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If you think me a gift t this technique is the most important thing, check out this video. In it David plays an electric solo on an acoustic guitar and it still sounds like it.
The David Gilmour Signature Series Stratocaster Guitar from the Fender Custom Shop has an alder body, black or black over three-color sunburst finish, a black pickguard, a one-piece straight-grain maple neck, custom pickups, and Gilmour’s now-famous electronics and shortened vintage tremolo arm.
A cornerstone of Pink Floyd’s incomparably revolutionary sound, Gilmour’s Black Strat is featured extensively on The Dark Side of the Moon, Wish You Were Here, Animals, The Wall and his critically acclaimed 2006 solo effort, On An Island. The Fender Custom Shop worked hand-in-hand with Gilmour and his longtime guitar technician, Phil Taylor, to create this signature model instrument, a detailed reproduction of the Black Strat—complete in its unmistakable look, sound, and feel.
The David Gilmour Signature Strat comes with a custom Fender guitar case, an Evidence high-end guitar cable, Gilmour’s three-disc Live in Gdansk CD/DVD set, and Phil Taylor’s 2007 book about the guitar’s history, The Black Strat.
The guitar will be a Signature model of David’s beloved black Stratocaster. This means that the guitar will not be a detailed replica with all the scratches and wounds but it will have the same specs, the 57 neck, the neck/bridge combo pickup switch (at least we hope) and the custom Seymour Duncan pickups. A Tribute model is expected next year.
Originally the guitar had a white pickguard and a late 60′s maple neck with the big headstock. In 1974, David replaced the white pickguard with a black and the black Strat was “born”. Over the years it’s gone through countless changes and the Fender model will be based on the current version, seen on during On an Island tour. Read more about the history of this guitar.
So, will it be worth it? Will you run your shoes off to get one? Well, you decide… Here are some tips on how to make your very own Gilmour replica Strat.
– The body of a black Fender Classic Series 70′s Strat
– The V-shaped ’57 reissue neck of a Fender Classic Series 50′s Strat
– 8 hole 1-ply black pickguard
– Vintage S Model bridge kit from Callaham Guitars (including a shortened tremolo arm)
– A push/pull volume pot or a toggle switch for combining the bridge and neck pickups
– A set up Fender Custom 54 pickups or contact the Seymour Duncan Custom Shop for a replica set of David’s pickups
– A custom Jimi Hendrix replica strap from Jeri Hart Designs to top it off…
- Your choice of one of the following pickguards.
- Black 1 Ply 0.120″ Acrylic, Rounded and Polished Edge, Standard 11 Hole, SSS
- Black 1 Ply 0.120″ Acrylic, Rounded and Polished Edge, Vintage 8 Hole, SSS
- White 1 Ply 0.120″ Acrylic, Rounded and Polished Edge, Standard 11 Hole, SSS
- Black 1 Ply 0.090″ Vinyl, Standard 11 Hole, SSS
- Black 1 Ply 0.090″ Vinyl, Vintage 8 Hole, SSS
- White 3 Ply, 0.090″ Vinyl, Standard 11 Hole, SSS
- Black 3 Ply, 0.090″ Vinyl, Standard 11 Hole, SSS
- Parchment 3 Ply, 0.090″ Vinyl, Standard 11 Hole, SSS
- Mint Green 3 Ply, 0.090″, Standard 11 Hole, SSS
- White 3 Ply, 0.090″ Vinyl, ’62 Vintage 11 Hole, SSS
- Black 3 Ply, 0.090″ Vinyl, ’62 Vintage 11 Hole, SSS
- Mint Green 3 Ply, 0.090″ Vinyl, ’62 Vintage 11 Hole, SSS
- White 1 Ply, 0.065″ Vinyl, ’57 Vintage 8 Hole, SSS
- Black 3 Ply, 0.090″ Vinyl, ’57 Vintage 8 Hole, SSS
- White 3 Ply, 0.090″ Vinyl, Standard 11 Hole, HSS
- Mint Green 3 Ply, 0.090″ Vinyl, Standard 11 Hole, HSS
- Black 3 Ply, 0.090″ Vinyl, Standard 11 Hole, HSS
- Tortoise Shell 4 Ply, 0.120″ Vinyl, Standard 11 Hole, HSS
- White Pearl 4 Ply, 0.120″ Vinyl, Standard 11 Hole, HSS
- Black Pearl 4 Ply, 0.120″ Vinyl, Standard 11 Hole, HSS
- Custom stainless steel recessed mini-toggle switch mounting bracket.
- SPDT mini toggle switch for neck/bridge pickup selection modification.
- Black Strat wiring diagram with neck/bridge pickup selection modification. You will receive this wiring diagram via email after order placement (when your order is invoiced).
A significant feature of this pickguard is the recessed mini toggle switch. It’s a unique feature that is synonymous with David Gilmour and his Black Strat. We don’t glue ours to the back side of the pickguard with a piece of plastic or sheet metal, we use a sturdy piece of custom formed stainless steel that is strong and easily mountable underneath the volume and tone potentiometers. It is not a permanent piece of the pickguard, but when installed becomes an integral part of it.
Another important feature of our 1 Ply 0.120″ Acrylic pickguard is the rounded and polished edge. Typical pickguards have a beveled 45° edge. Our Black 1 Ply 0.120″ Acrylic pickguard is exactly the same as you find on the original Black Strat as well as the Fender Custom Shop versions. You won’t find this rounded and polished edge characteristic on others offering a similar product, they are simply using a typical 0.090″ vinyl pickguard with the 45° beveled edge that you find on just about every Strat pickguard. The rounded and polished pickguard edge is only available on our Black or White 1 Ply 0.120″ Acrylic pickguards.
A radical departure from the ordinary, Stumpy was designed from a blank sheet to be as ergonomically correct as possible. The unusual shape is optimally balanced while playing with a strap, over the left knee or the right, while providing excellent right arm support. A master volume and pickup selector switch are close at hand, while the headless 24 jumbo stainless-steel-fretted neck gives unparalleled upper register access. It utilizes a Steinberger R-Trem vibrato bridge, rock maple neck, leopardwood body wings, GFS ’59 PAF pickups.
Butterscotch was designed to be sweet and smooth, with a nod to tradition. Not flashy, either, but then I found some quilted bigleaf maple that would give just the right amount of visual texture, complimented perfectly by black walnut stripes and an african blackwood fretboard.
Solid, high-quality hardware such as a Hipshot bridge, Lace alumitone humbucker, and organic-looking Gotoh 510 tuners make this a real players’ instrument.
Gilmour was born in Cambridge, England. His father, Douglas Gilmour, was a senior lecturer in zoology at the University of Cambridge and his mother, Sylvia (née Wilson), was a teacher and film editor who raised her family at Grantchester Meadows, later immortalised by a Roger Waters song on Pink Floyd’s Ummagumma.Gilmour and his siblings were encouraged by their parents in their musical abilities. Gilmour has a younger brother, Peter, who has been a guitarist for a slightly longer time than Gilmour. Gilmour attended The Perse School on Hills Road, Cambridge, which he “didn’t enjoy” but where he met future Pink Floyd guitarist and vocalist Syd Barrett, along with bassist and vocalist Roger Waters who attended Cambridgeshire High School for Boys, also situated on Hills Road. In 1954, Gilmour bought his first single, Bill Haley’s “Rock Around the Clock”. At age 13, Gilmour was given his first guitar, a Tatay, by his neighbour, Gilmour started learning how to play using a book and record set by Pete Seeger.
In September 1962, he studied modern languages to A-Level and, along with Barrett, went to Cambridge Technical College. Despite not finishing the languages course, Gilmour would eventually become a fluent French speaker. Gilmour and Barrett spent their lunchtime practising guitar together, Barrett would often refer to Gilmour as “Fred”. They were not yet bandmates, however, and Gilmour started playing in the bandJokers Wild in 1962, which Gilmour left in 1967. In August 1965, Gilmour busked around Spain and St. Tropez in France with some friends, one of them being Barrett. However, they were not very successful, living virtually a hand-to-mouth existence. In July 1992, Gilmour stated in an interview with Nicky Horne on BBC radio that he ended up being treated for malnutrition in a hospital. The pair were arrested for buskingBeatles songs, later the two trekked to Paris, camping outside the city for the course of a week and visiting one of the landmarks, the Louvre. In 1967, Jokers Wild played a residency in France, with Gilmour returning to London for equipment supplies. During this visit, he went to see The Pink Floyd recording See Emily Play in Chelsea, and was shocked to find that Barrett seemed not to recognise him. He returned permanently to England later that year.
David Gilmour’s connection with the GHS Boomers® series goes back to 1979, when he started using them on Pink Floyd’s “The Wall” project. He uses the 10-48 set on his Fender Stratocaster™, and our 10.5-50 on his Gibson Les Paul™.
Hear David’s Signature tone on his album On An Island and see him playing live on the DVD Remember That Night – Live At The Royal Albert Hall or visit