{"id":10013735,"date":"2026-03-06T14:55:00","date_gmt":"2026-03-06T13:55:00","guid":{"rendered":"https:\/\/www.thomann.de\/blog\/fr\/?p=10013735"},"modified":"2026-03-03T23:01:47","modified_gmt":"2026-03-03T22:01:47","slug":"le-son-de-david-gilmour","status":"publish","type":"post","link":"https:\/\/www.thomann.de\/blog\/fr\/gear\/le-son-de-david-gilmour\/","title":{"rendered":"Le son de David Gilmour en 1975 : Wish You Were Gear"},"content":{"rendered":"\n

Il y a un peu plus de 50 ans, sortait l\u2019album que beaucoup consid\u00e8rent comme le sommet de la discographie de Pink Floyd : Wish You Were Here<\/em>. Pas facile de suivre le succ\u00e8s massif de l\u2019intemporel Dark Side Of The Moon<\/em> (1973), mais le groupe britannique a r\u00e9ussi \u00e0 transcender son propre style. Wish You Were Here<\/em> a des chansons imparables (notamment la chanson titre, belle \u00e0 pleurer) et l\u2019album explore avec honn\u00eatet\u00e9 les traumas internes du groupe (\u201cShine On You Crazy Diamond\u201d) sans faire l\u2019impasse sur le soci\u00e9tal (\u201cWelcome To The Machine\u201d), en \u00e9crivant au passage un critique acerbe du music business (\u201cHave A Cigar\u201d). Le tout avec un David Gilmour au sommet de son art, \u00e9grenant les notes comme autant de diamants, toujours d\u2019un bon go\u00fbt absolu. Et le son ? Ah le son\u2026<\/strong><\/p>\n\n\n\n

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Vous \u00eates actuellement en train de consulter le contenu d’un espace r\u00e9serv\u00e9 de YouTube<\/strong>. Pour acc\u00e9der au contenu r\u00e9el, cliquez sur le bouton ci-dessous. Veuillez noter que ce faisant, des donn\u00e9es seront partag\u00e9es avec des providers tiers.<\/p> Plus d’informations<\/a> <\/div>

D\u00e9bloquer ce contenu<\/a> Accepter le service requis et d\u00e9bloquer son contenu<\/a> <\/div> <\/div> <\/div><\/div>\n<\/div><\/figure>\n\n\n\n

<\/a>La qu\u00eate<\/strong><\/h2>\n\n\n\n

Beaucoup de guitaristes ne se sont jamais remis du son de David Gilmour. Au m\u00eame titre que Stevie Ray Vaughan et John Mayer, il fait partie de ces rares guitar heroes dont la simple association avec un ampli ou une p\u00e9dale suffit \u00e0 rendre l\u2019objet en question hautement d\u00e9sirable. Il n\u2019y a qu\u2019\u00e0 voir les prix compl\u00e8tement vertigineux atteints par les guitares de Gilmour lors de la vente aux ench\u00e8res de 2019 pour s\u2019en convaincre, jusqu\u2019\u00e0 pr\u00e8s de 4 millions de dollars pour la fameuse Black Strat !<\/p>\n\n\n\n

Parlons-en justement de la Black Strat\u2026 Cet instrument pas comme les autres a \u00e9t\u00e9 achet\u00e9 \u00e0 New York en 1970 pour remplacer une guitare vol\u00e9e en tourn\u00e9e. C\u2019est une Stratocaster noire \u00e0 grosse t\u00eate, un mod\u00e8le de 1969 \u00e0 touche \u00e9rable. Puis David commence \u00e0 la modifier : d\u2019abord une sortie XLR (qu\u2019il n\u2019utilisera pas), puis des m\u00e9caniques Schaller, et un manche de 1963 \u00e0 touche palissandre. Il modifie aussi copieusement l’\u00e9lectronique pour arriver \u00e0 trois simples bobinages emprunt\u00e9s \u00e0 une Strat de 1971. Puis il lui installe une plaque de protection noire \u00e0 l\u2019\u00e9poque de l\u2019enregistrement de Wish You Were Here<\/em>, et pour la version live de l\u2019album en 1977 le micro chevalet a \u00e9t\u00e9 remplac\u00e9 par un DiMarzio FS-1 \u00e0 plus haut niveau de sortie. Et les modifications ont ensuite continu\u00e9 jusqu\u2019en 1986 (mais c\u2019est une autre histoire).<\/p>\n\n\n

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\n \"69\n <\/div>\n\n
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Fender<\/p>\n

69 Strat BLK Relic<\/h3>\n <\/span>\n\n
\n Note : 0 sur\n 10<\/span>\n
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\n \n 5\u00a0444 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"63\n <\/div>\n\n
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Fender<\/p>\n

63 Strat BLK Journeyman Relic<\/h3>\n <\/span>\n\n
\n Note : 0 sur\n 10<\/span>\n
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\n \n 4\u00a0699 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"F-Series\n <\/div>\n\n
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Schaller<\/p>\n

F-Series 70s 6L C<\/h3>\n <\/span>\n\n
\n Note : 2.00 sur\n 10<\/span>\n
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\n (1)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 64 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"DP110\n <\/div>\n\n
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DiMarzio<\/p>\n

DP110 FS-1 White<\/h3>\n <\/span>\n\n
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\n \n 77 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n
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Tu l\u2019auras compris, la Black Strat a connu de tr\u00e8s nombreuses formes sans que Gilmour ne fasse particuli\u00e8rement attention au c\u00f4t\u00e9 \u201coriginal\u201d de sa guitare qui n\u2019\u00e9tait alors pas encore consid\u00e9r\u00e9e comme vintage. Il avait besoin d\u2019un outil fiable, et il n\u2019avait pas peur de faire \u00e9voluer l\u2019outil en question en fonction de ses besoins.<\/p>\n\n\n\n

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Vous \u00eates actuellement en train de consulter le contenu d’un espace r\u00e9serv\u00e9 de YouTube<\/strong>. Pour acc\u00e9der au contenu r\u00e9el, cliquez sur le bouton ci-dessous. Veuillez noter que ce faisant, des donn\u00e9es seront partag\u00e9es avec des providers tiers.<\/p> Plus d’informations<\/a> <\/div>

D\u00e9bloquer ce contenu<\/a> Accepter le service requis et d\u00e9bloquer son contenu<\/a> <\/div> <\/div> <\/div><\/div>\n<\/div><\/figure>\n\n\n\n
PUBLICIT\u00c9<\/div>
\"\"<\/a><\/div><\/div>

<\/a>Acouph\u00e8nes<\/strong><\/h2>\n\n\n\n

La Black Strat est l\u2019\u00e9lectrique principale que l\u2019on entend sur Wish You Were Here<\/em>, et c\u00f4t\u00e9 amplis, on entend tout d\u2019abord la console des studios Abbey Road. En effet, les premi\u00e8res notes de \u201cShine On You Crazy Diamond\u201d sont jou\u00e9es sur la Black Strat branch\u00e9e en direct dans la console. Lorsqu\u2019il utilise ensuite un ampli, c\u2019est un Hiwatt DR-103. Cette t\u00eate 100 watts est particuli\u00e8rement r\u00e9put\u00e9e pour son gros son clair avec beaucoup de headroom, et elle a aussi eu les faveurs de Pete Townshend (The Who). Mais pour en tirer le maximum, Gilmour la pousse avec un booster Colorsound Power Boost, un outil tr\u00e8s simple et efficace qui fait cruncher le Hiwatt en lui envoyant des d\u00e9luges de volume.<\/p>\n\n\n

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Crazy Tube Circuits<\/p>\n

HI-Power<\/h3>\n <\/span>\n\n
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\n \n 269 \u20ac <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n\n\n\n

Le Hiwatt est inutilisable dans la plupart des contextes musicaux actuels (sauf \u00e0 vouloir vous f\u00e2cher avec tout le voisinage), et la Colorsound est devenue un objet vintage hors de prix. Heureusement, la marque Crazy Tube Circuits a sorti la Hi Power, un hommage assum\u00e9 \u00e0 Gilmour qui combine un DR-103 en amp-in-a-box et un circuit de Power Boost. Tout David dans une bo\u00eete en quelque sorte !<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

<\/a>L\u2019armada<\/strong><\/h2>\n\n\n\n

Pour les autres effets, Gilmour utilise un compresseur MXR Dyna Comp, surtout en live pour les sons clairs, ainsi que le fameux MXR Phase 90, un phaser au son instantan\u00e9ment reconnaissable sur l\u2019intro de \u201cHave A Cigar\u201d. Il lui arrive aussi parfois d\u2019utiliser du flanger, et dans ce cas c\u2019est une Electro Harmonix Electric Mistress. Le delay enrobe bien s\u00fbr ses solos, et il s\u2019agit g\u00e9n\u00e9ralement d\u2019un \u00e9cho \u00e0 tambour Binson Echorec, que l\u2019on retrouve reproduite en plus fiable avec la T-Rex Binson Echorec ou \u00e9mul\u00e9e avec les Strymon Volante et Dawner Prince Boonar.<\/p>\n\n\n

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MXR<\/p>\n

Dyna comp 1976<\/h3>\n <\/span>\n\n
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MXR<\/p>\n

Phase 90<\/h3>\n <\/span>\n\n
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Electro Harmonix<\/p>\n

Stereo Electric Mistress<\/h3>\n <\/span>\n\n
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T-Rex<\/p>\n

Binson Echorec Disk Delay<\/h3>\n <\/span>\n\n
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Strymon<\/p>\n

Volante<\/h3>\n <\/span>\n\n
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Dawner Prince<\/p>\n

Boonar Tube Deluxe Echo<\/h3>\n <\/span>\n\n
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Dunlop<\/p>\n

Jimi Hendrix Fuzz Face Mini<\/h3>\n <\/span>\n\n
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Electro Harmonix<\/p>\n

Ram's Head Big Muff Fuzz<\/h3>\n <\/span>\n\n
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\n \n 98 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"Dark\n <\/div>\n\n
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Keeley<\/p>\n

Dark Side V2<\/h3>\n <\/span>\n\n
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Enfin, Gilmour aime la fuzz et il utilise \u00e0 la fois une Fuzz Face silicium et une Pete Cornish qui sonne comme une Big Muff. Pour les amateurs de tout-en-un, Keeley a sorti la Dark Side, qui regroupe justement une fuzz, un delay, un flanger, un phaser et m\u00eame un simulateur de haut-parleur rotatif, puisque Gilmour enregistrait aussi souvent avec une cabine Leslie.<\/p>\n\n\n\n

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Vous \u00eates actuellement en train de consulter le contenu d’un espace r\u00e9serv\u00e9 de YouTube<\/strong>. Pour acc\u00e9der au contenu r\u00e9el, cliquez sur le bouton ci-dessous. Veuillez noter que ce faisant, des donn\u00e9es seront partag\u00e9es avec des providers tiers.<\/p> Plus d’informations<\/a> <\/div>

D\u00e9bloquer ce contenu<\/a> Accepter le service requis et d\u00e9bloquer son contenu<\/a> <\/div> <\/div> <\/div><\/div>\n<\/div><\/figure>\n\n\n\n

<\/a>C\u00f4t\u00e9 bois\u00e9<\/strong><\/h2>\n\n\n\n

Mais Wish You Were Here<\/em> n\u2019est pas compos\u00e9 que de solos magistraux de notre ami David. C\u2019est aussi l\u2019album le plus acoustique du Pink Floyd de la grande \u00e9poque, celui o\u00f9 l\u2019on retrouve l\u2019essence folk et bluesy du groupe de rock progressif. Sur le morceau-titre et sur \u201cWelcome To The Machine\u201d, on entend la 12 cordes de Gilmour dont la brillance carillonnante contraste bien avec l\u2019\u00e9paisseur statique des claviers de Richard Wright. Il s\u2019agit d\u2019une Martin D-12 28 de 1971, autrement dit la version 12 cordes de la classique D-28, la dreadnought de la marque am\u00e9ricaine avec table \u00e9pic\u00e9a et corps palissandre. On peut retrouver les m\u00eames caract\u00e9ristiques \u00e0 l\u2019heure actuelle avec l\u2019excellente Martin HD-12 28, mais il existe aussi d\u00e9sormais des solutions moins co\u00fbteuses comme la Martin DX2e 12 string.<\/p>\n\n\n

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Martin Guitar<\/p>\n

HD1228<\/h3>\n <\/span>\n\n
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\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n <\/div>\n<\/div>\n\n
\n \n 4\u00a0444 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"D-X2E\n <\/div>\n\n
\n\n
\n\n \n

Martin Guitar<\/p>\n

D-X2E 12-String Rosewood<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (7)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 868 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"D35\"\n\n <\/div>\n\n
\n\n
\n\n \n

Martin Guitar<\/p>\n

D35<\/h3>\n <\/span>\n\n
\n Note : 10.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (1)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 4\u00a0444 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"D35\n <\/div>\n\n
\n\n
\n\n \n

Martin Guitar<\/p>\n

D35 Sunburst<\/h3>\n <\/span>\n\n
\n Note : 0 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n <\/div>\n<\/div>\n\n
\n \n 4\u00a0599 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"D-35\n <\/div>\n\n
\n\n
\n\n \n

Martin Guitar<\/p>\n

D-35 Johnny Cash<\/h3>\n <\/span>\n\n
\n Note : 10.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (1)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 6\u00a0699 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

Pour le c\u00f4t\u00e9 six cordes, notamment le solo d\u2019ouverture du morceau titre d\u2019une simplicit\u00e9 imparable, c\u2019est encore une Martin, une D-35 de 1969. Ce mod\u00e8le a les m\u00eames caract\u00e9ristiques que la D-28 mais avec une table en trois parties plut\u00f4t que deux. Ce qui \u00e9tait \u00e0 l\u2019origine un choix dict\u00e9 par la raret\u00e9 croissante des grands morceaux de palissandre est devenu un mod\u00e8le culte de la marque qui existe en naturel, en sunburst ou m\u00eame en noir sous la forme du mod\u00e8le signature Johnny Cash. Il y a aussi eu un mod\u00e8le Gilmour, une \u00e9dition tr\u00e8s limit\u00e9e en 2021.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Mais tu l\u2019auras compris, pour avoir le son Gilmour pas besoin de partir \u00e0 la chasse aux \u00e9ditions limit\u00e9es, il vaut mieux trouver un instrument correct et travailler les infimes finesses du jeu du ma\u00eetre. On en revient souvent aux m\u00eames conclusions !<\/p>\n

PUBLICIT\u00c9<\/div>
\"\"<\/a><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Il y a un peu plus de 50 ans, sortait l\u2019album que beaucoup consid\u00e8rent comme le sommet de la discographie de Pink Floyd : Wish You Were Here.<\/p>\n","protected":false},"author":76,"featured_media":10013736,"comment_status":"open","ping_status":"0","sticky":false,"template":"","format":"standard","meta":{"tblog_post_audio_url":"","footnotes":""},"categories":[926],"tags":[],"class_list":["post-10013735","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gear"],"category_colors":{"color_key":"gear","css_classes":{"text":"cat-gear","text_light":"cat-gear-light","bg":"cat-bg-gear","bg_light":"cat-bg-gear-light","border":"cat-border-gear","text_on_bg":"cat-text-on-gear"}},"reading_time":{"minutes":5,"formatted":"5 min"},"_links":{"self":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts\/10013735","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/users\/76"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/comments?post=10013735"}],"version-history":[{"count":8,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts\/10013735\/revisions"}],"predecessor-version":[{"id":10013751,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts\/10013735\/revisions\/10013751"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/media\/10013736"}],"wp:attachment":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/media?parent=10013735"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/categories?post=10013735"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/tags?post=10013735"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}