![]() This is a slightly brighter sounding Uni-Vibe, at least compared to the Vibe Machine and Moon Vibe, but definitely worth checking out for those classic tones. The Uni-Vibe deliver creamy texture on slow speed and deep throbbing tremolo at higher speeds. MXR/Dunlop owns the rights to the original Uni-Vibe and they’ve managed to capture the iconic character and tone in this pedalboard friendly box. The mid 70s Electric Mistress is recognised by its bright and liquidy character that’s perhaps closer to a chorus rather than the typical jet-like flanger. Flangerĭavid Gilmour used the Electro Harmonix 18V Electric Mistress between 1977-83 and again on the 2015-16 Rattle That Lock tour. I have played and tested each pedal in this guide, with guitars and amps that are typically associated with David Gilmour. Personally I find that phasers and Uni-Vibes sound better when they’re placed in front of gain effects. David Gilmour usually has his Uni-Vibes, phasers, flangers and chorus after his overdrives and fuzz pedals, with the rotary cabinets last, along with the main amps. ![]() Modulation effects are typically placed between gain effects and delays. See the David Gilmour gear guide for a detailed setup for each album and tour. ![]() He would use it both as a stand alone mono pedal and for creating a stereo spread with his stage rig. Like most guitarists at the time, David was an avid user of chorus in the 80s and 90s. The Uni-Vibe and phaser dominated his tones during the 1972-75 Dark Side of the Moon era, while the Electric Mistress flanger was an important ingredient of his Animals, The Wall and Final Cut tones. They’re used for texture, always on and ,mixed in lower than the main amps, rather than a specific effect. Both in the studio for recording and as part of his stage rig. David Gilmour and modulationĭavid Gilmour has been using rotating speaker cabinets since late 1968. By the mid and late 70s, companies like Electro Harmonix and Roland/Boss had also created the first flanger and chorus pedals. The phaser pedal appeared in the early 70s with Oberheim, Maestro and MXR among others. The more the unit was in need of maintenance, the more pronounced the flutter or warble effect would get. When the tape and machinery on the old echo machines would wear down, it would create a subtle modulation. Back in the early days of studio trickery, setting up two tape recorders and slowing one of them down, would create flanging. Modulating a guitar tone is an old trick. In this guide we’ll look at a handful of chorus, flangers, phasers, Uni-Vibes and rotary effects, with David Gilmour’s tones in mind. They can be used to add subtle textures and character or to create wild and unique tones. Modulation effects are the colouring on your pedalboard.
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