Fully extracted guitar parts and more: www.patreon.com/posts/p-u-l-s-e-guitar-82291699?Link& Let’s talk more! Which album should be next? Did you like this video series? I really worked hard as you can imagine from the editing but how would this video be better? What can I improve in this video series? I think I made a mistake, FOR EVERY SIGNAL CHAIN EVER for this tour, the chorus RIGHT BEFORE THE HIWATT is on, not the one after Uni-Vibe. He uses the chorus right after Uni-Vibe for Comfortably Numb (and as far as I know, for nothing else). And an example for a correct signal chain is: Boss CS-2 + (Gain) Tube Driver + Sovtek Big Muff + (possible eq) -Split Signal- Delay + Chorus (on the right or left channel, right before the Hiwatt) + Hiwatt / Doppala Speaker I’m sorry about this, I totally spaced it. Still, it doesn’t matter that much for mortals like us who doesn’t split the signal. This is why I use Mooer Ensemble King and not CE-2 because it’s got a level control. I use it around %50 for PULSE tones when I don’t split the signal. But if you split your signal, use the chorus before your dry signal and not wet. Also, sorry for delay, this video was supposed to be live yesterday but life… Also, I got copyright issues yesterday with Another Brick In The Wall (so around 05:00 it’s muted for a few second). Also, I forgot to mention about Any Colour You Like, signal chain goes as: CS-2 + (Clean) Tube Driver + (Gain) Tube Driver -Split Signal- Delay + Chorus (right before hiwatt) / Doppala Speaker You should check my covers for PULSE songs too: Sorrow CD: ua-cam.com/video/Ll4YY-205mI/v-deo.html Sorrow DVD: ua-cam.com/video/eEn6SuEdyag/v-deo.html On The Turning Away PULSE Bootleg: ua-cam.com/video/jII3yebFbds/v-deo.html Comfortably Numb: ua-cam.com/video/hG4NDL8z0e0/v-deo.html] Coming Back To Life: ua-cam.com/video/trvwOXZVuhk/v-deo.html Money: ua-cam.com/video/xWg4Tne5bas/v-deo.html Time: ua-cam.com/video/AgGOO8Pme-o/v-deo.html Hey You: ua-cam.com/video/Dn5c30ttJ00/v-deo.html Keep Talking: ua-cam.com/video/p6g1YbyrhB0/v-deo.html 🎸 Absolute Essential Top 10 Gilmour Solo Backing Tracks and Tabs: www.patreon.com/mustafacankaya/shop/10-essential-gilmour-solo-tabs-solo-14794?Link& 💵 Here are the 9 CHEAP AND BEST pedals I recommend for almost all the tones I get: thmn.to/thocf/xxm4h02xts ✅ Here are all my gear that I can't live without: thmn.to/thocf/at2lukfwk3 ➡ Check Out My Jams: ua-cam.com/play/PLZE1z4lCW33MVR-33x4zk9aecfnJiUIfj.html
Hi try adding a secondary delay or dual digital delay you'll be surprised what you find. One at 500ms +or - the other at 350ms +or-. I run two Vox AC15C1'S in stereo with time base and modulated effects in parallel, it's awesome fun!
Your attention to detail is incredible! I remember reading in an interview article that David said the only reason he had two compressors in series was because of the length of his signal chain. He needed it just to have enough signal to the amps. I thought it odd then. I basically removed a lot of pedals and have used a poor mans version of this Pete Cornish setup for over 20 years. Never told anybody until now. Your playing is spot on through these too. Fine work!
Amazing job on this. Just FYI, audio is missing from 05:00 to 05:20 for Another Brick in the Wall. Not sure if it’s an editing hiccup or if UA-cam pulled the audio.
Yeah youtube doesn't let me play long versions (which I understand...), it's not just being demonitized, it cancels the video so I had to remove that part...
Gilmour wasn't using all 6 100-watt Hi-Watts, he had 2 for regular stereo tone and 1 for certain special tones and a backup head for each of the 3. 6 heads total but only 3 (at most) "live" at any time. So your Laney Cub 1-watt only has to compete with (at most) 300 watts, not 600. 🙂
Dude you're missing the Alembic preamp. That's like, arguably the single most important thing in his entire rig during that period. The Hiwatts had their preamps disabled, he only used the power stages, they were slaved to the Alembic F-2B.
Great Work! I have a big idea on how tedious this process was, as Im trying to do this with The original Wall Tour from 1980-81 (The Hardest Tour to get the Tones) Keep Up the Good and Hard Work :)
The Hiwatts were used as power amps, there was only one Fender prempli to drive the Hiwatts! So the end result was a Fender sound with EL34s as the basis for a clean sound. In fact, this is the first and only time he has used this configuration.
How did he control effects during shows? A switching system on stage (computer) with different scenes during each song or just manually switching on / off pedals?
@@lglg64 there are a lot of tone guides, song specific of course and I'm %110 you'd benefit. I'm gonna have every gilmour solo tone guide there in the end and it's becoming a big archive. you can check it out of you want.
Hi! One question. I saw the other video you have with pulse tones, and for big muff you show a chain with boost drive after big muff. Here you show your chain with big muff alone. What do you think have better results in bedroom?
whichever sounds best for YOUR setup. traditionally, you don't need to deal with all bunch of gear. a big muff into a chorus, delay and rotary would do just fine. IF on the other hand, you want a little bit less dynamic range for your picking and a little bit gain boost, add a compressor. And, IF you want a little bit (let's say) mid range, add a little bit mid rangy overdrive in front of it. I recommend EQ for these types of sounds because an overdrive will overwhelm the signal, resulting a little bit muddier sound more often than not. Everything depends on how YOU prefer and how YOUR setup lets you deal. I was fixated on a lot of stuff and getting not good results. I listened my sound, found the missing frequencies, found what "I" wanted, added them and it got better. Certainly, it can be improved and I did improve a lot of my sound after this video.
Thanks Mustafa! You crammed so much information in 21 minutes! Wow! Very good suggestions for matching a massive signal chain and big powered EL34 tone to the tiny EL84 amp tone. Very impressive! I send Green Russian to older Butler Tube Driver but it sounds harsh unless I set the Butler gain lower and also set Green Russian to lower gain as well. I found adding Crayon after Green Russian makes it smooth sounding and it opens up again when it goes to Butler. I tried to go through all my dirt pedals (in direction of the signal: Boss CS-2 -> Compulator -> Vick Overdriver -> Green Russian -> Crayon -> Butler Tube driver) and set them up to have unity gain or just 1 or 2 db above that. Like yours I send it to Chorus and delay (Boss CE-2 and tone print loaded 2290 setting in TC Alter Ego delay (pretty much like Flashback)). Unfortunately I don't have rotary speaker. Then I send it to Reeves Custom 50. I changed the pre-amp V1 tube to 6072A which made the amp volume tolerable in home studio settings. I had Cub 12 and it was much easier to get good tones with manageable volume than Reeves although there is something really special with EL34 tubes I must say. Thanks again.
Has anyone ever considered that could it be possible that David G. himself got too obsessed with his pedals and ended up leading the whole guitar playing world right over a cliff with all these redundancies he has put in his pedal-boards - which actually confused players to no end?
wow, insane editing. thank you! I can't imagine the rendering for this edit... I loved this new series and I got a question, which do you think is better for PULSE: pastfx patriarchy or ehx green russian? I'm thinking of buying pastfx
I definitely prefer the tube driver before the muff. Also applies to tube screamer and klon type pedals. Placed after it sounds way too dark and compressed to my ears, at least. Everyone seems to want to place boosters after the muff for some reason 🤷♂️ also want to thank you for all the work you put in for this channel, great resource
Amazing video Mustafa!! Very inspiring. Thanks for sharing all your knowledge. I have a question: would you say that Gilmour mostly uses delays in mono (same time on both channels) even though the signal is split? Also I’ve always used delays in the FX loop and now you inspired me to experiment placing them in front of my amp (might use the timeline in mono for that) Thanks again! Cheers
thank you! actually when the signal is split, I mean after all the pedals, signal goes into volume pedal and then splits in "3" to 3 different delays and all of them goes into 2 cornish mixers, left and right. so when I say "he split his signal in 2", I mean AFTER delay. think of the delay as the last thing before the actual cornish chain split. EVERYTHING (1. split) -> delay 1 - > cornish left and cornish right EVERYTHING (2. split) -> delay 2 - > cornish left and cornish right EVERYTHING (3. split) -> delay 3 - > cornish left and cornish right (so non of the delays are crossing each other) SOOOO, I gotta say it's kinda like stereo but kinda mono way. I'm not sure. it's like having 1 delay and putting it before splitting the signal to 2 different amps, so the same delay effect works on both amps. and thinking that there are 3 different delays and all of them go to 2 same split signal, so you can use delay 1 on the first amp and delay 2 on your second amp, this is the case for comfortably numb "waving part" probably. like i said, there isn't a delay going into other delay, non of the delays are on the same path. so I use 2 different delays as well but 1 delay goes into the other delay, so I have a delay, repeating a delayed signal :) gilmour got rid of that idea and used 1 delay for left and 1 delay for right on waving part. probably same goes for run like hell as well, 380ms and 540ms. I hope I've explained it as well as in my mind. ps. I've read it again and it kinda makes less sense right now. sure no delay is feeding another delay, but since all 3 delays go to BOTH channels, you can't use 1st delay on the right and the 2nd for left, probably. does that make sense? I'm a little lost, but I think all of the delays go for both amps and rotary, but non of them are feeding each other. this is my final thought.
@@mustyguitar thanks so much for the detailed reply!! I guess I’m gonna have to read it a few times but from what I’ve gathered from your explanation: - All delays are before the amp and none in the effects loop - Although they are split to different amps/cabs (doppolla etc) the delays, although they vary from part to part, are usually set to the same ms value feeding each side with the exception of a few tracks where the delay time is set to a different value on each side. Is this correct? In any case thanks again Mustafa! Big fan of your channel (just discovered it)
Bravo, sir. These tutorials are fantastic; for anyone on the fence, it’s worth becoming a Patron. My board is basically a budget PULSE inspired board, with some extras to cover some other tones. I only own two variants of the pedals on Gilmour’s board: a vintage 90s Sovtek Muff, and the old, 5 knob Tube Works Butler Tube Overdrive. So I’m mostly using clones or fill ins, like a BD2, a CE2 clone, etc…, which work. Seeing the order here changed everything; I had both my “Tube Drivers” AFTER the Big Muff; now I split them up, with the “boost” one before the Muff. It’s hard to tell when he’s using the P2 or the Muff. I’m pretty sure he’s using the P2 on “Time”, in combo with overdrive TD, which results in some of that darker, muddy sound with the UniVibe. I think he’s using the Muff on “Comfortably Numb”, if for only that I’m pretty sure he’s using it with the boost TD; I used to have the TD after the Muff, and it’s just a different tone to my ear. The P2 (which I have a great clone of) is so similar to the Sovtek Muff, but is before the TD in the chain, which makes me think it’s the Big Muff on the song. Of course, there’s several EQ pedals throughout the chain, and the album was mixed, so who knows… I just know this tutorial has gotten me likely as close as I’m going to get to the “PULSE” tones with the gear I have, in an at home setting.
I should mention- I run everything into a small, Fender Blues Jr style tube amp, which is very clean. I have a clone of the out of production Catlinbread WIIO, which is basically a Hiwatt in a box. I have it at the end of my dirt chain, gain at 9 max (very clean), and it does add a bit to the tone (at the very end of my dirt chain, I have a JHS Crayon, which with low gain settings is perfect for album versions of most Floyd songs, in particular “Another Brick in the Wall pt2 and “Shine On”. Gives everything that “studio recording” feel that I can’t fully explain).
Thank you Chris, for your insight and about Patreon :) As I always say, these are just research and experience and assumptions, we have no idea about the studio trickery, even signal chain, he might pop up something during the solo and they might just change that in the mix. Ideally, this is my guide to PULSE tone.
Incredible work done! I almost collected all the needed pedals, was inspired by your videos. Thanks a lot! Only a few questions, where can see the settings for Ensemble King Chorus? and do you aware if David was using Flanger at any time?
Thank you, that makes me feel motivated man! On PULSE tour, I don't think we hear any flanger, but maybe, MAYBE, on a few parts of a few songs of a few shows he used it, otherwise why would he had it in the chain.
@@BorysOliinyk you should watch this video: ua-cam.com/video/RWnkK7dxPPw/v-deo.html flanger is for (off the top of my head, but I'll make a video about it) 2016 run like hell and comfortably numb, 1977 tour, pigs mid section... it's really a must if you're aiming for gilmour tones I almost always use my chorus: rate around 11 o'clock depth around 1 level around 1
Il suono della stratocaster di Gilmour su PULSE risulta molto limitato rispetto al passato...Sembra quasi c'abbia il raffreddore,il peggior suono mai prodotto in 26 anni di carriera con i Pink Floyd
Fully extracted guitar parts and more: www.patreon.com/posts/p-u-l-s-e-guitar-82291699?Link&
Let’s talk more! Which album should be next? Did you like this video series? I really worked hard as you can imagine from the editing but how would this video be better? What can I improve in this video series?
I think I made a mistake, FOR EVERY SIGNAL CHAIN EVER for this tour, the chorus RIGHT BEFORE THE HIWATT is on, not the one after Uni-Vibe. He uses the chorus right after Uni-Vibe for Comfortably Numb (and as far as I know, for nothing else). And an example for a correct signal chain is: Boss CS-2 + (Gain) Tube Driver + Sovtek Big Muff + (possible eq) -Split Signal- Delay + Chorus (on the right or left channel, right before the Hiwatt) + Hiwatt / Doppala Speaker
I’m sorry about this, I totally spaced it. Still, it doesn’t matter that much for mortals like us who doesn’t split the signal. This is why I use Mooer Ensemble King and not CE-2 because it’s got a level control. I use it around %50 for PULSE tones when I don’t split the signal. But if you split your signal, use the chorus before your dry signal and not wet.
Also, sorry for delay, this video was supposed to be live yesterday but life…
Also, I got copyright issues yesterday with Another Brick In The Wall (so around 05:00 it’s muted for a few second).
Also, I forgot to mention about Any Colour You Like, signal chain goes as: CS-2 + (Clean) Tube Driver + (Gain) Tube Driver -Split Signal- Delay + Chorus (right before hiwatt) / Doppala Speaker
You should check my covers for PULSE songs too:
Sorrow CD: ua-cam.com/video/Ll4YY-205mI/v-deo.html
Sorrow DVD: ua-cam.com/video/eEn6SuEdyag/v-deo.html
On The Turning Away PULSE Bootleg: ua-cam.com/video/jII3yebFbds/v-deo.html
Comfortably Numb: ua-cam.com/video/hG4NDL8z0e0/v-deo.html]
Coming Back To Life: ua-cam.com/video/trvwOXZVuhk/v-deo.html
Money: ua-cam.com/video/xWg4Tne5bas/v-deo.html
Time: ua-cam.com/video/AgGOO8Pme-o/v-deo.html
Hey You: ua-cam.com/video/Dn5c30ttJ00/v-deo.html
Keep Talking: ua-cam.com/video/p6g1YbyrhB0/v-deo.html
🎸 Absolute Essential Top 10 Gilmour Solo Backing Tracks and Tabs: www.patreon.com/mustafacankaya/shop/10-essential-gilmour-solo-tabs-solo-14794?Link&
💵 Here are the 9 CHEAP AND BEST pedals I recommend for almost all the tones I get: thmn.to/thocf/xxm4h02xts
✅ Here are all my gear that I can't live without: thmn.to/thocf/at2lukfwk3
➡ Check Out My Jams: ua-cam.com/play/PLZE1z4lCW33MVR-33x4zk9aecfnJiUIfj.html
how about gdansk?
Your channel is THE Bible for every gilmour's fan. Respect for your work and the time past. 👏💪👍🌈🎸🙏
Thank you!
Nice work! Gilmour was using a CLS-222 for Leslie tones on this tour - I have one and it works quite nicely for Us and Them.
Hi try adding a secondary delay or dual digital delay you'll be surprised what you find. One at 500ms +or - the other at 350ms +or-. I run two Vox AC15C1'S in stereo with time base and modulated effects in parallel, it's awesome fun!
I'm trying to get my Gilmour sound with amp sims on my computer and this help me a lot! Thank you! I've just subscribed!
Can you share some presets?
Great Job!
Your attention to detail is incredible! I remember reading in an interview article that David said the only reason he had two compressors in series was because of the length of his signal chain. He needed it just to have enough signal to the amps. I thought it odd then. I basically removed a lot of pedals and have used a poor mans version of this Pete Cornish setup for over 20 years. Never told anybody until now. Your playing is spot on through these too. Fine work!
I see, I didn't know that but it's logical, yeah.
Thank you for your words and input
Amazing job on this. Just FYI, audio is missing from 05:00 to 05:20 for Another Brick in the Wall. Not sure if it’s an editing hiccup or if UA-cam pulled the audio.
Yeah youtube doesn't let me play long versions (which I understand...), it's not just being demonitized, it cancels the video so I had to remove that part...
Gilmour wasn't using all 6 100-watt Hi-Watts, he had 2 for regular stereo tone and 1 for certain special tones and a backup head for each of the 3. 6 heads total but only 3 (at most) "live" at any time. So your Laney Cub 1-watt only has to compete with (at most) 300 watts, not 600. 🙂
That is true, it’s just a great exaggeration that I can’t stop myself from doing :)
What about ibanez cp9 on the intro of Time?
Dude you're missing the Alembic preamp. That's like, arguably the single most important thing in his entire rig during that period. The Hiwatts had their preamps disabled, he only used the power stages, they were slaved to the Alembic F-2B.
That’s interesting. So Gilmour uses compression first in chain as opposed to last like many do?
Well, you want to compress the clean sound, not colored sound. That’s the logical order.
@@mustyguitar fair enough
And No mention of the Dallas Arbiter Fuzz Face???
I'm pretty sure there was no Fuzz Face for PULSE.
What year, give or take, did Gilmore start using Tube Drivers?
I would say around 1993
@@mustyguitar Thank You!
not bad but will never really sound like big dave, get yourself a fuzz destortion/overdrive chorus phase 90 and a delay an your good
Thank you for all the awesome work you do!!!! With Pink Floyd/David Gilmour tutorials, you are the BEST!!! Great pace, detailed and accurate!!!
Great Work! I have a big idea on how tedious this process was, as Im trying to do this with The original Wall Tour from 1980-81 (The Hardest Tour to get the Tones)
Keep Up the Good and Hard Work :)
The Hiwatts were used as power amps, there was only one Fender prempli to drive the Hiwatts! So the end result was a Fender sound with EL34s as the basis for a clean sound. In fact, this is the first and only time he has used this configuration.
I love Gilmour best without the modulation. I know people love the Floyd sound but to me its washed out garbage covering up an incredible guitarist.
How did he control effects during shows? A switching system on stage (computer) with different scenes during each song or just manually switching on / off pedals?
Is chorus and delay really put before amp instead of send/return??😮
Think maybe Gilmourish has already done all this?
The Pulse concert has to be in the top 10 of all concerts…ever!
love your play!!!!! where are you from ?
My overdrive tones are shit they are way too thin and dirty... what do i do?
I don't know. Change the overdrive? Lower the gain and tone? I mean there are endless answers to this one :)
@@mustyguitar can you by any chance show the specific knob settings on ur pedals and amps please?
Is it on patreon?
@@lglg64 there are a lot of tone guides, song specific of course and I'm %110 you'd benefit. I'm gonna have every gilmour solo tone guide there in the end and it's becoming a big archive. you can check it out of you want.
You're amazing! thanks for the guide!
No Jonathan, you are amazing!
What do you prefer, Dawner Prince PULSE or BOSS RT-20? Thanks
This Sunday, a comparison is coming.
Another Master Class... Put some respect on the research work and educational content Mustafa is putting into these projects! 🎸🙌🔥
Thank you, it really took a lot of my time just editing :)
@@mustyguitar I'm waiting for your own Gilmour/Wright/Floyd inspired album 'one of these days'! WWpfD today 🥳🎸🎹🔥🤞🙌
This is the most sought after sound profiles!!! People don’t want to sound like Pink Floyd they really just want to sound like this
Hi! One question.
I saw the other video you have with pulse tones, and for big muff you show a chain with boost drive after big muff. Here you show your chain with big muff alone.
What do you think have better results in bedroom?
whichever sounds best for YOUR setup. traditionally, you don't need to deal with all bunch of gear. a big muff into a chorus, delay and rotary would do just fine. IF on the other hand, you want a little bit less dynamic range for your picking and a little bit gain boost, add a compressor. And, IF you want a little bit (let's say) mid range, add a little bit mid rangy overdrive in front of it. I recommend EQ for these types of sounds because an overdrive will overwhelm the signal, resulting a little bit muddier sound more often than not.
Everything depends on how YOU prefer and how YOUR setup lets you deal. I was fixated on a lot of stuff and getting not good results. I listened my sound, found the missing frequencies, found what "I" wanted, added them and it got better. Certainly, it can be improved and I did improve a lot of my sound after this video.
@@mustyguitar thanks! By the way, because of you, pastfx gain this week ~220aud , on a TD-y. Your sounds with that pedal are very good
Thanks Mustafa! You crammed so much information in 21 minutes! Wow! Very good suggestions for matching a massive signal chain and big powered EL34 tone to the tiny EL84 amp tone. Very impressive! I send Green Russian to older Butler Tube Driver but it sounds harsh unless I set the Butler gain lower and also set Green Russian to lower gain as well. I found adding Crayon after Green Russian makes it smooth sounding and it opens up again when it goes to Butler. I tried to go through all my dirt pedals (in direction of the signal: Boss CS-2 -> Compulator -> Vick Overdriver -> Green Russian -> Crayon -> Butler Tube driver) and set them up to have unity gain or just 1 or 2 db above that. Like yours I send it to Chorus and delay (Boss CE-2 and tone print loaded 2290 setting in TC Alter Ego delay (pretty much like Flashback)). Unfortunately I don't have rotary speaker. Then I send it to Reeves Custom 50. I changed the pre-amp V1 tube to 6072A which made the amp volume tolerable in home studio settings. I had Cub 12 and it was much easier to get good tones with manageable volume than Reeves although there is something really special with EL34 tubes I must say. Thanks again.
What a video. I appreciate your dedication to explain it all. By the way, what a great tone you’ve reproduced. Congrats!
The Gilmour wattage 😊 indeed 😎🎸👖💋🎶😎✌️😇☮️✝️🌍
Brilliant work. Thank you.
Has anyone ever considered that could it be possible that David G. himself got too obsessed with his pedals and ended up leading the whole guitar playing world right over a cliff with all these redundancies he has put in his pedal-boards - which actually confused players to no end?
no. you cannot be too obsessed with pedals or spend too much on gear. maybe you should play violin
@@mulefan74😂
Beautiful work well done! 🔥🔥🔥
This is awesome! Looking forward to seeing that cheat sheet. Are you planning on posting it in your patreon?
Bedroom unlocked - PDF file working on it, every big signal chain and fundamentals of tone - eq - mini tips and tricks.
what about reverbs? amazing work btw, thanks 👍👍
It’s from the halls, no reverb intentionally and I sometimes use from Logic Pro x reverb with little or none
BRAVISIMO👋👋👋👋
Excelent!!!! I'm from Argentina, i love your work. Reverb?? What's kind of reverb do You prefer and settings?
I don't use reverb, my amp has reverb but I don't use it. I sometimes add reverb from Logic. Just a tad though.
Love ur vids!
wow, insane editing. thank you! I can't imagine the rendering for this edit...
I loved this new series and I got a question, which do you think is better for PULSE: pastfx patriarchy or ehx green russian? I'm thinking of buying pastfx
I didn't try pastfx patriarchy, but I don't think you'll regret it, for me, green russian is good.
Mustafa, im really having trouble with he solo from Fat Old Sun, the Gdansk version . Did you learn it by ear ? Great video !
Yeah but I got the tabs and backing track here: www.patreon.com/posts/fat-old-sun-tone-70428982?Link&
I definitely prefer the tube driver before the muff. Also applies to tube screamer and klon type pedals. Placed after it sounds way too dark and compressed to my ears, at least. Everyone seems to want to place boosters after the muff for some reason 🤷♂️ also want to thank you for all the work you put in for this channel, great resource
Thanks for your kind words Chris
👏👏👏🎸
Amazing video Mustafa!! Very inspiring.
Thanks for sharing all your knowledge.
I have a question: would you say that Gilmour mostly uses delays in mono (same time on both channels) even though the signal is split? Also I’ve always used delays in the FX loop and now you inspired me to experiment placing them in front of my amp (might use the timeline in mono for that)
Thanks again!
Cheers
thank you!
actually when the signal is split, I mean after all the pedals, signal goes into volume pedal and then splits in "3" to 3 different delays and all of them goes into 2 cornish mixers, left and right. so when I say "he split his signal in 2", I mean AFTER delay. think of the delay as the last thing before the actual cornish chain split.
EVERYTHING (1. split) -> delay 1 - > cornish left and cornish right
EVERYTHING (2. split) -> delay 2 - > cornish left and cornish right
EVERYTHING (3. split) -> delay 3 - > cornish left and cornish right
(so non of the delays are crossing each other)
SOOOO, I gotta say it's kinda like stereo but kinda mono way. I'm not sure. it's like having 1 delay and putting it before splitting the signal to 2 different amps, so the same delay effect works on both amps. and thinking that there are 3 different delays and all of them go to 2 same split signal, so you can use delay 1 on the first amp and delay 2 on your second amp, this is the case for comfortably numb "waving part" probably. like i said, there isn't a delay going into other delay, non of the delays are on the same path.
so I use 2 different delays as well but 1 delay goes into the other delay, so I have a delay, repeating a delayed signal :) gilmour got rid of that idea and used 1 delay for left and 1 delay for right on waving part. probably same goes for run like hell as well, 380ms and 540ms.
I hope I've explained it as well as in my mind.
ps. I've read it again and it kinda makes less sense right now. sure no delay is feeding another delay, but since all 3 delays go to BOTH channels, you can't use 1st delay on the right and the 2nd for left, probably. does that make sense? I'm a little lost, but I think all of the delays go for both amps and rotary, but non of them are feeding each other. this is my final thought.
@@mustyguitar thanks so much for the detailed reply!!
I guess I’m gonna have to read it a few times but from what I’ve gathered from your explanation:
- All delays are before the amp and none in the effects loop
- Although they are split to different amps/cabs (doppolla etc) the delays, although they vary from part to part, are usually set to the same ms value feeding each side with the exception of a few tracks where the delay time is set to a different value on each side.
Is this correct?
In any case thanks again Mustafa! Big fan of your channel (just discovered it)
Bravo, sir. These tutorials are fantastic; for anyone on the fence, it’s worth becoming a Patron.
My board is basically a budget PULSE inspired board, with some extras to cover some other tones. I only own two variants of the pedals on Gilmour’s board: a vintage 90s Sovtek Muff, and the old, 5 knob Tube Works Butler Tube Overdrive. So I’m mostly using clones or fill ins, like a BD2, a CE2 clone, etc…, which work. Seeing the order here changed everything; I had both my “Tube Drivers” AFTER the Big Muff; now I split them up, with the “boost” one before the Muff. It’s hard to tell when he’s using the P2 or the Muff. I’m pretty sure he’s using the P2 on “Time”, in combo with overdrive TD, which results in some of that darker, muddy sound with the UniVibe. I think he’s using the Muff on “Comfortably Numb”, if for only that I’m pretty sure he’s using it with the boost TD; I used to have the TD after the Muff, and it’s just a different tone to my ear. The P2 (which I have a great clone of) is so similar to the Sovtek Muff, but is before the TD in the chain, which makes me think it’s the Big Muff on the song. Of course, there’s several EQ pedals throughout the chain, and the album was mixed, so who knows… I just know this tutorial has gotten me likely as close as I’m going to get to the “PULSE” tones with the gear I have, in an at home setting.
I should mention- I run everything into a small, Fender Blues Jr style tube amp, which is very clean. I have a clone of the out of production Catlinbread WIIO, which is basically a Hiwatt in a box. I have it at the end of my dirt chain, gain at 9 max (very clean), and it does add a bit to the tone (at the very end of my dirt chain, I have a JHS Crayon, which with low gain settings is perfect for album versions of most Floyd songs, in particular “Another Brick in the Wall pt2 and “Shine On”. Gives everything that “studio recording” feel that I can’t fully explain).
Thank you Chris, for your insight and about Patreon :) As I always say, these are just research and experience and assumptions, we have no idea about the studio trickery, even signal chain, he might pop up something during the solo and they might just change that in the mix. Ideally, this is my guide to PULSE tone.
Another nice one 😎 Don't forget the Strat 😁
And the DG20
Great work Mustafa!
No way!! I'm honored Mr. Lee Harris! I saw your show in Istanbul and you gave me one of your picks (pink one)
Thanks for coming! I remember the show in Istanbul very well.
Incredible work done!
I almost collected all the needed pedals, was inspired by your videos. Thanks a lot!
Only a few questions, where can see the settings for Ensemble King Chorus?
and do you aware if David was using Flanger at any time?
Thank you, that makes me feel motivated man!
On PULSE tour, I don't think we hear any flanger, but maybe, MAYBE, on a few parts of a few songs of a few shows he used it, otherwise why would he had it in the chain.
@@mustyguitar Thanks for the answer! But I mean not only on Pulse, but overall during his activity overall.
And what about Chorus settings?)
@@BorysOliinyk you should watch this video: ua-cam.com/video/RWnkK7dxPPw/v-deo.html
flanger is for (off the top of my head, but I'll make a video about it) 2016 run like hell and comfortably numb, 1977 tour, pigs mid section... it's really a must if you're aiming for gilmour tones
I almost always use my chorus:
rate around 11 o'clock
depth around 1
level around 1
@@mustyguitar thank you so much!
@@mustyguitar I just bought one after watching this great class and was looking for the same information.Thanks for everything !
Il suono della stratocaster di Gilmour su PULSE risulta molto limitato rispetto al passato...Sembra quasi c'abbia il raffreddore,il peggior suono mai prodotto in 26 anni di carriera con i Pink Floyd
I wish I didn't translate this. I agree for DSOT or Venice or Knebworth but PULSE is something different.
Secondo me non ti sei stappato bene le orecchie quando hai sentito pulse..
Why don't Europeans have anything on their walls? Always stark and white.
Delicate ???👍🏻👍🏻👍🏻👍🏻