Another Brick in the Wall (Part 2)

What is the Another Brick in the Wall (Part 2) guitar tone?

The Another Brick in the Wall (Part 2) guitar tone is a clean, funky rhythm part over a disco beat, with a throaty Les Paul solo, heard on Pink Floyd's 1970s prog rock recording. It is a distorted solo tone, and Pink Floyd reportedly tracked it with a 1955 Gibson Les Paul Goldtop with P-90 pickups for David Gilmour's solo, which Gilmourish says he played on the neck pickup and recorded clean, heavily gated and compressed, straight into the mixing desk, then fed back out through a Mesa/Boogie amp and recorded again, the re-amping that Vintage Guitar's review of Philippe Margotin and Jean-Michel Guesdon's song-by-song Pink Floyd book credits for the solo's overdrive; the funky rhythm part is a Stratocaster, Gilmour's black Strat with an MXR Phase 90 or an Electric Mistress by that book's account, while Gilmourish has the rhythm on the bridge pickup played clean into the desk and double-tracked, with a Big Muff and a Phase 90 on the fills; producer Bob Ezrin had the band add a disco beat and sent Gilmour to clubs to hear it, and session guitarist Lee Ritenour said in 2024 that Ezrin had him record ideas for the end of the solo, which were not used; engineer Nick Griffiths recorded a choir of 23 pupils from Islington Green School for the second verse; the Goldtop was a recent purchase at the time and sold at auction in 2019 for $447,000; the single, Pink Floyd's first in the UK since 1968, topped the charts in 14 countries, the UK and the US among them, and was the UK's Christmas number one of 1979. Here the guitars went into the mixing desk first: the solo was gated and compressed before it was re-amped, and the rhythm part went in clean, so compression and a tight, even attack shape it more than delay or modulation.

You do not need that exact gear to land in the same place. What carries this sound is the gain structure, the EQ curve, the pickup choice and the order of the effects, and all four can be rebuilt on equipment that costs a fraction of the original. The numbers change from amp to amp, because a high-gain head and a small practice amp reach the same voicing from different knob positions. That translation is what Tonelify works out for the rig you actually own.

What gear did Pink Floyd use on Another Brick in the Wall (Part 2)?

A 1955 Gibson Les Paul Goldtop with P-90 pickups for David Gilmour's solo, which Gilmourish says he played on the neck pickup and recorded clean, heavily gated and compressed, straight into the mixing desk, then fed back out through a Mesa/Boogie amp and recorded again, the re-amping that Vintage Guitar's review of Philippe Margotin and Jean-Michel Guesdon's song-by-song Pink Floyd book credits for the solo's overdrive; the funky rhythm part is a Stratocaster, Gilmour's black Strat with an MXR Phase 90 or an Electric Mistress by that book's account, while Gilmourish has the rhythm on the bridge pickup played clean into the desk and double-tracked, with a Big Muff and a Phase 90 on the fills; producer Bob Ezrin had the band add a disco beat and sent Gilmour to clubs to hear it, and session guitarist Lee Ritenour said in 2024 that Ezrin had him record ideas for the end of the solo, which were not used; engineer Nick Griffiths recorded a choir of 23 pupils from Islington Green School for the second verse; the Goldtop was a recent purchase at the time and sold at auction in 2019 for $447,000; the single, Pink Floyd's first in the UK since 1968, topped the charts in 14 countries, the UK and the US among them, and was the UK's Christmas number one of 1979.

Sources: Wikipedia: Another Brick in the Wall, Guitar.com: the gear David Gilmour used to record The Wall, Vintage Guitar: review of Margotin and Guesdon's song-by-song Pink Floyd book, Gilmourish: The Wall settings and setups

Tonelify reads that chain and translates it to the amp and guitar you already own, returning gain, bass, mids, treble and presence values along with a pickup position.