1/3/2023 0 Comments David gilmour guitar rig![]() Some times it worked and some times it didn’t and if it didn’t he got all sorts of feedback and ringing notes. Again, from :ĭavid struggled a lot with the Sound on Sound effect. This beautiful and deceptively simple approach is an elegant solution – when it works. Gilmour lowers the volume pedal and plays a solo fed through the “normal” signal path, while the Sound on Sound pad is sustained by the long delay. The signal then travels into a Hiwatt and WEM cabinet used only for this effect. ![]() The signal travels to the Sound on Sound unit (basically a A/B router unit made by Pete Cornish) and into the Roland digital delay, which is set to 1500ms lasting about 20 seconds. ![]() David strums a chord and makes a volume swell with the volume pedal assigned for the Sound on Sound channel. The Sound on Sound effect, isn’t an effect from of a pedal but rather the effect achieved when splitting the signal in two with a long delay assigned to one channel. Below is a video of a performance from 2002. He developed a “sound on sound” approach using a dual amp setup with a digital delay to sustain chords on one amp while he soloed over the chords on the other amp, giving the song a rich and evolving backing track. He pictured himself on a bare stage, acoustic guitar in hand, unaccompanied by other instrumentalists. ![]() DAVID GILMOUR GUITAR RIG SERIESWhen David was playing a series of acoustic concerts in 2001 he wanted to open the show with what many consider to be the quintessential Pink Floyd work, Shine On You Crazy Diamond. Plugins like Roger Linn’s AdrenaLinn Sync add layers of clock-synced effects and syncopated rhythms that add space, depth and an aural complexity to a single instrument. I am also experimenting with CamelSpace, the over-the-top rhythmic multi-effects plug in from Camel Audio. Another approach I have been playing with is recreating David Gilmour’s “sound-on-sound” technique in Ableton Live. One aspiration of the THR Guitar Rig design is the one-man-band aspect to enable one player to sound bigger and fuller than a single instrumentalist. It is the digital equivalent of strapping cymbals to ones knees and a base drum on your back.Ĭertainly Ableton Live’s very capable loopers play well with this concept, but exploring ways to get large live sound beyond looping is a particular interest of mine. ![]()
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