Wish You Were Here

The recording

The opening acoustic section of “Wish You Were Here” was built from a 12‑string Martin D‑12‑28 recorded through a studio microphone, then run through a car‑radio speaker and re‑recorded to achieve the AM‑radio lo‑fi effect. The rest of the acoustic rhythm tracks were captured with a 1969 Martin D‑35, also miked at the source. Gilmour’s electric leads were taken straight into the mixing console with input compression and no traditional amp, a technique he also employed on other Dark Side sessions. Overdriven tones are generally linked to his mid‑70s pedalboard, including a Dallas Arbiter Fuzz Face and a Colorsound Power Boost, though the exact chain for this song remains undocumented.

Tuning Standard (E A D G B E)

Reported gear

1971 Martin D‑12‑28 12‑string

Acoustic Guitar

David Gilmour recorded the song’s opening “radio” intro on a 1971 Martin D‑12‑28 12‑string acoustic, later double‑tracked with a 1969 Martin D‑35 for the full‑range acoustic sections.

1969 Martin D‑35

Acoustic Guitar

The second acoustic part was played on a 1969 Martin D‑35, providing the warm, full‑bodied rhythm throughout the track.

Dallas Arbiter Fuzz Face (BC108)

Overdrive

Often cited as part of Gilmour’s 1973‑75 studio rig; generally attributed to the overdriven electric tones on Wish You Were Here, though no session logs confirm its use.

Colorsound Power Boost

Boost

A mild overdrive unit used by Gilmour in the mid‑70s; generally attributed to the saturated electric parts on Wish You Were Here, though its exact use in the studio is uncertain.

MXR Phase 90

Modulation

A phase‑shifter appearing in Gilmour’s rig list for the era and possibly used for subtle modulation on Wish You Were Here, though no direct evidence exists.

Alternatives

Taylor 214ce

Modern equivalent · for the 1971 Martin D‑12‑28 12‑string

$700 to $900

Xotic EP Booster

Modern equivalent · for the Colorsound Power Boost

$120 to $150

Taylor 314ce

Modern equivalent · for the 1969 Martin D‑35

$800 to $1,000

MXR Phase 90 (reissue)

Reissue · for the MXR Phase 90

$180 to $220

Analogman King of Tone

Budget alternative · for the Dallas Arbiter Fuzz Face (BC108)

$300 to $350

Practical playing approach

Recreation guidance, not a claim about undocumented studio control positions.

1. 1.Strum the 12‑string with a light, even pick attack for the opening radio‑style intro.
2. 2.Use a flat‑pick near the bridge on the Martin D‑35 to achieve a bright, articulate rhythm tone.
3. 3.When playing the electric leads, let notes ring and use subtle volume swells for expressive phrasing.
4. 4.Apply gentle fingerpicking patterns on the acoustic parts to bring out the song’s dynamics.
5. 5.If using a fuzz or boost pedal, set gain high but keep overall volume moderate to retain clarity.