David Gilmour holds a special place in the heart of many guitarists, let alone among the fans of Pink Floyd’s music. By sheer virtue of his expressive playing and songwriting, he should be mentioned in the same breath as Clapton, Page, Townshend or Beck. While he may not be the technical virtuoso, he has clearly defined his own sound and style, one that is unique and beautiful. From his early forays into psychedelia to his solo albums, numerous guest appearances and the entire Pink Floyd canon, his ability to bring his own voice to the music stands as a remarkable achievement. With the recent release of a live solo DVD and continuing interest in the Floyd catalog, the Gilmour phenomenon continues to delight guitarists and music fans alike.

Far from being a complete dissertation of Gilmour’s sound and style, this article strives to paint a broad picture of the tolls used and offer some insight into the David Gilmour phenomenon. As noted by The Wall producer/collaborator Bob Ezrin, “…with Gilmour, equipment is secondary to touch. You can give him a ukulele and he’ll make it sound like a Stradivarius. He’s truly got the best set of hands with which I have ever worked.”
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