DIY!
To build your own Black Strat, inspired by David Gilmour’s legendary guitar! Here’s a complete shopping list.
Body
Gilmour’s Strat was originally a 1969 era sunburst Stratocaster – sprayed black. Rather than source a new, vintage-correct, sunburst Strat body – only to respray it, purchasing a Black alder body would be the best compromise for the money and effort. For a 60’s correct shape, this is the most likely match Fender Vintage 60’s MIM Stratocaster Body (Alder, Black Polyester Lacquer). The lacquer on the original is nitrocellulose – so polyester is a compromise (although it’ll be nice and shiny, for sure). The shape should be accurate and should take a vintage specification, 2-7/32” screw spacing, bridge. It’s an alder body. It’s genuine Fender.
Part: Fender, Vintage 60’s MIM Stratocaster Body (Alder, Black, Gloss Polyester Lacquer) Fender 099-8003-706
Neck
Fender Classic Series ’50s Stratocaster Neck (Maple, Soft-V Profile, Vintage Frets, Amber Nitrocellulose Finish is a late ‘50s style neck similar to the Black Strat, with a 7.25” radius and vintage frets. The amber nitrocellulose lacquer finish adds authenticity to the build. The neck is vital – both to the quality of the overall build, and the eventual playability of the guitar. No surprise, I suppose. It’s the direct connection to the player. This is a vintage style, 7.5″ radius necks over more modern, flatter, wider styles. The original Black Strat is a late 50’s style, all maple neck with this 7.5″ radius. This Classic Series neck is finished with an amber nitrocellulose lacquer – just like the original. It’s genuine Fender, and it has the all important, period Fender logo on the headstock.
Part: Fender Classic Series 50’s Stratocaster Neck, (Maple, Soft-V profile, Vintage Frets, Amber Nitrocellulose finish) Fender 099-0061-921
Hardware Parts:
Fender Pure Vintage Tuning Machines – Polished Nickel (Fender 099-2074-000)
Callaham Custom Numbered Neck Plate – Polished Nickel (Callaham CA24001)
Fender Output Jack Assembly – Chrome (Fender 099-1940-100)
Fender Vintage Strap Buttons – Chrome (Fender 006-3267-049)
Fender Stratocaster Accessory Kit – White or Off White (Fender 099-1395-000)
Stratocaster Screw Set – Stainless Steel (Charles Guitars CH24065)Tremolo Bridge
Callaham Vintage S Model Bridge Assembly w/Custom 4¼” Tremolo Arm
With so many different types of headstock available – it’s not surprising that there tend to be different sizes and standards. Much of it comes down to the size of the peg holes in the headstock. Conversion bushings are available to help – so I’m optimistic I’ll be able to get a set of suitable tuners to fit properly. It’s just a question of double-checking the mounting holes. These tuners are Fender branded, but there are alternatives available by Gotoh which are supposed to be of equally good quality. I’ll do a bit more research on the originals and see if alternatives might be more appropriate from a visual point of view.
The neck plates by Callaham are machined from heavier gauge plate than the originals. They are supposed to remain flatter when the screws are tightened, which stops the corners digging into the body. The result is supposed to be more resonant. Since Gilmour’s Black Strat is an undisputed tone monster, I aim to protect the body a bit and beef up the tone at the same time.
For the plastic parts in the accessory kit, I’m not sure whether to go with an aged white, or clean white finish. It might even eventually come down to what is available. The numbers on the tone and volume knobs of the original Black Strat have a bit of a distinctive, green colouration. This is down to the oxidation of the gold paint originally used, and it would be good to feature this on my “reproduction”. I may be able to figure out a way to modify a set of original knobs – I know they can be bought from some custom parts outlets. I just need to make sure that whatever colour the plastic parts end up being, is consistent throughout and that the knobs, pickup covers, switch and tremolo bar ends all match. (The back plate is missing on Gilmour’s original).
The screws on the Callaham bridge are already stainless steel, (the set as supplied by Charles Guitars has Callaham bridge screws included). This stainless steel screw set by Charles Guitars therefore makes it possible to unify all the various screws supplied from all the various parts manufacturers, and replace them all in Stainless Steel. The screws are sometimes the first parts to suffer when manufacturers start looking at costs, and it’s always worth getting good replacements.
Tremolo Bridge Parts
Callaham Vintage S Model Bridge Assembly w/Custom 4¼” Tremolo Arm (Callaham CA21001)
Fender Pure Vintage Stratocaster Tremolo Assembly (Fender 009-4247-049)
It’s a quality bridge with some nice engineering improvements over the Fender original. The steel block is big, fat and heavy, and should provide good resonance and vibration transfer. The bevel on the bottom of the plate is also better shaped, and the tremolo arm linkage is much more positive than on the Fender bridges I’ve seen. The bridge kit is designed to fit the vintage specification 2-7/32” screw spacing, and comes with claw, springs and tremolo arm. The arm supplied is usually of standard length, but is also available at the shorter, 4-3/4″ “Gilmour” length.
The Fender “Pure Vintage” option is supposed to be made to the same specifications as the period original bridges, sometimes supposedly using original tooling and processes. There is some thought, on the usual chat boards, that the steel on the Callaham bridge is a bit harder – resulting in a “brighter then Fender” sound. The Fender bridge also comes in as more expensive than the Callaham option. In the end – it may come down to cost and availability. Perhaps the Fender option is, “more authentic”? Perhaps not.
Scratchplate Parts
Black 1 Ply 0.090″ 11 Hole Pickguard (Custom Routed For Mini-Toggle)
Custom Stainless Steel Recessed Mini Toggle Switch Mounting Bracket
Northwest Guitars ST11-DG and DGMB-01
Overdrive Custom Guitar Works Bespoke #4031P
The pickguard on the Black Strat is vital to the overall look and switching functions of the guitar. It’s not a Fender standard plate – so pre-fabricated versions tend to be custom made. Currently, it seems choice is between a plate supplied by Northwest Guitars in the UK, or another by a custom maker in the US. The cost difference is substantial – so there may be a quality issue here. (The US version is custom made, the Northwest Guitars version is mass-produced in Korea). The important thing is that the plate is correctly routed to take a recessed toggle switch. The mounting of the switch needs a special bracket to allow mounting off the underside of the pots. Both suppliers have a solution. The Northwest Guitars plate will likely win out, due solely to the overall cost – just as long as the quality is up to scratch.
Pickup Parts:
Bridge – Seymour Duncan SSL-5 Custom Staggered Bridge Pickup
or – Seymour Duncan Custom Shop Hand Scatter-Wound SSL-1C DG Pickup
This pickup delivers the hot, powerful tone Gilmour is known for, particularly during his lead work.
Middle – Fender Custom Shop Custom ’69 Middle Pickup
This pickup delivers the hot, powerful tone Gilmour is known for, particularly during his lead work.
Neck – Fender Custom Shop Fat ’50s Neck Pickup
Provides a warm, round tone with a vintage feel, perfect for Gilmour’s clean and melodic lines.
The middle and neck pickups are both by Fender Custom Shop, and are already highly sought after upgrade items for Stratocaster players. The Fat 50’s pickups are most usually sold as a complete set – with slightly different pickup windings for each position. It’s therefore possible that I may have to buy a complete set just to supply the correct middle pickup. The Custom ’69 pickups are identical in each position, and so it might be slightly more likely I’ll be able to find a single pickup. It’s possible, in the case of both Fender Custom Shop pickups, that I may be able to obtain what I want in the second hand market – but much of that market is in the USA, and so it may be a lengthy search to find the right supplier and the right deal.
The bridge pickup is where a lot of the classic Gilmour tone is generated – especially with the special bridge switching system installed. The SSL-5 is a standard upgrade route for countless Stratocaster players, already looking for that certain tone. The Seymour Duncan Custom Shop 1C DG version is a rare, hand scatter-wound version which is supposed to copy the actual construction of Gilmour’s own bridge. Let’s say it’s on the wish list. The 1C DG is available with a RW/RP option. This should allow for hum cancelling to be achieved when using the bridge switching system. I aim to copper-line the interior, and do everything I can to cut down on any interference hum – but the RW/RP option is interesting, and should work with the Fender Custom Shop pickups without having to reverse the wiring on either of them.
Electronics
CRL 5-Way Pickup Selector Switch
A high-quality switch that allows you to move between different pickup combinations smoothly.
CTS 250k TVT Tone and Volume Potentiometers
These pots offer smooth operation and are critical for maintaining the tone and volume controls.
Sprague Orange Drop Tone Capacitors
These capacitors help to smooth out the tone and are widely regarded for their musicality.
SPDT Mini Toggle Switch
This switch allows you to activate the neck pickup in any position, expanding your tonal options.
Conductive Adhesive Copper Shielding Foil
Reduces hum and noise by shielding the electronics cavity.
The electronic circuit controls the iconic tone of the Black Strat. The special, recessed toggle switch allows the Bridge pickup to be switched into the usual 5-way Stratocaster circuit in slightly different ways. This provides a number of extra, distinctive, tonal possibilities. The combination of CRL / CTS controls, together with the 0.22uF, “Orange Drops” should provide a good quality basis on which to wire the system. Luxe wire should add a finishing touch. Line the guitar recesses with copper foil, as usual, to add a level of insulation from outside, electrical interference. The treble bleed filter isn’t, I think, authentic – but would be useful.
Strap
Custom Made Replica Gilmour Guitar Strap by Martin Pryce
A high-quality replica of Gilmour’s strap, adding an authentic touch to your build.
Gilmour’s strap was originally owned and used by Jimi Hendrix. It was bought by Dave Gilmour’s wife, and given to him for his 60th birthday. I can’t think of a better way to top off the overall look of a reproduction. Martyn has carried out restoration work on the original strap, and has therefore had a chance to do some proper research into his replica version. There are some cheaper copies available out in internet land – but I’m a great believer in getting the best quality possible, wherever possible. As with most things in life – you tend to get what you pay for.
Strings
Strings: GHS Boomers – David Gilmour Signature (Blue) – .010 .012 .016 .028 .038 .048
Might as well string with Dave’s Strings huh.
Book for Reference
“The Black Strat” by Phil Taylor
Though out of print, this book is a must-have reference for anyone building their own Black Strat.
With these components, you’ll be well on your way to crafting a faithful recreation of David Gilmour’s iconic Black Strat. Enjoy the build and happy playing!
This wiring configuration gives the Black Strat its unique tonal versatility, enabling Gilmour to achieve the wide range of sounds he’s famous for.
If you are comfortable with soldering and guitar electronics, this wiring scheme can be assembled at home using the components listed above. If not, a professional guitar technician can wire it for you following this diagram.
This setup captures the essence of Gilmour’s tone, offering the same flexibility and richness that has defined countless Pink Floyd classics.
Components and Layout:
Volume and Tone Controls:
Volume Potentiometer (1x CTS 250k):
Lug 1 (Input): Connect to the output from the 5-way switch.
Lug 2 (Output): Connect to the input jack.
Lug 3 (Ground): Connect to ground (either the back of the pot or the shielding).
Tone Potentiometers (2x CTS 250k):
First Tone Pot:
Lug 1: Connect to the middle pickup lug on the 5-way switch.
Lug 2: Connect to one side of a 0.022 µF Orange Drop capacitor.
Lug 3 (Ground): Connect to the ground.
Second Tone Pot:
Lug 1: Connect to the neck pickup lug on the 5-way switch.
Lug 2: Connect to one side of a 0.022 µF Orange Drop capacitor.
Lug 3 (Ground): Connect to the ground.
Capacitors:
0.022 µF Orange Drop Capacitors (2x):
Each capacitor connects between Lug 2 of each tone pot and ground.
Pickup Selector (5-Way Switch):
Common Lug: Connect to Lug 1 on the volume pot.
Position 1: Connect to the bridge pickup.
Position 2: Connect to bridge and middle pickups.
Position 3: Connect to the middle pickup.
Position 4: Connect to the middle and neck pickups.
Position 5: Connect to the neck pickup.
Mini Toggle Switch:
SPDT Mini Toggle
Center Lug: Connect to the neck pickup hot wire.
One Side Lug: Connect to the input of the 5-way switch.
Other Side Lug: Connect to the ground.
This mini toggle allows the neck pickup to be engaged regardless of the position on the 5-way switch, giving you extra tonal combinations like the bridge and neck pickup together.
Treble Bleed Circuit (Optional):
Capacitor and Resistor: A 0.001 µF capacitor and a 150k ohm resistor wired in parallel, connected between the input and output lugs of the volume pot, allowing the high frequencies to pass through even when the volume is rolled down.
Output Jack:
Hot Wire: Connect to the output lug of the volume pot.
Ground Wire: Connect to the ground.
Grounding:
Connect all grounds together: from the pickups, pots, and shielding. Make sure to ground the bridge as well for minimal noise.
“Echoes” by Pink Floyd, performed live in Pompeii, is an iconic piece of music history that blends the mystique of ancient ruins with the psychedelic soundscapes of one of the greatest rock bands of all time. Filmed in 1971 in the hauntingly empty ruins of the Roman amphitheatre in Pompeii, Italy, this performance is part of the “Pink Floyd: Live at Pompeii” concert film directed by Adrian Maben.
“Echoes,” a 23-minute epic track from their 1971 album Meddle, is the centrepiece of this unique performance. The song is a journey through space and time, starting with a single “ping” from Richard Wright’s keyboard that gradually builds into a cosmic odyssey of sound. David Gilmour’s soaring guitar solos, Nick Mason’s intricate drumming, Roger Waters’ deep bass lines, and Wright’s atmospheric keyboards combine to create a musical experience that transcends the ordinary.
The Pompeii setting adds an otherworldly dimension to the performance, with the band playing to an audience of ancient statues and crumbling walls. The visuals of volcanic landscapes, along with the band’s ethereal music, create a surreal atmosphere that perfectly complements the themes of exploration, alienation, and the unknown that run through “Echoes.”
This performance is often hailed as one of Pink Floyd’s most powerful and innovative, showcasing their ability to fuse music, visuals, and environment into a cohesive and immersive experience. The “Live at Pompeii” film has since become a cult classic, revered by fans for its raw, unfiltered depiction of the band at the height of their creative powers.
For anyone looking to understand the true essence of Pink Floyd, “Echoes” at Pompeii is a must-see, capturing the band not just as musicians, but as artists pushing the boundaries of what rock music could be.
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