Pink Floyd - Another Brick In The Wall Pt2 (PULSE)

Hi guys,

Here is my latest cover project, Pink Floyd’s Another Brick In The Wall - based on their live version on the PULSE cd.
I tried to be fairly true to the original, but when it came to the solos I decided to not spend too much time on transcribing them exactly how they are played on the CD, down to the phrasing etc. I figured that since it was a live recording, I should probably also put a bit of my own phrasing in as well. So I basically listened to the track a lot, did a rough transcription (to get the licks sounding overall like the originals, and in the same order)… but then just played over the solos a ton of times, allowing them to slowly “melt” into how I head the solos in my head. Hope you like them still :wink:

I played all the guitar parts, on top of stems of the remaining instruments bought at

And, as per usual, for those that want to nerd out a bit on tones, mix and the exact details of the playing… here is the guitar-only track.

Take care all!



Hi kasper,
Wow again,your playing is really unbelievably great…I don’t know how many versions of this song I have but there are quite a few CDs where it’s on and even on old tapes and LP`s from back in the day…your solos could easily be on one of those, and the delicate sound of thunder guitarplay I know note for note (that counts for a lot of people of course,just must telling my fingers how too soon :blush:)…only the choir on The backing track doesn’t sound good to me…but that doesn’t affect your playing,…I enjoyed it…
:sunglasses: :clap: :bouquet:…man you need to take a bow once on video :grin:…now i do it again :man_bowing:

1 Like

I can only think of one word Kasper. Amazing!!
As usual your playing and production are spot on. I think your idea of putting your own phrasing into the thing but using as close as possible to the original licks was a terrific idea. It’s allowed you to produce a ready natural ‘live’ sound.

1 Like


@roger_holland I did consider going video this time around, since it would fit well with the “live” vibe. But it’s getting dark so early these days, and my “studio” (basement) gets gloomy really quick… not to mention it’s always messy down here :slight_smile:
BUT - while I might not be able to produce a full and nicely lit/recorded video of the entire song, I’ll record some new takes of the two solos with my iPhone cam turned on and post them here as well. Soon’ish… :slight_smile:


Hey Kasper,
Six minutes plus of bliss… Really enjoyed this. I agree the backing track probably did not measure up to your level of play. But your parts took it to another level! Lovely tones for sure… What did you use for your guitar? Is that one of the Music Man specials you have? What kind of pedals are you using on this one?

To me it sounds like you are having a lot of playing fun and enjoyment! There are some really great runs throughout this one. Nice job mate, all the way around. Top production marks too!

I think that covers it…

P.S. - I for one want to see the vids!

1 Like

Wow, some more epic play. Sounds so good.

I had the Pulse live album on CD before I ended up getting rid of all my CDs a few years ago.

I agree with what the others say about the delight in listening to this. I would REALLY like to see a video so I can watch your fingers move as well.

1 Like

Hej Kaspar,
I agree with the others:
On this one, it’s only the backing band that lets you down. (Tbf, when you’re comparing it to PF that’s understandable :laughing:)
Gode vibrationer :sunglasses:

1 Like

Hello Kasper, that was terrific :star_struck:.
Played at a level, I’ll never reach (but that’s okay :wink:).
The PULSE CD ist also in my collection, and nearly 30 years ago, I saw PF live in concert. It was very impressive.
I really enjoyed your version of this great song.
Simply WOW :astonished::clap::+1:.

1 Like

Simply put… fantastic as always. As other’s have said the backing band let the side down but at the same time it it highlights how good you played. As @LBro mentioned I do like reading your usual write up about the guitars and set up you used. I’ve said it before and I will say it again you play amazingly good and as a beginner it can feel like a missed opportunity to learn from watching you play the various parts… to see the movements, control, techniques of your fretting and picking hands. Always a pleasure to listen to your recordings.

1 Like

Kasper, I “took off my hat” at the very first minute of your track, and then “I threw it somewhere far away” and I’m afraid I won’t be able to find it :crazy_face:
It’s fantastic. Moreover, I listened to a clean guitar track, as I am in the office now without SoundCloud. Kasper, this is amazing! There is a piece of silence at the end, and I listened to the very end hoping to hear more magical sounds.
Well, I’ll listen to the main track at home in the evening.
Keep on rocking,

1 Like

Out of the park Kasper.

1 Like

Absolutely superb! For the first half of the solo I swear I wouldn’t have been able to tell that it wasn’t DG playing it - the tone and the feel were insanely good. For the second part, I felt that you put just a bit more of your own spin on it, which worked really well too.

But yeah, a video would be great if you ever have the time!

1 Like

Thanks all for those nice comments! As mentioned above, I’ll return with some video footage at a later point :slight_smile:

In this post I can at least do a small write-up of the gear and tones and how I thought about them for this project.

The first thing to keep in mind is that for the PULSE live tour David Gilmour was joined on stage by a session guitarist called Tim Renwick. An awesome player, who mostly was on rhythm duty (as expected) - but on this particular track, he actually played that last solo. Tim has a very different tone and, more importantly, playing style from Gilmour. I hear a bit of Jeff Beck in his playing (lots of whammy bar usage) and he plays more notes overall. Tone is much more distorted, almost fuzz like in character. In the original track I think this makes for an awesome contrast, and I wanted to see if I could maintain that feeling a bit - even when I obviously play all the parts.

I’ve been interested in David Gilmour’s playing and tone for a long time, and have been following Bjørn from for years. I have also, over time, collected quite a few pedals especially well suited for those PF tones.

David always played into a clean amp, and then relied on pedals for his overdrive/distortion tones. So for this track I wanted to do the same. Obviously he’s using a Fender-style guitar when playing live. To get that contrast I mentioned earlier, I decided to do the opposite for the Tim Renwick parts - here I used an amp with lots of dark sounding distortion, and played with a humbucker equipped guitar. I also wanted to limit myself to an amount of tracks in the recording that could have been played live by those two guys (except for the intro, which I’m 90% certain either has an overdub or uses a harmonizer pedal on the PULSE cd…).

All in all that comes down to 5 tones, and 2 “rigs”.

  1. Clean guitar in the intro (Gilmour)
  2. Clean chords in verses (Gilmour)
  3. Distorted chords + verse melody lines (Renwick)
  4. Solo 1 (Gilmour)
  5. Solo 2 (Renwick)

For the Gilmour rig I used my Marshall JCM800 20W, going into the low input, as a clean pedal platform. For guitar I used my MusicMan Cutlass, on which I have swapped out the factory pickups and electronics for a set of EMG SA pickups + an EMG SPC active tone control.

For the Tim Renwick rig I used my Soldano SLO 30W head, on the lead channel. Guitar was my MusicMan Luke3.

Using those rigs, the tones themselves are then achieved like this;

  1. Neck pickup. Compressor pedal → Mooer E-Lady (a cheap Electric Mistress clone) → amp → Source Audio Nemesis delay, set for that “dotted 8th” subdivision with high repeats and mix → Eventide Micropitch (stereo widener pedal) → audio interface/daw.
  2. Neck pickup. Compressor pedal → amp → chorus → delay (very low mix) → Eventide Micropitch → audio interface/daw.
  3. Bridge pickup. Compressor → Soldano SLO → Eventide Micropitch → audio interface/daw → Helix Native plugin with very long / high mix reverb effect.
  4. Neck pickup. Compressor pedal → Boss BD-2 Blues Driver → amp → Nemesis delay (also dotted 8th, but somewhat lower mix/repeat setting) → Boss RT-20 (rotary effect) → audio interface/daw.
  5. Bridge pickup. Compressor → Soldano SLO → audio interface/daw → Helix Native with trichorus, delay, reverb, widener.

The most important “secret sauce” pedals are probably the Boss RT-20 and the Eventide Micropitch… otherwise it’s actually quite ordinary/straight forward tones.

Sorry for the wall of text, but you asked… and I get perhaps a bit verbose on the topic of tones :slight_smile:


Wow Kasper as usual top level of playing, really enjoyed all of it - the tones, the skill and technique and the song. Awesome choice and even better execution, thanks for sharing!

1 Like

Hello Kasper. It was fantastic, as always your guitar sounded amazing in every way. Sound and mixing at the highest level! Great job!


1 Like

Hey guys,

As promised - here is a re-recording of the solo parts, captured on video this time.
These takes are a bit more rough than the ones I used in the audio-only track, but that’s all I had time for this evening. I think they are ok though… consider it a live performance from me to you :wink:


Holy smokes, Kasper! That was phenomenal! Totally blown away! :scream: :clap: :clap: :clap: :star_struck: :+1:

1 Like

Great stuff all the way around from the video, the playing, getting to see your guitars and the “wall of text” on tones and how you assembled them! Over the years you have feed my “tone junkie” hunger with more than I can recall or take in. I guess we can all thank Pete Thorn and others for some of his tone wisdom rubbing off on you, then passed onto us! But gosh - no pics of the pedal settings??? - JK! Really, I had to throw that in as I would be shocked if you did not take pics so you can recreate the tones as need be.

Hey on your guitar neck you have a wrap at the first fret or so. I know guys use something similar behind the nut on the tuning machines side to tame harmonics in that area or something. What is the thinking on the wrap where you have it? Is that loose so that it adds a touch of mute to the strings?

All in all, one of the better posts I have seen from you and surely a top post overall in the AVOYP area!

Thanks so much for sharing all you have with us! Never worry about a wall of text on such topics as folks don’t have to read it if they don’t want to… I was on every word, though my pedal knowledge left me lacking… lol

Take care, play well and be well,

1 Like

Oh yes, the fret wrap. I always use one, one way or the other. As you mention, my main use for it is to have it behind the nut where it kills unwanted high frequency ringing from the strings. I really hate that kind of noise when recording, and I’ve learned that especially when stacking many parts on top of each other… the smallest kind of unwanted noise, insignificant in isolation, will really build up and make the overall mix messy. I also have a piece of cloth stuffed into the cavity on the back of the guitars where the whammy bar springs go, for similar reasons. In this particular case it’s probably not an issue, but by now it’s a habit for me to have one on my guitars. I have it behind the nut for 95% of my playing…

When recording solos, especially those that does not use any open strings at all, I’ll normally move the fret wrap over the nut and onto the strings themselves - again to kill all unwanted noise. This applies to the first solo in this track - no open strings…

But like all other gear, a fret wrap is not just a fret wrap :wink: You can manipulate how you use it to get different effects. For example, how tightly it’s wrapped greatly affects the amount of muting… as well as where on the neck you have it. Very tight, near the middle of the neck, and all open string is pretty much muted dead. Very loose, and near the nut, you can still play open strings just fine… they are just a little bit muted. Especially under gain.

For that last solo there is a lick near the beginning which uses the open D string as a pedal tone. The sound I wanted for that was slightly muted - both for the picked notes and the open ones. Also there is a lot of dive bomb action going on, where I wanted to control the noise a bit. So I did that “loose near the nut” setup for that solo.

Hope that explains it…



Great performance as always @Kasper and you really take the time to get the details right…must take a lot of time for each track. Really appreciated the write up on the approach and your dedication to trying to replicate number of tracks and gear. Great job.

1 Like