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The Pig Hoof is, like the original Ram’s Head Big Muff, very scooped for mids so this might not be the obvious Gilmour-in a-box Muff for everyone but the Pig Hoof is one of the few Muffs I’ve played that has that instant Animals and Wall flavour to it. It also needs to be wild and aggressive, with fat lows and sparkly top. What I’m looking for, to nail his 1976-83 and present Big Muff tones, is that smooth and mellow tone, with a hint of fuzz harmonics and a pronounced attack. Again, his tones got more aggressive and perhaps even partly responsible for the sometimes cold and heavy sound on Animals and The Wall in particular.ĭavid’s Big Muff tone is tricky to nail because it’s almost always paired with a rotary speaker and, often when playing live, a booster. Electronic Orange Pig Hoof (red)ĭavid Gilmour was introduced to the Big Muff in the mid 70s. It’s wild yet easy to tame, which is what you need to be able to nail those mellow leads on Mudmen and play both rhythms and lead on Money with just one pedal (like David did).
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The brightness of the pedal can easily be darkened by increasing the volume and fuzz, almost taking the pedal into Muff territory. The SunFace BC109 has tons of saturated gain that, with the right settings, almost starts to oscillate and make all kinds of sweet harmonics. Not only did this make his tones sound more aggressive but it also played a role in moving Pink Floyd from being a psychedelic act to more of a classic rock band. AnalogMan SunFace BC109ĭavid Gilmour switched from germanium to silicon transistor fuzz in 1971. It also cleans up extremely well, which is essential for songs like Let There Be Light, Atom Heart Mother and Echoes. It has all the characteristics and harmonics, without ever getting muddy or dark. The SunFace captures the raw and uncompressed tone of the original NKT-275 Fuzz Face. Still, these, among others, are intentionally voiced slightly different than the original. There are many great sounding germanium fuzz pedals on the market, like my favourites, the Jam Pedals Fuzz Phase and MJM (red) London Fuzz. David Gilmour used one too on all Pink Floyd albums and tours between 1968-1971 (possibly later). Guitarists didn’t have much to choose from in the late 60s but most of them, including Jimi Hendrix, owned and used the red Dallas Arbiter Fuzz Face. You can easily go with almost any compressor, but there’s something about that optical tone that makes everything sound like a million bucks, with all the sustain you would ever need. Compared to a more conventional transistor compressor, the PC-2A is a more dynamic sounding unit, responding to your picking and overall tone.
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The Effectrode PC-2A, as featured in David’s Rattle That Lock stage rig, is an optical compressor, with a transparent and smooth compression. Not only for sustain but also for creating presence and a more pronounced attack. Effectrode PC-2Aĭavid’s more recent tones are recognised by heavy use of compression. Please see the Buyer’s Gear Guides for tips on alternative pedals for bedroom, recording and stage use. This is my opinion based on what I think is the closest match to each tone and era. You can either walk into a guitar store or order them online. My list below is based on pedals that are available today and within a reasonable budget (hence no vintage or Cornish). In case of trying to figure out which pedal is the most Gilmourish of them all, you obviously have to take into consideration David Gilmours mind, hands, gear, the venues he’s playing in, how they recorded the guitar etc.īut that’s boring right? Let’s forget about that for now! Let’s assume that your guitar, pickups and amp can handle anything and your skills are only surpassed by the master him self. This list comes with a very big disclaimer.
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The reason this is against my principles is that buying a new pedal should be based on taste, need and how well that particular pedal matches with your guitar, pickups, amp and other pedals that you might want to combine it with. “What’s the ultimate pedal for Gilmour’s tone?†In this feature I’m going to go against all my principles and recommend what I think is “Gilmour in a (few) box(es)â€. Not that anyone hasn’t tried but there’s more to his tone than just one box. Wouldn’t you love to walk into a guitar store and yell out “One Gilmour box, please!â€.