Fender David Gilmour Strat Neck

 

 

It has a stop tailpiece. For the last album, I wanted one with a Bigsby vibrato, but I didn’t want to change the old one I’d used to play, for example, the solo on “Another Brick In the Wall Part 2,” so I found another one. I suppose you could say that they are a little raunchier than Fenders.

You also play a Gretsch?
I’ve got an old black Duo Jet I’ve had for a very long time. I actually used it on a couple of tracks on my first solo album in 1978. It’s quite hard to play, but it’s a real beauty, and it’s a beautiful-sounding instrument that fits perfectly for some things. I played it on “Where We Start.”

You’ve played Telecasters on a lot of songs, too, like the solo on “Dogs.”
Yes, that’s right. I think it was done using the neck pickup, which I changed to a Strat pickup, because the Tele neck pickups never seem to be quite up to the job. I did use a Tele on the new album, as well. It was the main guitar on “Take a Breath.”

How about the banjo-like guitar?
That’s a Turkish cümbüsh, which is basically a fretless 12-string banjo. It’s a pretty weird instrument that I bought in Turkey years ago. It is tuned very much like a guitar, and mine is actually tuned exactly like a guitar. I like to be able to pick up any instrument and coax something out of it.

Is their anything about your current live rig that’s particularly interesting?
My tech, Phil Taylor, is always making improvements, trying to make the amps sound better by putting in higher quality this and that, using cryogenically frozen guitar cords—all these sorts of things I hope make it sound better. The rig sounds great to me, but I can just plug in and go with almost anything. I used to be much more fanatical about it when I was younger. I built all of my first pedalboards myself. It was my idea to have all the pedals on all the time, with each of them on a bypass switch, so that the signal didn’t go through the electronics of any pedals that weren’t being used. Then, when Pete Cornish began building boards for me, I asked him to follow that general design. But all the stuff has been way out of my hands for years. If I hear an amp that sounds particularly good, it’s usually one that Phil has brought to me and said, “Try this out.”

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