The Endless River 1993 & 2014

The Endless River mainly consist of material recorded during the Division Bell sessions in 1993. A large portion of David Gilmour’s guitars are also recently recorded, making the album a nice blend of both old and new sounds. The pristine mix and fairly unpolished sound of the album also sheds a much better light on what actually happened in the studio compared to Division Bell.

While 1987’s A Momentary Lapse of Reason featured a non-typical Gilmour setup, the 1993 sessions were approached very differently. There’d been a change in the music industry and a return to analog and tube driven equipment and David Gilmour, perhaps inspired by this, would use much of the same gear that he used in the 70s.

Technique and tone

The songs on Endless River dates from the early stages of the Division Bell sessions. This can perhaps explain the fairly clean and often similar sounding guitars. There’s clearly a lot of experimenting with different guitars, delays and techniques but the familiar Big Muff tones and defined use of effects is something that would be decided on later when the songs got structure and room for solos etc. Most of the newly recorded guitars are recorded to fit into the material and the tones are equally mild and mellow.

David Gilmour - Endless River gear setup

David and his elaborate setup here at the Olympic Studios (UK). The setup featured three pedal boards and a large collection of stand alone pedals as well as a stereo amp rig, featuring a Rover rotating speaker. See lists below.

David’s using the volume pedal a lot throughout the album to create fade-ins or swells. This is something that’s not that evident on Division Bell but a technique he employed to great extent in the late 60s and early 70s. There’s also a lot of EBow and whammy present. The EBow is mainly used on an acoustic steel string guitar (Gibson J-200) fed straight into the mixing desk pre-amp. The whammy effect, or octave effect, was created with the Digitech Whammy pedal that had recently come out. David’s using it extensively on Endless River and it also appears on Marooned and Wearing the Inside Out from Division Bell.

1993 recording sessions – effect setup

David used a fairly large arsenal of different effects for the sessions consisting of a combination of different Pete Cornish boards and stand alone pedals. It is not documented how these were routed and combined but it gave David a chance to experiment and explore different tones and approaches during all stages of the writing and recording of Division Bell and subsequently The Endless River.

This pedal board was originally designed for Pete Cornish prior to the 1987-89 MLOR tour as a backup board. It seems to have been David's main board during the 1993 sessions. It's documented if the board was modified prior to the sessions however, the addition of a Boss GE7 can clearly be seen.

This pedal board was originally designed for Pete Cornish prior to the 1987-89 MLOR tour as a backup board. It seems to have been David’s main board during the 1993 sessions. It’s documented if the board was modified prior to the sessions however, the addition of a Boss GE7 can clearly be seen.

Pete Cornish 1987-88 pedal board

MXR Dynacomp
Pete Cornish SS-2
EH Big Muff
EH Electric Mistress
Boss CE-2
Boss DD-2
Boss GE-7
3 X Send Returns
2 X Amp Feeds

The board was originally designed as a backup board for the 1987-88 Momentary Lapse of Reason tour but never used. It seems to have been David’s main board during the Division Bell/Endless River sessions being a centre piece of his elaborate effect setup. It is not documented whether the board was modified prior to the sessions although at least the addition of a Boss GE7 equalizer can be spotted.

Pete Cornish 1980-81 The Wall front stage pedal board

Electro Harmonix Big Muff (1973 “Ram’s Head”)
Electro Harmonix Electric Mistress
Pete Cornish custom volume pedal
(send return to MXR DDL)

The board was originally used as a part of a mini rig when performing in front of the wall during the second half of the The Wall shows. The board can be seen laying next to the 1987-88 board during the 1993 Division Bell/The Endless River sessions. It is not documented whether the board was modified prior to the sessions although the volume pedal had been taken off.

David pictured in Astoria, his house boat studio. The pedal board and amp setup was fairly consistent for all 1993 sessions.

David pictured in Astoria, his house boat studio. The pedal board and amp setup was fairly consistent for all 1993 sessions.

Mini-rack setup and additional effects for amps

MXR Digital Delay
Alesis Quadraverb
2x Boss CE-2
Conn Strobo Tuner

The amp setup featured a mini-rack with delay and reverb processors. It is not documented how these were set up with the amps. The setup also featured two Boss CE-2 chorus pedals for enhancing the stereo spread.

Additional effect units for 1993 recording sessions

Additional pedals seen at Olympic Studios
Univox Super Fuzz
Colorsound Power Boost
Ibanez TS10 Tube Screamer
ProCo Rat
2x Chandler Tube Driver
Tube Works Blue Tube
Tube Works Real Tube
Roland BF-1 flanger
Roland AP-7 Jet Phaser
Demeter Tremulator
Uni-Vibe with expression pedal
Ernie Ball volume pedals

Additional pedals seen at Astoria
MXR DynaComp
Boss GE-7
Digitech Whammy WH1

Additional effects heard on Division Bell/The Endless River but not identified
Heil Talk Box (Keep Talking recording sessions)
Zoom multi effect processor (Take it Back/Keep Talking recording sessions, for E-Bow)
E-Bow

All of the pedals listed above are identified from footage from Astoria and Olympic Studios (a few units are still to be identified and confirmed and therefore not listed). The setup is mostly consistent but small variations occur, as listed in the list for additional effects spotted in Astoria. Both Division Bell and The Endless River also feature effects that can be identified by listening to the albums but the units have not been spotted on any footage.

Several stand alone pedals are seen lying on top of what looks like a third Pete Cornish pedal board. The familiar round switches are seen but the board doesn’t seem to match any one the known Pete Cornish boards. This one is yet to be identified.

Guitars and amps 1993 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.
Fender Telecaster
- 1952 reissue, butterscotch blonde ash body, black pickguard and maple neck. The guitar was used for the Allons-y (1-2) sessions and possibly Take it Back (Division Bell).
Gretsch 6121 Chet Atkins
- 1950s with orange double binded mahogany body, maple 22 frets neck with ebony board and Bigsby tremolo system. Used on the Nervana sessions.
Gibson Les Paul Goldtop
- 1955 model with Gibson P-90 pickups. Used on Great Day for Freedom (Division Bell) and possibly songs on Endless River.
Gibson J-200 Celebrity acoustic steel string guitar
- David’s main acoustic for the 1993 sessions.
Ovation Custom Legend 1619-4 acoustic steel string guitar
- Set up with high octave tuning. Used on Louder than Words.

Note: Promo footage for The Endless River feature David in Astoria playing a daphne blue late 80s Eric Clapton signature Stratocaster. Official sources indicates that this is false and that the footage dates from a session with Louise Goffin in 1990.

David employed a number of guitars for the 1993 Division Bell/Endless River sessions. Here at the Olympic Studios playing a Gretsch 6121 during Nervana and a '52 Telecaster for Allons-y.

David employed a number of guitars for the 1993 Division Bell/Endless River sessions. Here at the Olympic Studios playing a Gretsch 6121 during Nervana and a ’52 Telecaster for Allons-y.

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.

David’s amp setup seems to have been fairly consistent during all sessions at Britannia Row, Astoria and Olympic Studios. Again it’s a return to the typical 70s tones mixing clean amps and rotating speakers for a lush and spacious sound. The setup featured two identical stacks of a combination of Fender Bassmans, for pristine clean tone, and Hiwatt SA212s, for presence and mid range.

One or more of the amps were fed into a Maestro Rover rotating speaker and two Boss CE-2 chorus pedals were used to enhance the stereo spread. The amps above are listed with stock specifications. It is not documented whether David’s amps are modified in any way.

Guitar and amp setup

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.

Fender Bassmans were mic’ed with Neuman U87s and the Hiwatts with Shure SM57s. The mics were placed 8” to a foot away from the speaker cabinets. It is not documented how the Maestro Rover was mic’ed.

2013-14 recording sessions

Throughout 2013 and 2014 David recorded new guitars for the release of The Endless River. It is not documented what’s new or which songs he added to but it’s fair to assume that the original recordings featured only one guitar track as everything was performed live in studio. This could be either a rhythm part or a lead.

David Gilmour - Endless River gear setup

David recorded a large portion of the guitars heard on The Endless River in his new Medina Studio (Hove,UK).

Some of the original guitar tracks from other songs or excerpts might have been used for The Endless River mix. Based on listening to the album, it is fair to assume that most of the slide guitars and a majority of the leads are recorded in 2013-14 although this is purely speculation.

Footage from David’s new Medina Studios reveals a huge collection of guitars, amps and pedals. Some of these were probably used for the new recordings, as some official footage shows, but any attempt at guessing would only be speculation. I have therefore not listed the items here other than what’s confirmed from official footage.

David is seen playing a Black Strat during the 2013-14 recording sessions at his home studio Medina (Hove, UK). He normally uses the Hendrix strap with the original Black Strat, which might indicate that this one is a Fender Replica. However, the guitar seems to be missing the Fender Custom Shop logo on the back of the headstock.

(Left) David is seen playing a Black Strat during the 2013-14 recording sessions at his home studio Medina (Hove, UK). He normally uses the Hendrix strap with the original Black Strat, which might indicate that this one is a Fender Replica. However, the guitar seems to be missing the Fender Custom Shop logo on the back of the headstock. (Right) David playing the 1950s Gretsch Duo Jet. The guitar was acquired prior to his first solo album (1978) and used extensively on the 2001/02 semi-acoustic shows and on 2006s On an Island album and tour.

Guitars

Fender Stratocaster “The Black Strat”
- 1969 black alder body with black pickguard, Fender 1983 ‘57 reissue maple neck and Fender ‘71 neck and bridge pickups and a Seymour Duncan custom SSL-1 bridge pickup.
Fender Baritone Telecaster
- Custom made by Fender on commission from Phil Taylor. 27-inch scale, with a Custom Telecaster body with binding and maple neck. Fender/Bigsby tremolo system with Vibramate Spring Spoiler and Callaham Cryo electronics.
Gretsch Duo Jet
- 1950’s model with Bigsby tremolo system.
Fender Deluxe lap steel (blonde)
- The guitar is usually tuned for an open G (D G D G B E) but it is not known if this applies to the sessions.

Amps

It is not documented which amp(s) David used for the sessions although an Alessandro Bluetick stack is seen both mic’ed and being on. It is also fair to assume that David employed the old Yamaha RA200 rotating speaker cabinet, driven by an Alembic F-2B preamp, which are spotted in the studio and probably used to replicate and match his original tones from the 1993 sessions. The studio also feature a 1960s Magnatone, Fender ’57 Twin, Hiwatt SA212, Fender Champ and a Leslie G27 powered by a Alessandro Redbone Special.

See the The David Gilmour Gear Forum for more on the Medina Studio setup.

Acknowledgements and credits: 
Division Bell (album 1994), The Endless River (album 2014), The Endless River official EPK, official promo footage from the 1993 recording sessions at Olympic Studios, Astoria, Guitar World (sept 1994) and Guitarist Magazine (February 2015). Thanks to Kit Rae for help with identifying gear.

72 Responsesso far.

  1. Pete W. says:

    Hmmmmm……..I wonder how long until someone spills the beans on his setup. Specifically, the effects. It’s known that he bought some Effectrode pedals for the recording, but know one has said what, where, or if they were used. Hopefully one of the techs will talk soon, as I doubt Mr. Gilmour will share the info.
    Great work as always, Bjorn!

    [The new studio feature a wide range of new pedals and effects… and some old. As far as I know, he has the PC-2A, Fire Bottle, Helios and Tueb-Vibe from Effectrode. – Bjorn]

  2. Pietro Navetta says:

    Excellent article Bjorn, as always! I noticed a little mistake when you say that the Taylor acoustic “nylon” string guitar used on High Hopes (Division Bell) was also used for the Ebow effect on Things Left Unsaid and Night Light. I don’t think you can use the Ebow on nylon strings. I am really enjoying your new record, by the way. Well done!

    [Thank you! You’re absolutely right… my mistake. The EBow was used on a Gibson J-200 steel string. – Bjorn]

  3. Luca says:

    I’m a big fan of Floyd but with this album they ate their good reputation.

    [It’s not a new Pink Floyd album so it can be misunderstood by some. Still, it seems that they’ve hit the jackpot again judging by the sales :) – Bjorn]

  4. Frédéric says:

    To me, the black Strat seen in the 2013/2014 part is the real one.
    Have a look at the EPK video, when DG is drinking tea while looking at the screens in the background. There, you can clearly see the back of the headstock, and no Custom Shop sticker appears on it.
    Unless they have removed the sticker, this is – to me – the real one, Hendrix strap or not.

    [Nicely spotted Frédéric! Perhaps he retired the 40+ year old Hendrix strap… – Bjorn]

  5. Frédéric says:

    I forgot: really great work of you and Kit for identifying everything.

    [Thanks! Kit’s done an amazing job with the Medina stuff and there are many contributions on the DG Forum from others as well. – BJorn]

  6. Joby Hook says:

    Superlative as always Bjorn.A good insight to an insightful piece of music.Thankyou.

  7. Don says:

    Nice article, Bjorn. My only comment is that I don’t believe eBows work with nylon strings…

    [You’re absolutely right… my mistake. The EBow was used on a Gibson J-200 steel string. – Bjorn]

  8. Andre Kovacs says:

    Dear Bjorn,

    Great work! I am a huge fan of your site.

    Looking the first, second and third photos, it looks to me that the pedalboard in the middle is the Pete Cornish 1987-89 backup board with additional pedals on top (as you identified here http://www.gilmourish.com/wp-content/uploads/2010/12/divisionbell_astoria.jpg, for The Division Bell sessions). On top of it, I recognized the Uni-Vibe and volume pedals, on the left side, and also two Chandler Tube Drivers on the right side.

    I liked the album because it seems to me that, differently from the previous two albums, DG tried to recreate tones from early stuff, like Shine on… and The Wall.

    Are you working to include a settings and setup section also?

    Regards,

    Andre

    [Not sure I will include a settings and setup feature because it is impossible to tell what he used on the different songs. I can guess and perhaps even some tones are pretty obvious but the fact is that he used so much stuff and there’s no way of telling for sure. The board you’re referring to is an unidentified Cornish board. Probably a midi controller or switcher. The 1987-88 lies to the right of this board and is not visible on the Astoria picture, although the board is there. – Bjorn]

  9. MarkF says:

    Hi Björn

    Congratulations – Amazing turnaround there. Can’t believe so much work and analysis done so quickly and surpassing your already lofty standards. Given your focus much be currently centred on your own album release (which is a fabulous achievement, by the way!) this is quality stuff.

    One quick question, on the accompanying YT piece you do for “Louder than Words”, would you be able to shRe the settings you have for the RT-20?

    Cheers
    m

    [Thanks! Actually, most of the details were well known and documented in the Division Bell section. There’s some new footage from the Olympic Studios in particular that revealed a few new items.
    RT20 settings: mode 1, effect 9:00, direct 12:00, slow 1:00, drive off. – Bjorn]

  10. Jeff Pinkstaff says:

    That’s a pretty serious setup which is interesting because there doesn’t seem to be a crazy amount of effects on the album. I will say though, that there are some tracks that sound much more like Gilmour’s solo stuff than Pink Floyd stuff. It’s still a very good album and it kind of makes me want to listen to it while floating down a river in the middle of the night!

    [You’re right. David’s tones are fairly basic and “safe”. What we see on the footage is a wide range of different pedals used for experimenting and trying out new tones but it seems that he prefer the trusted few :) – Bjorn]

  11. Brian says:

    Great gear review! It was nice to see the few effects I was able to identify audibly appear here as confirmation.

  12. Alan Day says:

    Interesting breakdown Bjorn.
    I agree that the Black Strat shown looks like a Fender copy – the dings always look grey to me – not accurate. I observed this when building my own relic replica. (on your site somewhere)
    Isn’t it about time we petitioned DG that he grant you an interview – who better to represent our little community?
    And please fill me in on the E-Bow – I had always thought that it was a magnetic induction device that interacted with the steel in the string – how DOES it work on nylon? A

    [The Black Strat appears to be the original as it lacks the Fender Custom Shop logo on the back of the headstock. The Ebow does only work on steel strings and it was used on the Gibson J-200. My mistake. – Bjorn]

  13. Pasqual says:

    Hi BjØrn,

    I saw that David used three different compressors during the Pulse era. Do you know if he used 2 or 3 at the time? I’m always wonder how he gets his splendid clean sound.
    Kind regards, Pasqual.

    [The clean tone is mostly the EMG pickups into the Hiwatts, which has tons of headroom. He mostly used the Boss CS2, sometimes in combo with the DynaComp. There was an Ibanez compressor there as well, which was used on the Time intro in combo with both the CS2 and Dyna. – Bjorn]

  14. dimitri says:

    like i said on the gear forum (dflash88), the black strat on the bottom rack is the original, and the unknown les paul is the 54′ the wall gold top used for abitw part2 solo

  15. dimitri says:

    dont judge the black strat by its jimi hendrix strap, david dint orded any replica just a NOS version , in ain interview he stated that if he had 2 same replicas he would loose the original

    [The guitar has been identified as the original due to the lack of the Fender Custom Shop logo on the headstock. As far as I know, David owns a handful of replicas as well, which are both in his possession and handed out to family and friends. – Bjorn]

  16. Cameron Walsh says:

    Awesome as always!

  17. Brad Roller says:

    I have to admit his mellow tones from division bell and endless river have become my favorite over time. It’s something about the simplicity and honesty in them that draws me in to like them. I’ve been basing all my current work on tones similar to these using my dg20 strat and my black strat. I hardly ever use a muff anymore :/ just my evolution and OCD overdrive maybe. Thank you for your time in making this gear guide I’ve been looking forward to it since the endless river was announced! Just curious though, are you going to do a review of the album? Thanks Bjorn for all you do! Btw love your solo album man! It really rocks!

    [Thank you Brad! Yep, there will be a review and tone guide as well :) – Bjorn]

  18. Gontran says:

    Thank you for this page full of good informations and well organized !!

  19. Romano Pecotic says:

    Hi Bjorn,
    thanks for putting some more light on the equipment used on TER as I have a feeling that this album, gear-wise, is going to stay a mystery.
    One thing that I noticed on the pictures form Medina studio, which I find very strange is that the Alessandro Bluetick and the Hiwatt SA212 are both fitted with metal dust cap speakers.
    I know that David has removed them from his Crescendos in 1974 but is there a chance that for this sessions he preferred the original metal dust cap Crescendo or he opted to some other speaker instead. What are your thoughts on this?
    Cheers, Romano.

    [I have no idea. He may have modded them. I don’t think the setup in the Medina studio is a reference or confirmation as to what gear he used on neither Endless River nor his new solo album. From what I can hear, his newly recorded guitars sound fairly familiar but he might have experimented with other pedals as well. I think what we see is mostly for experimenting and when it comes to actually recording the solo album he will probably go for something a bit more familiar… my thoughts anyway. – Bjorn]

  20. Claudio says:

    Let’s have a look on the pedalboard placed on the stand .. it’s seems that the green pedal is the Tube-drive by Effectrode!

    [Yep! -Bjorn]

  21. Will says:

    All of the pedals in Dave’s new Medina studio are listed on the DG Gear Forum… I thought about posting them here in the comments section, but the list would be too long… Like, 20+ pedals! But to give people a rough idea, there’s lots of Effectrode stuff (Fire Bottle, PC-2A, Helios, Blackbird, Tube Drive and Tube Vibe), and surprisingly, lots of old units, like the Phase 90, Electric Mistress, Colorsound PB and Binson Echorec II…

    Check the forum for everything else! :)

    [Yep. You guys have done a great job. I haven’t included the pedals here as there are no way to actually tell that he used them on the newly recorded guitars on Endless River. – Bjorn]

  22. Luca says:

    Hi Bjorn, great job as always!
    There are some picture on the back of the cd sleeves with a Clapton signed Strat and a little pedalboard fitted with many Boss pedals and the Rat, lying on the floor, any thought about this items? Anyway, the tone is superb and the track 4: Sum, IMO, recall some One of these Days’s feeling, with the drum and the slide in the end. So powerful!

    Cheers,
    Luca

    [Hi Luca. From what I can see it looks like a similar setup to the La Carrera Pan America sessions, with a RAT and mostly Boss pedals, including GE7s. I’m pretty sure that the footage with the EC Strat dates from 1990 and not the Endless River sessions. – Bjorn]

  23. Oren says:

    Hi Bjorn, for the lead and rythm tracks on louder than words what do you think are the effects used ?

    [There’s a lot of stuff going on there and it’s hard to tell which tracks are new and what effects he used. The main solo sounds new to me, possibly recorded with the Black Strat, Tube Driver, the Alessandro amp and the Yamaha RA200. – Bjorn]

  24. mehdi saeedi says:

    hi , i am from iran and need help
    here HIWATT is not Availability , what is your Proposal from fender amp,s or vox or marshall

    [Check out the Buyer’s Gear Guide for amps :) – Bjorn]

  25. Jeff Pinkstaff says:

    I’m getting tired if people saying that this doesn’t sound like Floyd or that it’s too instrumental. People tend to forget that Floyd has always been an instrumental and musical band. The Wall and Animals were concept albums, that changed up their normal style. If you get away from the popular radio stuff and listen to their albums front to back, you will see just how instrumental they really are. This album sounds just like the 80’s and 90’s albums. We all know that this is not a Waters album, but some of us really like Pink Floyd in the post Roger Waters era.

  26. Bob says:

    Björn,
    I enjoy the site and appreciate your work.
    Looking at the Medina studio photo above I see a Black Strat like guitar on the top rack but with a rosewood neck. Have there been any reports of Mr. Gilmour taking one of the replicas he received from Fender and putting a new neck on it?
    Cheers!

    [Not sure if that’s a modified Black Strat although it might look like it is. The neck is a fretless rosewood neck probably used for slide. – Bjorn]

  27. KEITH says:

    I am torn between loving TER, and thinking of it the same way I feel about all post Animals Floyd. I’ve made those thoughts clear many times, so I won’t start the hate parade again. As for the material, I’ve only heard maybe a third of it, and some songs, for example, What We Do, is very much like Welcome to the machine pt3, and I actually had an out of body experience while lisening to it. So, I will buy the album, which will be the first album of Pink Floyd I’ve bought since The Wall. However, while I find some of the naterial screams Obscured, Ummagumma, etc., I find the production to sound a bit too modern, and DG’s tones a bit too modern for my tastes. I’m not a fan of the Whammy effect, or what sounds to me like baritone guitar, but may also be the Whammy on the track I spoke of, as each time he shifted to the higher octave, it brought me back to reality, from my blissful state. I’ll save an overall judgement for when I’ve listened to the entire album a few times, but I will say that despite my issues with the album, I will buy it, and that says a lot in itself! :)

    Peace, Keith

  28. Huy Tran says:

    “I’m getting tired if people saying that this doesn’t sound like Floyd or that it’s too instrumental. ”

    PF is a prog rock band. Which means everyone has their own opinion on what sounds Pink Floyd and most of them are valid.

    The PF sound differs from era to era which accounts for their longevity.

    Furthermore they really didn’t have that many “popular radio stuff” and I doubt many people on here are hung up on their few hit singles and expect everything PF to sound like those. That is doing the community a disservice.

  29. Franck Machu says:

    Wonderful work done ! As always !
    So many questions replied here…

    [Thank you! – Bjorn]

  30. peter says:

    Hello bjorn,
    I thought i had found what was the closest division bell pedalboard but i’m now a bit confused. 2 cornish pedalboards from different areas, additional effects…
    I’m really attracted by that 1993 db sesions tone, which is really different from the pulse tone i realise now.

    For all the division beml songs, do i think right if i imagine that effects chain:
    Mxr dynacomp / whammy / rams head big muff / bk td set for clean boost/ ss-2 / rat/ bk td set for overdrive / boss ce-2 / boss dd-2…

    As i understand after reading your article, there was no electric mistress, no univibe, no boss cs-2 used in studio in 1993…..

    The hardest part is to kniw how to combine the overdrives, muffs , rat, ss 2, tube driver together…

    Have you guessed hiw to combine them in the fx chain? And how they were used? Together, alone?….

    Is it still unknown?

    Cheers and respect to the greatest website!
    Peter

    [Hi Peter! I think the most important part of his 93 rig are the Strat with the EMGs and the Fender/Hiwatt amp combo. There’s really not much else going on there. The images from the sessions looks jaw breaking but his tones are fairly conventional. I would bet that the majority of what we hear, is the Tube Driver with delay. On Divison Bell he also employed a RAT (WDYWFM) and Big Muff (Keep Talking). The images are in no way a documentation of what he actually used but rather an indication of him experimenting with different sounds as one would in an early stage of the recording sessions. There is a UniVibe and Boss CS2 present on those images. – Bjorn]

  31. Neill says:

    Unbelievable piece of Gilmour archaeology you’ve done there Riis. I’m not much of a fan of the Endless River album and believe yours is actually much better (more focused and worked out) with solos which sound as though they know where they are going.

    I was, however, really pleased to find this track on YouTube http://www.youtube.com/watch?v=lWDs0GQs5ow which is described as The Lost Art of Conversation but definitely isn’t! If it was it might have been the best track on Endless River. It sounds like Gilmour but I don’t recognise it. Do you? It’s not actually one of yours is it?

    [Well, that’s definitely not Floyd :) … not mine either :) – Bjorn]

  32. Neill says:

    Oh, and thanks for clearing up the sound on Things Left Unsaid and Night Light. I didn’t think it was reverse guitar and my experiment at reversing the track certainly confirmed this. In fact, for the record, the tune sounds about the same backwards as it does forwards.

  33. pink says:

    it states that dave used a zoom multieffect pedal with the ebow parts that he recorded.

    i own 2 zoom multi effects pedals, and as far as i can tell most zoom stuff is pretty cheap.

    what would be the point of him using a cheap zoom multi effect instead of the vast array of equipment he already owns.

    [The fact that it’s cheap doesn’t prevent him from experimenting with it. Digital processors were really the thing back in the early 90s and I guess David tried them out on the same level as many of the other effects he experimented with. Hard to tell how he used it but judging from the EBow tone he might have used a chorus. It also sounds like there’s compression on it to enhance the sustain although that could be a desk or studio compressor. – Bjorn]

  34. Justin Bomar says:

    I love the new album. It is a testament to all that is so great about Pink Floyd and I love the music they made after Water’s left he was so depressing. The Division Bell is my favorite Floyd album and “Poles Apart” is a masterpiece. This new album The Endless River is great just amazing. Thanks Bjorn excellent work by you And The Others.

  35. Justin Bomar says:

    It might just be my phone but I can’t help the all caps in certain places. Great work by the others and You BJORN!

    [Thank you! – Bjorn]

  36. Mauricio says:

    hey! Bjorn ! I admire your excellent work a lot. I’m from Chile and a month ago I found your website and visit every day ! in simple words I am your faithful jajaj padawan . I am writing to ask you a big favor if you can make video Dogs of first solo guitar, my dream is to play my guitar well , and hopefully if you could explain how to configure the Boss RT -20 to simulate the Yamaha RA200 of the Old fat sun. The truth has cost me a world raise the money for the Boss RT -20 and do not want to make an irreparable mistake lol I have a Big Muff reissue and you scored 2/10 but I love it I love it lol. Al damn Steve Mac astralian Pink Floyd sounds identical to disk please help ! THANK x 1000 Forever and ever

    [Thanks for your kind words! I’ll try to do a Dogs clip soon. The RT20 is IMO the best pedal for replicating David’s rotary sounds. – Bjorn]

  37. Juan Antonio says:

    Great album The Endless River. I don´t care if the concept is new or using old parts from Division Bell, the result is great. People also critized MLOR and then DB, for one thing or another…

    It would be awesome when we could have your review on a Digitech Whammy I (or better DT or V, which are easier to get nowadays) to obtain those sounds so frequently used on this album.

    Thanks for your inspiring web. I did not buy any Gilmourish pedal since many years without first reading/ hearing your reviews…

    [Thank you, Juan! – Bjorn]

  38. Abery Clark says:

    Basically how does dave achieve the “race car” effect on his guitar? Does he use a bottle slide?

    [What do you mean by that? Do you have any examples? – Bjorn]

  39. johan says:

    As always a great article! I always look forward to your analyses. Looking forward to your next analyses next time Pink Floyd releases a new album ;-)

    On another note, and this is surely for a separate thread, but just bought the new Gov’t Mule set “Dark Side of the Mule” after hearing it in the music store. It contains about an hour and a half of classic Floyd covers. Funnily enough, the best bits in my opinion are the parts that used to belong to Rick Wright – in that sense the focus seems to have shifted from Gilmour to Wright, a bit like the Endless River. Worth checking out!

  40. John says:

    Bjorn,
    I’m certainly going to miss your Sunday Jams. That’s become a staple of my weekend these past several weeks. Very cool seeing some of these pedals interact and it gives me suggestions on which ones to pair together to get certain tones. You inspired me to get a H&K Tubemeister 18 since yours sounds so great on the recordings and I have a question. I noticed when I’m on the clean channel my gains, especially the muff style gains, sound really fizzy, but when I use the Lead channel, it seems to all even out and sound like it should. Is this in any way normal? The first time I turned it on I had the cable to the guitar connected but the guitar wasn’t plugged in yet accidently and there was a very loud scratching noise. I noticed the little light on the back blinking that says overload or over current but it went away. Could I have ruined a tube or something? My cleans are perfect and the Lead and Boost channels seem fine. Thanks,
    John

    [Hi John! The Sunday jams will be back over christmas. Thanks for watching! The clean channel doesn’t handle pedals very well. Gain pedals sounds bright and fizzy. It’s just how the channel is voiced so use the gain channel if you use pedals. There’s nothing wrong with your amp but I’d definitely change the stock tubes. They’re really crap. I’m using JJ Electronics. All the noise disappeared and the amp sounds silky smooth now. I’m mainly using these settings: bass and treble 10:00, mids 11:00, gain 8:00 and master as desired. – Bjorn]

  41. Justin Bomar says:

    Bjorn good eyes on the black strat but I was certain (I Thought) that David had 2 black Strats. He Has His Original He Bought At Mannys And Another One He customized Just Like His Main one But I Could Be Wrong But He def. Had 2 black Strats With White Pickguards. I am Looking For A Strat But I Love My Les Pauls Especially My Custom Special It Has P-90 pickups Solid Mahogany Body and neck with A Wraparound Gold Plated Brass Bridge, gibson P90 in The Neck And A Seymour Duncan Stk P90 in The Bridge And Grover Tuners. My Other LPs and My 24 fret Sg But I Am A Strat And Tele Man At Heart that Is What I Grew Up Playing. So I Am Looking To Get A Strat And A Tele To Add To My Arsenal. Oh And I Recently Got The Ehx Nano Double Muff And Wow So Many Tones It Has The Muff First Then The Overdrive (In Double Mode it Serves As A Boost For The Muff) second And in Single Mode it is An overdrive I Use And To Boost My Custom Fuzz Pedal I Built. I Am An Electronics Technician And It Is My Second Passion, music Always Comes First. I Got The Components From Work Military Spec/tolerances Components. Anyway, Merry Christmas From The U.S.

    [Hi Justin. The Black Strat was bought at Manny’s in early 1970. It’s been modified several times throughout the years and it’s David’s main guitar today. He did indeed have a second black Stratocaster between 1972-1975 and Roger also used it for Sheep on the Animals tour in 1977. These are not the same guitars as documented in Phil Taylor’s book The Black Strat. Cheers! – Bjorn]

  42. Bartosz says:

    Hi Bjorn :) Fantastic article again :) I know you are not going to make a “set up” section with this album …but maybe you could tell me about one little thing – In “Louder than Words” just at the intro and later on the verses I hear two acoustic guitars ..one seem to be tuned in standard and second one sounds like 12 string ..so is this 12 string or a “High Strung” guitar in “Nashville tune” ??

    Waiting for your answer :)

    [Pretty sure it’s “high strung”, like on Comfortably Numb. The Ovation Legend acoustic guitar he used for The Wall recording sessions is seen in his 1993 rack. – Bjorn]

  43. howard says:

    hi bjorn,
    you say the bassman amp is fitted with a Eminence Blue Alnico speakers, eminence have a speaker called RED WHITE AND BLUES on there site, is this the same speaker?????

    all the best, howard

    [Not sure. Sorry… – Bjorn]

  44. Serge says:

    Pour la strat noir, David a travaillé avec trois manche sur cette guitare, donc, rien ne dit que c’est le manche Fender, ca peut etre un des deux autres!

    [Pretty sure this one is the actual Black Strat as there is no custom shop mark on the headstock. I doubt he replaced the neck again. – Bjorn]

  45. howard says:

    hi bjorn,
    emailed Eminence speakers about speakers in the bassman and they replied below,

    Hi Howard,
    If he is using the blue frame Alnicos, they are the stock speakers in the Bassman. It is a custom design that we manufacture to their specifications and is proprietary to Fender. Our most similar stock speaker is the Legend 1028K.
    http://www.eminence.com/speakers/speaker-detail/?model=Legend_1028K
    Best Regards,
    http://www.eminence.com/img/contacts/Anthony_Lucas.jpg

    ANTHONY LUCAS
    Design Engineer/Technical Support

    O: (502) 845-5622 ext. 341 F: (502) 845-5653

    EMINENCE SPEAKER, LLC
    P.O. Box 360
    838 Mulberry Pike
    Eminence, KY 40019

    [Thanks for sharing, Howard! – Bjorn]

  46. Graeme W says:

    Hi Bjorn
    Just to let you know that the UK Guitarist magazine dropped on my doorstep yesterday with a massive indepth Endless River piece including amps, guitars and effects with full access to David’s studio and interview with Phil Taylor. Lots of lovely pics and info to add to this page!
    Cheers and thanks for all your hard work here… you’ve made me spend a lot of cash! :-)
    G

    [Yeah, I saw that but thanks! Still waiting for my copy :) – Bjorn]

  47. howard says:

    hi bjorn,
    have you changed speakers in your amps/ cabs, if so, what speakers have you tried ???

    all the best, howard

    [Check out my rig on bjornriis.com :) – Bjorn]

  48. Shwn says:

    Hello! I love your site!
    In the newest Guitarist mag (the Black Strat on the cover), there’s an image on page 78 of 4 retangular objects that they call picks… Do you have any idea who builds these picks for DG? They are quite a bit different than his normal picks…
    Thanks for whatever info you can get on these!
    Shwn

    [I haven’t had a chance to get my hands on the mag yet so I have no idea. Send me a picture and I’ll have a look. – Bjorn]

  49. Great work on the webpage overhaul and generally all the work you put into this, Bjorn! I actually have a slightly unrelated question about one of the effects used on the Division Bell/Endless River. Doesn’t have to do with David’s rig, but I was curious if you happened to know anything about this. In various parts of Take It Back (predominantly the outro) and the beginning of Sum, Rick seems to be doing something interesting. Any idea what that stuttering organ happens to be? It sounds like his farfisa to me, but I was more fascinated by the effect he used that sounds like some kind of intricate tremolo pattern that produces that stuttering and that particularly interesting (what sounds to me) modified emphasis on the “ting”. I’ve been trying to reproduce the effect for a good month now and I can’t seem to get it exactly right. Any sort of scrap of knowledge on this would be huge for me. Thanks :)

    • Bjorn says:

      Hi Justin! I think that’s the Farfisa being fed through a Leslie with the Binson. Sounds to me that he’s just playing a chord progression, like on Echoes, and that the use of the lower octave keys, tremolo and Leslie makes it sounds like an arpeggiator loop.

      • Igor says:

        Belated reply, but useful nevertheless, I hope.

        The Farfisa Compact Duo contains a repeat effect, similar to the marimba one on the Lowrey Holiday Deluxe. With it, you can adjust the lenght of the percussion effect and the speed of the repeats.

        Wright used it a lot during the early days of Pink Floyd, most notably in the start of “Astronomy Dominé”, as you can hear on Ummagumma.

  50. shwn says:

    Bjorn, did you get a chance to look at the Guitarist article? I haven’t found any info on those rectangle pics and I can’t post a picture to show you! Can anyone else help?

    • Bjorn says:

      They’re made by Picato. Not sure if the brand still exist or if someone has a license to the name.

      • Shwn says:

        Thanks for the answer! Does anyone know of another manufacturer of rectangular picks like those? I’d like to try one and see how they feel…

  51. Mihajlo says:

    It’s quite often overlooked, but microphone position and the mic itself are also a big part of a guitar sound. A cabinet miked with a condenser mic at about a foot from a speaker will almost invariably sound more like Pink Floyd than, say, a SM57 or similar right up against grille cloth.

  52. Mihajlo says:

    Thank you so much Bjorn for putting together this gear guide. It must have been a real pain in the butt to dig it all up. Thank you!

  53. Chad says:

    Hey Bjorn, do you know what strat is on the back sleeve of the disc? It looks white but hard to really tell with it being black and white, it’s not the blue clapton model is it?
    Thanks!

    • Bjorn says:

      Not sure what image you’re referring to but there are some shots of David in his houseboat playing an Eric Clapton Strat with Lace Sencor pickups. This is one of early models. The pictures are not from the Endless River sessions but from a session he did for Louise Goffin in 1990.

  54. Hi Bjorn!

    Waht effects do you think were employed for the leads (non slide) on Talkin’ Hawkin’? Sounds like either the Yamaha Rotating Speaker or perhaps a phaser. I love that tone.

    Thanks, James.

  55. Woz says:

    I was just listening to a clip on YouTube which appears to be an older version of “It’s What We Do”. In the version on the album the drums have clearly been re-recorded, and I’m quite convinced the lead solo has too. In fact, even Rick’s backing seems to have had a wee tickle-up. Would I be right?

    • Bjorn says:

      I’m not familiar with the version you’ve linked to but some of the stuff from the original 93 sessions have been available on bootlegs for a while. I’ve heard parts of it. A lot of what you hear on Endless Dream is recently recorded. Huge chunks of Nick’s drums and I would say about 80% of David’s guitars. He also did some keyboard overdubs.

      • Woz says:

        I stumbled across it on Youtube. Its origins aren’t made clear, but it was noticeably different to the version found on the album, so I speculated it was from a bootleg of the ’93 sessions. It took some careful listening to decipher to my satisfaction that the lead guitar on the album is new, but the drums are clearly different, and RIck’s keyboards (including one or two missteps) appear to have been cleaned up for the final release. It’s very interesting to chart the progress of the track.

  56. DefJef says:

    Hi Bjorn, You mention the Fender Baritone guitar here and elsewhere have noted the fretless strat. Any ideas which tracks these have been used on? I’m wondering if the fretless is that kind of backwards sounding guitar that we have heard on Endless River and Rattle that lock. Or is that an acoustic with an EBow? If it’s the latter I must get mine out and see if I can get anything out of mine. I’m surprised it would work with a piezo (or, perhaps, David has a soundhole pickup?).

    • Bjorn says:

      The Baritone is featured on a couple of tracks on Endless River but I’m not sure if they were used on Rattle That Lock or how he might have used the fretless Strat.

  57. Omar El Faro says:

    What pedals does David use for Endless River solo? Are BD-2 and Delay enough? Thanks

  58. Lucas says:

    Whats the purpouse of blending g12m with fane crescendo in the 94 rig? I was thinking it was to tighten the sovtek muff low end and shape it, but what it does when the amp is clean.
    when it comes to pushing the speakers to get distortion the g12m is awesome, is the principal change between 87 rig and 94, but alone by itself will stand for a gilmourish 94like rig without sacrificing some character?

    • Bjorn says:

      Hard to tell as there are no sources saying how he used the amps. I’m assuming he just wanted the tonal qualities of both as he often does in the studio, blending different amps. The g12m does sound tighter and darker than the Fanes so a combo of these, will make a better balance I guess.

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