Behind David has his stereo setup with the Doppola rotating speakers, Marshall and WEM cabs. L-R: Mic stand with monitor mixer and a Heil Talk Box, the Bradshaw foot control board with two Ernie Ball volume pedals (one used as expression for the Whammy effect), far on the back is the main effects rack with the pedals on top and Cornish routing system in the left side of rack. Gibson Chet Atkins Electro Classical nylon string guitarĭavid stage setup during the Division Bell tour. – EMG and Crown picups with separate outputs. Gibson J-200 Celebrity acoustic steel string guitar
Open G chord tuning (D G D G B E) for Great Gig in The Sky (replacing the blonde Jedson). Open Em chord tuning (E B E G B E) for One of These Days and High Hopes. – 1952 reissue, butterscotch blonde ash body, black pickguard and maple neck. Brought on as a spare and never seen used. – 1983 57 reissue, blonde alder body with white pickguard, maple neck, EMG-SA active pickups (with EMG-EXG expander and SPC midrange presence controls) and shortened tremolo arm. – 1983 57 reissue, candy apple red alder body with white pickguard, maple neck, EMG-SA active pickups (with EMG-EXG expander and SPC midrange presence controls) and shortened tremolo arm. It had individual on/off switches for all send/returns and a microprocessor which calls up presets from the rack units. The Pete Cornish routing system in the left rack, is basically 24 send/returns controlled via the Bradshaw footboard, which was modified by Cornish (same board as used in 1987-90). Pete Cornish and Bradshaw systemsĭavid’s system was built to be as user friendly as possible with the cleanest possible audio signal, using only quality components to eliminate hums and RF interferance. Top units of the right side effect rack: TC Electronic 2290 Dynamic Digital Delay, UniVox UniVibe (modified into a rack unit by Phil Taylor), Digitech ISP-33B Super Harmony pitch shifter, Lexicon PCM-70 effects processor (for delays), MXR Digital Delay System II, Phil Taylor custom effect rack including Electric Mistress, Boss CE-2 (mono), Demeter Tremulator, Boss CE2 (left) and below a Dynacord CLS-222 Leslie simulator. – The UniVibe has been modified into a rack unit with a 2-mode switch for fast and slow settings with individual speed controls.įurman PL-8 power conditioner and light controller – The Cornish Soft Sustain is an early version of the current SS-2 including a Boss GE-7 EQ with the sliders ontop of the box. – The Ernie Ball volume pedal is modified with a 10k pot to reduce high end signal loss. – The Boss GE-7 EQs are modified by Cornish to give a flatter response at zero or flat and a better overall signal. – All effects has specially designed separate power supplies to prevent currant interferance. He also included several custom features for improved tone and usability, such as changing capacitors to hight temperature, low leakage, types and changing transistors and resistors to low noise types. Note: Pete Cornish modified most of David’s effects for both correct level and impedance matching. L-R: Pete Cornish SS2, Sovteck Big Muff, Chandler Tube Driver, 3 Boss GE7.
David gilmour guitar rig presets driver#
All effects are controlled by the Bob Bradshaw foot board.Īdditional units placed aside the Bradshaw foot boardĮrnie Ball expression pedal (modified volume pedal for Whammy)Įffect signal flow including additional units and racksīoss CS2 > MXR Dynacomp > Ibanez CP9 > Digitech Whammy I > Boss MZ2 > Pete Cornish P2 > Chandler Tube Driver #1 (clean boost) > ProCo RAT + Boss GE7 > Pete Cornish SS2 + Boss GE7 > Sovtek Big Muff > Chandler Tube Driver #2 (overdrive) > Electric Mistress > UniVibe > Boss CE2 > Demeter Tremulator > Boss GE7 > Alembic preamp > Ernie Ball volume pedal (guitars and lap steels) > MXR Digital Delay System I > TC2290 Digital Delay > Lexicon PCM70 Digital Delay > signal splits in stereo > Dynacord CLS222 Leslie Sim > Boss CE2 (left channel) > amps. Effect pedals, racks and additional units Despite the grand scale of the stage rig David would rarely used more than 3-4 pedals at once allowing the guitar and powerful Hiwatt rig to shine through. The decision to perform Dark Side of the Moon in its entirety also meant going back to the album and replicate sounds for authenticity.
PULSE and the 1994 world tour sees David using the most complex rig to date the period and it also marks the return of many of his old effects and amps.ĭuring the early 90s the grunge movement rediscovers Big Muffs and analog pedals and David also seem to be inspired by the resurgence of the classic pedals.
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