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Money — Pink Floyd1 / 2
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Money Solo Guitar Tone Settings — Pink Floyd

Pink Floyd · 1970s · rock

studio

Original Recording

Guitar
Fender Stratocaster (early 1970s, black, maple neck, stock single-coil pickups)
Pickups
Fender single-coil (stock 1970s Stratocaster pickups)
Amp
Hiwatt DR103 Custom 100 Head into WEM Super Starfinder 4x12 cabinet
Pickup Position
Bridge pickup

Studio recording, 1972-1973 Abbey Road sessions for 'The Dark Side of the Moon'. Gilmour used his black Stratocaster with stock single-coils for the solo. Amp was a Hiwatt DR103 head into a WEM 4x12 cab. Effects were mostly pedals, not amp-based. No evidence of live/tour gear or alternate guitars for this solo.

Amp Settings

Mids
7
Bass
6.5
Gain
6
Reverb
2.5
Treble
7
Presence
6.5

Effects Chain

  • Dallas-Arbiter Fuzz Face (Silicon, late 60s/early 70s) · fuzz
  • Binson Echorec (tape delay) · delay

Fender Stratocaster → Dallas-Arbiter Fuzz Face → Binson Echorec → Hiwatt DR103 → WEM 4x12 cab

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Tone Character

  • singing sustain
  • liquid, violin-like fuzz lead
  • clear note separation
  • slightly scooped mids
  • cranked amp compression
  • tape delay repeats
  • smooth attack
  • rich harmonic overtones
  • touch-sensitive response
  • moderate brightness

Notes & Caveats

  • ⚠️No direct numeric amp knob settings found for the studio recording; values estimated based on typical Hiwatt/Strat/fuzz setup for Gilmour in 1972-73.
  • ⚠️Pedal models inferred from era-correct Gilmour gear and audible effects on the recording; exact pedal settings not available.
  • ⚠️Delay and fuzz are clearly audible in the solo; specific pedal models are widely agreed upon by the Gilmour community but not confirmed in official studio documentation.
  • ⚠️Presence and reverb settings are estimated based on typical Hiwatt use and the relatively dry, direct sound of the solo.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. David Gilmour's 'Money' solo tone is classic edge-of-breakup to light crunch, with prominent mids and a warm, rounded character typical of his Hiwatt amp and Big Muff combo. The EQ is mid-forward and slightly bass-heavy for fullness, with moderate treble and presence for clarity, and subtle amp reverb or plate reverb from the studio.

Sources