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David Gilmour Kodak Theater:

David Gilmour, like his Pink Floyd predecessor Syd Barrett, played a Telecaster at first, but David Gilmour soon became one of the first British rock guitar myths to favor the Fender Stratocaster and to create a name sound with the gadget. His parents bought the Tele for David’s 21st birthday, and David Gilmour played it for a year (including on the Saucerful of Secrets record) awaiting it was lost by an airline. Upon officially union Pink Floyd, Gilmour purchased a tradition Stratocaster (the first of many) at a Cambridge music store. During the early Pink Floyd years, Gilmour played a Strat almost solely, taking full benefit of its wide tonal palette and vibrato bar in his style. David Gilmour used a Lewis 24-fret electric guitar on rare occasions for its extensive range, as in the solo of "Money," and constant to employ a Tele sporadically in the repertory. Gilmour strung his electric guitars with Gibson Sonomatic strings made of a tailored light-top (using the standard E and B for the B and G) and heavy-bottom set gauged .010, .012, .016, .028, .038, and .050. David Gilmour used a Herco heavy-gauge pick.

David Gilmour’s earliest amp setup with Pink Floyd consisted of a Selmer 50-watt head with a 4x12 speaker cabinet. By 1970, David Gilmour found his name sound with a stack made of Hiwatt 100-watt heads with WEM 4x12 cabinets. The Hiwatt/WEM mixture can be heard obviously on Meddle and Dark Side of the Moon. In the studio, David Gilmour now and then added a Fender Twin Reverb combo amp with two 12-inch speakers to his lineup for sure parts, as on Dark Side of the Moon.

David Gilmour’s early Floyd effects consisted of a Binson Echorec tape delay (like Barrett, David Gilmour used this device from his first days with the band), a Dallas-Arbiter Fuzzface fuzz box, Uni-Vibe pedal, Vox wah-wah pedal, a DeArmond quantity pedal, and Leslie and Yamaha RA-200 rotating speaker cabinets. The latter were running scared through the output sections of Hiwatt heads and then to WEM 4x12 cabinets. In 1972, his effects boxes were mounted in a convention cabinet, and his array of processors grew to include a second Binson Echorec and a second Fuzzface, an MXR Phase 90, a Crybaby wah-wah, an Electro-Harmonix Electric Mistress flanger, Big Muff fuzz, an Orange treble and bass inoculation, and a custom-built tone pedal.

Additionally, Gilmour used studio belongings like ADT (Automatic Double Tracking, a favorite studio processor first urbanized at Abbey Road Studios for the Beatles), Kepex for tremolo, various tape effects, studio echo chambers, and backwards guitar. David Gilmour also employed an EMS Synthi Hi-Fi guitar synthesizer (heard on "Time" on Dark Side of the Moon), and usually played a lap steel or Fender twin neck pedal steel guitar for slide parts. David Gilmour used a variety of acoustic guitars on early Floyd tracks, later settling on Martin D-18 and D-35 models in the 1970s, and, depending on the song, alternated flanked by fingerpicking and playing with a plectrum.