Modulation effects are the colouring on your pedalboard. They can be used to add subtle textures and character or to create wild and unique tones. 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.
Updated March 2023
Modulating a guitar tone is an old trick. Back in the early days of studio trickery, setting up two tape recorders and slowing one of them down, would create flanging.
When the tape and machinery on the old echo machines would wear down, it would create a subtle modulation. The more the unit was in need of maintenance, the more pronounced the flutter or warble effect would get.
The phaser pedal appeared in the early 70s with Oberheim, Maestro and MXR among others. By the mid and late 70s, companies like Electro Harmonix and Roland/Boss had also created the first flanger and chorus pedals.
David Gilmour and modulation
David Gilmour has been using rotating speaker cabinets since late 1968. Both in the studio for recording and as part of his stage rig. They’re used for texture, always on and ,mixed in lower than the main amps, rather than a specific effect.
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.
Like most guitarists at the time, David was an avid user of chorus in the 80s and 90s. He would use it both as a stand alone mono pedal and for creating a stereo spread with his stage rig.
See the David Gilmour gear guide for a detailed setup for each album and tour.
Modulation on the pedalboard
Modulation effects are typically placed between gain effects and delays. 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.
Personally I find that phasers and Uni-Vibes sound better when they’re placed in front of gain effects. I keep flangers and chorus after. Experiment and find your tone!
I have played and tested each pedal in this guide, with guitars and amps that are typically associated with David Gilmour.
Flanger
David Gilmour used the Electro Harmonix 18V Electric Mistress between 1977-83 and again on the 2015-16 Rattle That Lock tour. 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.
The original mid to late 70s Electric Mistress is easy to track down but it will cost you. Like those old Big Muffs, the Electric Mistress tend to suffer from bad quality control and the normal wear of old parts. These units also lacked a noise filter, which resulted in a very noisy circuit and they have a nasty volume drop when engaged. Unless you’re really looking for that special unit for your collection, I strongly recommend checking out some of the excellent clones.
The bigger box Deluxe Electric Mistress appeared in the late 70s. This one has a slightly different character that’s somewhere between the chorusy smaller box version and the typical Van Halen MXR jet-like flanger. Mind that newer big box reissues and the XO reissue are much darker sounding and not something I’d recommend.
Past FX Elastic Mattress Flanger
The Elastic Mattress is probably as close as you’ll ever get to the sound and character of an original mid 70s 18V Electric Mistress. It has that liquidy almost chorus-like tone, with a shimmering top and a lovely swirl underneath. Unlike the original though, the Elastic Mattress is quiet and an onboard level control allows you to set the effect level to match your pickups and amp. There’s also trim pots and additional controls for fine tuning the flanging and brightness. See my review of the Elastic Mattress here.
Gilmour tones: Animals – The Final Cut / Rattle That Lock
Retro Sonic Flanger
Retro Sonic’s Flanger is an excellent clone of the mid 70s 18V Electric Mistress. There’s really not a huge difference between this one and the Elastic Mattress. They both provide the unique character of the original, with the much needed upgrades. Including a silent circuit and no volume drop. The Flanger is a tad darker, with a slight roll off in the upper frequencies, which will suit brighter pickups and amps. See my full review of the Retro Sonic Flanger here.
Gilmour tones: Animals – The Final Cut / Rattle That Lock
Mooer E-Lady
The E-Lady was one of the first clones of the Electric Mistress to hit the market and it’s still one of my favourites. Compared to the Elastic Mattress and Flanger, the E-Lady is closer to the late 70s and 80s Deluxe Electric Mistress, with a slightly darker tone and more of that jet-like flanging. An excellent and budget friendly alternative for your David Gilmour tones.
Gilmour tones: Animals – The Final Cut / Rattle That Lock
Chorus
David Gilmour mainly used the Boss CE-2 in the 80s and 90s for chorus tones. The CE-2 has a subtle character compared to some of the more modern chorus pedals.
The Boss CE-5 and also the MXR Analog Chorus, which is based on the CE-5, are good alternatives to the CE-2 and they also produce convincing rotary sounds.
Boss CE-2
The classic CE-2 has a subtle chorus effect typical of the 80s. It’s fairly dark, with a bit of mid range that blends well with most pickups, amps and other pedals. Boss recently re-released the CE-2 as part of their Waza line, which offer both the original CE-2 circuit and the slightly brighter sounding CE-1.
Gilmour tones: About Face – PULSE
Electro Harmonix Small Clone
The Small Clone is very similar to the CE-2, with a slightly darker tone and perhaps a slightly more noticeable chorus character. A classic in its own right that was made famous by many grunge guitarists in the early 90s. The original Small Clone has a nasty volume drop that’s fixed with the Nano version.
Gilmour tones: About Face – PULSE
Jam Pedals Waterfall
The Waterfall is based on the Boss CE-2, with a bit more open tone and less mid range. Additional controls allows you to tweak the chorus from anything between subtle CE-2 to convincing rotary and some pretty wild tones. Well worth checking out for both David Gilmour’s 80s and 90s tones and some more unusual textures.
Gilmour tones: About Face – PULSE
Mooer Ensemble King
Based on the Boss CE-2 the Ensemble King feature the MN3007 chip for warm analog tones. Compared to the CE-2 this one’s got an overall warmer tone but also a bit more mid range. An additional level control allows you to dial in just the right amount of chorus for your tones. An excellent budget alternative.
Gilmour tones: About Face – PULSE
Phaser
David Gilmour used the MXR Phase 90 in 1974-75. Most notably for the recording of Shine on You Crazy Diamond and Have a Cigar. The 4-stage phaser has much of the same qualities as the Uni-Vibe and could be used for songs like Breathe and Time.
MXR Phase 90 script logo
The script logo Phase 90 is a true replica of the mid 70s model, with the same thick creamy character made famous by so many, including Eddie Van Halen and David Gilmour. The script model is available as both a faithful reissue of the 1974 model and one with modern led and power input. Both more or less identical sound wise.
Gilmour tones: Dark Side of the Moon – Wish You Were Here
The MXR block logo Phase has a slightly brighter tone, with more mid range and a slight volume boost. It is not as smooth and vintage sounding as the script logo and not something I’d recommend for David Gilmour’s tones.
Electro Harmonix Small Stone
The Small Stone is just as legendary and classic as the Phase 90. Favoured by keyboard players in particular, the Small Stone has a slightly smoother character and a less pronounced phasing or sweep. The original Small Stone had a nasty volume drop but this is fixed with the Nano version.
Gilmour tones: Dark Side of the Moon – Wish You Were Here
Uni-Vibe
David Gilmour used a UniVox Uni-Vibe between 1972-75 and again from 1994 to present. For the latter period, a custom made rack unit made from an original circuit.
Although essential for that authentic Dark Side of the Moon swirl, the Uni-Vibe is perhaps a lesser important effect for David’s tones that easily can be replicated with a script logo Phase 90.
DryBell Vibe Machine V-3
The Vibe Machine is unique, with its custom 4 mini photo cell circuitry housed in a standard MXR style box. The pedal is packed with features, allowing you to tweak your Uni-Vibe tones to fit any type of pickups and amps. The V-3 has a more open character, with less mids and a bit more top end. Perhaps a slightly more modern sounding unit but it absolutely nails those classic tones. Whether it’s Hendrix, Trower or Gilmour. See my review of the DryBell Vibe Machine V-3 here.
Gilmour tones: Dark Side of the Moon
Electronic Orange Moon Vibe MkII
This classic four photo cell circuitry delivers everything from haunting lo-fi phasing to heavy throbbing rotary. In addition to the more familiar controls, the Moon Vibe also feature a Symmetry control that allows you to finely tune the pedal for different amps and pickups. This is a slightly darker Uni-Vibe, compared to some of the others, but this makes it even easier to blend with high gain fuzz and distortions. High praise! See my review of the Moon Vibe MkII here.
Gilmour tones: Dark Side of the Moon
MXR Uni-Vibe
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 Uni-Vibe deliver creamy texture on slow speed and deep throbbing tremolo at higher speeds. 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.
Gilmour tones: Dark Side of the Moon
Rotary
David Gilmour used Leslie rotating speaker cabinets between 1968-75. These are recognised by their dry, woody character and a deep tremolo at higher speed. From 1977 Animals to present, David has used Yamaha RA200 cabinets and his custom designed Doppola speakers.
Compared to the Leslie, the Yamaha has a much more open character. Almost like a chorus. The custom Coppola speakers are somewhere in between, with a dry swirl but a bit of that ethereal chorus as well.
David would split the signal from his pedalboard into both the main amps and the rotary cabinet, with the rotary mixed lower than the amps, creating texture rather than using the rotary as a dominating effect.
Dawner Prince Pulse
The Pulse is a bold take on two rather unusual rotating speakers – The Maestro Rover and David Gilmour’s custom Doppolas. Both featured on Division Bell and Pulse. This isn’t your typical rotary pedal. Unlike the dry tremolo-like Leslie, the Pulse replicates the open and airy sounds of those two unique speakers. It’s kind of a chorus-flanger-rotary in one, with a subtle effect that adds a bit of texture and character to your tones. Truly impressive! See my review of the Dawner prince Pulse here.
Gilmour tones: Division Bell – Pulse
Strymon Lex
The Lex is in my opinion the most authentic sounding Leslie sim on the market. It has that dry, woody character and there are tons of controls and features allowing you to tailor the tone to match your pickups and amp. The recent updated version also feature an effect level control, allowing a bit of the guitar’s dry signal to shine through, which is exactly what you want for your David Gilmour tones. Perhaps not an obvious choice and certainly not fitting for those Animals, Wall and Pulse tones, but an excellent Leslie pedal and dead on those Dark Side of the Moon rotary tones.
Gilmour tones: Ummagumma – WYWH
Neo Instruments Micro Vent 122
The Ventilator, and the now smaller sized Micro Vent, has long been considered as the most authentic sounding rotary sim on the market. It may very well be. Even in mono, this unit has a wide and rich rotary character that captures all the sonics of a real Leslie cabinet. It’s not as dry sounding as the Lex but there’s a distinct deep tremolo on faster speed settings. The Vent also blends well with higher gain and fuzz pedals. See my review of the Neo Instruments Micro Vent 122 here.
Gilmour tones: Suitable for any era
Boss RT-20 Rotary Ensemble
The RT-20 was one of the very first rotary sims on the market and to be very honest it’s not a very good one. It sounds more like a very deep chorus but that’s exactly what you want for David’s Yamaha and Doppola tones of the late 70s and 90s. Two controls for controlling the effect level and amount allows you to dial in just the right amount of rotary that fits cleans and heavy gain equally well. Don’t let this old gem fool you!
Gilmour tones: Animals – Pulse
Did I miss something? Please use the comments field below and share your tips and recommendations!
