Sujet Pink floyd

Citation :
When the second Pink Floyd album, A Saucerful Of Secrets, was released in 1968, it marked Gilmour's first appearance on record. David was still feeling around on this release, and while he performed several guitar solos on it he states that there is nothing that he found particularly profound in his work. For this album, as well as for Pink Floyd's early performances, he was using a Selmer 50-watt amplifier with a single cabinet containing four 12" speakers, and a Binson echo unit. His guitar was a second Telecaster that he had purchased. This was later stolen, and David replaced it with a Stratocaster. Eventually the Selmer amp was replaced with Hi-Watt gear, and effects pedals started creeping into his setup.

He began using various fuzz boxes, wah-wahs, and volume pedals. Of this proliferation of electric enhancers, David states, "I worked up to where I had a huge line of them all sitting onstage with wires everywhere; batteries kept running out and everything kept breaking. Eventually I just had to consolidate them." In 1972 all the pedals were built into a special cabinet, although since then he has gone through several different setups. Gilmour's current stage panel consists of an MXR Phase-90, an Electro-Harmonix Electric Mistress flanger, an Orange treble and bass booster, a Big Muff fuzz, an Arbiter Fuzz Face, and a custom-built tone pedal.

All pedals are wired so that any one of them can be bypassed. At various points in the circuitry there are outlets which connect externally to the pedalboard. These have two sockets housing short-circuit connectors so that two short wires can be attached to connect another external effect into the system. There are also three output switches allowing David to route the signals to different amplifiers.

The board is on at all times and there are no individual on/off switches; there is one in/out selector switch so that the signal goes through the circuitry only when a pedal is being used. Thus, David can preset any combination of pedals he desires and send the signal through them simultaneously.

On a previous board he employed, the signal always went directly through all the pedals in series. This caused tremendous degradation of the original sound, not to mention the addition of screeches and hissing. There were no LED on/off indicators on earlier boards (his current one had them), and Gilmour was never sure what was on and what wasn't.

David currently uses three Stratocasters, two Telecasters, and a Gibson Les Paul. His main guitar is a black 1979 Stratocaster with a DiMarzio replacement pickup and a 1962 Strat neck. The fingerboard is rosewood, although Gilmour generally prefers maple; he likes the sound of maple necks better and feels more comfortable playing on them.

The Stratocaster has also been fitted with an extra switch which allows him to add the neck pickup in any combination with the other pickups. This guitar was Gilmour's primary choice on his solo album (David Gilmour).

Another guitar he frequently uses is a 1955 Esquire converted to a Telecaster by the addition of a front pickup. The modifications were performed by Seymour Duncan (721A E. Yanonali, Santa Barbara CA). One modification Gilmour has made on all his Stratocasters is rewiring the ground to improve the shielding from noise. He connects the volume and tone controls directly to the outside of the jack in order to eliminate a crackling caused by faulty physical contacts between the grounding plate and the volume and tone controls.

Gilmour has stuck with Fenders from the beginning and finds them far easier to play than Gibson instruments. "I never got on with Gibsons," he says. "I think people tend to stick with what they started off with. When I was a lad I always wanted a Fender because the people that I saw and dug were playing Fenders."

Hi-Watt amplifiers have been with David since the early days. He uses two 100-watt stacks and two 200-watt Yamaha Leslie amps, all of his cabinets are made by WEM. In the studio he will revert to less amplification by using a Fender Twin Reverb or a Mesa/ Boogie. Gilmour also dabbles with acoustic guitar and owns two Martins - a D-18 and a D-35. He occasionally plays acoustic onstage, and he alternates between fingerpicking and using a plectrum.

David always uses a Herco heavy-gauge pick on electric. He started out using Gibson Sonomatic strings but found them a bit too heavy and changed to Ernie Balls, which were a touch lighter. He now uses Sonomatics again, but in custom gauges. In the studio the setup is .010, .012, .016, .024, .034, and .044. His onstage string gauges are .010, .012, .016, .028, .038, and .050.