Com­fort­ably Numb

Hello. is there a Big Muff in there?

Total Guitar - - BLACK PEAKS -

Player David Gil­mour Al­bum The Wall (1979)

It’s nat­u­ral to blur the lines be­tween a great per­for­mance and a great tone – they are in­ter­con­nected, af­ter all. But there’s no doubt that David Gil­mour was great at di­alling his Pink Floyd tones in. And for his great­est mo­ment, in fact, prob­a­bly the great­est gui­tar mo­ment when it comes to sheer majesty, he to­tally aced it.

“I just went out into the stu­dio and banged out five or six so­los,” Gil­mour told Guitar­world in 1993 in his typ­i­cal, mat­ter-of-fact man­ner. “From there I just fol­lowed my usual pro­ce­dure, which is to lis­ten back to each solo and mark out bar lines, say­ing which bits are good. Then I just fol­low the chart, whip­ping one fader up, then an­other fader, jump­ing from phrase to phrase and try­ing to make a re­ally nice solo all the way through.”

Mis­sion suc­cess­ful. It’s im­por­tant to note that the track was dou­bled with slight de­lay for a big­ger lay­ered sound with some com­pres­sion for at­tack. The Com­fort­ably numb so­los were played us­ing a heavy pick, his iconic black Fen­der Strat with maple neck through an Elec­tro-Har­monix Big Muff and de­lay via a Hi­watt DR103 amp and a sub­tly mixed Yamaha RA-200 ro­tat­ing speaker cab­i­net. Of course, there’s also the small mat­ter of touch… “It re­ally is just his fin­gers, his vi­brato, his choice of notes and how he sets his ef­fects,” says long­time tech Phil Tay­lor. “I find it ex­tra­or­di­nary when peo­ple think they can copy his sound by du­pli­cat­ing his gear.” But it’s a start, right? The rest is up to you!

numbs up Com­fort­ably numb is one of the great­est mar­riages of player and tone ever

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