Comfortably Numb '1st solo' tone!

Discussion in 'Effects, Pedals, Strings & Things' started by cloudnine, Jan 28, 2008.

  1. cloudnine

    cloudnine Member

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    Well the lead tone on the main (outro) solo has been thoroughly discussed, but the tone that really gets me to pay attention is the first solo, between the first chorus and verse 2. Different, but equally good, in a way that I really really like. It's milky, smooth, vocal, yet cutting. Anyone know how to nail this tone?
     
  2. bilbal

    bilbal Member

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    I can get pretty close with my strat on the second position for a little "fullness" (first position works with a bit of eq tweak), ethos, and Bogner Shiva (now). I'm happy with the way it sounds and I think it would pass anywhere.

    I think the solos for Mother and Another Brick are even more dependent on tone IMO. Obviously you have to play the solo for ABITW EXACTLY or it just doesn't work. It's one of those tunes that even non musicians can hum the solo note for note. For it I put the strat in the 5th position and work the tone knob a bit brighter. For the solo of Mother it's pretty much the exact setting as for Comfortably Numb. I think I nail all three tones and solos, others may not agree but I have no way of posting them. I am a huge Floyd fan and have been playing it since I was young. I have to say that Gilmour is my favorite of all time. He just rips!!!!!!
     
  3. fr8_trane

    fr8_trane Member

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    I clearly hear the classic strat neck pickup tone on both solos - My guess for FX would be big muff, delay, reverb and a touch of chorus. the second solo has more gain, delay/reverb and chorus.

    If you go to gilmourish.com he breaks down every album ever recorded by gilmour and what gear he used on it based on his obsessive research.

    Here's and excerpt
    "The EH electric Mistress (flanger) was used on many of the songs on David’s first solo album in 1978 and again on The Wall album and tour. Good examples are Another Brick 2, Mother and Comfortably Numb from “Is There Anybody Out There, Wall Live 80-81″. The Mistress was also used on Final Cut in 1983, most notably on Possible Pasts."

    Here's his pedal board from that era:
    Pete Cornish custom pedal board and additional effects, tour 1980-81
    - this is an upgraded version of the Animals board.
    Dallas Arbiter Fuzz Face (BC109)
    Electro Harmonix Big Muff (’73 “Ram’s Head”)
    MXR Phase 90
    Electro Harmonix Small Stone
    Electro Harmonix Electric Mistress
    Pete Cornish (ST-2) Treble and Bass Boost
    Cry Baby wah wah
    MXR Dynacomp
    (send/return for additional effects, Boss CE-2)
    Pete Cornish Tone pedal
    Pete Cornish volume pedal
    (send/return for delays)
    MXR Noise Gate/Line Driver
    MXR Digital Delay System II
    Boss CE-2 Chorus (added via send/return in ‘80)
    Conn Strobo tuners

    I still think its chorus (CE-2)and not flange on the recorded version but I suppose thats debatable
     
  4. cloudnine

    cloudnine Member

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    Yeah I've read a lot of the Gilmourish stuff, and it mentions that he used the Cornish ST-2 into a Big Muff a lot. Has anyone here used the ST-2 this way?
     
  5. bilbal

    bilbal Member

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    One more thing you may want to try is bringing the delay up more in the mix. Just a suggestion.
     
  6. Waxhead

    Waxhead Member

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    No-one is gonna be able to nail Gilmours tone unless you have most of his gear PLUS his playing technique. That's clearly impractical. And why do you want to sound identical anyways. Better and more interesting IMHO to do your own interpretation with excellent guitar tones that suit the song.

    I've done my version of Comfortably Numb on my Soundclick site. I only tried to get close to Gilmours tone on both solos. The 1st solo was done with

    Gibson SG -->Crunchbox-->delay-->Mesa 5:50 amp>2x12 cab (w v30's).

    http://www.soundclick.com/bands/default.cfm?bandID=792315
     
  7. g.griffith

    g.griffith Member

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    I usually use the ST-2 post overdrives/distortions/fuzz, before modulation units. I haven't played with it much that early in the chain. Might have to give it a whirl.

    I also recall that Gilmour routes his delay signals into a separate amp head, leaving his original signal untouched.
     
  8. Ozro4

    Ozro4 Member

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    Does anyone know about what the settings he used on his Big Muff were? I just can't seem to get the tone I want out of mine, but I LOVE the Pink Floyd sound (as everyone does). Any help would be great.
     
  9. fr8_trane

    fr8_trane Member

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    I know Gilmour's later rig's included not one but 4 boss EQ pedals.

    stompboxes, tour 1994
    - ontop of the racks
    all effects are controlled by the Bob Bradshaw midi pedalboard [​IMG]
    1. Boss CS-2 compressor
    2. ProCo RAT II
    3. Pete Cornish P-2 (labeled “Big Muff”)
    4. Boss GE-7 graphic EQ (for RAT)
    5. MXR Dynacomp (script logo)
    6. Ibanez CP-9 compressor
    7. Boss MZ-2 Digital Metalizer
    8. Chandler Tube Driver
    - settings may not apply​
    [​IMG]
    1. Pete Cornish Soft Sustain
    2. Sovtek Big Muff
    3. Chandler Tube Driver
    4. Boss GE-7 graphic EQ (treble & bass boost)
    5. Boss GE-7 graphic EQ (bass boost)
    6. Boss GE-7 graphic EQ (mid boost)

    Or you could just buy one of the skreddy muffs that are modded for less woofy bass and more mids.

    Or you could buy the BYOC large beaver which is a muff clone with options to modify it in any number of ways to make it sound better than the stock circuit.

    Or you could try a rat instead. I always thought the rat was what the muff wished it was. Te onlything the muff really has going for it IMO is the endless almost synth-like sustain
     
  10. gtrfinder

    gtrfinder Supporting Member

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    I think Gilmour's thought process behind the EQ pedals and the distortion and/or fuzz boxes is this.
    Choose the gain box that produces the basic tone, gain, and feel that you like, and then shape the EQ however you'd like with an EQ effect.
     
  11. Ben C.

    Ben C. Member

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    Closest I ever got to that tone was with a Strat, D*A*M Ram Head, Analogman Chorus, and delay. Really nailed that gritty, hollow, and sheened kinda tone. I was surprised at how much the light chorusing was instrumental in making that tone 'happen'.
     
  12. fr8_trane

    fr8_trane Member

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    Yup. Gilmour and Andy Summers got the best chorus tones. Most of the other 80's chorus was so heavy handed that it got a bad rap. Scofield comes to mind. God that was an awful tone.
     
  13. Mac-P

    Mac-P Member

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    Well, THAT is the reason to have a muff right? :D

    I LOVE the Rat, but it is a different animal, entirely.
     
  14. Uma Floresta

    Uma Floresta Senior Member

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    Agreed.
     
  15. cloudnine

    cloudnine Member

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    Do you have any muff like fuzzes to try it with?
     
  16. Dale

    Dale Member

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    The Top Fuel does pretty well for this for me.
     
  17. Ben C.

    Ben C. Member

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    This may help to keep some things in perspective too... sometimes very different Gilmour tones are in our heads. So I put together a little compilation of David's "1st Solo"s in Comfortably Numb from different albums. Here's a link to the file:

    http://home.comcast.net/~bcoutu/numbcomps.mp3

    In order, the solos are from:

    1) The Wall: Under Construction (demos)
    2) The Wall
    3) Is There Anybody Out There? (Live, 1981)
    4) Delicate Sound of Thunder
    5) Pulse
    6) Remember That Night

    Very different sounds over different times, and even in a small period of time! And who knows which one is stuck in your head or how you've changed your perception of it over time. I'm as guilty as anyone; although for the studio album tone, I still think the BJF PGC + D*A*M Ram Head fuzz + Analogman Chorus + DD-6 Delay (w/ Hi-Cut) = that tone the best for me.

    BTW, if this is totally uncool I can remove the file. I figure, it's not the whole song (or even 1/2 or 1/3), and it's for 'educational purposes', not file-sharing type stuff. But I'm no lawyer... I'm just a simple cave man.

    -Ben
     
  18. Mac-P

    Mac-P Member

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    BEST POST EVER. :dude

    Man, that just made my day. PLEASE don't ever take this down... hahah.

    OMG - I find it incredible that by sheer touch he can tame the fuzz to sound so controlled and smooth. It's almost impossible to imagine a Big Muff being capable of a tone like that....

    And I'm not sure I hear a chorus, more of a vibe I think - but I'm sure it depends on his mood.

    And I LOVE the way he improvises on the way he plays the melody. Same notes, but sometimes he'll bend, sometimes he'll slide up to (or down from), sometimes he'll pick, sometimes legato....

    Wow.


    :hiP
     
  19. RC2

    RC2 Silver Supporting Member

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    That was great, thanks for doing it.
     
  20. Ben C.

    Ben C. Member

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    No problem y'all! I appreciate the appreciation as well ;) . It's something I'd always thought about doing for myself to really A/B the differences in tone, and I'm glad other people could benefit fro it as well.
    And Mac-P: nice job picking out the subtleties! You can tell some times he's more in the legato mood for sure.
     

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