorn]

  40. Walisson says:

    Fulltone 69 would also be a good choice?

    [Yep, but the 70’s is perhaps closer to David’s tones. – Bjorn]

  41. Tony says:

    Here’s a raw, stripped-down Pompeii style version of Echoes. Fender 50’s Classic Strat with Rumpelstiltskin Gypsy Pickups through a Sovtek Mig-30 loaded with JJKT66’s & Silicon Fuzz. Hope you enjoy!


    [Lovely version! Thanks for sharing! – Bjorn]

  42. Bryan S. says:

    Hi Kali ..

    Just as a parallel here .. I am a member of a really cool Grateful Dead forum where a good percentage of the members are players in their own right in various well known and not so well known Grateful Dead ( + JGB ) tribute bands. These guys go into the various band members gear and tones in great detail as like Gilmour, Jerry’s tone evolved over the years as he sought to improve his tone.
    However, the biggest thing they all come back to .. and I believe it is the same on this fine forum .. is that the magic comes from Jerry’s and David’s fingers … and no matter how much we seek to replicate the gear and the chord structures and everything else … there is NO substitute for learning how to express oneself on the instrument to the best of one’s abilities which involves as you say .. practice and a certain amount of discipline ( which I never had :-( …… :-) )

    So I agree wholeheartedly with your comments Kali, and thanks for them .. … But .. Having said that … I think here and over on the Dead forum, we love playing with our gear and messing around with new stuff .. and if we happen to have a certain amount of reverance for Gerry and David … I think that is quite a natural and respectful thing to hold for the creators of 2 of the finest and most recognisable tones ever created in the world of electric guitar.

    Oh … and I asked Bjorn the same thing about pickup selections .. and here was his answer .. :-)

    [You’ll find all the pickup settings in the “settings and setups” section of each album gear guide. Check out pickup settings for Wall here. Comf Numb was recorded with the bridge pickup throughout and the mini switch was engaged (bridge and neck) for the first solo. – Bjorn]

  43. Kali says:

    OK – everyone is going to get all angry but here is some truth:

    (and first of all I am a HUGE Gilmour fan and came here looking for some info)

    1. You should quit asking ‘what is the tuning?’ and ‘what chord is that?’ If you want to learn to play the guitar and/or sound like your hero figure it out. Practice a lot, tune your guitar with your ears – to the records – play along with the solos until you have them DOWN.

    2. The above advice (#1) is going to get you sounding like your hero way better than buying a bunch of specific gear – its obvious: would you rather be able to play exactly like him on any old guitar or would you rather have his exact rig?

    3. What is with these tablatures without barlines or rhythmic notation? A good model would be lute tablatures – take a look, they are very clear.

    4. TONE – all this discussion of tone but I never see any mention of the position of the pickup selector switch or of the tone or volume pots…if I am looking for a tone thats the first place I go – then I add the other things like amps and pedals.

    All this combined makes me wonder – are we here looking for good tone and good playing or for a little Gilmour fetish hero worship?

    Before getting all angry and defensive – I am a professional guitarist and have been playing professionally for 20 years, I have a masters degree from one of the biggest conservatories in Europe and I say what I say because I love the music of Pink Floyd, David Gilmour and would like to help people become better musicians rather than clones and gear collectors.

    [Thanks for your comment Kali. Although I agree with most of your points I think you misinterpret what this site is all about. Call it a fetish or religion or whatever you like but I’m sure I speak for most of us in that trying to replicate David’s playing and tone is just a small part of the reason we play guitar. You don’t evolve if you’re stuck trying to copy someone else but then again, I think you’re fooling yourself if you don’t appreciate your influences. Everyone has their way of learning and understanding music and tone needless to say, pickup positions doesn’t mean much when you’re discussing a specific pedal or amp. – Bjorn]

  44. Alex says:

    Okay, good point ;)


  45. Alex says:

    Hi Bjorn,

    recently put my hands on ‘Echoes’. Are you sure the build-ups and arpeggio riffs are 310 ms? I find it much easier to get in with that dotted 8th thingy (which would be around 440 ms or little less).

    Sounds good on your sample file though…

    If 310 ms are used, all 8th triplets (of the build-up) need to be picked precisely which tends to bring me to messing up the timing… But I guess it’s just a training thing :)

    However, have you ever tried dotted 8th’s on those parts?

    Keep up the good work!

    [I’m pretty sure. The Binson unit he used at the time had 310-320ms for max time. – Bjorn]

  46. Tony says:

    Hi Bjorn and Gilmour fans,

    Here’s a recent link of our band Echoes Pompeii style live in Hawaii. This only our third time performing this, so please forgive any imperfections. But it really takes off after a couple minutes. This is done with 50’s Classic Strat with Rumplestiltskin CBS Pickups (finest I’ve ever found) through a Deviltone Silicon Fuzz into a Sovtek Mig-50 loaded with KT-66’s (very underrated and uncolored amp). This song has always meant the world to me. So much, my wife and I named our first child ‘Echo’. Enjoy and Aloha…


    [Thanks for sharing! Great tone you got there! – Bjorn]

  47. Mario says:

    What are the chords for the funky part

    [It’s basically just a C#m. – Bjorn]

  48. John Peace says:

    Strangely I once came upon a similar sound to the seagull effect, also by accident. My friend had a vintage Vox bass wah, but the thing wouldn’t turn off. The clicker switch was broken. What it did was to be a wah on either side of the switch, but with a different tone. Well we decided that was pretty neat, so I decided to put a bypass switch on the side of the pedal where it could be kicked on or off. Now this is a simple mod, just put a switch that reroutes the input signal directly to the out, or passes it through the pedal. But for some reason this had an unexpected effect. It caused the pedal to feed back when it was nearly heeled. This made the Echoes sound, though being a bass wah it was an octave lower. No guitar was necessary, just a cable plugged into it. when fully heeled it stopped, when toed 50% it became a wah as normal. but between about 5% and 50% it made a controllable sweeping feedback. with a little practice it was possible to reproduce the seagulls sound using only your foot. The main difference was that it was only one knob doing it all, and it was harder to control because of that. The laughing did not happen by itself. You had to bounce the pedal to get that sound. I do not understand what weird alteration was created in the electronics by adding a bypass, but whatever was wrong with the thing that made it a dual range wah in the first place apparently lent itself to the seagulls sound as well. If anyone wants to hear what the broken Vox bass wah sounded like here’s a sample. This is really the first time we played with it, so the control wasn’t completely down yet, but this is what it did (we sped up the tape for this recording to bring it closer to the correct pitch, so the laughing is very fast at times) http://www.megaupload.com/?d=WNPFQDKG

  49. Jay says:

    another quik question, I cant seem to find tab on the Funk part of the song , could you explai what cord progession or anything that hes doing. im not talkking about the solo lead but the rythem part he plays after each lead riff

    [It’s basically just a C#m that he slides up from a Bm. The trick is to follow the same pattern that the drums and bass plays… getting in the same groove. Check out this clip and see how David’s playng the chords. – Bjorn]

  50. Jay says:

    What key is this song in, Bm right?

    [C#m. – Bjorn]

  51. spruce says:

    thanks for the arpeggio riff tab. I’ve been trying to figure it out for a long time, but it has always eluded me. Off course it is very simple. HA

    [It usually is :) – Bjorn]

  52. Arnni says:

    Thanks Bjorn for getting in touch with me so quickly, erm i triewd it with a Battery and the same thing has happened. I was recording the part just incase, it failed on the night to have it on a backing track. But when i came to do a second take it failed. If it is a loose wire then why is it doing it at first then failing?

    ill check but i think its all connectted otherwise it wouldnt work in the first place. My only other theory is to do with my evidence audio lyric cable being in it first.

    But that only a hunch!!!

    I’ll keep you posted and take some snapshots for you to look at.

    Its a pain this seen as the gig is this friday!!!


    [Never had any problems with any of the Evidence cables with this setup (Melody, Lyric, Forte…). – Keep me posted. Hope the gig went well! – Bjorn]

  53. Arnni says:

    Hey Bjorn

    Long time no speak, got the same wah as you and started cover echoes with the band.

    Seagul section – The first 3 times we rehearsed it everything was fine. Now everytime i plug my wah in backwards it doesn’t work…. it just doesn’t work. i can’t decide if it’s overloading or what. However if i re -plug it in the right way then hit the wah, it works. then reverse it again it works. Now you can imagine this is hard when your in the middle of echoes… not very fun any suggestions.


    [Cheers Arnni! Hard to say but there might be a loose jack input or a wiring that needs some attention. There shouldn’t be any overload or any other reason for this not to work. – Bjorn]

  54. Michael says:

    Hey Bjorn,

    Is it possible to get that screaming tone heard on the funky part on Pompeii on the RAT and Kelley? I know it would sound sooooo much better on a fuzz, but moderately close would be fine.

    [By Rat and Keeley you mean the Rat modified by Keeley? Moderately close would be a fitting description yes. The Rat was actually designed based on a Fuzz Face with humbuckers in mind. It’s a different pedal all together but it’s extremely versatile and you should be able to dial in anything from warm overdrive, fat distortion to bright fuzz. – Bjorn]

  55. Michael says:

    Thank you soooooo much for this wonderful article. Ive always wanted to learn Echoes, but the tricky part you mentioned always frightened me (it sounded like fast finger picking, something i’m not good at.) You made it so much less frightening with that wonderful echo unit. Keep these articles coming!!!!!!!!

    [Thanks! – Bjorn]

  56. Max says:

    Hi Bjorn,

    I’m still baffled by the violin effect? I tried but just keep getting regular slide sounds? Any possibility of a video demo?
    So the slide is rubbed over the pickup and then play notes?
    sorry I’m confused


    [It’s hard to describe and it can be hard to achieve but the trick is to play loud and with lots of echo. You rub the slide over the frets, not the pickups. Rub it gently back and forth on the string you want to play over the fret (across the neck) rather than up and down the neck as you normally would do. See if this clip makes any sence (from 5:40 and out). – Bjorn]

  57. Sherwin says:

    Hi, Bjorn. As always, thank you so much for this insightful article!

    For further examination of the “arpeggio riff”, if you split between right and left channels when listening to the part you can hear that it is two tracks of guitar – one played in the fifth position (left channel) and another at the ninth position (right channel). This was of course simplified for live performances and played in the style shown in the example in this article. Just thought I’d put that out there, I hope someone finds it useful :)

    [Thanks! – Bjorn]

  58. Bryce says:

    Hi Bjorn,
    For the seagulls effect, if your strat is wired where the lower tone knob effects both the middle and bridge pickups, will this alter the functionality of the effect in a bad way?


    [I really don’t know. You just have to try it and see if it works. – Bjorn]

  59. Dave A says:

    Maybe well surely a novice question but so be it.when you say you use the BD2 to boost the maxon are you placing it after the maxon with higher or lower settings.To be honest not even how to set for what you say is a clean boost.Two questions in there somewhere.Only if you have the time of course :)….

    [The BD-2 is set clean, gain at about 9:00, with a slight volume boost. The pedal is placed after the 808. It adds a slight volume boost to the tone but mainly it’s to add more character to the tone. The 808 can be a bit thin in the lower frequencies and a bit sloppy. The BD2 adds bass and just a tighter tone. – Bjorn]

  60. Dave A says:

    Ah the other post.yeah not full in mind when i read it back or rather you could say to full in mind.:)Glad you sussed that though,Thanks f0r the insight on the compressors,does this ever end:)

    [LOL! – Bjorn]

  61. Dave A says:

    hey bjorn,yup loving the amp loving the simplicity of it,suits me fine.Heres a few things,just watched you second shine on solo on you tube and noticed your using the boss cs 2 as you do a lot.Is this a better option to the dynacomp.Also noticed your not using a modulation pedal,do you turn it of after the four leading in notes.And your using the maxon and the bd 2,hows that working.Er yeah that will do for now….sorry mete hehe

    [Hi Dave. The Dynacomp and CS2 sound very different from each other. The Dyna is bright with a very deep and tight compression and in my opinion it works better on distoprtions. The CS2 is warm with a mild and soft compression, ideal for cleans and mild overdrives. It’s a matter of taste I guess. I use the BD-2 to boost the 808… adds a bit more balls, if you will :). I’m not using modulation on this one… saw your other post, he he :) Cheers! – Bjorn]

  62. Dave A says:

    Thanks for the reply mate,it always helps.

    [Sure! Let me know if it works out for you or if you need more help. Cheers! – Bjorn]

  63. tito says:

    Hey Bjorn!
    i’m from Argentina and i think that your website is amazing
    thanks for the arpeggio riff
    that was the only part i didn’t know how to play!
    well that’s it
    thanks a lot again
    good luck!
    Pink Floyd to death!!!

    [Thanks! Glad you enjoy my site :) – Bjorn]

  64. Dave A says:

    Hey Bjorn hope alls good.Well ive finally managed to obtain a 5210,took ages to find but now ive no excuses i suppose,pleased oh yes i am,looks fantastic but i cant get it to sound like yours though lol.Im using the clean channel pure clean.Ive been reading through your article on overdrives and was wondering how you would set them for a clean boost to use with the AA green russian,ive got both the Maxon 808 and the bd2 modded but im not finding that comfortably numb noise mate.Iknow its me now and not the gear hehe.I was thinking would i be right to use the maxon to boost the muff and then i could set the bd2 for shine on,but the maxon 808 is nice and creamy for the shine on.Any way fancy giving away any secrets how you would use yours for shine on and numb,oh yeah and the aa green russian.Oh well gotta try eh.Pehaps im just tottaly wrong with the dynacomp hehe.Anyway any helps appreciated.Good luck mate

    [Congrats! I think you’ll love the amp! I use the clean channel with the treble at 11:00, bass 2:00 and the master at about 1/3 of the channel volume. The clean channel is fairly bright and the fact that it doesn’t have a mid range control makes it a bit tricky to dial in but the right settings on your pedals should give you a great tone. I usually set the 808: gain 2:00, level 2:00, tone 10:00. BD-2: level 2:00, gain 12:00, tone 10:00 (mine has a much wider clean range than the stock model). The AA Green Russian is slightly brighter than the Sovtek so I usually keep the tone a little lower than usual: gain 2:00, level 1:00, tone 9:00. Hope this helped. Cheers! – Bjorn]

  65. Anmol says:

    Hey Hey My man bjorn,
    Wats happening brother,no song of the month or anything…well i would say u better be gigging with ur new album otherwise thts not fair……
    Well no hard feelings man,we all love you
    Anyways,what i wanna know is tht in the recent live versions of echoes….the fuzz fills are like very haunting harsh,kinda have been always…but u sure these r with the G2 or lets say a germanium fuzz and not a muff……coz i didn’t like it much earlier in comparison to the silicon fuzz but i just seem to be loving it too much

    Oh yeah another news………i tried buying a trex replica and couldn’t coz its insanely pricey…….
    By the way how is the new album thing happpening
    Anyways….waiting for the answer….

    [Hi! Tons of things happing but not much Gimourish related stuff I’m afraid. But, several things are in progress so stay tuned for new articles soon! I’m pretty sure it’s the G2 at least on the first leg of the tour. While in US David also added a triangle Muff and a TRex Replica, which might have been set up in loop for David to be able to stomp once for both effects during the “funky part” but I’m not sure. – Bjorn]

  66. Anmol says:

    Hey Bjorn,

    Howdy…..Well i wanna ask you one thing….have u seen the acoustic version of echoes performed at the abbey road studios….can u tell me what tuning is tht in……coz i think its not in standard tuning….kindly clear

    [It’s standard tuning. – Bjorn]

  67. Dave A says:

    hey bjorn hows things.sorry for the late reply.As for the 4210,it had left the building so to speak,yup it had gone.In hindsite i suppose its a good thing as its a valve amp after all and well,high volume and all that,I located a 5210 but was only a couple of hours away,someone beat me to it,just.So i will bide my time and not loose patiance waitaing for the transister 5210,anyone in sweden selling one i will travell,sorry bjorn couldnt help myself.On a good note ive just ordered last week the green russian absoliutley anologue,my first muff.Well in the guitar world that is.So cant wait,its all about inspiration for me,as im not that gifted i need things to keep me going.Speaking of which obviously your busy at the moment with Airbag of course but are we to expect any new tutorials soon………all the best pal.dave

    [Hi Dave. Just keep your eyes open… the 5210 is worth waiting for! – Bjorn]

  68. Dave A says:

    (well,what i can say is that i have no plans to put the site to rest etc etc)you couldnt get away with closing this site my friend you wouldnt be forgiven by many thats for sure so dont even think about it…..anyway,regarding amps and your recomendations,you mention the 5210 marshall well thats goldust here in stockholm,found a 4210 from 74,the year that is. Any good.Ok the peavey classic 50,is that the new tweed version,2 12 or 4 10 version, or the old marshall type front looking model,are they the same spec,and also is the classic 30 new tweed type just as good for the clean channel that we are after,surely its more home friendly.Im up for an amp now my friend,its got to be done,thus obviosly my confidence is improving enough to warrent it,mostly due to this site bjorn,what can i say but cheers mate.Oh yeah would like to draw your attention to a comment that YOU wrote three paragraphs up from this one,something about screaming fills in echoes haha,sorry………put this site to rest pah! what nonsence

    [LOL! I said that I have no plans of putting the site to rest :) Chill… I’ve never tried any of the other Marshall combos from this era but I really couldn’t be happier with the 5210. As I’ve said before, the clean tone is remarkably close to my Sound City with a character and depth that I’ve rarely heard from any Marshall. The Peavey’s sounds closer to the old Fenders… bassman combos in particular. I like them a lot but wouldn’t trade my 5210. Let me know if you decide on the 4210! – Bjorn]

  69. Anmol says:

    Oh Bjorn,i know there is not much to be written about david’s gear,
    but there are a lot of songs noobs like me can’t play….can we expect help on that….
    And also if possible….some demo videos slow versions…plz

    [Well, what I can say is that I have no plans to put the site to rest so there will be plenty of new stuff to come! Stay tuned my friend! – Bjorn]

  70. anmol says:

    Hey bjorn,

    I m back.lol…well….i have been going through the site a lot now and haven’t found something intriguing in the past couple of weeks…..surprise us man,we need it.Anyways…wanted to know is the MXR classic 108 fuzz ok for echoes…??
    And any experience with distortion III by MXR.bought pedal recently….
    Keep up the good work ….

    [I’m not sure there’s much more to be written about David and his gear but I hope you stop by from time to time :) The Classic Fuzz goes very well with Echoes. Haven’t tried the Dist III. – Bjorn]

  71. Dave A says:

    hehe so pleased,what a gem, cheers mate…….

  72. Dave A says:

    hey bjorn hows life treating you,heres a selfish idea on my part,how about one of your homemade backing tracks for the funky part of this great song without the lead screams,the pro track fades out at this point,idont know but could it be added to the end of your solo backing track,hmm just a thought,a mighty fine backing track for the solo it is to.do compliments help :) anyway hope your good pal

    [How can I resist :) I’ll see what I can do. Cheers! – Bjorn]

  73. Dave A says:

    cheers Bjorn many thanks but im a bit confused regarding an orc booster,is that a typo error because i really cant find one and ive googled for it,or is it an out of issue fulltone or something,dont worry im not gonna mention those again,well only to say you should do a clip hahaha.be good bjorn.im not gonna hassle you for a couple of weeks im off on holiday.but ill be back

    [Well, hassle me as much as you want :) That’s a typo obviously. Thanks for noticing. It’s of course the Fulltone OCD booster. Cheers! – Bjorn]

  74. Dave A says:

    hey bjorn,just read the booster part about echoes in the buyers gear guide refering to the echoes section and you said that David left the power boost on for a smoother,sustained on the fills,im with you my friend many thanks,as im using a solid state the colorsound can wait a bit,but one day its coming hehe,i will stay using the maxon for now,unless you have a better recomendation for a booster with a solid state of course,hint hint..sorry to be annoying pal,but i get the feeling you love answering as much as us who love the site like answering,and yup im gonna mention a you tube clip on those fills again,cheers mate its a good job youve got a good sense of humour,all the best bjorn……again

    [No worries :) Yeah, David used the Colorsound from 1972 and it really makes a difference to his sound just like the Tube Drivers today. The pedals are very similar. Using the Colorsound as a clean booster for the fuzz and Big Muff adds a nice attack and just generally a more punchier, smoother tone. The Powerbooster and Tube Driver might not be the best choice for a solid state amp though. Depending on the amp, these units are designed to be used on tube amps with lots of headroom. It doesn’t mean that you can’t use them on solid states but perhaps a modified BD-2 or ORC booster would be a better choice. – Bjorn]

  75. Dave A says:

    hey björn cheers for your time its always informative my friend and many thanks for your time to reply ,not just to me but to everyones requests by the way,as for the booster for the rat you suggested am i right in thinking the maxon 808 i have is right for the job or would i be better off in aquiring a specific booster pedal to achieve what i want to do.any ideas or even better recomendations i will like to hear,as for the amp i am going to get shortly it will be the peavey 30 watt combo or if i can find one,the marshall you use but the marshall 5210 are not that easy to find here in stockholm,well from what ive found so faranyway.ive been using your youtube clip of the solo from pompeii as a reference and its really helped,how about a clip of theose lead squeels over the funky part so we can see what you are up to,hoping….soon im hoping to get the courage to play with some friends that have some knowledge and talent and thats gonna be an experience,they are good lads but its me who is holding back ,so thanks for keeping my enthusiasm,the confidence will come and soon im up for it,its gotta be done,cheers björn

    [Glad you find the site useful :) Please see the Buyer’s Gear Guides for more gear tips. Cheers! – Bjorn]

  76. Dave A says:

    hi björn,cheers for your time,i was totally wrong but i think im getting there now,i was talking about the screaming fuzzed fills in the the funky part of the song,i think he is playing the d shape basic chord on the sixteenth and eighteenth frett on some of the fills but i just cant get that initial first tone when he jumps up to start the fills,i think its around the twelth fret to start off,its the first blazing grab your attention start thats bugging me ,is it just one note or more,now im thinking he is playing the d g and b strings on the twelth simultaniously but im sure theres a technique i cant get,was wondering how you achieved it.i found a vid on you tube [david gilmour playing echoes funky part],its helped but im still not happy how to get that dramatic start to the fills,oh well but if you have any tips im gratefull.im using the rat all the way up you know how it is,i say to myself get a fuzz pedal its got to help but ive gone past that stage in my development when i believed the pedals changed everything and unfortunatly you get to that stage when you realise its not the gear its the player right,and besides im only playing a little solid state at home,a better amp perhaps the peavey classic youve mentioned on the site,im not sure its a good place to get to because i can no longer dream about getting to a better level when i get this or that piece of gear,im sure all players remember that stage of there dreaming hehe,now its a case of not leaving the guitar in the corner again but just keeping going.cheers again for a great site its keeping me enthusiastic,if i do manage to get to an acceptable level for myself a lot of the credit will be down to your site,it truly is that good and im sure that goes for many others.cheers björn,as always all the best to you mate

    [You’re right in that most of David’s tone – or any guitarist’s – is in the fingers but some solos or whatever are more more based on effects than others and Echoes is one of those songs that needs the right setup to get THE tone. Or at least that’s my experience. There’s something about that wild screaming fuzz sound that can’t be simulated by any other pedal or effect and what you hear is very much the chords you’re describing but the dramatic attack and weird overtones is the fuzz all the way. It can be difficult achieving that tone on a smaller setup and a RAT is perhaps the closest you’ll get but you can also try some experimenting with a Big Muff or using a booster with the RAT to get more gain and character for those squeals. – Bjorn]

  77. Dave A says:

    hey björn thanks for the help,im getting there well sort of,obviously im not quite on the it just yet but then frustration is all part of the learning i suppose,if we could all achieve what mr gilmour can well he wouldnt be such an envious personality would he.am i doing right by jumping up to the twelth fret and strking the g b and top e strings or am i completley off track here mate,sorry if im bugging you björn……

    [I’m not sure what you’re referring to… Which part are you talking about? – Bjorn]

  78. Dave A says:

    hey bjorn how are you,really helpfull article on echoes,any chance of a you tube clip explaining how to get those agressive fuzzed up distorted whatever they are bits in the funky part,damm its confusing me and watching the pompeii vid over and over not helping that mutch,or what about a nice little written explanation how you achieve it,its gotta be better than what im doing hehe,thats for sure.cheers mate all the best to you…………….heres hoping

    [If you listen to Pompeii David’s using a clean tone for the rhythms – played with the middle pickup – and then he kicks in both the Fuzz Face and Binson delay for the “fuzz screams”. On the 2006 Albert Hall show, he does the same thing only then he’s using the Tube Driver as a basis for the cleans and kicks in a Big Muff and delay for the screams. The way to do this is to have the fuzz and delay next to each other on the floor or the board and stomp both very fast on/off in this order fuzz > delay and delay > fuzz. This way the rhythms are always dry. If you’re using a multi switcher or digital effects processor then simply make two patches, – one for rhythms and one with fuzz (+boost/overdrive) + delay combo. Hope this helped. – Bjorn]

  79. Jon says:

    I remember reading an interview years ago that (on record) the seagull part was a pair of studio headphones feeding back when held close to the microphone. Not helpful for those playing the song, but there it is.

    [I doubt that that was the way they did it… – Bjorn]

  80. William says:

    Echoes is one of my favourite Pink Floyd tunes and was one of the first long tunes I learned to play

  81. Luciano says:

    Hi, Bjorn.

    I’m about to buy a wah and (since I just can’t find a Vox Clyde McCoy Reissue) I’m considering the Dunlop Crybaby Classic (GCB95-F, with Fasel inductor) and the new Dunlop Jimi Hendrix Signature Wah (JH-1B).
    Do you know anything about them?
    I have a few doubts:
    1) Supposedly both have Fasel vintage inductors to provide the vintage tone, right?
    2) I read in GP Magazine that the Hendrix Signature has no buffer. Do you know if the Classic is buffered? As you may presume, I want to achieve the Seagull effect…
    3) The Classic is true-bypass and the Signature is not. Does it make any huge difference (especially to me, considering that I already have some Boss buffered pedals in chain)?
    They both cost around the same, but I’m not able to test them before buying. :(
    Any help will be much appreciated.
    P.S.: Sorry for bothering you with so many questions but, thanks to your superb site, you have become some sort of advisor to all of us (or guru, perhaps). :-))

    [ I haven’t tried any of them and I’m not a wah wah expert by any means. I think you should be able to get the Echoes squeals with both. Anyone want to add to this? – Bjorn]

  82. Ciucinciu Tiberius says:

    Yeah man, i took your advice and i redid the video i became kind of obssesed with this part, once i was high with my friend, and they dont listen to pink floyd, i put the live song, and at this part a friend of mine told me with tears in his eyes that that was the most beautiful thing in the world, classic story, anyway, i was wondering if you with your band could make a baking trak only with this part, just the drums organ and bass, it will be a great thing, and you can make some kind of contest on who is getting the closest to the song, what do you say?

    [Nice playing and tone! Well done! Thanks for the suggestion too… I can’t promise anything tho. Cheers! – Bjorn]

  83. Ciucinciu Tiberius says:

    [Thanks for sharing the clip! Seems like you’ve figured it out :) Have you tried using a booster or overdrive for a fuller tone? – Bjorn] hmm no i have only an fender frontman 15w and a shitty chenesse guitar, maybe when i will be richer i will do that, i need to remake the whole clip, because i screwed up some parts and i messed around on the end, also the first chords that i made with a vst hammond are wrong (Bm and G) i shloud done Bm and Gm, god damnit! and i dont know why i did it but i rec the guitar with low volume, prehaps thats why you tell me that i need a booster, thank Bjorn :D

    [I thought your playing and tone was good but I think a booster of some sort would make it a bit easier :) – Bjorn]

  84. Steve says:

    hey Bjorn

    Am keen on getting a silicon fuzz.

    Have you had any experience with the Hartman version. Being a student the Analogman’s price is the only sticking point but if people out there thought it was better than the heartman I’d go for it.

    Thanks for the article by the way!!

    [Haven’t tried the Harman no. The BBE Free Fuzz is a great budget model though. – Bjorn]

  85. ray says:

    thanks for delete’n the tab bjorn. it was a real embarassment to me. don’t know why it kept changing the alignment, but se la vi.

    [No worries :) _Bjorn]

  86. ray says:

    hey Bjorn,
    great article!! you know for the life of me i couldn’t figure out how david was getting the seagulls. now, thanks to you it finally sounds spot on!! thanks.
    the arpeggio section is right on except that david also plays the 3rd string 9th fret E at the same itme as the pull off to the open high e string and the 12th fret E as well like this

    i kept hearing that damn E on the third string when i was learning it (from the album) and completely missed the A on the 2nd string. although he doesn’t play the E 3rd string live but on the album you can here an interval of 4th on the bottom between the E and the A.
    thanks again
    contact me if any of you wanna talk floyd, gear, music, etc..

    [Glad you enjoyed the article Ray. You’re correct about the tab but I made it easier with purpose. It sounds the same but the E as you describe it should be there. I had to delete the tab… something fucked it all up. Have no idea why. Sorry about that. Cheers! – Bjorn]

  87. Ernest Peske says:

    Yeah, somehow each guitar needs different choice of pups, like Seymour Duncan said once. Maybe, you could try the same pups of the strat Phil manzanera used on the OAI tour. This was actually one of David’s strats.
    He used Kinmann pups (I believe Woodstock Regular).
    I once asked Kimann about it ! (I could look in my E-mails if you want to).
    Anyway, I believe these pups are all very close, soundwise.

    By the way, I just did order a BYOC Ram’s Head Muff clone…
    I will A/B test it with the original EH Ram’s Head!

    [Thanks for the tips Ernest. I’ve tried the Kindman’s but somehow I didn’t like them. Don’t know why really. They kind of sounded a bit too bright… maybe I’m just picky. Please let me know how the BYOC sounds! I just received a Green Russian from Absolutely Analog, a green Sovtek clone. Review coming up! – Bjorn]

  88. Ciucinciu Tiberius says:

    Thanks for the article i ve searched the web for making the screaming effect on detail, and now i have to buy a wah pedal..thats a matter of time and money. But ive noticed the violin effect on the second time i saw live at pompeii, and i tried to reproduce it, it did not sound allright, i had old strings and the slide produced schreeching or nasty noise rather than that incredible sound, recently i bought some guitar strigs, and i tried to do the violin effect from saucerful of secrets, the tab didnt exist so i had to made up by my self, so here it is.

    [Thanks for sharing the clip! Seems like you’ve figured it out :) Have you tried using a booster or overdrive for a fuller tone? – Bjorn]

  89. Ernest Peske says:

    [I recently fitted the guitar with CS 69s tho… something I never though I’d do because I loved the CS 54s.] – Bjorn

    Must be very interesting to hear the difference on the same guitar!

    Maybe the best option would be:
    – bridge: CS 54
    – middle: CS 54 or CS 69
    – neck: CS 69 (=more treble then the CS 54…?)

    [The difference between the CS 54s and 69s on the black Strat wasn’t all that much. I noticed a bigger difference from the 70’s Strat. The 69’s sounds a bit warmer on the black Strat. It’s hard to describe the difference between the CS54 and CS69… Some people say that the 69’s are brighter but I find them very similar only that that the 69s have a bit more bass and a slightly higher output. I’d say the 54 are brighter but I guess that depends on the guitar too. I don’t know if this will be my setup from now on but it’s nice to try different things. I’m also considering some new pickups for my 70’s Strat but I haven’t decided yet. Perhaps a full set of Duncan SSL-1s… – Bjorn]

  90. gerardo says:

    Wow, I really enjoyed this article about the greatest song ever (Ok, along with shine on)

    Im planning to play this one with my band, and your comments about the setting are gonna be really helpful.

    I recorded the solo from the Pompeii version, with some varations.

    I know the sound is far from being exactly as the one from Dave, but, hey! Using a Gibson with a solid state amp is not the best to get his sound.

    Also, I used a Line 6 podXT live. I think is the best way to get close to Dave`s sound without spending lots of money.

    Here is rthe video I recorded for the solo.

    PS: I know, the guitar its a little bit out of tune

    [Glad you found the article useful! Thanks for sharing the clip! – Bjorn]

  91. Leandro says:

    hey Bjorn, Have you ever tried the Carl Marin Delayla or the Red Repeat? I’ve never tried it but I read that it has a nice analog sound…


    [Nope… maybe I need to check them out :) – Bjorn]

  92. Jared says:

    Hey Bjorn

    A month ago or more, there was a post where you said you were thinking about getting a 60s rosewood neck. I was wondering are you still thinking of getting one or are you going to stay with your maple neck? And I know your favorite Gilmour era is the Animals period.
    So I was wondering why you don’t have the Dimarzio FS-1 in your strat? I’m not trying to put you down or tell you to put in your strat,
    I’m just curious to know why.
    And Great article I can’t wait until the “70-72” article, I love “Obscured By The Clouds” and would love to hear something about.
    Thanks and keep up the good work.

    [Hi Jared! One day I will have a custom made ’62 Strat with a rosewood neck etc. but it has to be perfect and right now I can’t afford it. I don’t know why I haven’t installed the FS-1 but I have always enjoyed the tone of my DG Black Strat replica… I recently fitted the guitar with CS 69s tho… something I never though I’d do because I loved the CS 54s. The 54s are on my 70’s Strat now. The Early Years part 2 article is taking a little longer to write than expected but I think you’ll be pleased. Stay tuned! – Bjorn]

  93. Bill says:

    Oh, and another thing. does anyone else tune down a step to play this? The album version is in D flat, I believe (but the POmpeii version is in a different key altogether). I find it much easier to play in what would normally be D so I always tune down. Does anyone else do this?

    [Both the album version and Pompeii are in standard tuning (E A D G B E) but the soundtrack on Pompeii is pitched, making it sound that they’ve tuned differently. The chords are (verse) C#m G#m F#m G#, (chorus) C# G# F#m G# A, (run down) C#m A… E B C C#m. – Bjorn]

  94. Bill says:

    I’ve figured out most of Echoe sbut never the arpeggio part, and for that I am hugely grateful to you :D

    I think my relatively new Ibanez TS9 does the job well enough. If you turn the tone up for a bit of a fuzzier sound, the drive knob up full does a sustained Big Muff type thing OK. and plus for a 14 year old with no job, i have to make do with what I’ve got.

    I’m also one that tried the Saucerful of Secrets sliding right up to the bridge for the seagul parts, but, although i havent tried your way yet, i think it sounded ok but not quite the same

    Thanks again for the great article!

    [Glad you enjoyed it Bill :) – Bjorn]

  95. Luciano says:

    Another GREAT article, Bjorn.

    Song suggestions: Dogs and the whole SOYCD.

    Off topic suggestion for feature articles:

    examining the “Gilmour parrots” (quoting Phil Taylor) gear. I remember you have said that Waters’ hired guns used to miss the tone most of the time. What about discussing Doyle Bramhall, Snowy White and Dave Kilminster’s gear (and even Andy Fairweather-Low and the forgotten Rick DiFonzo…), pointing out the hits and the misses?

    As you say, one of the points of the site is to demonstrate that we can get the tone (or miss it, I know) using different gear and not just copying David’s.

    What do you think about it?



    [Hi Luciano! Glad you like the article and thanks for the suggestions! There’s a lot of unexplored Gilmour topics yet to be written but I’ll keep this one in mind. Thanks! – Bjorn]

  96. Ernest Peske says:

    Great version of ….

    YouTube Link.


  97. Panagiotis Panagiotatos says:

    Echoes was the tune that made me wanna play the guitar.
    And after reading your article I bought a CS ’69, a Colorsound Overdriver and a B.K. Butler TD.
    -all of which are worth every penny paid for.
    Thanks a lot for this great article Bjorn.
    One question and one suggestion:
    When will the second part about The Early Years be posted?
    Perhaps you could do an examination of Careful with that Axe Eugene (Pompeii version of course) and/or of Sheep (3DO’s).

    Keep up the excellent work.


    [Glad you enjoyed the article! I’m working on part 2 of the Early Years. It’s a lot of research and writing… I’m not sure when it will be posted. Please be patient :) There are lot’s of great things to come! – Bjorn]

  98. Alex A. says:

    Thanks for all the tips with respect to the Q wahs, I will attempt to do the mod when I can get up the courage!

    As for “song of the month” tips, I would love to read more about the old “jam songs” from the 70s tours, like Fat Old Sun, Cymbaline, SOYCD 6-9, Pigs (3DOs), etc. Those are my favourite Floyd tracks, and you seemed to have covered a lot of them with your band.

    On another Gilmourish note, a friend of mine was in London recently and stopped off at Macaris’ to pick up a Powerboost for me. Can’t wait to plug it in!

    Cheers Bjorn!

    [Thanks for the suggestions Alex and good luck with your Colorsound! – Bjorn]

  99. Franck says:

    As some of you have made suggestion for a song to be analysed. I would add mine : “Careful with that axe Eugene”. A lot of tension, till the expected drama. The Gilmour guitar work on it is amazing. Probably one of the title on which he really tried improvisation. And what guitar tone !! The pompei version is a pearl !

    [Thanks for the suggestion Franck. Careful is a great song… Genius in all its simplicity. – Bjorn]

  100. bernhard says:

    yet another great and enlighting article! thanks a lot, man!

    I tried out the seagull effect, sounds supercool with my old crybaby, but can’t get it to work with my newer 535q, seems like it has a different circuit after all.


    [Thanks Bernhard! – Bjorn]

  101. Jason says:

    dogs would be cool, or time. pretty much my favourites along with echoes.

    [Thanks for the suggestions Jason. – Bjorn]

  102. I would definitely like to see Shine On You Crazy Diamond 1-9 examined. Perhaps some songs from “On an Island” as well!!??



    [Thanks for the suggestion Adrian. – Bjorn]

  103. Evan says:

    I dunno about Sheep. A good amount of the guitar work on there is Waters, isn’t it?

    But, that said, I suppose a song from Animals would be nice. Dogs would be quite good, a huge number of guitar solos on that one…

    Bjorn, do you plan on ever doing anymore guitar articles? One on David’s Les Pauls, maybe?

    [I have lots of plans :) Coming up is one about David’s #0001 Stratocaster. There’s not much to write about his Les Pauls but perhaps a “non-Fender” article would be suitable.
    Regarding Sheep, – Roger is playing some of the rhythms as he did on live performances but David plays most of it. I’m not too sure about whether he used a Strat or Tele on the track but it sounds like at least some of the stuff is done with a Tele. Dogs is definitely on the “song of the month” schedule. Cheers! – Bjorn]

  104. Ben says:

    Fat Old Sun, from the Paris Cinema 71.09.30, or Sheep from Oakland 77.05.09

    [Good choices! I’ll keep it mind. – Bjorn]

  105. Ben says:

    Fantastic “tweak” to the site Bjorn! Not sure where you find time for everything but we all do appreciate it. Will song analysis be a monthly addition?


    [Thanks! Next article will be about Comfortably Numb and then we’ll see :) Any particular song you wanna see? – Bjorn]

  106. Jason says:

    great article Bjorn! very interesting, one of my favourite floyd songs. i love how when you listen to eachoes, being such a long and complex song, you can hear all these parts that are precursers to their older stuff, but more raw. i especially love that.

    looking forward to comfortably numb, another favourite (obviously!). by the way i just bought CS 54’s to replace my emg’s. i also got a base plate from lindy fralin so we’ll see how it goes!

    [Thanks Jason! I think you’ll be very pleased with the CS 54s. – Bjorn]

  107. Franck Machu says:

    What can I add that had not been said already to compliment you. You make us love guitar more and more with every articles, and you make me love more and more the web. Blogs like yours are treasures although there are very rare at this level of quality. As you said, you are probably fully nutty to write (and we are too to read) articles reaching this level of surgical accuracy, but please don’t change !! Keep being nutty !!

    One question anyway :
    For the funky part, do you stomp both fuzz and echo simultaneously (like David did) or do you use another trick ? It imposes to have the 2 pedals very close to each other, although one is at the begining and the other at the other at the end of the chain.

    [There are several ways to switch on/off both effects. Some years ago I used a Boss GT-3 processor for all my delay and I made a patch with fuzz + delay, so that I could switch on/off the tone easily. Using only stompboxes, you could hook them up to a basic switching system or use a looper pedal for both a fuzz and delay in a separate chain. What I do – and what Gilmour does – is stomping really fast on both pedals. You don’t need to step on both simultaneously but very fast fuzz + delay and delay + fuzz (turn off the delay first, so that you don’t get a ringing echo). Just use some time on practicing your stepping and you’ll manage :) Oh… I’ll always stay nutty! Cheers! – Bjorn]

  108. saint seiya says:

    sweet article bro. have you thought about adding a forum to the site? I think it’d be great!.

    [Thanks! There’s already a fabulous forum here. I’ll stick to the articles :) – Bjorn]

  109. Julb says:

    the arpeggio trick with the delay reminds me a lot about Radiohead “Bulletprof, wish I was”, another great delay moment !

    Such things with delay can take a long time to figure them out, thanks for the help !

  110. I’ve been listening Echoes since I was a small boy! When I was 14 I found the “violin technic” secret… But I was expectic to hear some clips you may have with that kind of sound! There´s many ways to do that sound… but it’s not 100% equal!
    David said that he do not used a slide on Pompeii… It’s a Gilmour secret! I don’t know exactly what the hell he was using at the time!… I’ve tried hundreds of metallic objects, and I found many better than a slide! More sustain and less noise! Just a TIP! ;-)

    About Wha-wha: people must have sure if the circuit is like the original! The signal must be free between input and output! We can never buy a Morley wha to do that sound! The purest wha don’t have buffers…

    Good work on this article!!

    [Thanks João! David used a Tonebar slide in the old days, which is thicker than a normal hollow slide. I’ve never tried one but I guess it’s easier for this particular effect. – Bjorn]

  111. Salvo says:

    Hi Bjorn and Hi all

    It’s Salvo again.

    yesterday I have left a post about where you find the schematic of the crybaby, for understanding where is, and how is done the buffer stage of the reissue of this pedal.

    Well, now I have found a web-site where is shown the pictures of the board of the wah-wah, and a very detailed description, about how put off this buffer stage.


    Please, as i have wrote in my previous post, pay attention when you try to modify your pedal, remember, I’m not a technical electronic.

    Anyway I hope this can help everyone about the seagull squeals.

    So let me know.

    Greetings to all, from Sicily (Italy)


    ps: Bjorn, thanks again for what you do in this your web-site!

  112. Frails says:

    Hey Bjorn-

    Great article! Very in-depth. The hard work came through. Thanks for the appregio. I’m too lazy to figure it out sometimes and never bothered with that one. Thanks Bro!

    [Cheers Frails! – Bjorn]

  113. Oscar says:

    The “Seagull” tips and the arpeggio reference clips were really helpful. Thank you, Bjorn!

    [Glad you enjoyed the article :) – Bjorn]

  114. Aaron says:

    “Echoes was written during a period when Pink Floyd were constantly touring and at the same time trying to write new material that would (hopefully) free them from the Barrett era …”

    Yea you forgot to mention also that it was written during a time when the Floyd were trippin’ on some major LSD

  115. Rick says:

    “…written during a period when Pink Floyd were constantly touring and at the same time trying to write new material that would (hopefully) free them from the Barrett era and the old songs they’d been playing to death”

    That’s the part I liked the most, totally agree. Great Article!!

    [Thanks! It’s true tho. I think Pink Floyd’s biggest challenge in the early 70’s – in addition to get rid of the Barrett stamp – was that they toured a lot. Perhaps too much and when they first went into the studio the sessions were inconsistent (because of the touring) and they didn’t seem to be a band that could effortlessly write a bunch of songs to choose from (apart from More and Obscured by Clouds that both were written and recorded in two weeks time but they’ve never been a huge part of the Floyd catalogue). It seems to have been a struggle and therefor their old songs got played too many times. Live at Pompeii was as much a cool experiment as a closure of the old era and Dark Side of the Moon was written shortly after in late 1971 early 1972. The goal was to get lots of new material and by early 1974 the only song left from the early days was Echoes. – Bjorn]

  116. Salvo says:

    Hi Bjorn and hi all

    Super article!!

    very well detailed.

    Bjorn, you saved me about the arpeggio part. Now I know!!

    I would like to try to replay to everyone who have a new reissue of crybaby, just like me, and so have a problem for the seagull squeals.

    About on what Rafal writes the problem is the buffer stage of the pedal.

    I have found, on the web, the schematic of the crybaby, the reissue and the old one, and in these gif files you can see just the buffer part, and if you are able, or if you have a friend able in electronic repair, you can try to bypass this buffer stage.

    Of course take care about it!! I’m not an electronic technic!

    and the main files are:

    Crybaby Wah (original)
    Crybaby GCB-95 Wah (reissued by Dunlop)

    So please let me know If you will solve the problem about the seagull pert.

    Greetings to all, from Sicily (Italy)


    [Here’s another useful tutorial that Salvo e-mailed me. – Bjorn]

  117. Evan says:

    I’ve been using the BYOC Fuzz Face clone for my fuzz needs, and even using a humbucker-equipped guitar (a stock Epiphone Dot Studio), it can bring out a convincing Echoes tone. It’s actually a germanium fuzz, but it came with both germanium and silicon transistors and a socket system, so you can change the transistors however you need it. it’s quite nice, actually, and if you solder the pedal yourself it’s cheaper than any other fuzzbox I’ve seen. Worth getting if you feel like learning how to solder, or already know how: it’s a very basic circuit, the Fuzz Face.

    Still need a boost pedal, though……think one of those BD-2 thingies would work for me?

    [I haven’t tried the BYOC fuzz but fuzz units in general doesn’t go that well with Boss pedals or other buffered units. It will work but you will probably experience that the fuzz sounds brighter, more fuzzy and perhaps also loose some sustain. It’s not a dramatic change and some people don’t mind but I like my SunFace as clean as possible without any buffered pedals too close to it. I do recommend the ThroBak Colorsound Power Boost clone or the Fist by Absolutely Analog. The Colorsound and BD-2 are very similar with a range from transparent clean boost to glassy overdrive. – Bjorn]

  118. Josh Holland says:

    Great bit of writing! I’m in a Pink Floyd Tribute band, and I never could get Echoes to sound quite right… This helped a great deal!

    For the record, I use the Fulltone SoulBender as my fuzz (works pretty well), boosted with a MigBoost (basically, switchable silicon/germanium boost with gain and volume that someone from Harmony Central made for me). I’ve been using a TubeDriver for everything else in the tune. I would certainly recommend the SoulBender to anyone looking for a fuzz – if you run across one, get it! =)

    [Thanks for the tips! – Bjorn]

  119. Kit Rae says:

    Great artcle. When I first picked up the guitar over twenty years ago Echoes was one song I always tried to figure out the various tones, which were some of the best on record.

    I did not have a wah back then, nor did I know he was using one for this. I figured out that he used the slide for the intro violin effect so I assumed he also used the slide for this. You can do the entire seaguls part with the round end, not the flat, of a glass slide, and changing the pickup selector for the different tones. It does not sound exactly the same, but close.

  120. Alex A. says:

    Rafal, don’t all crybabies have buffers? anybody want to trade wahs?!

  121. Gareth says:

    Brilliant article! Thanks for that. I’ve been trying to learn Echoes on the guitar for a while, and have been having great trouble with the arpeggio riff bit for a while, but seeing your explanation along with the tab, and with about 5 minutes practise, I’ve managed to nail it today!

    [Happy to help! – Bjorn]

  122. Rafal says:

    [Glad you enjoyed the article Alex! Perhaps there’s a mod or something you can do to make the wah wah work. Does anyone have any experience with this? – Bjorn]

    Doesn’t this wah have a buffer? If so, you won’t get that ‘seagull’ tone :(

  123. Sylvain says:

    Hi everyone,
    Thanks so much for the article Bjorn !
    Good idea the arpeggio tab ! You make the site better each day…

    [Thanks Sylvain! – Bjorn]

  124. Evan says:

    Well, I know this site is in-depth to an insane degree, but putting so much detail into analyzing a single song……even I didnt’ expect that. Great stuff, though, Echoes has been one of my favorites since I first heard it. Much applause for the webmaster.

    [Thanks Evan! Gilmourish.Com is a place for all the nutty people…. :) – Bjorn]

  125. Collin says:

    Hey, very nice article! Echoes is one of my favorite songs, so it’s nice to see it analyzed.

    [Cheers Collin! – Bjorn]

  126. One question

    I tried the violin effect with a glass slide and it did not work. So then I used my brass slide and did. So my question is what slides or slides do u recommend for DG stuff?????


    [I always use steel. – Bjorn]

  127. Thankyou! It seems like everyone completely ignores this songs existance nowadays and I’ve been dying to know the arpeggio riff. I was also wondering if a good Echoes sound could come from a Big Muff. Thanks again!

    [Glad you enjoyed the article. Cheers! – Bjorn]

  128. Paul-Mark says:

    Great article again! I really appreciated the arpeggio riff part. I could never figure that part out! One thing though about the seagull effect, you say to use the last tone knob for the effect. What if you have your last tone pot connected to the bridge pickup rather than the stock middle position. Will the effect still work or would I need to connect it to the middle position again?

    [Oh… I really don’t know. I guess you just have to try. Let me know. – Bjorn]

  129. Mark says:

    Wow! Thanks a lot Bjorn! Brilliant work as usual!

    [Cheers Mark! – Bjorn]

  130. This is a really good article i have had a minor struggle playing Echoes and this article has really helped Bjorn. GLad you mentioned the violin effect I was doing it all wrong!!


    Great contest by the way I pray i win!!!!


    [Happy to hear that you found the article useful. – Bjorn]

  131. Brad says:

    Great Job Bjorn!

    I agree with Paul_C, I would love to see David perform with just a few of his original effects. It would just go to show just how much his hands and style have to do with his tone. Echoes is such a fantastic piece and it never gets old to listen to and has ALWAYS been a piece that I have been working on playing to even remotely sound “Gilmourish.”

    I found the acoustic version he did on the RTN DVD pretty cool as well.


  132. Alex A. from Ottawa says:

    I agree with Alex L. The Pompeii version of this song is what made me want to pick up the guitar. so many tones with so few effects. Just awesome.

    It would be nice to see Gilmour go back to his old gear just to see what he could do on this track. It relates back to what Jimmy Page said in his latest Guitar World interview, in the early 70’s guitarists had to do so much with so little, but they still managed to produce utterly unbelievable tones.

    Bjorn, another amazing article. Thanks so much. You have inspired me to start working on this song again (and probably buy more gear). Also, what you mentioned about modern wahs not being able to do the seagull part is sadly true. I changed my old crybaby for a new Q wah because i liked the adjustability and instantaneous on/off function. Sadly i didn’t reverse the cables in the store! It can’t do the seagulls at all!

    Cheers all!

    [Glad you enjoyed the article Alex! Perhaps there’s a mod or something you can do to make the wah wah work. Does anyone have any experience with this? – Bjorn]

  133. Regarding Monsterpiece NPN Fuzz (part II);

    I found some stuff here: http://acapella.harmony-central.com/forums/showthread.php?t=1778565

    It’s probably possible to contact Richard there as well.


  134. Giovanni says:

    Great article Bjorn…for echoes i use my Hartman sfz (bc108+nkt275 fuzz face clone)
    thank you very much
    Best wishes

    [Thanks Giovanni! – Bjorn]

  135. Regarding Monsterpiece NPN Fuzz;

    As far as I know, Richard (who builds the pedal) only sell them through Ebay from time to time. I’m looking for a new one myself. Sadly I’ve lost his email adress.

    The pedal is based on a Fuzz Face with some tweaking and upgrades. It’s definitely works better with other pedals compared to a various of different fuzz pedals I’ve tried over the years. And the wiring on these babies is absolutely gorgeous!

    Keep up the good work with this site! It’s terrific!


    [Thanks for the info! I’ll check it out. – Bjorn]

  136. Paul_C says:

    Bjorn, what can I say that hasn’t already been said? Fantastic piece of writing and thoroughly detailed and interesting artice.
    I wonder if DG uses these articles for reference?

    David is renowned for his use of numerous, sophisticated effects but I’d love to see him perform again with just a fuzz face, booster, wah and Binson.
    Perhaps someone will suggest this to him!

    He is still THE master and it’d be geat to see him show us again what can be done with the simplest of setups.

    Anyhow, I’m off to try some of these sounds on my gear. I’ve recently bought an original colorsound booster and totally agree with you about it’s compatibility with the BC108 Analogman fuzz.

    Thanks again Bjorn and my continued best wishes.


    [Thanks Paul! Glad you enjoyed the article :) – Bjorn]

  137. Wojciehoo says:

    This is outstanding! It must have taken hours to prepare that article. Needles to say You’re getting better better with every post:) Thanx!



    [Thanks! Well, it’s all fun :) – Bjorn]

  138. Ruben says:

    Just one word: Great!!

    Thanks a lot for this article. I always thought David used an E-bow on the Intro in Pompeii, but you told me better.
    I cant wait to read your next article about Comfortably Numb!



    [Glad you enjoyed the article Ruben. The EBow didn’t appear until around 1975-76, so David couldn’t have used it :) He did however on Take it Back and Keep Talking. Besides it won’t sound the same… A cool effect though. Cheers! – Bjorn]

  139. Ignazio says:

    Wow! Another awesome article Bjorn!
    Thank you.

    [Thanks Ignazio! – Bjorn]

  140. Great stuff! As always. I would recommend Monsterpiece NPN Fuzz as well, one of the best fuzzboxes I’ve tried. Handmade and cheap! I’m looking forward to the article about Comfortable Numb.

    [Do you have a link for the Monsterpiece? I couldn’t find one. – Bjorn]

  141. ray says:

    great article.. a really long song that i have not really gotten to really analyze, thanks for doing it for me!

    anyways, i posted this in the other column, but i figure more people will be here so..

    “anyone interested in a binson echorec? i can get one to sell to those interested.. but quick, because i need to decide whether to get it now or not

    will send pics to those interested.. leave your emails here.. looking at around 1.3k usd..

    hope you dont mind me making an ad here bjorn, but im just trying to help those looking for this vintage piece of equipment”

    [No worries :) – Bjorn]

  142. Leandro says:

    Awesome article Bjorn! It helped me a lot…..I think Echoes is by far the most difficult Floyd song to get a real “gilmourish” sound from….even David himself lost that tone on his 2006 version…maybe he used too modern sounding pedals


    [I agree. Although they did a fantastic version and David’s playing was great, I think he lacked that raw unpolished feeling heard on the 70’s versions. The BK Butler and the Cornish pedals sounds too modern and a bit too perfect for this particular song. – Bjorn]

  143. Maxime says:

    What a surprise ! Thank you very much for this article Bjorn, Echoes is my all-time favourite song :)

    [Glad you liked the article Maxime! – Bjorn]

  144. alex L. from New York says:

    i mean, where do i begin? undoubtedly some of the most interesting techniques/tones i have ever heard from any guitarist, or band, rather. what one of my mail goals when i pick up my guitar is achieveing his killer, haunting tone from Live At Pompeii. the funky part in echoes did it for me. to me that is without question, Gilmour’s most impressive tone. i like to think i can get a similar sound with my boss dd-5 and a boss mt-2 metalzone, through my small champ 15 practice amp. obviously it can be quite difficult, but its still an awesome song to play/try to replicate. so yea this song spoiled me in the sense that there is no better tone. enough said, Gilmour = The Tone Master. Thank you Bjorn for the amazing site. keep it up, be safe, PEACE!

    [Thanks Alex! I always find myself coming back to this basic tone and realizing that this is one of my favourites. It’s raw and straight to the point, still David manages to achieve something out of this world. – Bjorn]

  145. Chuckster says:

    Excellent article Bjorn! Thanks for putting the time into it; I have been reading your site regularly lately and I believe it’s time I owe you a donation to keep it going! As a long time Floyd fan and Gilmour stylist, or thief at least, I always find new insights with your articles. The Echoes article brought out again one of the reasons I admire the Floyd so much; they take from so many styles be it drone, psychedelia, rock, jazz etc and yet none take front and center. All are subsumed to create one sound- their own. They borrowed, but then they blended and pureed so you never knew where it came from, and that’s their strength.
    I do have a question, have you ever come across a wah with the mod switch for the seagull noises for sale? Pricing?
    Chuckster in Austin

    [I don’t know if you can actually get a wah wah with option for reverse connection but it’s an easy modification job. Do a google search for a schematic or see the gallery. I know some of the guys have modded theirs. – Bjorn]

  146. brett says:

    I love articles so much!


    [Thanks Jimmy! – Bjorn]

  147. Ernest Peske says:

    One of my favourite songs from the OAI tour!
    Great article, good sound clip examples making it even better to understand.
    Beautifull, A+

    [Cheers Ernest! – Bjorn]

  148. matt says:

    great article!!!!

    [Thanks Matt! – Bjorn]

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