Thanks all for those nice comments! As mentioned above, I’ll return with some video footage at a later point
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 www.gilmourish.com 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”.
- Clean guitar in the intro (Gilmour)
- Clean chords in verses (Gilmour)
- Distorted chords + verse melody lines (Renwick)
- Solo 1 (Gilmour)
- 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;
- 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.
- Neck pickup. Compressor pedal → amp → chorus → delay (very low mix) → Eventide Micropitch → audio interface/daw.
- Bridge pickup. Compressor → Soldano SLO → Eventide Micropitch → audio interface/daw → Helix Native plugin with very long / high mix reverb effect.
- 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.
- 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