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Comfortably Numb
- Thread starter Spyros Delta
- Start date
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Μερικές πληροφορίες που βρήκα για τον τόνο του Gilmour.
The secrets behind David Gilmour's tone on Pink Floyd's Comfortably Numb.
Gilmour’s performance on the song’s two solos are master classes in phrasing and tone, showing how something that seems simple on the surface can actually be quite sophisticated and complex when one analyzes the finer essential details.
While the solos are the main focal guitar parts of the song (and hence this article as well), acoustic and pedal steel guitar tracks also contribute notable roles.
Gilmour played a ZB SS10 10-string pedal steel processed with a long, repeating delay and reverb for the intro and first verse, and an Ovation Custom Legend 1619-4 with modified “Nashville” tuning (with a high E replacing the low E and octave-up A, D and G strings replacing the regular A, D and G) provides the acoustic guitar rhythm track on the choruses and remaining verses after the first.
For the solos, Gilmour played his iconic black 1969 Fender Strat into an amp setup that was essentially a smaller version of his stage performance rig, consisting of a 100-watt Hiwatt half stack and a Yamaha RA-200 revolving speaker system, with the Hiwatt and Yamaha run in parallel.
The Strat and Hiwatt head had custom modifications that shape much of the distinctive tonal character of both solos.
The Strat’s DiMarzio FS-1 bridge pickup provided hotter output than stock Strat pickups, and a separate toggle switch that engages the neck pickup allowed Gilmour to use the bridge and neck pickup together for the first solo for added body and sustain.
Gilmour’s Hiwatts also have custom linked inputs that combine the Normal and Brilliant channels in parallel, similar to jumping the channel inputs on a four-input model or using a Y-cable.
The Yamaha rotating speaker cabinet provides subtle modulation and also adds body to the throaty midrange tones produced by the Electro-Harmonix Big Muff Pi [fuzz pedal].
The key to Gilmour’s smooth, singing sustain is to provide a strong signal up front (courtesy of the hot FS-1 pickup and MXR Dyna Comp [compressor]) while also stacking gain via the Big Muff and Hiwatt, each set to moderate volume levels that combine into something bigger than the sum of their individual parts.
Automatic double tracking, distant room miking and a subtle hint of long delay added during mixing polish the final performance with ethereal ambience.
https://www.guitarworld.com/features/the-secrets-behind-david-gilmours-tone-on-pink-floyds-comfortably-numb
The secrets behind David Gilmour's tone on Pink Floyd's Comfortably Numb.
Gilmour’s performance on the song’s two solos are master classes in phrasing and tone, showing how something that seems simple on the surface can actually be quite sophisticated and complex when one analyzes the finer essential details.
While the solos are the main focal guitar parts of the song (and hence this article as well), acoustic and pedal steel guitar tracks also contribute notable roles.
Gilmour played a ZB SS10 10-string pedal steel processed with a long, repeating delay and reverb for the intro and first verse, and an Ovation Custom Legend 1619-4 with modified “Nashville” tuning (with a high E replacing the low E and octave-up A, D and G strings replacing the regular A, D and G) provides the acoustic guitar rhythm track on the choruses and remaining verses after the first.
For the solos, Gilmour played his iconic black 1969 Fender Strat into an amp setup that was essentially a smaller version of his stage performance rig, consisting of a 100-watt Hiwatt half stack and a Yamaha RA-200 revolving speaker system, with the Hiwatt and Yamaha run in parallel.
The Strat and Hiwatt head had custom modifications that shape much of the distinctive tonal character of both solos.
The Strat’s DiMarzio FS-1 bridge pickup provided hotter output than stock Strat pickups, and a separate toggle switch that engages the neck pickup allowed Gilmour to use the bridge and neck pickup together for the first solo for added body and sustain.
Gilmour’s Hiwatts also have custom linked inputs that combine the Normal and Brilliant channels in parallel, similar to jumping the channel inputs on a four-input model or using a Y-cable.
The Yamaha rotating speaker cabinet provides subtle modulation and also adds body to the throaty midrange tones produced by the Electro-Harmonix Big Muff Pi [fuzz pedal].
The key to Gilmour’s smooth, singing sustain is to provide a strong signal up front (courtesy of the hot FS-1 pickup and MXR Dyna Comp [compressor]) while also stacking gain via the Big Muff and Hiwatt, each set to moderate volume levels that combine into something bigger than the sum of their individual parts.
Automatic double tracking, distant room miking and a subtle hint of long delay added during mixing polish the final performance with ethereal ambience.
https://www.guitarworld.com/features/the-secrets-behind-david-gilmours-tone-on-pink-floyds-comfortably-numb
Επίσης να πούμε ότι έγραψε 5 σόλο και έκανε κοπτοραπτική διαλέγοντας τα καλύτερα μέρη απ' το καθένα
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Σωστός. Κάπου το έχω διαβάσει κι αυτό.
Κι εγώ το έχω κάνει σε κάποιες ηχογραφήσεις επαγγελματικές. Δουλεύει μερικές φορές.
“I banged out five or six solos,” Gilmour says. “From there I just followed my usual procedure, which is to listen back to each solo and make a chart, noting which bits are good. Then, by following the chart, I create one great composite solo by whipping one fader up, then another fader, jumping from phrase to phrase until everything flows together. That’s the way we did it on ‘Comfortably Numb.’”
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out of the closet πανηγυρικά!
Ετσι για να μην ντρεπόμαστε κι όλας.
καλώς ή κακώς το αποτέλεσμα μετράει, αν και είναι απο αυτούς που δεν το χρειάζεται
