The Pete Cornish Animals effects board

Pedalboard The effects Settings

The Animals tour debuted in Dortmund, Germany January 23. and ended in Montreal, Canada July 6. Pink Floyd was one of the world’s biggest bands at the time and played mostly large halls in Europe and outdoor football stadiums in the US. David’s sound was raw and more dynamic than ever. He experimented a lot with different sounds and the effect board went through some changes along the way. Live recordings from the tour also reveal that the board had its flaws and David experienced some frustrating moments when the thing just wouldn’t work. In this part of the article I will try to list which effects used on each of the songs performed on the tour and some of the variations.

Please note:
– There’s no info from this era confirming any settings. I have based the listed settings on pictures of David’s recent rigs and my own experimentation with (more or less) the same gear used on the Animals tour.
– Although the board included a Cornish Custom Fuzz during the tour, I’ve listed a “Muff” (as labelled on the board) as the main distortion unit.
- Please note that the settings listed here are based on David’s gear. You might need to make adjustments according to your own setup.

Dallas Arbiter Fuzz Face
– fuzz 100%, volume 70%
Note: For rhythms, David rolled back the guitar volume for an OD effect.

Big Muff
– sustain 70%, tone 30-40%, volume 50-60%

Colorsound Power Boost
– (mild OD) treble 9:00, bass 12:00, volume 12:00 (o’clock)
– (heavy OD) treble 9:00, bass 12:00, volume 3:00 (o’clock)

MXR Dynacomp
– output 2:00, sensitivity 10:00 (o’clock)

Electric Mistress
– colour 10:00, range 10:00, rate 9:00 (o’clock)
Note: Live recordings reveals that David experimented with different settings, some more dominating that others. The one listed here seems to be the typical setting for the US shows (April – July 1977).

Binson echo
– 310ms (”repeat” mode) with variable feedback and volume.
Note: It doesn’t sound like David used the Binson as a main echo/delay unit as most delays had a rate around 370-380ms. The Binson only went to 310ms.

MXR digital delay
- time 370ms
Note: This seems to be the typical time for the delays, normally with 5-6 repeats and volume at 30%. I have listed below where the feedback/repeats are increased.

Dogs
Fender Custom Telecaster tuned down one step D G C F A D, bridge pickup
– rhythm; clean signal with Electric Mistress
– “fast” solos; Muff, Electric Mistress and delay
– “twin” solos; Muff and Colorsound mild boost
– “dry” solo; Muff and Colorsound mild boost
– outtro; Muff and Electric Mistress
Note: Although the Yamaha rotating speakers were used on all the songs, they’re a dominating effect on Dogs.

Reference clip: Dortmund, Germany January 23. ’77 (opening night).
– This is an excerpt from the intro on Dogs. The clip confirms that David used the Electric Mistress from the beginning of the tour.

Pigs
Stratocaster, bridge pickup (unless otherwise noted)
– intro echoes; clean signal with delay (long feedback)
– rhythms; Colorsound heavy boost
– chorus sections; Muff, Colorsound heavy boost and Electric Mistress
– middle section (neck pickup); Colorsound mild boost, Electric Mistress and delay
– solos; Colorsound mild boost, Muff and delay
Note: When performing live,- the pig effects were playback, Wright replaced the Talk Box solo with keyboards and Waters played rhythm parts live, while Snowy handled the bass.

Reference clip: Boston, US June 27. ’77.
This is the solo from the mid-section on Pigs. It sounds almost as David missed the Big Muff in time for the solo. Anyway, the clip illustrates that the Electric Mistress was set to a very deep “jet” type of sound, – typical for the US leg of the tour.

Sheep
Stratocaster, bridge pickup (unless otherwise noted)
– rhythms and fills; Colorsound heavy boost (guitar volume adjusted for more/less gain) and delay
– mid sections (middle pickup); Colorsound mild boost with Electric Mistress and delay (long feedback)
– outtro; Colorsound heavy boost and delay
Note: On the outtro, David’s guitar is automated through a custom quadrophonic unit at the mixing console.

Pigs On the Wing (parts 1&2)
Normally David didn’t play on this song on the tour. Waters played acoustic guitar and Snowy the solo (as heard on the 8-track cassette version of the album). On some performances, David is either carefully strumming on his Strat or playing some bluesy lick here and there with a clean tone.

Shine On You Crazy Diamond (1-5)
Stratocaster (neck pickup unless otherwise noted)
– intro solo; clean signal with Dynacomp
– Syd’s Theme; Dynacomp, Colorsound mild boost, Electric Mistress and delay (long feedback)
– “clean” solo; Dynacomp, Colorsound mild boost and delay
– “heavy solo” (bridge pickup); Muff, Colorsound mild boost and delay
– rhythms and middle solo; Dynacomp, Colorsound mild boost and delay
– outtro (sax solo); Dynacomp, Electric Mistress and delay
Note: Although the Yamaha rotating speaker was on for most songs, it’s a dominating effect while performing Shine On.

Reference clip 1: Dortmund, Germany January 23. ’77 (opening night)
– This is “Syd’s Theme” from Shine On were you can hear David is using a Phase 100. This was only done on the first couple of nights and Gilmour switched to the Mistress.
Reference clip 2: Montreal, Canada July 6. ’77 (last night of the tour)
– This is a clip of the third solo from Shine On. The board is clearly not working properly and you can hear David’s frustration as he must be stomping like hell and barely playing the guitar. When the pedal kicks in the solo gets wild! Anyway, the clip is interesting because it clearly indicates that David’s using the Colorsound to boost the Muff.

Welcome to the Machine
Stratocaster, middle pickup
– rhythm; Dynacomp, Colorsound mild boost and Electric Mistress
Note: Roger played acoustic guitar on live performances.

Have a Cigar
Stratocaster, bridge pickup
– rhythms; Colorsound heavy boost and delay
Note: Snowy White did all leads on this ’77 version.

Wish You Were Here
Stratocaster, neck pickup
– solos; Dynacomp and delay
Note: Snowy played an Ovation acoustic guitar.

Reference clip: New York, US July 2. ’77.
– This is the intro solo from Wish You were Here and you can hear David using the Strat instead of playing an acoustic as on the album and later tours.

Shine On You Crazy Diamond (6-9)
Stratocaster (neck pickup unless otherwise noted)
Jedson lap steel with open G tuning D G D G B E
– slide solo; Muff and delay
– rhythms; Dynacomp, Colorsound mild boost and delay
– Syd’s Theme; Dynacomp, Colorsound mild boost, Electric Mistress and delay (long feedback)
– mid-section jam and outtro solo (middle pickup); Colorsound heavy boost and mild delay
Note: On the slide solo, David’s guitar is automated through a custom quadrophonic unit at the mixingconsole.

Money (encore)
Stratocaster, bridge pickup
– rhythms; Fuzz Face and Colorsound mild boost
– solos 1 and 2; Fuzz Face, Colorsound mild boost and delay (long feedback)
– dry middle solo (neck pickup); Fuzz Face (guitar volume rolled down for OD)
Note: On the solo, David’s guitar is automated through a custom quadrophonic unit at the mixing console.

Reference clip: Oakland, US May 9. ’77.
– This is a clip of the last part of the solo from Money. Listen how the solo is panned around in the quadrophonic system.

Us & Them (encore)
Stratocaster, neck pickup
– rhythms; Dynacomp and Colorsound mild boost
Note: Although the Yamaha rotating speaker was on for most songs, it’s a dominating effect while performing Us & Them.