Ghs David Gilmour Signature Strings

David Gilmour, like his Pink Floyd predecessor Syd Barrett, played a Telecaster initially, but he soon became one of the basi British rock guitar legends to favor the Fender Stratocaster and to give rise to a signature sound with the instrument. His parents purchased the Tele for David’s 21st birthday, and he played it for a year (including on the Saucerful of Secrets record) until it was lost by an airline.

Upon officially joining Pink Floyd, Gilmour purchased a habit Stratocaster (the original of many) at a Cambridge music store. During the early Pink Floyd years, Gilmour played a Strat almost exclusively, taking full vantage of it is wide tonal palette and vibrato bar in his style. He applied a Lewis 24-fret electric guitar on rare occasions for it is extended range, as in the solo of “Money,” and continued to apply a Tele sporadically in the repertory. Gilmour strung his electric guitars with Gibson Sonomatic strings made of a customized light-top (using the ordinary E and B for the B and G) and heavy-bottom set gauged .010, .012, .016, .028, .038, and .050. He employed a Herco heavy-gauge pick.

David Gilmour’s earliest amp setup with Pink Floyd consisted of a Selmer 50-watt head with a 4×12 speaker cabinet. By 1970, he found his signature sound with a stack made of Hiwatt 100-watt heads with WEM 4×12 cabinets. The Hiwatt/WEM combining may be heard conspicuously on Meddle and Dark Side of the Moon. In the studio, he at times added a Fender Twin Reverb combo amp with two 12-inch speakers to his lineup for sure parts, as on Dark Side of the Moon.

David Gilmour’s early Floyd effects consisted of a Binson Echorec tape delay (like Barrett, he applied this device from his firstborn days with the band), a Dallas-Arbiter Fuzzface fuzz box, Uni-Vibe pedal, Vox wah-wah pedal, a DeArmond volume pedal, and Leslie and Yamaha RA-200 rotating speaker cabinets. The latter were routed through the output subsections of Hiwatt heads and then to WEM 4×12 cabinets. In 1972, his effects boxes were mounted in a habit cabinet, and his array of processors grew to include a second Binson Echorec and a second Fuzzface, an MXR Phase 90, a Crybaby wah-wah, an Electro-Harmonix Electric Mistress flanger, Big Muff fuzz, an Orange treble and bass booster, and a custom-built tone pedal.

Additionally, Gilmour used studio effects like ADT (Automatic Double Tracking, a favored studio processor basi invented at Abbey Road Studios for the Beatles), Kepex for tremolo, respective tape effects, studio echo chambers, and backwards guitar. He also applied an EMS Synthi Hi-Fi guitar synthesizer (heard on “Time” on Dark Side of the Moon), and commonly played a lap steel or Fender twin neck pedal steel guitar for slide parts. He used respective acoustic guitars on early Floyd tracks, later resolving on Martin D-18 and D-35 models in the 1970s, and, depending on the song, alternated amid fingerpicking and playing with a plectrum.

Ghs David Gilmour Signature Strings

David Gilmour’s connection with GHS’ Boomer series electric guitar strings goes back to 1979, when he started using them on Pink Floyd’s “The Wall” project. He uses gauges 10, 12, 16, 28, 38, and 48 on his Fender Stratocaster.

Ghs David Gilmour Signature Strings Photo

Ghs David Gilmour Signature Strings Image

Ghs David Gilmour Signature Strings Picture

Ghs David Gilmour Signature Strings Pic