• What guitars, amps and pedals will David Gilmour use for his new album?

    OK, first of all, please accept my apologies. I don’t know if there will be a new album, nor what gear he will use – if he decides to do one. But, I thought it would be fun to speculate on what might be! Please join me!

    It’s pretty pointless, I know. There’s been no official statement on David’s working on a new album. Still, there are numerous hints and indications that he might be doing so – including recent comments and tweets from Manzanera and Polly. It’s also interesting to note the number of makers claiming that David has ordered this and that for his “new studio”.

    Say what you will about claims like these, the marketing value is considerable, but the fact is that there’s some truth in them. Evidence Audio has delivered I don’t know how many hundreds of feet of new cables for David’s new home studio and Effectrode has also shipped a couple of their outstanding pedals to Gilmour, requested by Phil Taylor. David is spotted using the PC-2A compressor and there’s even a quote on the Effectrode site from Taylor, praising the Helios Fuzz and also saying he wants to order a second pedal “before David starts recording”.

    Of course, none of this are concrete proof of there being a new album on the way. David could very well be building a new studio for his own private amusement. Sort of a retiring cellar… I don’t know. Perhaps Phil Taylor has gotten free access to David’s platinum credit card?

    Let’s go back. Phil Taylor joined Pink Floyd as backline technician in May/June 1974. Pink Floyd was gearing up for the second leg of the Dark Side of the Moon tour and much of summer was spent upgrading both the stage production and band equipment. One of Taylor’s first jobs was to get new WEM cabs and Hiwatts for David. The two Jedson lap steels were also acquired at this point. David had been tracking down guitars for some time but it was Taylor who initiated the whole vintage quest and not least, introduced David to new gear.

    By the mid 70s the whole effect pedal phenomena had exploded and within just a couple of years, guitarists went from having to punch hole in their speakers to achieve fuzz, to having a huge palette of different sounds to choose from. David was in the middle of it all and started to employ pedals like the MXR Phase 90 and EHX Electric Mistress as soon as they reached the shops.

    David’s guitars on Animals and not least Wall, sounded different than on earlier albums. The setup was obviously more elaborate, with different pedals and guitars being used but they also employed more intricate recording techniques. On Wall especially, the guitars sounded more mixed and processed and although it’s hard to tell just what they did to the tracks, it was clearly an attemt to mix all the instruments for both a more aggressive tone and specific textures and sounds. Much more so than on any other Floyd album before and after.

    We can now look back at the 80s with a bit of disbelieve and ridicule but the fact is that the whole industry shifted from analog to digital and the sky was the limit – apparently. David Gilmour replaced all his old stuff with Boss, active pickups and even guitar synths. It might be hard to understand how and why he would go down that path, and I’m sure he has asked himself that many times too when looking back, but the fact is that he was exploring new sounds and was, if not ahead of his time, then at least among the ones who dared to take chances.

    Something happened to the industry in the early 90s and it probably started with the so-called grunge movement. It was really an uproar against the polished music that the record companies poured out in the late 80s. Bands like Niravana, Soundgarden, Mudhoney etc went back to the metal roots and embraced both the classic sound but also the vintage gear. This also coincided with the return of Mike Matthews, Sovtek and the Big Muff.

    Perhaps this change and return to vintage and analog inspired Gilmour to design a rig for the Division Bell tour in 1994 that was, although pretty insane, very close to what he’d used in the 70s. It was clear return to the basics and the essence of the old Floyd albums. It was also pretty obvious that both David and Taylor had done a lot of research and acquired lots of new gear for both the album and tour. Back was the watery rotary tones, UniVibes and screaming Big Muffs.

    The biggest change in recent years must have been the return of the Black Strat at the Live 8 show in 2005. It was a Floyd reunion but the gear geek in me remembers the sight of the Black Strat the most. The look, the tone and even David’s posture (!) had changed. Something happened during those rehearsals and I think that this transformation had a significant impact on how On an Island turned out.

    It was Phil Taylor who apparently stuck the guitar in David’s hands when he initially asked for the red. A coup? An order? It seems that the bold move was appreciated by David and it probably also revealed that Taylor has had more to do with David’s tones over the years than any of us knew.

    On an Island was a return to David’s musical roots and influences and he also employed much of his old gear that dated back to the 70s, including the Black Strat, Gretsch, Goldtop, the classic Pete Cornish board (this was new, but very similar to the old Animals and Wall boards). Island is perhaps also one of the most honest sounding albums he’s recorded in terms of tone – apart from perhaps his first ’78 solo album and Final Cut. What you hear is pretty much what happened in the studio. Island is also a fairly stripped down album and contrary to Division Bell, which has a fairly complexe mix, Island leaves room for each instrument and not least David’s guitars.

    So what if he will record a new album? How will it sound? If and when the album does happen it’s obviously impossible to tell how he’ll record his guitars and arrange his solos. Perhaps a new album will sound very different from Island. Perhaps not. Either way I have a feeling he will approach the guitar sessions in a similar manner as with Island. It’s how he’s always done it. From plugging the wah the wrong way, to using echo to create walls of sound to sustained Whammy tones, David’s approach has always been about trying out new things and experimenting to get the tones he wants. It’s a very subjective journey and although it’s not as easy to create unique tones as it was back in the 60s or 70s, it still requires a lot of effort, trail and error, to get THE tone.

    As I said, or admitted, it’s pretty pointless to speculate on what he might be using but there are a few things that I would love to see him do… for a possible new album. It would be very cool to hear the Yamaha RA200 rotating speaker again. It was employed during the 2007 Barn Jam and you could instantly recognize its unique watery character. I would love to hear it in all its glory and not just some hard to hear effect way back in the mix. I would also like to hear some modulation being used. A UniVibe perhaps and Mistress? I ask for too much, I know.

    It would also be great to hear more of those dark and compressed P90s tones. I love those. Listen to Bryan Ferry’s Olympia and songs like Song to the Siren. David’s playing is sublime. Never taking up too much space but he delivers a few notes here and there that just hits you right in the heart. I actually prefer stuff like this over other typical P90s tones and songs like This Heaven.

    Regardless of whether there will be a new album or not I find it very inspiring that David’s still experimenting and testing new gear. I don’t care whether he does it for his own pleasure or for a new album. The fact that he still does it is incredibly inspiring. It inspires me to never stop trying or to give up the quest but to continue and strive to be a better musician and guitarist. That being said, let’s cross our fingers for a new album to happen!

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45 Responsesso far.

  1. Luca says:

    Hi Bjorn, it seems that Mr Gilmour will compose a new music for the exibition “Their Mortal Remains” created by Aubrey “Po” Powell, the co-founder of Hypgnosis with Storm Thorgerson!

    The first show will be in Milan, Italy!!



  2. DanP says:

    Hey Bjorn,

    Effectrode eh? Maybe he has been reading your site and watching the demos!

    I would like a rawer sound, like his earlier works. ok the 2006 board might have the same effects in general, but still has that Cornished smoothness and perfectness… I would like to see him go simple again – ditch all the Cornish and grab some pedals, plug em in and go!

    I miss that rawer, more hairy sound of his early days :)

  3. Aviator says:

    Not sure what pedals he will be using, but I’m betting that a least one track will feature Richard Wright. There must be enough unused recording around that they can use. Also it was said that Richard was working on an instrumental album just before he died.

  4. Jonathan says:

    Also, I’m afraid my interest in Waters’ new album waned sometime between his original announcement in 2000 and Ca Ira.

    [Yeah… I’m not expecting much. – Bjorn]

  5. Jonathan says:

    Since 2008, I’ve been wondering what will become of the solo album that Richard Wright was working on. If I recall, it was possibly going to be instrumental, and possibly solo piano. Just as On An Island was partially a tribute to friends that had passed away in the ten years before it was recorded, I don’t think anyone but David would be qualified to present or interpret Richard’s unfinished work. And David himself has said that there are a lot of songs he won’t ever play again now that Richard’s gone.

    Also, I just want to say that I think a collaboration between David Gilmour and Brian Eno could be fantastic. El Magnifico, make it happen!

    With that said, it would certainly blow my mind to see him sporting a Gilmour Academy shirt again.

    [Ha ha, yeah, that would be great fun! It will be interesting to see if David has some of Rick’s work on the album. I think we can expect a tribute on the shows at least. – Bjorn]

  6. Napoleon says:

    Hey, Bjorn. This might interest you. :)



    Roger Waters has also finished a demo of his own new album.

    [Yep, just saw that Nash interview the other day. Looks like we’re in for some interesting years to come! – Bjorn]

  7. Mike says:

    so with the news about a possible Gilmour studio, and Roger Waters working on a new album…is it the rivalry or could it be Pink Floyd one last time?

    [Who knows? – Bjorn]

  8. Bo says:

    What’s the latest word on the street Bjorn? Do you think this has any wheels?

    [I don’t know more than you guys… honestly… but my gut feeling is that we’ll be hearing a new album sometime next year. – Bjorn]

  9. Levang says:

    Bjorn, just the thought of David making another album increases my heart rate. Speculating (dreaming) about what his rig might look like and the vocals, and the thought of the live show is aw inspiring. Everything he/floyd has done from one album to the next is genius. Whatever David comes up with will keep us all engaged for years.


    [Indeed! I want to think, and truly believe, that that man would never do a new album if wasn’t 100% sure he could pull it off with the same vocal and guitar playing quality as Island and the Floyd albums… – Bjorn]

  10. Mfinucane says:

    What I would like to see more than anything else is a collaboration between waters and gilmour. The whole is definitely greater than the sum of the parts. Neither has really scaled the heights they achieved together when doing it on their own. I just wish they could out aside their egos and all the recrimination for one last album. By my reckoning they still have a lt to say and at least one last classic album in them. From what I gather, waters might be up for t but don’t think gilmour will ever entertain it. Shame really!

  11. David says:

    hello again Bjorn Lol! today is my birthday and a friend of mine has given me, as a gift, the project of a ram´s head big muff clone that he has still not finished because he wanted my opinion. well i revised it and he told me that he made the North Effects Violet rams muff, and i asked him if he knew the BYOC large beaver circuit and if he could make it, but he answered no, so he told me that at least he could change the transistors, okay here´s my question: do you think is it going to make any difference or i better leave the project like that? violet rams transistors: NOS 2N5133. large beaver transistors: bc239c. thanks!

    [Hmmm… You’re really asking the wrong person but in general, the violet ram’s head has a slightly more aggressive character with more gain, low end and saturation. Belated happy birthday BTW :) – Bjorn]

  12. Keith says:

    Hey Froggy,( Stephen Ford) I agree that I’d be happier if he used a Ge or Si Fuzz, Wah, VP, and an Echorec, with maybe a univibe, or Phase 90, but Animals is in so many ways their Swansong, and were he to record another socio-political themed album, with the innovative recording techniques that album used so very well, I’d be more than happy to hear a sequel to the groundbreaking, and last “Real” Floyd album, IMHO!

  13. David says:

    Bjorn, i have the opportunity of buying a vintage deluxe electric mistress but here is my doubt. the one i want to buy is from 1977-1980. but every time i see you mention the “ideal” deluxe electric mistress, is the one from, as you state, late 90´s – early 2000. so is there a problem with the one i want?? thanks…

    [The late 70s one should be spot on. It’s the current reissue that you should avoid or at least know that it sounds a bit different :) – Bjorn]

  14. Joseph says:

    Hello Bjorn,

    Where can I find Phil Taylor’s quote regarding “Before David starts recording” on the Effectrode website? I am having trouble locating it. Also, where was David spotted using the PC-2A compressor? Thanks for your help and all the work you do with Gilmourish, it really is an amazing resource. Ciao!

    [Here’s is the quote from Phil Taylor and here’s the clip of David using the PC-2A (see under the mixing table). – Bjorn]

  15. Tom says:

    Bjorn Lou Reed died today age 71 :(

    [I know. Very sad… – Bjorn]

  16. John says:

    As with a lot of other folks who spend time looking through Bjorn’s posts here on this wonderful site, David Gilmour’s playing inspires me to play more, and play better guitar. I really hope there is another album (sooner rather than later). Whatever he chooses to play, the style, effects, and equipment will keep us talking, analyzing, and attempting to get “that sound” for years to come.

  17. Stephen Ford says:

    As far as I am concerned Animals is already a bit too compressed and washy for my taste. The sound I would love to see he abandoned when he grew tired of Psychedelic Rock. Meddle, More, Atom Hearted Mother, Dark Side, Wish You Were Here and Pompeii these as the classic tones I miss… :)

  18. Stephen Ford says:

    Yeah, Roger and David working together again would be amazing sadly Wright will never be part of what ever happens. The true magic of the Floyd happened between the creative genius of them all, over all I am with you Keith, I hope David got the 80’s sound out of his system and here’s the tones and riffs from where he came.

    The chances of there ever being another real Floyd collaboration seem a bit of a pipe dream, but it is what I think we would all love to see.

  19. Denis says:

    Yes I agree with Keith, a taste of the 70s would really would be the ideal thing to do at this point in time. Would love to hear some folky songs between Roger and David. Songs like Cirrus Minor, A pillow of winds, San Tropez, Wish you were here.. etc. . . That’s timeless! Not much needed here. Rogers’s lyrics, David’s sweet melodic voice, and an old acoustic.

  20. Pete says:

    It’s funny. As many people here are chasing after vintage gear, David has throughout his career embraced new technology.
    There is a lesson not to be ignored here. :D

    [Yeah but I think there’s a difference between trying to recreate a tone and trying to come up with something new. It’s just two different approaches and while most of us are trying to nail David’s tone, we’re also exploring and experimenting with our own tones… but I see your point! – Bjorn]

  21. Gareth says:

    To me Gilmour’s best playing and tones were back in the Floyd hey day of the late 60’s and throughout the 70’s.. His playing went from extremely experimental and spacey to a more dark and aggressive tone that could just cut right to the bone! I think that a lot of the tension with Roger, the dissatisfaction with touring, the dissapointment of success really came through with every note he played at the time and his tone really showed it. Every single album his tone changed in one way or another but you could still here that it was David playing. I tend to agree that with his age Gilmour has moved toward a more reflective and softer style of playing that while is elegant and beautiful, I feel lacks that raw emotion that was simply dripping out of solos like pigs, comfortably numb, time, SOYCD (which all had very different tones).. I would love a new album from him, and would love to hear a more aggressive tone again with some old classics, particularly a fuzz, univibe and the RA200. I’m sure that if he releases a new album it will definitely deal with Rick and Syd’s passing and I’m sure it will be exceptional in whatever way he makes it.

  22. Thomas R says:

    Since Macca’s songwriting is still up to it how about a few more guest appearances from David to get him in the mood for a new album?

    Some more of this would be enough for me!

    [Very nice and a bit strange to see him just sitting there :) – Bjorn]

  23. Keith says:

    Quite Frankly, I don’t care what he uses, as long as he uses those magic fingers. I’d love to see a return to the ’70s, anything from that decade is fine. I just pray it’s not a watered down radio pop album, and would love to see Nick, and Roger in at least a cameo, if not a complete album with the three. I know, I’m dreaming, but it’s okay to dream, isn’t it?

  24. Vadim says:

    Hi Bjorn!
    You’re absolutely right, that raised the question about new David’s album. As strange allusions to this wonder from time to time appear in the internet. And it excites our minds and, of course, inspiring us.
    Probably it is possible to distinguish two main periods in the David’s tones: non-modulation (includes uni-vibe) and modulation. Interestingly that On An Island album/tour notes again non-modulation period, as it was before the Dark Side.
    For me in many ways the question boils down to whether there will be new Davids’s album intensive use of modulation effects, especially in the solo. Another question is how blues album will be, whether there heartrending Big Muff solo, or it will mainly tricks in the spirit Where we start, Cluster One, Sings of life, etc. in a psychedelic frame.
    I think it will be a calm, contemplative album can still quieter than the On An Island, but it is possible that in some place David reminds us that he is able to do with the Big Muff! You can even be expected to be instrumental in the spirit of Marooned…. Who knows, perhaps, it will be a summary and we’ll hear a screeching Fuzz Face, fat Big Muff with Mistress… and everything that happened.
    I’m waiting with incredible awe of this great event, which is likely to happen closer to the seventieth birthday of David.
    But in the same time I do understand that this will be the last creation of voice and guitar of Pink Floyd.


  25. ruodi says:

    Anything but the “Momentary Lapse of Reason” tone! Bought this awful record when it came out in 1987 (?) and I´m still in shock! (I´m a true Pink Floyd fan since 1982 – but was never blind nor deaf!)

    A mix between the tones on his first solo album and “The Final Cut” would be nice, perhaps. Yamaha rotating speaker, Mistress … Maybe with a gourmet-esque “Where We Start” P-90 Gold Top at the end again.

    And no more “Yoko Ono” wisdom! Please, David, be a little more discontended with yourself again! Be angry! NSA is monitoring you! Climate change! We don´t want these wishy-washy “How the rich amuse themselves” lyrics again! (Please excuse the hard words!) Don´t listen too much to what your non-critical royal household is saying.

    I´m a stirrer. :( But I love David´s first and second solo album, I love his vocals on “Take A Breath” and I love the guitar playing/tone on “Where We Start”. :)

    … I´d like to listen to the whole barn jam sessions as an official album in the meantime. Love them!

  26. Jason says:

    Hopefully the On an Island tour energized Gilmour to produce a more guitar driven album. He needs to stop this “old fart” act and get on with it. Waters is 70 and still touring The Wall. This could easily be his last album, so why not go out with a bang? Might I even be so bold as to hope for a possibility of featuring Roger Waters on a track?

    Still just a dream.

    [Ha ha, yeah well… If any of them should ever play together again, I think its more likely that Roger will ask David… Keep in mind too that Island is 7 years ago. I don’t think the fire and spirit of that tour is still burning but if anything, and I agree with you, I hope he got the confidence he needed to fully step out as a solo artist. Island was timed perfectly – I don’t think the success would have happened 5 years earlier – and he seemed to blossom tremedously during the tour… the more confortable he got, the more smoke and lazers they used LOL :) – Bjorn]

  27. Jae says:

    I just don’t know about this Bjorn. A lot, and I mean a lot, of people here are clammouring for a return to Animals. While that album is high on my all time favorites list I can understand why David doesn’t wish to go there. I imagine that he’s in a very reflective state at this stage in his life. Since “Island” came out we’ve witnessed the passing of Syd and Richard, both very dear friends of David’s. Bo mentioned that David isn’t 30 anymore, I can garauntee you no-one is more aware of that fact than David. I see a blusey/jazzy reflective psychedlic jam without the heavy acid intake. Is that general enough without being too broad?

    Dave will be using his dear friends that have been with him for the long haul. The Black Strat, ’54 LP, Working man Tele, Hiwatts, Wem Cabs, Leslie and Ra 2000. I doubt we will see the Echo Rec, There are just too many better delays out there now, in fact you could say that about any effect built during the’60s/’70s heyday.

    [If you ask me, I think we’ll hear more of Island. That seems to be the direction he has layed out since Division Bell. I don’t mind but at the same time, I also think that he could have done more with Island. It’s a very nice album but I think David has more in him and perhaps a bit more edge as well. Hopefully he hasn’t forgotten the spirit of the tour. The Island songs changed a lot and I hope he’ll do more this time to create a more dynamic sound. Still, these are all wishes and I think Animals or not, whatever David does, I’m sure it will be an honest and inspired album. – Bjorn]

  28. Konstantinos says:

    Well, I was also tricked by the title!
    Anyway, in this case, I’d like to see a bit of PULSE stuff, the Red Strat once again used extensively, more usage of the Uni-Vibe, the Whammy and the rotating speakers. For the Distortion I think that a Russian Civil War Muff would be ideal, with the BK Butler Tube drivers as booster and mild overdrive.
    Also, in On an Island he is playing a Turkish Cumbus and the saxophone… Why not experiment on other musical instruments (It’s David we’ re talking about, OH YES HE CAN!)
    But, the most interesting he could do, is Blues. Original twelve-bar blues. Or a reference to his idols, like B.B. King and Leadbelly. In this case, he’d just use the Black Strat with the Gibson Goldtop through the Tube Drivers with some soft delays into a Fender ’65 Twin. (Actually, that’ ll do the trick!)
    But, in the end, no matter what he does (or intents to do), I’m sure it will be awsome!

  29. mulvavroop says:

    I would love to see David use a harsh cold sound as in Animals. The latest stuff has been too smooth and compressed for me. Those were the tones, and even the Pompeii and Ummagumma tones that I fell in love with! So maybe a minimal set up with aggressive guitar / amp — I love the P90 idea, and his chord progressions in Dogs are so superb, a touchstone of modern music, that it would be a blessing to see him (who won’t play any Animals material) make his “own” Animals — you know, sometimes you just have to go for it! Cheers —

  30. Keith says:

    Great article Bjorn, one can only hope that there is a new album, and that it goes back to those 70’s tones. There is a huge resurgence in analog recording, and people are purposely trying to get away from digital everything, with automated mixes, and my 5th record, if it ever gets done, will be my first solo effort, and will be recorded on 2 ” tape! I really hope he is planning an album, the winds certainly seem to be blowing that way.
    Peace, Love, and Gilmourish, Keith

  31. Bo says:

    Also, On A Island is one of my favorite Albums all time…by any artist. If he comes even close to that on his new album i’ll be more then satisfied.

  32. Bo says:

    Oh! And I hope he pulls out the Bassman again because that’s my amp! Bjorn, what type of Bassman has he used in the past? I’m sporting the 59′ Reissue.

    If he goes away from the Black Strat i’ll be disappointed. He doesn’t disappoint so I an fully expecting the Strat and hopefully his Gibson Songwriter for one or two acoustic jams. Is it too much to ask that he brings back a version of The Narrow Path? He wrote it… and with the Helios Fuzz he should recreate it. Am I the only one who thinks The Narrow Path is on the same level as say an Echoes track? That song highlights some of the coolest tones and is just menacing and raw. I know he’s scoffed at that track in the past but damn, bring back that or Alan’s Psychedelic Breakfast and you have yourself a killer Side B. One note, with all these effects he’s been buying it’s a safe assumption that he’s going to be pulling out all the stops and not writing any sing-alongs.

  33. Bo says:

    Please be the fuzz, please be the fuzz, please be the fuzz. Oh and i’ll take the Univibe and a vintage Phaser for flavor. Looks like Effectrode has got his interests peaked. I wish they would’ve gotten their Echoric clone put together before David decided to get back in the studio. Don’t they realize that he’s not 30 anymore!! Sooner they dial that in, the sooner the new Psychedelic Age will begin. A boy can dream, right? Well, i read that Phil was impressed with the Helios Fuzz back in September…i’m hoping he can get in DAvid’s ear and talks him into waging a all out fuzz warfare and melt some hippies heads off. Peace :)

    PS. I ordered the Helios fuzz without even hearing it. Should be here anyday. Hope you get to test it soon! Also, the good fans and people of your website are dying to see your Delay guide…it’s Autumn Bjorn…you promised…. :) Thanks again and again for the site! You rule, we drool.

    [I know Bo… busted :) It will be here… when I get the time… Cheers! – Bjorn]

  34. Gary Swift says:

    I’m hopeful that David has continued to “dabble” in lapsteel. Maybe he has come up with a sequel to “Smile,” and it would be awesome to hear his antique Rickenbacher A-22 in a studio-quality production!

  35. Tom says:

    Great article Bjorn, I really enjoyed reading this one
    Mmm maybe it would be nice some solo’s a-la-Animals or DG’78 for a new album, lets hope it actually happens

  36. Chris says:


    I can confirm… that’s all i can say.

  37. clark says:

    Cool first to comment on this article, i will say i know for sure he will use his favorite rams head muff as he always does and with good reason, but i also think that the g-2 will more present on the album. The way that pedal sounds cranked is absolutely amazing, hell I hope he uses the civil war muff from the Pulse era also. Now for modulations I feel he might use a uni-vibe on a track but a slow pulsating use to kind of give a track that liquid and smooth feel. I also hope he brings back that electric mistress for colouring of a solo or two, but these hopes. My final speculation will be he will try the triangle muff that he has pictured on his board for the echoes that also contained the t-rex delay.

  38. Yoel says:

    Great write up Bjorn! I’m looking forward to see what everyone has to weigh in on this subject, and I think you speak for all of us in the points you mentioned above, so here are my two cents. In terms of David Gilmour, there is a definite tonal pattern, that we can try to follow and piece together, since his career spans almost all of the contemporary history of guitar effects, we can guess where he’s gonna go next in terms of where the industry currently is. He (or Phil Taylor, it’s hard to tell which choice of effects were David’s decisions alone, but we can all agree Phil Taylor had a heavy hand in his sound) is known to follow the trends of the industry. During the beginnings, when all guitarists were pining to get those massive fuzz sounds that Hendrix eschewed from the stage in ’69 during Woodstock (which David happened to be a huge fan of, when he was busking in France with Syd he learned every song off of Are You Experienced?) I speculate that he originally bought that germanium Fuzz Face because that was “the Hendrix pedal” of the time. The guitar world at that time, and of course Gilmour, was nuts over Hendrix, and many set out to recreate his tones, which I think was the first big push towards the world of transistorized effects we know today. Early Gilmour playing is very Hendrix influenced, as well as heavily influenced by other early bluesmen and Strat players, such as Albert King, Hank Marvin, and the like. As he worked more with the Floyd, the Colorsound Power Boost found it’s way in his rig, as well as a wah pedal, by the time he got to Atom Heart Mother. Early effects that were popular at the time due to Hendrix (Obvioulsy not the Power Boost, but you get the idea). The heavy Hendrix inspiration in terms of effects peaked at Dark Side, with the use of the Uni-Vibe and silicon Fuzz Face. Dark Side really solidified his playing into his own style, and was that final discernible Hendrix inspired tone and style. Up until the late ’70s, his playing and tone moved back to more soulful and blues inspired. When the bucket brigade chip came out in the late 70s, it opened the floodgates for all sorts of wacky effects for guitars, mostly spearheaded by Mike Matthews from EHX. By that time Phil Taylor and David were working together, and from what I understand Phil Taylor follows trends in the industry very closely, so I believe that he was mainly responsible for David’s tone from the time they met in the mid-70s until now. If you look at his rig before and after he met Taylor, you can see the change in magnitude. With the advent of the bucket brigade chip, like clockwork, the Electric Mistress was introduced into his rig, along with the Big Muff, and the CE-2 later on. During the Wall in 1979, the digital delay had just been invented, and David was one of the first users, albeit one of the first people who knew how to use it well, as he was no stranger to delay ;) During the huge digital boom, David’s rig changed considerably, with active pickups and a boatload of buffered Boss pedals, as well as digital reverb processors and delay in the rack, and a whole lot of EQ. He had done away almost completely with all of the effects he had used previously, (even the Power Boost, which he used almost all of his career) sans the Big Muff, following the trend in the industry at that time. The same was true in the ’90s, his setup changed a little, but for the most part it remained the same. During the 90s we were seeing the resurgence of those old effects, but it had only really permeated the grunge group. By the time Live 8 rolled around, everything changed. Boutique builders were starting to gain ground, and vintage pedals were in high demand. David left behind the Red Strat and along with it most of the digital “sheen” that was a staple of his 80s and 90s tones. He returned to his roots, and began to use those old vintage monsters yet again, but this time utilizing the best of both worlds with digital and analog, which held true in 2006/2008 as well. But at that time, a lot of the big pedal builders now were just starting out, pedal mods have also gotten very popular since then. So I think Phil and Dave are gonna stock up on a bunch of boutique pedals, as they’ve already been doing with Effectrode, Analogman, Fulltone, and others, as well as utilize pedal mods. You’ve probably already seen this picture, but Im gonna put it up here so others can see as well.[https://pbs.twimg.com/media/BEtnNomCYAANN6t.jpg:large] Here is another one from that session. [https://pbs.twimg.com/media/BEwwLzHCYAALQDC.jpg:large] Not only is the venerable Jeff Beck on drums, Gilmour (or somebody else, I say if it’s being used in a Gilmour session, it doesnt matter who’s using it, it has to be good) is using a Keeley or Monte Allums BD-2, a favorite on here, and what appears to be a Strymon Orbit (Which is a digital pedal). So if I were to speculate, I would say that he will probably use the tried and true old classics (Big Muff, maybe a Tube Driver), the Hiwatt, Black Strat, and probably a load of boutique pedals, and some high-end digital modulations or delays, but beyond that, I really don’t know. Let’s hope he surprises us in a good way! From the trends I see in the industry though, I’d say that’s the general direction we’re looking towards. I’m looking forward to this discussion, and good luck on the new album Bjorn!

    [Thanks for your comment! – Bjorn]

  39. Martin Taylor says:

    I hope all the rumours are true as I need to new music to listen to and inspire me as there doesn’t seem to be much happening at the moment on the music scene. Music really needs something new and fresh to inspire a new generatrion of musicians. Wether David has another amazing album in him we will have to wait and see but at the worst we will get some more Gilmour sounds to listen to.

    [It would be very nice to hear something new from David. May I also recommend my own band, Airbag. We’ve released two album and the third is due early November. Please check us out on airbagsound.com. Thanks! – Bjorn]

  40. João Sarmento says:

    Hi Bjørn,
    Usually i only read this articles you write but now i need to express my self.
    As a Fan in Portugal, we need a album urgently for two reasons: 1st Can wait to ear the new sound that probably David is doing because it´s going to be very good in deed (i have that feeling) and the 2nd one is that, in Portugal we have a “little help” from FMI an others so, what better then a new album from your idol and spend lot´s of time ignoring the real world listening and learning great songs. Bjørn keep doing your incredible work that i follow since you create this big site of lot´s and useful information. Best regards.

    [Thanks, Jọo РBjorn]

  41. Alan Day says:

    Interesting thought Bjorn, I especially like the idea of the Effectrode pedals – I have been eying the 3 tube class A overdrive for several years and consider it to be light years ahead (or should that be behind?) the BK Butler Tube driver – especially versatile that you can swop out the tubes with such ease. Nice to see it back in production. Ultimately though, I always respond to people who ask me how David gets his sound in the same way – I hold up the 4 fingers of my left hand and say that there are fore main points to achieving Davids sound …

    [Agree with that :) – Bjorn]

  42. Will says:

    Thanks for yet another excellent article Bjorn! I don’t think we’ve seen the last of David just yet… :)

    [I’m sure we haven’t :) – Bjorn]

  43. Jaime says:

    Well, you got my attention with that title! xD

    [LOL! – Bjorn]

  44. Jay says:

    I would love to see david return to a pedal board similar to what he was using in the early 70’s.

    DG Back with a silicon fuzz face, coloursound power boost, vox wah, univibe and Binson echorec again would be a dream come true.

    [Love that set up! Actually, if you break it down, the two most recent Cornish boards, the 1999 and 2006, aren’t that much different than the 1973 board. A few different effects but the tones are more or less the same. – Bjorn]

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