tributehub

It seems that David Gilmour has pushed the limits of guitar sound again with his new Pete Cornish effects system and his old Black Strat.  But a lot of people I talk to prefer his previous setup used on the Pulse, others like his various 70's setups.  Whats yout view?

I wonder how much of this change of sound is coming from his new Pete Cornish system and how much is coming with the change from the red to black Strat,  although the red Strat can be heard on the Albert Hall version of Shine On with the new setup.  It can also be heard playing Sorrow on the StratPack though the new Cornish system.  I personally think the new setup sounds great and seems to have a certain clarity about it, the sound of that black strat on Echoes is just awesome.

This whole issue reminds me of a story about SRV wriiten by his guitar tech.  His guitar tech had supplied him with some top quality guitar leads and asked SRV to try them, SRV didnt like them and sent his guitar tech down to the local Tandy store to buy some cheap curly ones.  SRV said 'Theres too much electric running through the expensive ones'.

I don't really know what to say about DG's sound beyond the fact that I continue to be impressed by each succession.  I don't know if you are familiar with the 2001 Meltdown DVD (I think it's just called David Gilmour in Concert), but it features some way outside the box stuff tonally, like the almost jazzy Comfy solos on an almost-clean Gretsch Dou-Jet and the (worth the price of the DVD alone) surprising distorted end solo on "Coming Back To Life" on an acoustic-electric Taylor.  Talk about stretchibng the boundaries...

I think all of his tones are important because, like you mentioned, they represent the evolution of an artist , and in a sense, are all little time-capsules of sound that define specific periods across his body of work.  Take somebody like Slash for example.  Love him or hate him, his tone has pretty much stagnated since his GNR days.  EHV, Clapton (to an extent), Jimi, SRV, they are all kinda the same.  Gilmour was never one to be complacent, and I think that is why, despite his comparatively basic skill-set, he's established himself as a world-class player.     

I seem to spend most of my practice time trying to achieve that sound, and every time I get close Mr Gilmour moves the goal posts.   

I've got the Meltdown DVD, it just shows that you can sound like David Gilmour with any guitar if your name is David Gilmour.  Does any body know which model Taylor he uses on the Meltdown DVD?

Interesting thread. I for one love his tone, and have enjoyed the ride with him throughout his evolution. The comment about his basic skill set I found interesting also. I think that the biggest thing that sets David Glimour apart from the others, is a combination of "his style of playing", which to me he has kept away from the lightning fastness of some others and tends to be more minimalist in construction, this brings an emotional quality to his playing when you listen, and "his composition". These two things combined, "execution and composition", are what sets him apart and make him so popular. I for one prefere the sometimes simpleness of the notes not played. This makes the listener listen more closely than another guitarist who's lighting speed may makes their solo's to busy.

It's not talked about very often...but David Gilmour's ability to compose great music is not mentioned enough. He's bloody brilliant!

I certainly don't want to sound like I am disparaging Mr. Gilmour.  I hold him and his playing style in the highest regard.  I just mean that when you compare him to the most technical players, Petrucci, et al, that his technique is not at that level.  DG himself refers to his playing style as "somewhat fumbly." (Albeit modestly.) 

On the other hand, the musicality of it, as you mention, is light years ahead of shredders like Petrucci and Malmsteen, etc.  He is in the BB King class as one who can say more with one note than most can with 100.  As I get older, I have really come to appreciate what can be done with the perfectly timed b5 or #9.  Sonically, he is without rival.

I also like his stuff so much because it is within reach of another reasonably-musical yet technically deficient player - me.