Conference napalm::guitar

    Somewhere at home, I have the program from the last PF tour
    which had the entire equipment list for each of the band
    members (they must have really cranked in the endorsement
    bucks! :-).
    
    I seem to recall HiWatt amps... but nothing about the
    pedals. Of course, you're going to need a pedal steel
    guitar too for some of the stuff (like the guitar at
    the end of "One of These Days").
    
    -b

    Thanks for the quick reply!  Your program sounds like it would 
    have the listing I'm looking for!  My wife and I attended the
    concert this past summer.  I must say, Gilmour had that steel guitar
    well under control.  It was amazing just standing there watching him
    play while trying not to get an instant tan from the flash pots! 8*)
    
    Presently, I'm trying to play such songs as "Echoes", "Run like Hell",
    "Sorrow", "Comfortably Numb"....etc.  I'm finding that lead which ends
    "Comfortably Numb" damn hard to get down.  However, I do enjoy playing
    much of the slower songs which to me sound more "Floydish".  My problem
    is delivering that full rich sound out of my Strat which resembles
    much of Gilmour's melodic style.
    
    Blair.
    

    On the topic of DG,not only does he play a strat,but,he owns *THE*
    first strat! Serial #001.I have a article at home that tells the story.
    Something along the lines of,one of his roadies finding it in some pawn
    store or local backwoods music store while on tour.He appearently
    taunted DG constantly with it,and the cheap price he paid for
    it.Gilmore held out, plaid it cool, and as he figured, the roadie soon
    was engaged and in need of some serious cash.I think ol'Dav paid him
    a good buck,but probably not what it was really worth on the collectors
    market.I think it was green or lite blue.
    
    fwiw,
    
    -kev

    
    
    re:3055.3
    
    Hi Kev,
    
    I also thought David Gilmour owned a first production stratocaster,
    'til I bought the Fender story by Bacon and Day. The book has a 
    great picture of the guitar, terrible green. The write up in the 
    book goes something like this...   ...The 1954 Stratocaster shown 
    far left, this is also part of David Gilmour's impressive collection.
    although it bears serial number 0001, it was not the first made.
    
    This is only a few lines taken from the book. This book is a great
    guide and good reading, truly recommend it.
    
    Gordon

    Thats another place where i read that! Good book.
    
    -kev

Didn't,,, at some point in time, (maybe around the dark
side of the moon days) he used a small fender amp, cranked
all the way up, turned back, and miked ?  A small
princeton comes to mind.....

I never-ever saw Flyod, but I seem to recall a friend
of mine going a while ago, and noticed this...  (it was
a LONG time ago too,,,)

Not that it follows the thread of the note, but going through
this jogged my memory...

        I've seen pictures of Gilmour's 001 strat.  It's almost
    khaki green with many gouges taken out of it.  Not something 
    he plays during a concert I'm sure.  
    
        Re: .6   Wouldn't you get lots of feedback by placing a microphone
    in front of a cranked up speaker?  I've never tried this myself but
    maybe if you experimented with the distance between the mike and the 
    spkr as well as the output of the spkr, you might be able to fire out
    some decent sound.  Hmmmmmmm.
    
       Blair.

re: 7...


Well, yea, i'd assume something like that too,,,  Again, I wasn't
there, it was merely a report from a friend who plays, and noticed
what appeared to be a small amp, turned backwards...  no other visible
amplification on the stage, but plenty guitars in the mix...

could have been direct boxed too...  no mic...  who knows aye...
This was back in the early 80s....

	There is no problem in micing up an amp, regardless how loud
    it is cranked. It's not like the mic is plugged into the amp, it's
    plugged into the PA system. There is no feedback-loop between the
    amp and the pa system. The mic must be suitable for high spl's.
    Generally, dynamic mics are used. This is really no differant than
    stuffing a mic inside a kick drum, or on any drum for that matter. 
    Drums produce very high SPL levels.   

       	Many people will aim the amp towards a back wall so the sound
    they hear is not the amp, but the signal coming through the PA
    monitors. This gives them better control of their on-stage volume. 
    
        I don't think anyone mentioned the fact that Gilmour almost 
    always uses lot's of echo/delay. This is a main component of his
    sound. In the early dayz, he used both tape delays (old tube-style
    echoplexes), as well as a device that records sound onto a rotating
    drum called the "Binson Echorec" (see note 2978). The classic example
    is on "Money" but there are countless other examples.
     
    	I am always amazed when I listen to "Dark Side Of The Moon".
    It's hard to believe that this album was recorded around 1971. Many
    of us were still trying to find a clue. The technology at the time
    was pretty archaic compared to today, yet the album sounds pristene.
    The only other album that I can think of that really seems to exceed
    the technology at the time was the Beatles "Sargeant Peppers" album. 
    
    	We really have no excuse with all the technology available today
    to produce anything but near-perfect recordings. 
    
      
        Mark
    

    
    For at least the last two tours (Momentary Lapse of Reason and
    Division Bell), Gilmore has used HiWatt amps and at least two
    4x12 speaker cabinets placed behind him and pointed at him.
    
    -b

    
    Gilmore is a proficient player with his roots in blues (listen to
    Meddle & Wish You Were Here).  He is constantly playing out of the
    blues scale while mixing in the major scale.  There is a book put
    out by Cherry Hill Music(the same people who publish Guitar for the
    Practicing Musician) on DG transcriptions to 15 PF items.  It's
    pretty good.

    Gilmore has always been a Fender fan (tele and strat).  He endorsed the
    remake of Fender's Twin and can be seen playing a Twin in the studio in
    the PF video - Pipers at Dawn(?).  To realy get a Gilmore sound you
    have to turn up the reverb to where it is dripping and set a mild to
    medium delay.  If you are playing a strat, he seem to lean toward
    keeping the selector switch in the middle to forward position for a
    muffled sound rather than bright.  On a lot of the Dark Side of the
    Moon, Gilmore uses a lot of chorus and delay with medium
    distortion(listen to Brain Damage).

    I've found that using a very bright/clean amp (Fender-The Twin or
    Soldanio) with a multiple effects box(GSP21) will do nicely in getting
    to a Gilmore "tone".  The only other thing is working on the string
    bends- NO ONE can compete on Davids bending to pitch.

    Hope this helps.  I've been working on transcribing DG for years and I'm
    always amazed at what I'm still learning.

    Bill