The Division Bell 1994

Effects, guitars and amps Settings and setups

After a three years break Pink Floyd returned to David’s Astoria houseboat studio in mid 1993 to begin writing and recording for Division Bell. David is seen with different setups and a return to many of the old effects he used in the 70s. His tones on the album are warm and mellow and although there are some moments reminiscent of the past Division Bell seem to portray a more mature side of David and his playing.

Pete Cornish pedal board and additional effects 1993-94 recording sessions

Pedal board effects listed as in chain
MXR Dynacomp
Pete Cornish SS-2
Electro Harmonix Big Muff (“Ram’s Head”)
Electro Harmonix Electric Mistress
Boss CE-2 Chrous
Boss DD-2 Delay

Additional units based on pictures from the 1993 Astoria jam sessions
2 Boss CS-2
Sovtek Big Muff (“Civil War”)
ProCo RAT II
2 Chandler Tube Driver
Pete Cornish Soft Sustain (“SS-1″)
Univox Uni-Vibe
Demeter Tremulator
Digitech Whammy pedal
Heil Talk Box (Keep Talking recording sessions)
Zoom multi effect (Keep Talking recording sessions)
E-Bow

Note: The Pete Cornish pedal board was originally made as a backup for the 1987-89 Momentary/Delicate tour. The board was later modified to feature a BK Butler Tube Driver and employed by Phil Manzanera on the On an Island tour in 2006. The board feature 3 send/returns for additional effects and 2 outputs for amps. David is also seen using the Pete Cornish Wall studio board although it’s uncertain whether this was used only on demo sessions or the recording sessions.

(left) David pictured with the candy apple red 1983 Fender '57 reissue Stratocaster during the 1993 recording sessions in Astoria. On the floor is the Pete Cornish Wall studio board (left) and the Pete Cornish 1987-89 backup board with additional units including a UniVibe and Ernie Ball volume/expression pedals. (right) David also employed a Maestro Rover rotating speaker for the album. Its small size suited the cramped space in Astoria.

Picture from the 1993 Astoria jam/recording sessions. To the left is David's amp stack for the sessions including a Fender 1959 Bassman reissue and a 1970s Hiwatt SA212. On the floor is the Pete Cornish 1987-89 backup board with additional pedals on top (see complete list above).

Guitars and amps recording sessions

Fender Stratocaster
- 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.
Gibson Les Paul Goldtop
- 1955 model with Gibson P-90 pickups.
Gibson J-200 Celebrity acoustic steel string guitar
Taylor acoustic nylon string guitar

Fender 1959 Bassman 50W reissue combo
- 4x 10″ Eminence Blue Alnico speakers and 2×6L6, 3×12AX7 and 5AR4 (Rectifier) tubes.
Hiwatt 1970’s SA212 50W combo
- 2x 12″ Fane Crescendo speakers and 2xEL34 and 4×12AX7 tubes. Modified to allow a normal and brilliant input combination.
Maestro Rover rotating speaker
- with a 6″ 35w speaker.

Guitar and amp setups

David used Guild and Herco tear drop heavy gauge picks. All electric guitars were strung with GHS Boomers (custom set 0.10-0.48) and acoustics with Ernie Ball Earthwound Lights. Combo amps and speaker cabinets were mic’ed with either a Shure SM57 or Neumann U87 placed 8″ inches to a foot away from the cabinet slightly off center cone. David might also have used additional amps to the ones listed above including the Hiwatt and WEM rig.

Further reading

See these in-depth features for more on David’s gear: Big Muff, The Red Stratocaster, Gibson Les Pauls, Hiwatt amps & WEM cabinets, Maestro Rover.

Acknowledgements and credits
Division Bell (album 1994), PULSE (album 1995), PULSE (concert film 1995), Guitar Shop Magazine (1996), Guitarist Magazine (1995), Guitar World Magazine (1994), Guitarist Magazine 2003), emginc.com. Thanks to Rafal Zychal, John Roscoe and Richard Mahon for help with research. See feature for other references.