• How do you know what gear to choose? Tracking down reliable information.

    How do you know what gear to choose

    I spend a lot of time reading and searching through forums, reviews, YouTube clips, features and just about everything related to guitar. Like you, I’m sure, I’m probably above average interested in guitars, pedals and amps. The internet is a powerful tool when you’re searching for new stuff, tips and help but it can also be quite the opposite of what you need and ruin all the fun.

    I’ll be very honest. Most of what I read is biased crap. Yep, there are so many fools and idiots out there just waiting to fill your head with all their expertise and know-how. It’s the forum bully, the “I never got to be a rock star” journalist and the sales man behind the counter pushing his latest campaign. None of them will help you in getting better at playing guitar, improve your tone or boost your confidence and inspiration.

    I’m being very harsh, I know, but I was discussing this topic with a friend and I realized that although the internet gives you unlimited resources it’s also a place to get totally lost and lured into a labyrinth that’s hard to get out of.

    I started to play guitar in the early 90s. Before the internet was born. I’ve seen the internet grow from something obscure to a world where you can find anything you want. Through Gilmourish.Com I’ve come to know people from all over the world and I’ve learned so much. The guitarist I am today is much thanks to the internet, the tips and tricks I’ve picked up and everything I’ve learned from the people I’ve “met”.

    It took me many years to know how to use this powerful search engine. You got to know what to search for, who to trust and what to dismiss as crap. The music industry has changed because of the internet. In the early 90s, there was no such thing as boutique pedals or clones. Well, there was but it was a market for the demanding artist. There wasn’t even much of a vintage market either. Then Ebay was born and everything changed.

    What happened was that the local classifieds became available for the whole world. You didn’t call your newspaper to place an ad or trade your old guitar for a pedal at your local guitar store anymore. You sold it at EBay and soon, a market for so called vintage gear grew into the sky and beyond.

    The higher the price you could get the better the pedal or guitar sounded. It had to, right? Expensive is good! No, it’s not. One can always argue that guitars, amps and pedals were better in the 50s, 60s and 70s but in most cases, it’s about the affection value and not the quality.

    It’s all psychological really. You can get as many clones as you want but it’s still not the same as owning the real thing. No matter how lousy it sound. I know. I’ve been there and I’m still tempted. Every day.

    What EBay also did was create a market for the small companies. Well, before EBay, there was these guys working in their garage or in a guitar shop modding and repairing gear but with EBay and the whole explosion of the internet, they understood that there was a bigger audience out there just waiting for new stuff to emerge.

    What these guys also understood was that you now had the chance to communicate with your customers and even be ahead of the market by designing pedals, guitars and amps that people on the forums wished for and dreamed about.

    The reason me and my friend started this discussion was that we’d been watching Justin Sandercoe’s YouTube clip “Always ask why” (subscribe to his channel, lots of great tips!). I couldn’t agree more with what he says.

    Always ask why when someone tells you that you have to buy this or that or do things in a certain way. Are they sincere? Do they know what they’re talking about? Do they have an agenda? It’s really important because all your questions relates to two things: how can you become a better musician and how can you improve your tone. That’s what it’s all about and if you get the wrong answers then you’re on the wrong path.

    Forums are great places to learn and pick up new stuff but forums are these small societies that’s populated by both friends and foe. Some will be very helpful, unbiased and friendly. They’ll point out that what they’re sharing and telling you is strictly their opinion and you should seek other advice as well to compare.

    Some, however, will give you one single answer and at the same time make sure that no one else on that forum dare to oppose it. These people are jerks and not there to help. They have no clue of what they’re talking about, they have done little or no research themselves. They also have a hard time understanding that they were once a novice struggling to learn.

    So what’s the big deal? Well, when you’re trying to find some help or information, perhaps for your next purchase, you are open for anything and subconsciously seeking information that might support and confirm what you think is the right guitar or whatever for you. Even if it’s the wrong choice. The forum bully will tell you that his opinion is the only way. That’s just his sorry nature.

    The guy in your local guitar store and the guitar mag journalist will tell you that the latest hype is the best option. They have to because they need to sell and get ads in order for their business to survive.

    So what do you do? Like Justin said, “ask why”. Why is this guitar the best choice for the music you want to play? Why is this pedal better than the other? Do some research. Use the forums and seek out different opinions. Watch YouTube clips and listen to the tone. How does this match up with the reviews and user comments?

    More importantly, visit your local store and spend a day trying a bunch of guitars, amps and pedals. Tell the clerk to leave you alone or, if he’s the rare breed that actually knows what he’s talking about and has the ability to give you unbiased help, then be sure to pick his brain for all valuable information.

    Personally I rarely use forums but when I do, I’m looking for threads that have a healthy debate with different opinions and arguments. Places like The Gear Page and Harmony Central has grown very big, perhaps too big, but you can pick up some useful information there and meet some very knowledgeable people.

    I’m also using YouTube a lot and enjoy watching amateur recordings especially. They’re honest and the people making them are refreshingly enthusiastic about their tone and what they’re trying to display. Review clips like the ones from PGS, Prymaxe Vintage, Guitarist, Guitar World etc are great to get an understanding of how things sound and work but keep in mind that all of these are made to sell products.

    What I like about PGS and Prymaxe in particular though is that they always use the same amp and mic, which allows you to get an honest impression of the pedal or whatever’s being reviewed. Others, like Pete Thorn, Gearmandude and Shnobel offer a more personal touch and opinion in their presentations and reviews.

    So, what about Ebay? Well, Ebay is a place where you can get great offers on new items or spend all your hard earned money on a vintage Big Muff just like any other gambler junkie. This is where me and my buddy disagree. I have spent my share of money on vintage stuff. Some of it blew my mind but most of it was a complete waste.

    Why? Well, lets face it. Being vintage, old or whatever, doesn’t mean that it’s good. It’s hard to acknowledge when you‘ve spent a fortune on an old fuzz or ’76 Electric Mistress but pedals from the early days of pedal making was, by and large, of a far less quality than what you get today. Add 30 or 40 years of abuse and storage and you have a piece of noisy electronics. Even the guys who made these pedals back in the days acknowledges this.

    My friend insisted that he could never use a new fuzz. Never. I find that claim very strange and I did, at one point, call him an ignorant idiot. I can totally understand the sensation and thrill of owning an original Fuzztone or Tonebender but what’s wrong with getting a clone made with better parts and less noise? Perhaps fuzz isn’t a good example, since it’s all about noise but this was our topic anyway.

    Perhaps I’m the misinformed fool but I think that the whole vintage craze is about two things: the need and thrill of collecting and owning a vintage item. It’s the quest and thrill and not necessarily the tone, that tempts us. Second, we are thought to think that the more expensive, exclusive and hyped an item is, the more we want it. It’s how the market and our minds work. Not all of us are anywhere near having the budget but every night we dream about owning that guitar or pedal.

    How can someone claim that one pedal is better than the other? Who am I to tell you that you need this very pedal to nail that specific tone? Have I tried it myself? Have I tried the pedal with your amp and guitar? It’s always funny to see comments like “nothing beats a 56 Les Paul into a 59 Bassman with only a 71 triangle Muff in between”.

    In most cases those who claim things like this have no clue what their talking about. Beats what? I’m not looking for a Les Paul nor a Bassman. “Every UniVibe out there is crap. Nothing sounds like the Shin-ei”. I would sure like to know if you’ve ever tried one and if you have, you’d probably never make that claim again.


I know, I’m being very harsh. Forgive me, but my point is: don’t let anyone tell you or decide what you’re going to buy or which guitar, amp or pedal is right for you. Not even me! Do your research and always (if possible) try before buying.

    Use the information and sources available but always be your own judge. It takes some practice and experience but in the end, before you slide that credit card, trust your ears and instinct.

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91 Responsesso far.

  1. Brian says:

    I have a Alembic preamp what would be an ideal poweramp to drive it, it will be going through a Hi Tone 4×12 cab, I know the power section of a Hiwatt amp would be ideal but loooking for something comparable

  2. Carlos - Brazil says:

    What I’ve posted on Gilmourish FB page: If we consider a full rig pedal to try to replicate Gilmour’s sonority, even with cheaper pedals, we’ll spend a lot of money including a good amp. But … none of you (the least purists) considered that there is already technology in the 21st century to emulate the vast majority of the effects on USD 1,500 pedalboards with “studio quality” and that still FEATURE resources for the creation of different presets for each one of our favorite songs (with different configs on each one for the song’s INTRO, VERSE, CHORUS, INTERLUDE, SOLO, OUTRO etc.)? Line 6 launched in 2015 a pedalboard called Helix (I bought one 3 months ago and I’m stunned by its potential and I have not yet learned 1/10 of its features …). Follows a link to a video from a professional who specializes in creating “presets” (which we can then customize according to our preferences) as a demonstration. It costs the same as I spent with my 03 Strymons … Regards to all!

    Watch the video without preconceived concepts, remembering that the musician is only DEMONSTRATING the settings that he had created and not doing covers of excerpts from the presented songs.

  3. A good article as usual Bjorn thank you. Just to add my view, YouTube, Instagram, Soundcloud etc are all Digital reproductions of recorded material and generally the sound has been perfected using either £1000 Royer mics or some expensive audio interface. I always chuckle when I see a YouTube comment that says that sounds more Digital than Analog as the media they are using has converted it all to Digital anyway. So I agree going into a shop is critical, I bought a Fender JB strat straight away as after playing it for 30mins it just made me play better and motivated me to play. It was 2nd hand after I had tried 2 other new ones I didnt like. On the other hand I had a £2700 Waghorn made for me and it is low on the list of guitars I have as I couldnt try it and although great build, looks fantastic it is not like the vibe of the strat! I also think you need to decide whether you are going to be pedals and amps now or FRFR and modellers given the raft of modellers and the many FRFR speaker/amps coming by the Laney’s, Line 6, Friedman, Mission etc. Personally I like pedals and amps and TPS overplay the tradiitional analog amps too much as do the shops. If you are going in the front of the amp then you dont want the amp as clean as reasonable for the delays, but also take pedals well. I use Vox MV50, Laney IRT Studio, Boss Katana at the momend wet/dry/wet with a host of pedals. I also like the DP Boonar not so much the Timeline, Belle Epoch and Flashback for delays. I treat pedals as a hobby and turn them over every year so I can try a new raft. I choose by help from teachers and have been lucky to use Jack Thammarat (uses Laney IRT Studio), Allen Hinds (tele with his pickups) and then look to use pedals of guitarists I like based on what they like I give them a try.

    Again I think this has yielded many comments so congrats on such a great article and I always love your playing, website and videos. Ta much

  4. I found the most unlikely combination of fuzz/distortion/overdrive/boost with my EHX Nano Double Muff, TC Electronic Dark Matter Distortion, EHX OD Glove Overdrive, BBE Boosta Grande and also Mooer Yellow Compressor and Digital Delay plus my VOX Wah, MXR Carbon Copy, Boss DD-7, Mooer O90 Phaser and EHX Switchblade +……Finally have a pedalboard I am very proud of that works great for my style and my Les Pauls, ESPs and G&Ls and my assorted tube amps from Laney, Fender SuperChamp, VHTs, Bugera, Crate, Jet City, Egnater and my Epiphone Valve Junior v3.

  5. Rick says:

    I love this guy.No bullshit,brutally honest and says it how it is.
    The truthful non biased info provided on this site is incredibly invaluable and has most definitely saved me years of knowledge searching as well as saving me a shitload of money.
    People like Bjorn are very few and far between and someone you would want as a friend(trustworthy and honest)
    I never buy any gear without consulting this site first and have bought lots of gear on the back of Bjorn’s recommendations(all of which has got me one step closer to a gilmourish and the kind of tone I envisage in my head)
    Just wanted to say a massive thanks Bjorn and to say how appreciative I am of your time and knowledge.
    Kind regards

  6. Spencer Landreth says:

    I don’t think you’re being harsh at all. I’ve spent years on the internet too (like most of us), looking for every little nugget of Gilmour and Jerry Garcia info. There is a never ending pile of misinformation out there. This is the only site that has integrity and quality combined in Gilmour info imho. Thanks for the post!

  7. Carlos-Brazil says:

    Hi Bjorn, how are you? At some point we want to “mount our own custom guitar.” Bjorn, you would have any tips of trusted sites for purchasing bodies, necks and bridges? I indicated some following, I wonder if you have any information about them.

    1) Steward-MacDonald: http://www.stewmac.com/

    2) GuitarFetich: http://www.guitarfetish.com/

    3) Callaham Vintage Guitars & Parts: http://www.callahamguitars.com/

    Regards from Brazil!

    • Bjorn says:

      Hi Carlos, sorry for my late reply. Never bought anything from MacDonald but I’ve heard great things. I’ve bought a lot of hardware from Callaham, including their bridge systems. Great stuff. Never had any experience with Guitar Fetich. You should also check out Warmoth. They’re probably the best place place to buy replacements parts and and you can also customise. I’ve bought a couple of necks from them and couldn’t be happier.

  8. Chris says:

    Spot on Bjorn

  9. David MacDonald says:

    Hi Bjorn, great blog. Very insightful. I have a question about pickup combinations for my classic 60’s strat. I have a Fender Fat 50’s pickup in the neck, a CS69 in the middle and a stock “Vintage” bridge pickup.

    Seperately, these pickups sounds great! However in position 2 and 4 I find that the combinations are not as bright and chimey but rather more bassy with less definition.

    I have set my pickup heights and string heights using your helpful guides but I worry it could be a problem with how the Cs69 is wired, or maybe I need to replace my tone pots? The pickups don’t sound out of phase, they just sound more dull and boomy in position 2 and 4.

    Would love your insight!

    Keep up the great work.

    David MacDonald

    • Bjorn says:

      Hi David! I’m not sure about the stock pickup but I think the Fat 50s is reverse wound, which would add a humbucker effect in combo with the CS69. The Fat 50s and probably the stock, also has more mids and a generally darker tone than the CS69, so I would assume that combined in 2. and 4. position, you will get a slightly darker tone. Besides, this is normal on a straight setup as well since you’re combining pickups from different positions picking up different resonance from the strings. I’m sure there is a much better and more technical way to explain this but that’s pretty much it.

      • David MacDonald says:

        Hey Bjorn,

        I didn’t know the Fat 50’s were reverse wound. I should revisit the wiring diagram/specifications for the neck pickup to confirm. Currently, I don’t get hum-cancelling in position 2 and 4 and that could be an indicator that I’ve wired something backwards.

        A couple ideas to work with, thanks again. Fantastic work on the site!

  10. merseymale says:

    ha! Only kidding! ;-P

    Y’know this is probably why I love this ‘site: if Bjorn doesn’t know the answer he will straight away admit it & even if he does know it he is not afraid to be contradicted.

    This could, I suppose, seem annoying @ 1st to those who have typed a long question only to be greeted with shrugged shoulders but in the long run it is actually MORE reassuring because you know that when Bjorn knows he KNOWS… y’know? ;-D

    It’s the difference between giving a starving man a fish OR teaching that man to fish. Bjorn is treating us like we can find the answers for ourselves if we are just willing to be nudged into the right direction.

    Basically he is showing the visitors to his ‘site RESPECT.

    I rarely bother with forums these days -not just guitar related ones either!
    They seem infested with Cyber Bullies!

    …actually, with that in mind, may I take this opportunity NOT to thank the wonderful Bjorn but to thank YOU fellow tone freaks who also add their 2cents

    Cheers :-)

    • Bjorn says:

      Hi! For some reason, I found this comment in the spam filter. My apologies for that. Thanks a lot for your kind words! Glad you enjoy the site and yes, it would be pretty boring without everyone’s comments and contributions!

  11. Joby Hook says:

    Good advice Bjorn.
    Ive been playing around 25 years now,so like you started before the interweb.On the whole i think its a good resource for guitarists but as you say you have to do your homework.
    Ive always told new players to head to both Justin Sandercoes site for lessons and Gilmourish for the rest.In my humble opinion you have the best site on the web closely followed by Justins,what is also important is the vibe,comradeship,friendliness and honesty both sites encourage.Keep it up,your making the musical world a better place.

    [Thank you, Joby :) – Bjorn]

  12. Lorin says:

    Kudos on a great article Bjorn. I’m a member of a few different guitar-related forums and it always bothers me when someone imparts their opinion as fact It’s particularly sad since the internet has opened so many doors for all of us to share our opinions and experiences but so many never learned the difference between opinion and fact.

    I’ve never really understood the vintage gear craze myself and I agree, I think it is definitely more about collecting than finding something that inspires you to play better and more creatively. I’ve always found vintage gear to be far too noisy for my taste and I will always choose an effect or amp based on a noise to tone ratio. I’ve actually picked certain effects over others because they were quieter in operation even if they didn’t sound quite as good.

    There is no one way to do things and we should all endeavor to build our personal tones around what inspires us to play better.

    [Thanks! – Bjorn]

  13. Ian Hamilton says:

    Thanks as always Bjorn. I’ve come to really rely on and look forward to your posts and to read your archived posts, watch and listen to your gear reviews. You provide a tremendous service to so many people who just want to improve their technique and their tone. So thank you!!!!

    [Thank you, Ian! – Bjorn]

  14. John says:

    Hi Bjorn,
    It’s me again. I want to thank you for responding so thoroughly to my questions. It’s been a big help. Again, I’m getting closer and closer to the tone I’m trying to achieve. At this juncture I’m going through a DG78/ Is There Anybody Out There phase, as I’m sure we all do. The RT-20 being the closest I ‘ll ever get to to a rotating speaker along with the mistress has definitely made a world of difference in my quest to achieve these sounds. I’m now, as you suggested, down to working with the amps, tweeking the eq, splitting the channels, etc. Im probably going to be forever limited to combo amps due to volume and space. After disbanding a few years back, I’m pretty much a bedroom/garage player. My question is in your experience, are the Hiwatt combos worth the large price tag? Do you suggest the British amps over the Fenders for DG tone? You’re suggestion for a more affordable “bedroom” amp if so? And, most importantly, I’ve had it with the Big Muff NYC reissue and I like the reviews and the demonstrations with the Green Russian model Sovtek. I want to buy one ASAP and I can’t decide between the Sovtek, the bass big muff, the pigs hoof, or the large beaver. I know you’ve gone into these topics in great detail on the site but I just can’t decide which is best for my setup with the 2 Fender Deluxes. So, to sum it up, is it worth it to invest in a more British sounding amp, and will the green Sovtek be a good improvement from the NYC? Thanks again for the tips. Much appreciated,
    John B.

    [Hi John. Sorry for my very late reply. I can’t give you a simple answer since you’re pretty much listing two very different approaches. Neither are wrong or that much better than the other. For bedroom and smaller rig setups I think I’d go for a Fender. They’re very versatile and they work great in all types of environment. They’ve also been David’s favoured amps for recording since the 70s. Which one is up to you. A Bassman, Twin, Deluxe… all three works very well. Personally I like the Bassman but the Deluxe is perhaps a more versatile amp. In terms of Muffs, the current Bass Muff is an excellent choice and much more versatile compared to a ram’s head, which can be a tad bright and harsh on smaller setups. – Bjorn]

  15. John says:

    Thanks to this site I have finally nailed the DG sound I’ve been searching for for almost twenty years: the tone from the Wall and the DG78 album as well as the Is There Anybody Out There tour and some sounds from Animals. I’ve achieved this with my Strat through a Fender 65 Deluxe Reverb with a Boss CS-2, Big Muff, Electric Mistress, Boss RT-20, and Boss DD-3 delay. It’s almost spot on. I have only one more question. I can’t help but notice the sound he gets on the Final Cut solos such as Fletcher Memorial Home, The Final Cut, and Your Possible Pasts is very unique. I cant hear the rotating speaker or the flanger. How is he achieving this “chainsaw” like tone? Is this simply the Big Muff? It seems so compressed but totally brilliant and specific to this record. Thank you once again for this site and I look forward to hearing more about The Final Cut which seems to be the least discussed on this forum.

    [Hi John! Final Cut is a much more honest album than both Wall and DG78 in regards to David’s tones. Whereas Wall was very mixed and processed, FC seems to have more of an unpolished sound and what they got in the studio is very much what you hear on the album. It’s got to do with how they mic’ed the amp and how it was mixed. My guess is that Wall had a lot of close mic’ing, which results in a smoother and darker tone, with less dynamics. FC seems to have been recorded with the mic positioned further away from the cab, resulting in a more open tone reflecting the amp and pedals in a more transparent way. It’s just two different techniques. He used more or less identical setups for the albums. In achieving this, try not to boost your Muff but let it operate on its own. Try lowering the mids on your amp an hair and maybe even raise the tone on your Muff to enhance the upper harmonics. – Bjorn]

  16. Nick says:

    Hello… I have a SWEET Binson Echorec 2 all original and working… Only I had a guy inspect it and he messed up the recorder head… I need a new one… Can you point me in the right direction to find a replacement and some one that is qualified to replace it for me?? Thank you for any help in advance…

    [Only expert I can think of is Phil Taylor, founder of Effectrode. Check out his site for contact information. – Bjorn]

  17. Pablo says:

    Well this topic is smack in the middle of where I’m at right now so it was a good read. On one forum recently I have experienced what I would regard as sound, unbiased, practical advice but also what I would regard as the opposite.

  18. Dejan says:

    Glad to have found your website. Keep up the good work.

    [Thank you! – Bjorn]

  19. Tom says:

    Yes definitely ! :) David and Eddie are both true originators & had made a tremendous amount of contribution to music & the way the instrument is played. Eddie, as he likes to say it: ” I am a tone chaser ” and the beauty of it is that with these two guys, they’ve put their signature sound out there, so when they pluck a note it is pretty much instantly recognisable. I believe that’s what sets them apart from other players & most of all why they offer such inspiration. And I also believe that as with any musician, they’ve had gone through trial & error stages as they strived to attain their signature tones. It’s a bit of a Yin/Yang with the two of them though, David’s playing is about – less is more & Eddie’s can be way over top, but what they always share in common in the end is their feel of the guitar & the amazingly pure tone that is flowing out of their hands… no matter what gear they may use :)

  20. Tom says:

    Thank you Bjorn for sharing with us your personal feelings & insight into these important & often very biased issues clouding over virtually every person who’s ever picked up an instrument, I could not agree with you more! It’s very easy to get into a world of frustration over musical gear issues & you know the SADDEST thing would be to see that someone could actually be turned off from playing their music after having a bad experience…
    I do not want to sound cliche’ at all but to quote one of my earliest musical heroes besides Gilmour, who once said: ” If it sounds good – it is good ! ” – Edward Van Halen … I believe that statement is ultimately true because no matter what breed of sound you may hear inside your head, it needs to sound good to YOU first of all, and as you’ve pointed out, it doesn’t matter what others say – you, the individual should be happy with what you have & if you’ve achieved that then that’s the best positive outcome of all !… I believe that is how/where originality & quality musicianship comes from too… To further make a note on EVH again, he built a home assembled strat from inexpensive parts, 1 pickup & some bicycle paint for goodness sake & he’s responsible for creating one of the most sought after tones ever in history… I myself only have a fairly simple setup gear wise & surely I do wanna get the best sound as possible combining that & my skills. But I know for a fact that if David Gilmour were to come & play on my setup he would still sound brilliant & magical. So, to me personally, what I’ve learned is that no matter what musical gear you may choose – that will never really limit you – it is yourself, your hands, heart, trial & error and creativity that will truly put a stamp on to what you can achieve.
    Lastly, Bjorn I would like to thank you deeply on the inspiration you gave me, the amount of research & knowledge you have put out there, that you’ve chosen to pass onto us fellow musicians to become better at what we strive to achieve. Your work & musical talent will surely be a continuing inspiration to myself & to many others, that I am sure of !

    Greetings from Australia & many many thanks again !


    [Thaks a lot for your kind words, Tom! Glad you enjoy my site :) Eddie is a wise man, indeed. I discovered Van Halen during the OU812 era but it’s only during the last few years that I truly began to understand how great guitarist he was and is. Apart from all the cool riffs and incredible technique he always had a vision and an ear for tone. I think that’s often overlooked. Hendrix utilized the few effects that were available and experimented with different amps, speakers, recording techniques etc but I have always cosidere Eddie as the tone master. Still, he always knew that gear doesn’t really matter. Ity’s your mind and fingers. Cheers! – Bjorn]

  21. Bruno Serafim says:

    Congrats one more time, Bjorn.. I agree 100% with you.. If more people had the good sense and the required reason to think twice before spend rivers of money in stuff that doesn’t do what the brands tells that do, I believe that we would have much less crap in the market.



    [Indeed. Applies to any part of the consumer market. – Bjorn]

  22. Brian says:

    Hi Bjorn,

    Hope I’m not posting off topic, but it’s sort of related.

    I know you aren’t a big fan of POD’s and Amp Sims generally, but I do wonder what you would make of Scuffham’s S-Gear Amp Sim. I just purchased it and it’s truly awesome. I would like to hear your take on it. There has been a new Amp released in V2.2 which isn’t in the 15 day Demo, called the Wayfarer and it’s a MONSTER. Please try to get hold of it and do a review!

    [I’m not not a fan :) It’s just that I prefer pedals. Actually, I’m using a POD X3 for all my studio work when I’m writing songs and recording demos. I haven’t tried the Scuffham’s so I can’t really comment on that but it sounds very promising. Thanks for the tip! – Bjorn]

  23. Ramon Zarete says:

    Well put. Am in complete agreement with everything you say here. Nothing more to add you said it all perfectly!!

    Here’s another link I thought I’d share on judging others .by rob chapman .. Good sentiments too!!


    [Indeed! Thanks! – Bjorn]

  24. John says:

    Well said Bjorn. As a builder of over 50 pedals know ( an amp, guitar and a few pedal boards too) I can attest to the newer can be better and often is. I am part of the DIY community. You know, not the boutique end of things but lower…the DIY end. I learned the craft from a few forums from these cats who are the best. It would blow your mind what some of these average Joe’s know about electronics. I can assure you they have looked at the vintage circuits, tweaked them and improved them from a power supply, noise, consistent quality standpoint etc… Spent countless hours over a breadboard testing out different IC’s, tranny’s, clipping diode or cap arrangements and on and on. The only difference between that guy and the boutique guys is the gumption I suppose to mortgage the future and try to make it into a living.

    Now price wise, no doubt the boutiques are expensive. The DIY guy? Not even close. Very reasonable if not cheap. I’ve sold many pedals and barely covered my cost (and took a loss if you believe that 5/hour is a low wage :) ) But I enjoy the hobby and like to pay it forward.

    Anyway, just thought I’d give a plug for the DIY crowd of family men by day tinkerers by night churning out great pedals such as those at BYOC, Guitarpcb and Madbean’s. Great minds putting out circuits if you don’t mind getting out your soldering iron to see for yourself.

    Thanks again for your many informative articles.

    John from Nashville TN

    [Thanks John! A very good point! – Bjorn]

  25. Max says:

    Hey Bjorn,

    I just want to say you are right on with this article. I wish more people have the transparency that you have. You have some of the most honest straight forward reviews I have seen on the internet. I find that one has to be careful when you look at reviews online or in magazines because like you said a lot of the magazines and online retailers are just trying to sell their products or to sell advertising space. I don’t know that I have ever read a negative review on a product in Guitar World.
    As far a vintage gear is concerned sure I may want a 1960-61 Fender Stratocaster or a early 50s black guard Tele, but the fact of the matter is there is a lot of really great equipment that is being made today by guitar manufacturers and the boutique pedal manufactures. You just gotta get out there and find it. I also want to take some time to thank you for everything that you do on this website. Gilmourish is a wealth of knowledge, and has proven to be an invaluable tool in my tonal odyssey.

    [Thanks for your kind words, Max! – Bjorn]

  26. Greg says:

    Thanks for the advise Bjorn, I will give it some serious thought.


    [Happy to help :) – Bjorn]

  27. Greg says:

    Hi Bjorn
    Great website, thanks for all the informative and well researched articles. I have a question, I am wanting to set up a Strat to achieve that much desired Gilmour sound, I have looked at the EMG DG20 pickguard assembly option, and have recently discovered a replica “Black Strat” pickguard assembly made by OverDrive Custom Guitar Works (www.stratcat.biz).

    Have you any knowledge of these, as they appear to be very good according to their website?

    Thanks mate for your time, keep up the good work.



    [Thanks for your kind words, Greg! Which pickups you should choose depends on the guitar, the voicing of the amp and what pedals you intend to use… and obviously, what sounds you want. The DG20s are great but I think they limit them selves to David’s 80s and 90s tones. Doesn’t sound vintage enough for the Black Strat tones. The assembly available through OCGW feature the same pickups combo featured on the Fender DG signature Strats. Nothing special but a pre-assembled kit is always handy. I also recommend the new Echoes set from D Allen pickups, which feature a push/pull control for the bridge pickup, allowing Black Strat tones from both the 70s and present. – Bjorn]

  28. Howard forton says:

    A superb candid view. And I agree with you 100%. Don’t believe everything you read on the Internet. Or in magazines/forums. Keep an open mind. I am 55 and just about finally got the tone I like. Mislead into buying a Yamaha transistor amps in the 1970s when a Marshall would have suited me better. Finally embraced valves and never looked back save for a flirtation with line 6 which wasn’t right for me. (But very close and my wife can’t tell the difference).

    You advice and views are inspirational Bjorn. I love gilmour and Trower. Seen them both multiple times starting in 1975. Last time was 2006 for both of them.

    Had 2,sets of emg dg2020s, fralins, custom shop, 13 different strats. My 2012 us standard is the best I’ve ever owned. Took me since 1975 to settle on it. More pedals than you can shake a stick at have come and gone. Loved every last second of the quest!!!

    Just ordered an electronic orange univibe clone afte your review. Mini dejavibe, pickle drive, mojohand nebula close but no cigar. Will send a pic of my latest gear come September.

    The gear doesn’t make the player but the tone you want, when you finally get it, will make you happy and inspired.

    Rock on Bjorn.


    [Thanks a lot for your kind words, Howard! Glad you find inspiration on this site :) Lookig forward to see a pic of your rig! – Bjorn]

  29. xvince1 says:

    Hi Bjorn,

    Very interesting article, (even if I partially desagree with your point), and in my view that’s something that we can read only on your website. I mean: a website relating to David Gilmour.

    What I think is that David Gilmour and more generally Pink Floyd, didn’t belong to the “rock’n roll scene or blues mythology”.As an example, we can’t speak of “mythology” around David’s gear (yeah, I know : Hiwatt / Mistress /Alembic etc etc), but there’s something slightly “intellectual”, less romantic but more “adult” as for example : his main axe during 80’s was just a copy of old fender stuff (my favourite CAR strat !!!) as his originals instruments where getting really expensives…

    My point is that the late coming back of the black strat sounded a little bit “fake” to me (I mean: DG probably liked again truly the black strat during the live8, but after that, we have seen the book, the fender CS official copy etc etc… if you know what I mean). My purpose is to say that I looked that black strat “fashion” period with some nonsense… DG & PF have allways been at the high side of high tech (Stereo on DSOTM / EMG / PCM70 reverbs / vocoders / samples / Qsound on pulse etc etc)

    But I don’t want to critic that merchandising story, as I have myself, like many DG fans I think, some nostagia about PF and DG, and If I buy an expensive old muff (or BC 108 in my case) from this era (Meddle/AtomHM/pompei/DSOTM etc…) it’s definitively clear that it will sound much more creamer / rougher / better / wonderfuller etc etc than an modern copy. Of course, as you said, that’s complete bullshitt: technically and acousticly most of theses antiquities are really hawfull… BUT !!! They belong to this period… and our ears (like our brains) are just weak Swindlers, that’s the “TIME” effect if you you what I mean…

    In fact, I would love to have the DG point about his guitars, I mean: DG start playing nearly at the creation of the Strat, and at this time he probably considered the stratocaster like some “ultra high tech” instrument, and today, is black strat looks like a genuine relics of the middle age…

    Sorry for this very long “tirade”, Cheers, Jean-Denis (FRANCE)

    Keep on going your stuff… I dreamed about a site like Gilmourish during almost a quarter of century ;-)

    [Thanks for your comment, Jean-Denis! I understand your point but I don’t really agree in that it being fake or whatever that David returned to his Black Strat, possibly for merchandise reasons. You probably didn’t mean it as literally as that but I think you forget that an instrument is a very personal thing for many. The Black Strat was David’s main guitar for over a decade and during a time when Pink Floyd was very active. David evolved as a guitarist with that guitar and they grew together. The 80s came and with it, the old went out and all kinds of new gadgets overflowed the market. No one used old guitars, amps or pedals anymore. David wasn’t the only one who in recent years has stated that he somewhat regretted this but it was also a matter of using gear that could provide a better performance due to the massive noise problems on stage. In most cases, digital was the only way to go. That’s not to say that the CAR Strat wasn’t as Gilmour as that Black but I think that if anything, Live 8 inspired both Phil and David to go back and reconsider what made Floyd and Gilmour what they were. Then, Fender cashed in on that, as they’ve done with so many others but David’s black Strat has always been his and, I would guess, his love for it is genuine based on their long relationship and not because it’s old or looks great. Cheers! – Bjorn]

  30. Vincent Morel says:

    Totally agree with you! Just to add something, some company nowadays found a very smart trick… They sell you a “made used” guitar (relic) twice the price as a regular one… So now you can even buy a “new broken guitar” for the big price! Silly!

    [Yeah well, people are still buying it but I see your point. Some of the custom shop replicas are pieces of art but I don’t I’d pay extra for my guitar to be messed up… – Bjorn]

  31. Daniel Haas says:

    Hi Bjorn! How are you doing? Well I have some questions, if you could help me, that would be awesome. First of all, forgive me if I comete some english mistakes. Well, lets go, I want to buy new pickups, I was thinking about the seymour SSL-5 in the bridge, D Allen Tru Vintage 54 in the middle position and maybe the cs fat 50s or the TTS ’65 haze in the neck. My concern is: Once I put the D Allen Tru Vintage 54 in the mid, will i lose the “Gilmour” tone? And what about the TTS ’65 in the neck? Thank for your time!

    [Hi Daniel! No, you won’t compromise the tone. All of these are very similar or at least in the same tone family. It also depends on the resonance of your guitar, the amp and pedals. The 54s has a bit more mids and not as much low end as the the 69s. The Fat 50s has even a bit more mids than the 54s. The SSL5 has a higher output than all, a slightly darker tone and lots of mids but it compliments both 50s and 60s pickups very well. – Bjorn]

  32. Dave says:

    Hi Bjorn, Great article & what many of us have been thinking for a few years now!

    I personally have purchased & sold many pedals over the years, some good some not so good, trying to create that elusive Gilmour tone & must admit I’ve enjoyed the journey! My question is, what is your one purchase that you feel made most difference in your tone? Mine is the BK Butler tube driver used before the Rams Head, it just added that extra dimension to the tone.

    Cheers Dave.

    [Hi Dave! Difficult question! I bought my first Big Muff and Mistress in the late 90s. I knew that Gilmour used them but I know nothing about the pedals or how to use them. I can’t really say they changed my tone then and there because I was probably using them the wrong way and it sounded awful :) My playing too… LOL! Years later, I can’t live without them and I feel that the Mistress especially has become a favourite and a staple in my Airbag tones. I don’t really consider it a Gilmour pedal anymore… I got the Colorsound Powerboost in 2005 and it was the last piece of the puzzle. By then I had learned a lot and knew what I was looking for. I probably won’t get that feeling again, like when I stomped the pedal for the first time and it nearly blew my eardrums. I had a grin on my face for days…! I should also add that the AnalogMan Boss DS1 is probably my most used gain pedal for Airbag. It nails the tones I need – especially when recording. – Bjorn]

  33. David says:

    hello bjorn! one doubt, lately i´ve been looking all these Mooer pedals, the are a great alternative for -home setups -small pedalboards -they are actually very cheap!!. so i saw this Triangle Buff and i saw what you wrote about it in your Big Muffs buyers guide and you recommend it for DG 78 and forward but why not Animals??? is it because it is too dark and has too much mids?? if that is the problem, would it be the solution to mix it with a transparent Booster like the TC electronics Spark Booster? thanks!

    [I think I just forgot to mention Animals. Sorry. Although David used the ram’s head and Sovtek Muffs the triangle nails just about all of these tones as well. It has a bit less gain than the ram’s head though, so you might want to consider pairing it with a booster. – Bjorn]

  34. Vincent says:

    i totally agree with you. Some years ago I bought a Binson Echorec 2. That was something I want since I start to play in the 90’s but I know from the start that it will not given me a better sound or that I will use it everyday. I bought it for sentimental reason and for the beauty of its construction and conception.
    I have used it on some records but it is really not something that is reliable enough to play every day and there is so much reliable echo pedal today on the market at good price that there is no reason to buy a Bison except for sentimental reason.

    The only vintage gear I use every day is my vintage Hiwatt from the 70’s. But in this case this is something that is more expensive to buy new and the old ones are so well made and reliable (you just need a cap job and you have this sound!). I think this is the exception…


    [Yeah, some stuff holds up and needs very little maintenance, while others, pedals in particular, are in most cases better to be purchased new. – Bjorn]

  35. Brad Roller says:

    Thanks Bjorn…I feel like a hypocrite because yesterday I had to go there to get tubes for my amp :/ it went out…and there they had the AC boost used, for sale. annnd I got that too lol saw that guy but he didnt really try to pressure me this time, another guy was helping this time. I had no plans of going back like I said before but its my amp man…it had been down for a while and I didnt wanna wait for a long time for them to come in the mail…but oh well! Thanks for your help! The AC sounds pretty darn good :) Anyhow, take it easy man! God bless!

    [Cheers, Brad :) – Bjorn]

  36. Brad Roller says:

    Hello Bjorn! I really like the honesty here lol You will find this funny I am sure but, I live in Alabama, in a VERY VERY small town, like, we have a gas station…that is it. Not even a red light! So, the nearest place for me to go and try guitar effects out is 65 miles away, in Birmingham, or Montgomery at Guitar Center. Birmingham being north of me and montgomery being south. Both are a good distance away. Well I always went to the Birmingham Guitar Center, because thats where my parents took me to pick out my fender strat on my 14th birthday! Of course, with me being raised on Floyd, it was going to be a red or black one. I settled on the black one, and after 6 years made myself my very own david gilmour black strat :), anyhow, got off subject there! Well they got this new guy there that helped me with getting a boss pedal or two, and now, EVERY time I go in that place he see’s me and just has to run up to me. Last time I was there, I think I was looking to get a Boss RT-20 and I remember he kept telling me “Oh man you dont need that! Its junk! I got what you need! Get the Deja Vibe!” and I said “Im not here for a univibe or anything like that, I want something to use as a Rotary speaker sim. with my muff and for the tone Im trying to get, the RT-20 is what I need.” then he tells me “Its junk man! Let me show you the Deja Vibe” and he just went on and on telling me that Gilmour used one or some shit like that(I mentioned one time I was a gilmour fan and never let that go)…do you know how annoying that is?? Im not a damn fool! I know what I want lol Needless to say, I do not go there anymore bcause of that. Him and another just always pressured me to buy stuff. So I have to do all my pedal shoping over the internet, which is where you come in! I trust your judgement alot, because you are honest and straight forward and you have helped me out over the years more than you know. Heck I have been coming here since I was 14 years old! Without this site, I wouldnt have that killer Gilmour tone that always amazes people! I have told many people about your site and how it has helped so much. So, thanks for all you do man! It is very much appreciated!BTW I have an xotic RC Booster for clean boosts, would the AC booster do good for those WYWH/Animals overdrive tones? (Sorry for the long comment!) Thanks! Rock on and God bless man!


    [Hi Brad! Oh man! That’s annoying. I hate it when an overly eager sales rep tried to talk me into something. Especially when they obviously haven’t got a clue but pretend to… Some people are overwhelmed and end up buying half the store, which is a shame. Others find the guy very pleasant and helpful… which I can’t understand… Anyway, to your question. The AC is very similar to the Colorsound Powerboost overlapping the RC with clean boost to amp-like overdrive. – Bjorn]

  37. Carlos Brazil says:

    Hi Again Bjorn. You’ve mentioned “I’m also using YouTube a lot and enjoy watching amateur recordings especially.”. Me too. Some like this one that only shows a “RedStrat Replica” (http://www.youtube.com/watch?v=uNcKott0qUY) are very “honest” and shows that anyone, with dedication, can play their favorite songs of their favorite artists. Regards, Carlos Mink.

    [Thanks for the link. Very nice tone! – Bjorn]

  38. Carlos Brazil says:

    Replicating a FB post…
    The Internet is a source of information that MAY be useful in many situations. In the specific case of “Gilmourish.com” it is a very interesting source for Dave fans seeking tools and equipment that can bring similar results/sounds. With the huge variety of options and prices, Bjorn’s contributions, for me at least (so far away, in Brazil…), has been invaluable. Yes, the acquisition of a “BlackStrat NOS” was by mere personal fetish. But mounting a homemade replica of the “Red Strat” with the “Kit EMG” was only decided after carefully reading the impressions of Bjorn. That’s it! Again, Bjorn, thank you for the time you dispense to help so many musicians (including amateurs such as myself) with your tests and opinions. Regards, Carlos Mink.

    [Thanks for your kind words, Carlos! – Bjorn]

  39. David says:

    g´day Bjorn, one question, im definitely getting a blue faze but yesterday i remembered about the Dunlop mini blue fuzz (bc108), which i think is a copy of the Jimi fuzz (bc108), so… have you tried that mini fuzz?? if you did, which one would you recommend, the mooer blue faze or that Dunlop mini blue Fuzz?? thanks for all

    [The Dunlop. – Bjorn]

  40. Terrance says:

    B, Great read , I refer all my musician friends to this website. It’s got great information and not just about David Gilmour. So good to hear you rant. Let it out we’re here to take it in. All of this is so true. I wish the local Music store would read this, of course they would never do it they have perfect tone already lol
    Thanks again, what’s next ?

    [Thank you Terrance and for talking about my site too :) What’s next? A couple of reviews, new buyer’s guides and perhaps some more rants… we’ll see :) Cheers! – Bjorn]

  41. nils says:

    Hi Bjorn,
    thanks to you i’m learning a lot about gear and choosing the ‘right’ guitar/amp/pedal or whatever. I’ve got a few friends (musical and technical) and they also opened my eyes. They once said: don’t get fooled by the shiny big brands, a guitar is still a piece of wood withe some electronics, if it sounds good, and it plays good, then its a good guitar. No matter what brand sticker is on the headstock. I’m playing for 20 years now, (and bought a few mistakes), Nowadays one of my favorite guitars is the classic vibe 60’s strat by squier.
    Here’s something for a laugh. its a parody of course but still. Sometimes you see them for real on ebay:


    cheers, keep up the good work!
    Nils (Amsterdam)

    [Ha ha! Nice advert! Your friends are vice. If the guitar have a decent build quality and sound and plays nice, then it’s a good guitar. I always also stress the importance of testing electric guitars acoustically. If the resonance, sustain and overall tone is good then it’s a good guitar. Pickups can easily be replaced later. People worry too much about owning the “right” guitar, what it says on the headstock and where it’s made. I don’t care how or where as long as I like it. Thanks for the input! – Bjorn]

  42. KuroNeko says:

    So True Bjorn ! On the other hand, without all the tricks I learned from great Floyd players on YouTube, I would have never achieved the entire guitar part of the “Crazy Diamond” that my parents listened to when I was 10…

    [Lots of great things to learn out there :) – Bjorn]

  43. Matthias says:

    Hi Bjorn, thanks for your constant presence here on gilmourish.com. It is worth a lot for me visit this site regularly for information on the latest pedals – and watch you playing so accurately. As in all times, there are always outstanding people that stand out through their engagement and helpfulness. You belong to that people and I’m sure that this is very appreciated.
    Next week my journey to Norway begins, I will live 5 months there. I ordered a Laney Cub 12R but I sent it back – spoiled by my Hiwatt DR504 and Cabinets with Fane … I was a bit disappointed. Am I correct when I assume that the speaker was a bit crappy ? At this time, I am thinking about a Marshall Tube Combo. Can you recommend one ? Best regards from Germany !

    [Thanks for your kind words, Matthias! The Cub is a nice practice amp but nothing more, I think. I’ve replaced the stock speakers with Weber Thames and the tubes naturally. It’s really a different amp than the stock model but obviously, quality and overall richness of the tones doesn’t compare to other more expensive amps… that’s not the intention either. I think you get a lot for the buck but when you go from a DR504 to the CUB you will notice the difference :) I don’t really use mine that much any more but rather the Lionheart L20. Amazing sounding amp! A bit too big perhaps for bedroom playing. Other than that… I don’t know… I haven’t really found a Marshall combo that I like. The new Slash signature is really cool and the anniversary tops sound great but the Class 5 and others, doesn’t do it for me. Anyway, I’d just bring a guitar that you’re familiar with to a store and try a bunch of amps. – Bjorn]

  44. Jean-françois says:

    Great article ! very well explained.
    I agree that it’s all psychologic, and I must admit that many times, I fall into this trap :
    I can’t explain why, but I prefer when my heroes are playing with their vintage gear, far more than when they play with their “modern” gear :
    I prefer David on the black strat than on the red strat
    I prefer Knopfler on his 61 strat than on his sig one or on his pensa
    I prefer SRV on his #1 tha on his charvel
    I prefer EC on Blackie or Brownie than on his sig model
    I feel that it add some “authenticity”, but I know that it’s just a “virtual” feeling, and your article confirm this.
    many thanks Bjorn. Keep up your very useful work !

    PS : talking about amateur recordings, here are mine :
    (I play guitars, bass, keyboards. Drums are trigged and played by a friend. My budget is very low, so I could afford only a Fender american strat and a Vox Tonelab ST)
    I hope you could spend a little time to give me some advices. thanks in advance :-)

    [Hi, Jean-Francios! Thanks for your kind words and for sharing! Lots of great tones you got there :) I agree with you that it’s far more, for me, interesting to see all those guitarists with their old gear but I don’t think that’s quite the same as buying vintage gear or being tempted to think that only vintage is good. Gilmour and the Black Strat, Clapton and Blackie or Brownie… they all belong together and they’ve been through much. They’ve grown together and developed together. That’s not the same as actually buying a 60s Strat or an early 70s Muff. Most of these guys has used a lot of different stuff over the years. Not least in the studio, but it’s interesting to see how they all keep getting back to that original stuff. Apart from most of the 80s and all of the 90s, David been using the same guitar since 1970 – although modified – which is quite an eye opener in this age where you just can’t get enough gear. A Strat, a nice amp, distortion an delay. That’s really all he needs to get his tone and to record and album. Anyway… Cheers! – Bjorn]

  45. Michel says:

    The best part about this site for me is that in terms of playing DG-songs, you helped me make the most of the equipment I already own. I read your reviews of new gear, but nothing beats learning new uses for the trusty gear I’ve owned for years. Thanks & keep up the good work!

    [Wise words! Thank you :) – Bjorn]

  46. Adde_J says:

    I think you’ve pretty much nailed it with this article. I seldom look for tips on what gear to buy myself. Actually I’m more interested in how it is/was used to get certain sounds…and you are very good at doing that as welll. :)

    [Thank you :) – Bjorn]

  47. Gabriel says:

    Great article, Bjorn! as always, and I can´t agree more on this one.
    We´ve been just discussing the same topic on a DIY forum. Here in Argentina there is a bullshit forum runned by a guy who think he is some kind of “Tone Guru” or “guitar God”. That forum was created with the single idea of selling gear, so anything this “guru” post is total biased crap. But that´s not that bad, he is making bussines. The real problem is the herd that don´t even dare to question his word, like some kind of cult, with brainwashed followers.
    Thank god we have people like you, who just want to share knowledge and show “options”.
    Internet is like everything else, with goods and bads, the trick is learning what to choose.


    [Thank you Gabriel :) – Bjorn]

  48. Keith says:

    Just a quick note about wireless systems. Being in the Townsend,/ Angus Young vein of being all over the stage, I’ve owned several wireless systems. I was always didsappointed until I went for a unit with several channels that switch back and forth automatically when it senses RF in clise proximity to it’s current channel. Never disappointed again.
    Peace, Keith

  49. Stone says:

    Absolutely fantastic article you have written for us.

    I have been lurking a long time on the Gilmourish site but for once I am going to say my two cents.

    Bjorn’s article and what others in the comments section have said I have had to explain to younger players many times over the years and for that matter some older ones (Thanks Yoel Kreisler you laid it out perfectly).

    While some older gear is cool, in many cases it may not be what you need or indeed in the end what you are looking for in reliability as technology has moved on for a reason (this is the important bit).

    I admit I collect older guitars, but it is a hobby and I don’t tend to use them live because in many cases they may not be reliable enough to deal with being on the road doing gigs. The old Fender twin I have for example stays at home and it is the reissue that gets moved around from show to show. Why because it is more reliable, I can tell you the moment I take the old amp on the road she can get a little twitchy and I cannot afford that as it has to work 100% every time. It is the same for all my guitars, the vintage one’s don’t often get used and it is the modern (well late 90’s) Strats that do the hard work. The reason is because they are set up to be a work horse and the parts are replaced as and when they develop problems (they are not played because they look cool but because they work well). Sure the older guitars look cool, but do they really sound any better? Sorry to burst bubbles and maybe offend some people but in most cases they don’t. And even with some serious work and maintenance you are still dealing with old gear that may just break down on you when you least need it to (how many of us can afford a full time guitar tech? I cant!)

    Yoel Kreisler hits the nail on the head with this “A lot of people out there nowadays are targeting guitarists especially, saying their product can get you “the tone”, I have had sales people do this to me and I tend to just shrug it off and smile. But for the younger guys out there it can be so tempting to follow this line of thinking.

    While I was teaching I would have students ask me how to get the best tone and what gear should I use to get it. Well my answer is this “No one piece of gear is ever going to give you “the tone” because in the end the tone is you. Play what feels right, fits your budget and above all develop your own tone (the player makes the tone remember that).

    So for the people starting out etc don’t let anyone talk you into getting “the pedal” or “the amp”, or the anything for that matter. Use your ears and work with what best works for you and your way of playing, trust me you really do not need that vintage Strat when a MIM with some upgrades or a US Standard will work just as well, probably better as it has the advantage of the pedigree without the problems.

    Get to know your local music shop and the guys who work there, for sure some will try to push the latest thing on you that will give you “the tone” but there is nothing like getting to try gear out real time which you can not do on the net. Over time the people at the store will get to know you and it is worth it in the long run to have this sort of relationship (there are good guys at these shops who are not full of it). But still shop around, try gear out and take your time and ignore the players on an ego trip pushing their way of doing things and develop you own.

    This is just my opinion on the subject.

    Peace all and thank you Bjorn for providing such a cool site.

    [Thanks for your kind words and for the input, Stone! I think it’s important to acknowledge that tone isn’t something that just pops up over night. It can be frustrating to listen to your favourite guitar player or even a friend playing and feeling that you’re nowhere near what you hear and experience but one thing is for sure, none of these sounded good when they started to play guitar. Tone is practice and experience and, as you point out, coming from you. If you’re a beginner, then allow yourself time to learn how to play and learn how to recognise what makes a good tone. Tone isn’t about how much stuff your carry but how you use it in combination with your technique and to get there it takes time. Gear can be very inspiring but you shouldn’t confuse that with the need to practice, experience and trusting your ears and instinct. – Bjorn]

  50. Rummy says:

    Here’s a link to song with my gilmourish tone:

    [Nice tones! Thanks for sharing! – Bjorn]

  51. Rummy says:

    Dear Bjorn,

    This is absolutely one of the best websites out there not just for Pink Floyd tones/inputs but even for buying affordable gear.
    Been over 20 years since i’ve been hooked to Floyd and the ‘Shine on’ tone still gets my blood running.
    I’ve got a very simple setup – warmoth hard tail strat with lindy fralin vintage hots running through a Boss GT8 into a solid state 60watt power amp made by my guitar techie.
    The other day i had a chance to A/B my rig with a tube amp.
    Trust me it was so close that a normal person would NEVER be able to tell the difference between a tube amp and solid state.
    Every time i read about new pedals and reviews juts keep going into more spells of GAS, but have come to realise that even very basic setups are sufficient.
    You just have to close your eyes and trust your ears. Doesn’t matter if you’re getting the tone through a 10000$ pedalboard and tube amp or a zoom404 processor, Its getting THE tone that is important.
    p.s.Please tour India sometime.

    [Very true! – Bjorn]

  52. Tucker says:

    Dude, I love you.

    [Thanks, Tucker! – Bjorn]

  53. Flavio says:

    Hi Bjorn, it’s always good to read your wise words, great tips as always.

    One gear that I was looking for and I got mixed opinions around the internet is a wireless transmiter, have you used one? That’s one thing I’ve never read about here, then during a trip to USA I bought a Line6 g30 and I’m loving it so far, the tone is great and the freedom is priceless, hope to see a review about one of these systems here in the future.

    [Thanks, Flavio! I’ve never tried wireless so I can’t really comment on it. The Line 6 stuff seems to be very good and it’s become sort of the industry standard for many. I’ll certainly check it out at some point. – Bjorn]

  54. Steve says:

    We buy vintage gear because

    1) We want to be unique (most people do not have vintage gear)
    2) we want to impress others (especially musicians)

    ….but honestly its with our appearances, not our tone really. Very high-school behavior if you ask me.

    E.g. Who cares if CBS-era Fenders are quite obviously a low point in Fender’s history as the average quality rolling off the assembly line suffered from constant cost cutting?

    It it still meets 1) & 2) above, then someone will pay a few thousand $$$ for it.

    [Indeed. – Bjorn]

  55. Yoel Kreisler says:

    Bjorn, I’m getting all misty eyed just reading this thing. It just solidifies everything I’ve been feeling lately about the current state of the gear industry. A lot of people out there nowadays are targeting guitarists especially, saying their product can get you “the tone”, which they very well know is what we dream for at night, what occupies our every waking minute, and what keeps us playing, experimenting, and tweaking until the early hours of the morning. The quest is us finding empty bank accounts, coarse and raw fingers, and endless hours of shopping and research. We live and breathe this stuff and these assholes are trying to cash in on our dreams! Some of us get caught up in the flashing lights and promises of that tone, myself included, but I have a strategy. When I was a child and I used to watch TV with my mother, being the smart woman she was, understood the consumer culture and hyper advertising techniques used in the US on TV that children especially were powerless to. She would tell me when a commercial came on to ignore it, because the product being advertised was trash. When I grew older, I learned to tune out all sorts of advertisements, and with the advent of the internet even more so. I took everything I saw with a grain of salt because anything that sounded good had a catch. My point is, don’t let the smoke and mirrors fool you! A product doesn’t need such an aggressive advertising campaign if its good. And in regard to the vintage thing, I completely agree. Although it would be really cool to have, I would never plug into one. If anything it would be for show. A vintage fuzz is one of the moodiest things on this planet, is extremely hard to tame, and is very very noisy. Same goes with just about every vintage piece of gear there is. On amps and guitars there’s scratchy pots, corroded tube sockets, old capacitors, and just a load of things that go more wrong than they do right. You’ll spend more time repairing it rather than playing it. There has been a lot of advancements in technology since the 60s, 70s, and 80s, and a growing market for gear since the advent of the internet. Take advantage of that! Don’t forget the vintage roots that these things mean to capture, but also don’t forget that the vintage ones had loads of problems that we don’t have to deal with because of inconsistencies in design and manufacturing. There is a really nice forum on Dave and his gear at zychal.net. A really friendly, supportive, and nice community that’s just as crazy about David as we all are, whom our resident host is a member of ;) Just remember folks, take it all with a grain of salt. You’ll be very happy you did! And Bjorn, I can’t say this enough, thank you for this wonderful, amazing site that all of us cannot live without. Your endless dedication to this small, but vibrant community of Gilmour freaks touches me each day I cruise on to check that modulation unit or compressor Dave used on any given tour.

    [Thanks a lot for your kind words and for sharing, Yoel! Much appreciated. Marketing and advertising used to manipulate and brain wash. Nothing more. Interesting to see that very few, if any, of the boutique builders and smaller companies do adverts. It’s a word of mouth and it works because what most do and produce is worth sharing and spreading. – Bjorn]

  56. Chris says:

    This is so true!

    The Internet trend about vintage gear has a very good and informative side.

    I always believed that the musician’s world and lets say the guitarist’s world was very small.
    When I see all the new gear offers popping up including amps, guitars and effects I suppose this is not such a small world, but rather a business for many factories hence the greed behind that.
    No wonder that old stuff became so expensive without any valid reason rather than hype.

    One thing, I’ve read that Eric Clapton cherished Stratocater Blackie, a hybrid of ’50s Strats parts he put together had grey bottom pickups from the sixties when the Fender team put it apart. The legend always said it was all and truely ’50s Stratocaster parts Blackie was made of…

    Who knows, ’50s or ’60s pickups? Or did I read another internet hype :-)

    [I know very little about EC’s Blackie but it’s the same story about David’s Black Strat and thousands of other legendary guitars. Most of these are modified, abused and treated like scum by whoever own’s them but it’s always done with love and for a better tone. EVH’s old beaten Frankenstrat… the list goes on. Hardly a vintage well kept gem but a very personal instrument. – Bjorn]

  57. manuel says:

    hello i´m spanish congratulations for the big big big work i´m a Little Little guitar man and you are great expert on tone of gilmour sound…sorry my english is very bad

    [Muchas gracias, Manuel! – Bjorn]

  58. Luc Huard says:

    Oups, I forgot to mention Duane Moore on youtube. He’s a huge Gilmour fan, like us.
    I have learned a lot from that guy, he only plays Pink Floyd music. There’s a lot of good tutorials videos on his Youtube channel, Gilmourish is often mentioned as a reference for gear and setups.

    [Yep, great guitarist. – Bjorn]

  59. Gareth says:

    I totally agree with you Bjorn! I think guitar players tend to romantisize things like vintage effects and vintage guitars. What made these pedals great were their innovation, originality, and I suppose that now looking back its what our heros used to get “that” tone/sound. However what we tend to forget is what made our heroes great and in particular Gilmour is that there was a continued pursuit to change things up and use those exciting new pedals at the time to enable them to express themselves. For instance that univibe effect really made breathe on dsotm for me, however people forget that a univibe was a failed attempt at a rotary speaker emulator and if a univibe was never invented and a company came out today with a univibe but advertised it as a rotary emulator it would be laughed at. People keep trying to box things in to categories instead of going on how it sounds to them (and not how it is supposed to sound). We live in a technological age that should bring countless new innovative pedal/guitar ideas to the table and we should embrace that. I say yes, lets capture what made those vintage things great, but lets also forget to be such purists for a while and lets roll with the times and see what new and futuristic sounds we can get and make it our own. However I will say this, there are 2 kinds of pedal/guitar makers: those who feel that their creations will change the world and answer the needs of tone freaks, and those who just want to climb aboard the gravy train flooding the market with their hyped up rubbish. Its our job to know the difference.

    [Some very good points here. Thanks for sharing! – Bjorn]

  60. Joe Hanson says:

    Hell, Yes!!! Thank you!
    Most of my gear i love i came to accidently, really. (Except for the Dano Longhorn. I spend years getting the sound of Rinus Gerritsen on Golden Earrings Eight Miles High with other basses. didn’t work…;)
    Most of the stuff i don’t use often was once a “musthave”…
    Cheers, Joe

    [Accidents are good :) – Bjorn]

  61. Luc Huard says:

    Another great article Bjørn.

    I always say that, the internet is God and the devil at the same time. Me I started playing guitar in the 80’s, so no internet. I have learned a lot on the web, gear wise and also tips on being a better musician. In my humble opinion you have to find a music store that you can trust. Me, I have one on the web and one that I go to when I buy big gear like a guitar. Also a good luthier is in order.
    Some sites that I like, on youtube : martyzsongs, RobChappers. Also check this one out where Rob Chappers reviews a Squier Classic Vibe Tele : http://www.youtube.com/watch?v=xOFTWdcovtw The guy is a is an accomplished musician and he likes the Squier not snobbing it like others.
    Of course, one web site you can trust… Gilmourish.com :0)

    [Thank you, Luc! I forgot to mention Chappers and Anderton’s in the article. Use their channels a lot and they’re very good at presenting budget stuff as well. – Bjorn]

  62. Rawd says:

    Hi Bjorn,

    I couldn’t agree more. I’ve also spent years reading forums and manufactures marketing pitches.
    I’d consume volumes of information before making my purchase, always wondering if I made the right choice? And so on for each FX.

    Over the years I’ve reached the conclusion that I would populate my pedal board with the best choices I could make at the time. Purchasing FX’s for the particular song/project I’m working on, and so on. Then, if the FX I choose isn’t cutting it, replacing it quickly…so I could concentrate on learning the music, and playing technique needed.

    I remember reading somewhere DG saying that he could find what he needed in just about any well stocked music store to do what he wanted. A very subtle statement that took me quite a while to understand.

    Your website is one of my most valued resources because of your willingness to share your honest opinion.

    Please keep up the good works!

    [Thank you, Rawd! – Bjorn]

  63. greg jarvis says:

    Agree 100%
    great article Bjorn.

    [Thanks! – Bjorn]

  64. Kit Rae says:

    Bjorn, my sentiments exactly. I have been through all that myself and could not have put that advice into words better than you did.


    [Thanks a lot, Kit! I think it’s important to point out that there’s nothing wrong with collecting. Whether it’s stamps, cars, old computers or Big Muffs it’s all about the quest, the search, the thrill and the experience of seeing that whole in the collection being filled. Then, it’s something else you got your eyes on. It’s got very little to do with playing guitar or creating a unique tone. Still, many people misinterpret this as being the only way to build a rig and develop as a musician. The collectors are the ones pushing the market and prices and the easily fooled are the ones being robbed. Never mind the musicians who travel the world and collect pedals and guitars from all corners. They have the money and too much time on their hands between shows :) What else would you do? Snort a bowl of cocain, perhaps…
    Your site is a goldmine for researching and exploring the world of Big Muffs but what you’ve also accomplished is to combine a huge database with presentations of new boutiques and clones and compare these with the originals. I think that any one collecting Muffs can agree that it’s more about affection than tone. You don’t have to look for long for a clone that sounds identical but without all the common issues. Anyway… – Bjorn]

  65. dMac says:

    100% agreement! One of the best quotes I’ve heard about the current “collectables” market comes from Rick Nielsen of Cheap Trick (a man with a fine selection of axes himself)- “They weren’t called vintage guitars back then- they were called used.” I agree with your basic premise, Bjorn- there are a lot of people with a lot to say, but it’s best things to listen with your own ears. It doesn’t take long to develop an ear for the general type of sound you want, and what can help you get to that sound. There is some gear that is better, and some worse. The best people to listen to are those who you can trust (i.e. someone with a similar ear for a similar sound). But every now and then, try something that is out of your ordinary- you never know what you will find!

    [Absolutely. Trying something that’s different from what you normally would go for or even way out of your budget allows you to get some experience of what’s out there and you’re in a better position to judge and get the stuff you really want. Perhaps you even surprise your self and buy something you really didn’t expect to buy. I think this is important when it comes to guitars and instruments in particular. Try different models to be able to tell the difference between different contours, woods, finishes etc. Try a custom shop model even if your budget doesn’t allow it. Try to recognise what you like about it and spend some time finding those features in a cheaper guitar. – Bjorn]

  66. gregmac says:

    Very true statements. There are so many variables going into your sound. Effects and amps resd to each other in unique ways. even just swapping out fingerboards makes some of my pedals too bright or dark. Some effects struggle for unity gain with highoutput picups. Anything I have tried out from your reviews seems to work out well. The mjm boxes I obtained sound amazing with everything I throw at them. I can’t wait for a time based effects section! Compressors too! I play g&l romance through a Rivera 100 duo twelve so I can’t find clips that help too much. Thanks man

    [Good points! – Bjorn]

  67. Luca Bartolommei says:

    Great post, Bjorn!!!
    I’ve started playing guitar in the very late 60s (9/10yo)… no Internet, no sheet music, no tabs, no money(!), no magazines (just a few in the 70s, here in Italy), only passion, emotion and ear.
    I still remember the days when, in one the few places you could rent for rehearsal in Milano, we, teenagers, giggled and made “strange” noises in the microphones using a greenish echo unit, (we simply called it echo…) unaware of the fact that were using the “B-i-n-s-o-n E-c-h-o-r-e-c II!!!” It was made in Milano, that’s why it was in that studio!!! Why I wrote this? Bah!! Anyhow I’ve learned to make mistakes, always trying to make them “my way”, but always trying to learn as much as possible from the world around me; also looking at it uspide down, sometimes. I am very sorry about those people who hold The truth… you’re not harsh, you are making people think about what they are doing; you are suggesting us, humbly, to play a key role in building our tones, and not to be marketing victims. Thanks for sharing your feelings.

    [Thanks for your kind words and for sharing the great, inspiring story Luca! Wow, it must have been magical to play in a band back in those days… :) – Bjorn]

  68. Roko says:

    Very helpful, honest and well-written article. Thanks, Bjørn, I really enjoyed reading it.

    [Thanks, Roko! – Bjorn]

  69. John M says:

    Absolutely spot on, Bjorn. It’s often very hard to divorce heart and brain, but buying guitars or gear (or anything else for that matter) should be much more brain and much less heart. When I do buy, I look at a lot of reviews, opinions, and video clips. While I seriously respect you, and thoroughly enjoy the reviews and information you post here, Gilmourish is just one (excellent) source of info. My advice: enjoy the hunt for the gear–its fun, and you very often learn a lot from doing the research. When you think you’ve found what you want, then go look at competing products and their reviews–you might just save yourself some money, and wind up with something that works better for you.

    [Thank you, John! As you correctly point out, Gilmourish.Com is just one of many and you should always seek advice and information else where as well to compare. My goal and philosophy has always been to be as honest as possible and never allow companies to in any way bias what I write about or review. I write about and review the things I believe in, what I honestly think sounds good and from those who I believe is worth supporting. However, what I write about and like, may not suit your rig, playing or tone. – Bjorn]

  70. Sergio says:

    Great article. I totally agree with your oppinion on the “dangers” of the internet. I really enjoy the PGS videos. Comparing those with amateur recordings can give a fair enough idea of the products…
    I have to say that Gilmourish.com is allways the first place I go to. The sound that I usally seek is in line with your taste. Since I began reading your posts I’ve contacted you a few times and your oppinion was, every time, very clear and straight to the point.
    I believe it’s difficult to find another website with such an honest and unbiased opinion as yours.
    Thank you for sharing your knowledge and for giving the guitar community such a valuable resource.



    [Thank you, Sergio! I try my best and enjoy every minute of it :) – Bjorn]

  71. Keith says:

    Bjorn, I’m so very, very happy you wrote this article. While I too have on a rare occasion fallen for that, “I must have a real vintage one!”,thing, I spend a lot of time arguing with a couple of friends, and shaking my head at those who think they have to have the exact pedals Gilmour has, or must only buy the original, 1960’s or ’70s “vintage” pedal. I don’t care two cents whether a pedal is, or looks vintage, and never buy used gear off eBay, and similar sites, especially if it’s Vintage. I have carefully researched everything I’ve bought, and rarely have I purchased ANYTHING that I haven’t played first, or questioned many trusted sources at the least. The forums have some friendly, and honest guys, and gals, but many are only there to boast about all their vintage gear, and ultra expensive amps no ones ever heard of. I use them sparingly, and ask very specific questions, especially why!!! I
    could write a book about this, but will end, and likely piss a few people off. If you’re a serious collector, I understand your desire for those vintage pedals, and gear as part of a collection, but for the general player, looking for your tone, you don’t need a $4800.00 Black Strat pre scratched, or a real ’73 Triangle, or even care what so and so plays. Find the best playing, and sounding guitar you can afford, and forget about whether a pedal looks vintage enough, or if DG uses it, do your homework, save some money, and you can find much better sounding ,and much more affordable clones that are necessarily better than an old beat up pedal built before the first computer! No disrespect meant, but because of all these issues, I purposely didn’t paint my Strat black, and don’t own a Vintage pedal, but a lot of great new pedals!
    Peace, Love, and Gilmourish, Keith

    [Well said, Keith! – Bjorn]

  72. Dominic says:

    Hey Bjorn,
    I totally agree to your article! The whole vintage-hype is getting ridiculous, although I understand the kind of collectors that got a sentimental connection to the things they do. Of course it’s great to play with a ’59 Les Paul through an old plexi, but these things don’t make me sound better. I spent a lot time and money on the search for the perfect boutique pedal and it was for nothing.

    [Good point! Either you buy for your collection or for some very string affection – nothing wrong with that – or you buy vintage out of pure ignorance. Clones and boutique pedals are, in most cases, far better than any vintage. The few exceptions are when the original hasn’t been cloned or if someone hasn’t been able to make a clone that justifies the original. Of course, this is very subjective, but up until a couple of years ago, the only way to get an original Mistress was to get a late 70s model with all its flaws. Then Hartman introduced his excellent Analog Flanger and the Mooer ElecLady is also an excellent choice. Anyway, my point with this article is that the vintage market doesn’t really exist until internet and EBay was born. The market was too small. It’s also about the fact that during the 80s and most of the 90s, no one wanted old analog pedals because we were right in the middle of the digital era. Then suddenly a few bands from Seattle began to use old Muffs, analog chorus, phasers etc and anyone with a flannel shirt playing guitar wanted those old pedals again. The demand was there when the people owing these old pedals suddenly had a place to sell them and the hype and price sky rocketed. – Bjorn]

  73. Andy McKay says:

    I could not agree more Bjorn, I’m a big fan of yourself and Justin Sandercoe.
    Having spent a lot of money and time on guitars and pedals I am now far more aware of what I actually want.
    Like many of us I’m on a pretty tight budget but I wanted a good quality guitar and a handful of pedals that would give me the tone I wanted.
    I have wasted money on a few ‘classic’ pedals only to find they just didn’t work on my home setup, the EHX Big Muff was a real dissapointment, but the Digitech Bad Monkey was suprisingly good and only £25.
    Forums will always have their idiots, that’s life.
    If there is any advice I could give it would be to echo your own, know what tone you’re looking for and where you will be playing the most (home, studio, gig etc.). It’s a learning curve but it can also be fun :@)
    Cheers Bjorn.

    [Indeed! Thanks Andy. – Bjorn]

  74. ruodi says:


    I don´t know what others think, but I like it when you´re angry. :)

    >> The guy in your local guitar store and the guitar mag journalist will tell you that the latest hype is the best option. <:(

    Clueless. -> More Clueless. -> Local Guitar Store Vendor. >:P

    [Ha ha! Well, I’m sure your store is full of knowledge and excellent customer service :) – Bjorn]

  75. Matteo says:

    Hi Bjorn,
    I totally agree with you, especially talking about vintage stuff. Vintage market has never been my cup of tea, I tend to consider it a great cash-cow; hey I could understand a collector who pays a lot of cash to put his pedals in a display case, but that’s got nothing to do with my way of owning pedals: I want to use them.
    By the way speaking about different approaches in making the right choice in terms of pedals I use lots of forums and YouTube clips, too, I have to admit it’s rather stressful job and it takes a hell lotta time, but personally I find it the only way to accomplish the goal. In the past, I used to go to my local music store and ask for advices, and eventually I bought gear and guitars, but most of the time I ended up disappointed, for instance the last time I’ve been there I was looking for an A B switch kind of thing, and the guy from the store sold me a Boss Line Selector which stopped functioning a couple of weeks later; I made a research on the web and it turned out that that pedal is an utter disaster and lots of them shared the same fate.
    The same thing happened with a Gibson SG which I owned a couple of years ago, there was no way to keep it in tune, the G string kept on detune no matter what: hell the tuning didn’t last even for the lenght of a song. Only later I found out that lots of SG’s unluckily have this problem. So now before buying ANY piece of gear I made an extensive research on the web, just not to “get fooled again” as The Who once sang.

    [Right on! It’s really quite funny that some stores doesn’t take their business more seriously than they do, considering how easy it is to buy everything online for much less. Here in Norway we have a couple of chains and very few independent stores. The chains are OK. They have milk and bread and the occasional bargain that you don’t want to miss but they are lousy on customer service and I see them all the time in the media complaining about import and internet shopping. No wonder, I’d say. – Bjorn]

  76. Stephen Ford says:

    Bjorn, right on the mark!!! Nice article and I agree 100%. The truth is the gear is made better today, more reliable, and often able to find nearly the exact tone if not the exact tone of the vintage pedals. Leave the vintage gear for those collectors who wish to blow large sums of money. The clones being built today are just as good if not better at a fraction of the price. One day these new boutique pedals will be the pedals that are going for big bucks on EBay. So support your boutique builders and find your sound not a fashion statement…


    [Thanks Stephen! One thing that’s often said about boutique and clones are that they’re expensive. Sure, some of them are, but what would you expect from a small scale one man operation? Boss and Electro Harmonics makes gazillion pedals a year, while these small builders struggle to keep their head above water with a few dozen pedals each year. They’re the guitar worlds mom and pop store and if you like what they do and appreciate their knowledge, skills and passion, then support them! – Bjorn]

  77. Alan says:

    Hey Bjorn, I find this post really intriguing especially since I work in a guitar shop with finicky ol’ Adrian ;D I couldn’t agree more, as much as I would love to own a vintage big muff; my green russian does the trick and then some (It helped me establish the basis of MY tone). I have a ’78 Mistress that I love to death (and at $201 I think I’ve committed highway robbery) but it is pretty noisy, has a volume drop and is REALLY finicky about what it is next to so as much as I love its unique flange that I have not heard anywhere else, It is somewhat annoying to have disadvantages like that. The Strymon Timeline is another example, most forum “purist snobs” would tell me that I absolutely must have a vintage Watkins Copycat or something alike but the Timeline is the most reliable and authentic nevermind versatile delay I have ever used, bonus being? It is modern and made with the best parts available (the first pedal I have ever heard of having the need for software updates LOL) and thats where you make a fantastic point. Research is the best benefit for your tone simply because its you making the decision based on what you have seen and not the forum “purist snob”. I feel like I may have gone a little bit of everywhere with this comment so I’ll end it here ahaha, keep up the good work Bjorn!

    P.S. You should release a download for an offline version of this website, it would be the best thing since sliced bread ;) haha

    [Thanks Alan! Hope I didn’t offend any one working in guitar stores :) There are a lot of very helpful and knowledgeable people working in stores around the world trying their best to help. No doubt. However, there are some that shouldn’t be allowed to work anywhere near a guitar too :)… Cheers! – Bjorn]

  78. Stratocasphere says:

    Hi Björn,
    This is so true….
    I have spend a lot of money for years now through ebay to buy the full collection of vintage Muffs, buying, selling and losing money most of the time. I have bought in parallel some new muff clones, Cornish pedals etc. and have learned than nothing is better than a good guitar and a good amp….
    Old muff are great yes for theiir Mojo but their are hissing a lot, are quite not all great sounding and not all the time all pedal friendly.
    I am now downsizing my rig deciding what is the pedal I like the much in term of sound and not in term of brand, mojo, vintage way, cost etc.
    eBAY is great but it is greater to go within a guitar shop and to try guitars and pedals. I was during a time buying pedals and guitar without trying them… Can you imagine that? I could not now….

    I bought 2 weeks ago, based on your review the effectrode Tube Vibe and YES, it maybe not at 100%, a shin-ei vibe, YES it has tubes, YES it is expensive BUT YES it is REALLY GREAT and is the sound of modulation I was looking for…..

    Thanks for your article, it will remind many people where the things have to be….

    [Thanks! Good points :) – Bjorn]

  79. shannon says:

    Speaking of youtube and amateur recordings, i wanted to post a link to these guys. i absolutly love this cover. The fact that Mini Sid is killing the LP with all the raw un-studioed tone is awesome, really pulls me in. And the vocals, love it.

    [Nice! Thanks for sharing! – Bjorn]

    • merseymale says:

      Hey!, that was GREAT!!

      There’s something very poignant in hearing lads & lasses conveying the meaning behind songs like ‘TIME’…. (sigh!)

      I’m sure they’ll all do well enough to afford shoes soon! ;-)
      Good Job you guys!

  80. Marc-André says:

    Inspired tonight Bjorn aren’t you? :) Well this is exactly why I like you and your website. Always willing to share your experience and thoughts on gears and other related subjects. You are trustable and that is great especially when you don’t have the time to search hours on the internet to find information about Gilmour tone. After all, most of us have families to take care of, activities to attend to, careers, etc. Most of us don’t spend their days in a studio… we simply want to play music with the best possible tone and I believe most of us are on tight budget so knowing what to buy upfront saves a lot of time and obviously money.

    That being said, I can’t thank you enough for your help and also for sharing information through this website. I’m still amazed to see how quickly you reply when I send private emails or even when I comment on your website. I play in a PF cover band and it would’ve never been the same without you. I encourage everyone to donate and help this website grow.

    Wish you the best and hope you continue your good work here.

    Marc-André, Canada.

    [Thanks a lot for your kind words, Marc-Andr̩! Much appreciated :) РBjorn]

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