• The Wembley 1974 gear guide

    With the release of the Immersion Editions of Dark Side of the Moon and Wish You Were Here, we now have the legendary recording from Empire Pool, Wembley November 1974 in remixed stereo. The new mix not only reveals amazing details in David’s tone and playing but also portrays a band at its peak.

    The live recording was originally broadcasted by BBC and has been widely known on the bootleg market for years. Although one of the better bootlegs, the sound was dull and muffled and didn’t really do much to justify Pink Floyd’s live sound at the time. The new release however is mixed from the original master tapes and the result is quite stunning.

    Pink Floyd Immersion Box

    David’s setup is simple but his tones are incredibly powerful and characteristic. For the first time we get to hear how his early Hiwatt and Leslie setup sounded like and the whole show is really just a long promotion of some of the coolest sounding pedals ever made – the Colorsound Power Boost and MXR Phase 90.

    See the complete guide to David Gilmour’s stage setup for the Wembley 1974 concert.

    The show starts off with an early version of Shine On You Crazy Diamond. This was actually only the 15th time they performed the song and about a year before it was released on Wish You Were Here. It’s amazing to hear though how similar David’s live tones are to the album. The four-note Syd’s theme sounds exactly like how they recorded it with the smokey MXR Phase 90 and leslie together. It’s amazing to hear that swirling Leslie tone and how important it was for David’s huge tone. I do suspect though that it’s mixed slightly higher compared to how it was mixed in the PA. Nevertheless, moments like the repeating Syd’s theme during the sax solo (sans the sax) is just mind-blowing when David’s switching on/off the fast rotary just like an organ!

    Raving and Drooling is the work in progress version of Sheep that ended up on Animals three years later. The song wasn’t that well received among fans as they thought it was just too similar to One of These Days and I can certainly see that, but it’s an interesting version nevertheless. David’s setup is the same as on Shine On with the Coloursound really driving those Hiwatt stacks. There’s doesn’t appear to be any Leslies on this track though.

    David Gilmour Colorsound Powerboost and MXR 90

    It’s an incredible experience to finally hear You Gotta Be Crazy, an early version of Dogs, with pristine sound quality. This 1974-75 live version has a lot of soul and emotion that the album version perhaps lacks. The whole track is really a fabulous showcase of David’s Colorsound, Phase 90, Binson into Hiwatt and Leslie setup. Listen to the picking during the break down right after the third verse. David’s using notes that I haven’t heard until On an Island. The twin solo with Rick’s Leslie-drenched synth also works really well. A definitive high point though is the choir part between the two main solos starting at 5:16. An incredibly moving and soulful atmosphere that’s reminiscent of the band version of Atom Heart Mother. Too bad they left this out of the album. A curious fact is that this 1974 version was played with standard tuning while they dropped it down to D in early 1975.

    Moving on to the complete performance of Dark Side of the Moon I must admit that I prefer this to PULSE (yep, I really do). Breathe starts of with a beautiful Leslie guitar and a solo. Actually, David didn’t perform the slide solo until Live 8 in 2005 (although Tim Renwick handled the duties in 1994)! During On the Run David, together with Rick and Roger, controls an EMS Synthi that’s lying on top of his amps to create the sweeps, winds and “helicopters”.

    Time is slightly funkier than both the album and PULSE versions and the choirgirls do and amazing job. David’s solo is extremely powerful with a Fuzz Face, Colorsound Power Boost and Binson echo into the Hiwatt and Leslie split. You can really hear how the Leslie adds that swirling, almost flanger-ish flavour to the tone.

    Great Gig in the Sky is interesting because David is actually sitting behind Rick playing the red Jedson lap steel and switching over to play the organ during the drum part. The steel sounds clean with perhaps some mild delay and the Leslies.

    Money is no frills rock and roll with the Black Strat, the Fuzz Face and little else apart from engaging the Colorsound for some boost on the solo. Although a bit brighter and fuzzy it’s amazing how close David’s playing is to the more recent live versions.

    Us and Them, Brian Damage and Eclipse are all amazing examples of David’s powerful Leslie tones from the era. Compared to the mild chorusy Yamaha RA200 and Doppolas a real Leslie sounds sweet as heaven when you need it be and nasty as hell when you crank it. Listen to how David’s utilizing the power of the cabinet during the chorus part on Us and Them and the intro on Eclipse.

    I must say that the definitive high point for me on this set was Any Colour You Like. I’ve always loved those 70s versions from the laidback Rainbow Theatre 1972 version to this powerful soul version from Wembley 1974. There’s very little that beats David’s tone when he cranks the Colorsound through a full speed leslie and it makes it even more powerful with Rick’s equally Leslie-drenched hammond. Superb!

    It’s also worth tracking down the newly remastered Wembley Pre-FM Master bootleg for a 25mins version of Echoes – including Dick Parry on saxophone!

    See the complete guide to David Gilmour’s stage setup for the Wembley 1974 concert.

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31 Responsesso far.

  1. Miroslaw Jaworski says:

    Hello Bjorn. I love this song but the video is of poor quality, my talent also. you played it perfectly with sensitivity. Please tell me where you can find tab for this solo?

  2. Brad Roller says:

    I agree. I tend to do the opposite a lot. On a heavier song, I’ll just use an overdrive, and with a softer song use a fuzz or other distortion, and play long sustained notes. Nothing wild. In my opinion, a guitarist who looks at the music as a whole is usually better than one who thinks it’s all about the guitar. I always want my solos and tone to compliment the other instruments!

  3. Brad Roller says:

    Hi Bjorn, as you may remember from Facebook, my reeves custom 50 came in. I’ve always played fenders but this amp is something different. I thought tone wise they are kinda similar but I found the reeves a bit darker, and also much more easy to use pedals with. Great amp! Anyhow, I’ve been into Gilmours 74 phase 90 and colorsound tones recently, and also the fuzz face tones too. I play in a modern/contemporary rock Christian band. I figured using a vintage tone with the new sound would be a good contrast. It sounded really good and fit very well with the music. Everyone seems to like the new set up. What I want to know is, do you ever take that approach for your tones? Do you try to go for a more modern sound with a more modern song? or, do you just use whatever you feel like using, so long as it compliments the song? I never would have thought a sun face bc108 would sound right with modern music! But it does! Your thoughts would be appreciated! Thanks!

    • Bjorn says:

      Sorry for my late reply, Brad. Yeah, the Reeves/Hiwatt is something else. Fenders tends to have a very bright character with less mids, while the Hiwatts has much more mids, more headroom and less in the higher ends around 6-7k. What effects or guitars I’m using depends on the song and what I want to achieve musically. Sometimes the song needs a modern or vintage instrumentation and sounds but I love mixing things up to add contrast. Using a Muff or fuzz on modern rock or pop works really great. Likewise, really heavy guitars with a metal tone, can add a dramatic effect to an otherwise vintage sounding song.

  4. binson7475 says:

    when david drove his fuzz with power boost, what effect did the combination aside from giving more gain and sustain ?, also served as an equalizer for fuzz face as perhaps give a little more body?

    [Yes. Although being very transparent the Powerbooster did not only add volume and gain but combining two gain pedals, will create more compression and an overall smoother tone as well. Especially when combined with a loud tube amp. – Bjorn]

  5. binson7475 says:

    I wonder what configuration used in echoes, ie if they also used the leslie effect as most of the songs and the funky side when turn on the fuzz if there also combines with leslie

    [David used the Leslie with a Phase 90 on Echoes at the Wembley Show. – Bjorn]

  6. Tim says:

    You, Sir, are an incredible player, and I thank you so very much for the ultimate wealth of information on the style, technique and minutia behind Gilmour’s sounds.
    Thank you so very much.


    [Thanks a lot for your kind words, Tim! – Bjorn]

  7. Brad says:

    Thanks Bjorn!

    So for Wembley 74 it’s definitely a phase 90 as opposed to a univibe then? Any ideas why he favored the mxr for those tones over the vibe?

    Many thanks,

    [Yep. There was no UniVibe in the board at this point. It was reintroduced around early 1975. Hard to tell why he used the Phase 90 instead. It was just released by MXR and perhaps he was approached by them to try it out. Phil Taylor had also joined as backline tech at this point and was already buying new stuff for David and the band to try out. They must have enjoyed the Phase 90 though since David would use in on the WYWH sessions and Roger used on his bass for Animals. – Bjorn]

  8. Patrick says:

    Hi Bjorn,
    thanks for your always good review…
    For “you’ve gotta be crazy” i think i know why this song call like that…hehe cause to much word.(very crazy lol) but i like!
    Davis seem to rush a little for this song it’s probably why he drop tuning.
    Now for the main solo, do you think he use the fuzz face??
    I very like the animal version…but this version and show, i (imho) think is Pink Floyd at his best..
    Continue your good work with your band and site

    [Yeah, I think they felt there was just too many words :) Sounds like David’s using the Colorsound for most of the song. – Bjorn]

  9. evel1 says:

    Bjorn! Totally digging the revamped site. You continue to inspire and create greatness.

    The best part, IMO, on the 1974 Wembley show is Roger’s (underestimated) bass playing on the “You’ve Gotta Be Crazy” track. Well, that and David’s tones of course.

    Lovely rendition of “Breathe” you worked up as well.

    [Thanks! Yes, Roger’s playing is great on that show! – Bjorn]

  10. Boidek says:

    Marc, GREAT article!

  11. Marc says:

    Good job on the revamped website!

    I came across an article on how On An Island was recorded and I thought I would share the link


    [Thanks Marc! – Bjorn]

  12. bailey says:


    The new site is grate and the review is as normal ,Grate. I was wondering is
    there a good flanger out there .Small and can replicate the mistres sound .
    I in the middle of belding a board and there not much space with a
    boss dd-20 and a muff .Can u help ,the board well be up as soon as possible.


    [Thank you Bailey! There aren’t many flangers that covers the Mistress. It really has a unique tone. The Neo and Stereo Mistress from EHX doesn’t sound anything near the old models, so I’d stay away from these. The Boss BF3 sounds just too overwhelming but the old BF2 is quite good. My best tips are the TC Electronics Vortex and the MXR Micro Flanger. Both are very good and you should be able to dial in some convincing Mistress tones. – Bjorn]

  13. Luca Bartolommei says:

    Hi Bjorn!
    Congrats for the re-styling of the site, gorgeous!
    DSOTM at Wembley, compared to PULSE, definitely wins hands down.
    Any colour is breathtaking, but my favourite moment is Parry’s solo in Us and them; smooth licks ending on the major 7th… chills and chills again, after a lifetime of DSTOM listening…

    Just yesterday I listened to disc 2 WYWH… Shine on + Raving + Gotta be crazy… a triplet which is very hard to describe; great sound & emotion a go-go!!!

    Ciao Bjorn, I wish you all the best.


    [Cheers Luke! Glad you like the new design :) – Bjorn]

  14. Cristóvão says:

    great bending at 1.54 min

  15. Boidek says:

    Hi Bjorn,

    Great review and tone, really nailed it!
    say, what pickup are you using here? I guessed that the neck but when I tried playing with the same settings at home (Colorsound+Ph90) it sounds more like the middle pickup.
    BTY, will send a photo soon (finishing building my board after the new arrival of the P-1).


    [I’m using Dave Allen Voodoo 69s and the neck all the way through. They’re basically clones of the Fender 69s with a very mids scooped transaprent tone. Looking forward to see your board! – Bjorn]

  16. Gabriel says:

    Good job, Bjorn! Great review.

    It´s amazing how good this recordings sound. And about this performance of Dark Side vs. Pulse performance, well, I always felt that Pulse´s version was kind of uninspired… so, this 74 concert is far better. Money, Any Colour and Time are great, and listening to it only makes you think “God, How I wish I was there”
    David´s tones are far more rocker, Money is so intense, and Time solo is amazing.
    Oh, and this version of Breathe is great as a backing track for lap steel playing!

    Cheers Bjorn!

    [Thanks Gabriel! I great show indeed! – Bjorn]

  17. Dave A says:

    Sorry Bjorn what I ment was ,was the cub cub on the 15watt or 1 watt output.You can choose right .

    [Yeah. I used the 15w. – Bjorn]

  18. Robert Farrer says:

    Im totally hooked by these old 70s tracks just now they are so raw and amazing. Briefly before I make my point I’m really disappointed they have not planned a video edit of the 1981 wall gig but maybe one day. I want to make the point of gilmour’s vocal. You really get to hear that deep voice with a hint of the raw early pre meddle about his voice think cymbaline etc. I felt that heading towards certainly his first solo album and the wall his vocal was fully established and lost a bit of the early rawness. It’s facinating to hear it further develop on a quality recording.

    [Agree! Always loved his voice from this era :) – Bjorn]

  19. 531 says:

    What is the complete setlist for this concert?
    The Immersion boxes don’t seem to have the entire thing and all I can find are wildly varying bootleg tracklists.

    [They started with Shine On, Raving and Drooling and Sheep, then Dark Side and ended with Echoes. – Bjorn]

  20. Nicolás says:

    really nice guide as usual, those first years in the ’70 were superb!, Bjorn do you think that a MJM London Fuzz II and a Trex Reptile + laney cub amps will bring those old ( in a very very very little way), Meddle-Pompeii-OBC-DSotM tones? along with good pick ups of course…THANKS!

    [That should work very well. I also recommend the ThroBak for those overdrive tones and for boosting the fuzz. The London Fuzz is great! The Reptile does a good job producing warm analog tones. – Bjorn]

  21. Toni says:

    Great review, hard to resist adding those two jewels to my christmas list…
    and harder for my wife economy! ; )

    [Ha ha! No harm in trying :) – Bjorn]

  22. Matthias says:

    Great version of BREATHE ! And perfectly covered by you ! Did you play the solo on your own cover of the verse?

    [Thanks! Yes, I recorded the verse first and then the solo :) – Bjorn]

  23. Sly says:

    Amazing Bjorn ! Great review and great clean tone.
    I agree so much with that sentence : “some of the coolest sounding pedals ever made – the Colorsound Power Boost and MXR Phase 90.”
    Did you try to achieve the same tone with the ThroBak ?
    Thanks a lot again for your work Bjorn.

    Sly (Alchemy from DG Gear Forum)

    [Thanks! The ThoBak is more or less identical to the Colorsound so that’s no problem :) – Bjorn]

  24. GaryH says:

    Great article. I have listened to both concerts and been really impressed, I was actually thinking of suggesting to you that you write an article about them but you beat me to it ! It is interesting that we spend so much time building extensive pedal boards and trying so many different units, and yet, as you very rightly point out, DG’s tones on these amazing concerts were obtained from a simple set up that is probably within the reach of most of us (except the leslie of course). His talent is in his choice of notes and his innate ‘touch’ and not his armoury of equipment.
    Anyway – thanks for a really informative article. Cheers !

    [Thanks Gary! Yeah, this show prooves that you don’t really have to have a huge rig to get great tones. It’s actually quite similar to the Island set up as well. Teh Leslie can easily be solves with a second amp for stereo with a split using a leslie sim on one channel like the Boss RT20. – Bjorn]

  25. Dave A says:

    Great to have the site up again ,as you know love the tutorials :) Damm ive been needing some inspiration lately.Bjorn really beautifull tone mate,was the Cub on .75 of a watt.

    [Thanks! Not quite sure I understand your question but I used the normal input. – Bjorn]

  26. Gabriele says:

    Intresting how some licks on Breathe’s solo sound similar to some of Shine on’s one.
    I agree with these version of Dark Side being better than Pulse’s. I always thought that Pulse’s Dsotm rendition was a copy (wonderful, but always a copy) of what the Pink Floyd were, given by the Floyd theirselves. But now, this is how the REAL Pink Floyd sounded. Amazing. Any Colour you Like leaves you wordless.

    [Agree! – Bjorn]

  27. Mike says:

    Hi Bjorn. the new release of Gotta Be Crazy sounds like it’s in E, not D – do you think it’s the Strat? and when do you think they took it down a tone?

    [Yes it is. All of the 1974 performances were with standard tuning and they dropped it to D in early 1975 for the US shows. I’m not sure it’s the Strat or the Tele. I’ve been going through all the pics I got from the period and I can’t seem to find any that confirms other than that he used the Tele in 1975. Need to investigate that further :) – Bjorn]

  28. Johan says:

    Yeah, these pristine versions are no less than breathtaking. I’ve had the bootlegs from this stand for years and always loved them, but these new upgraded official versions are what (probably) all of us have been waiting for. A dream would be if Floyd once and for all decided to release a couple of pristine shows in best available sound just to set the records straight. Well, let’s at least keep dreaming. Judging from these releases pigs DO sometimes fly (pun intended!).

    Great article as well!

    [Yeah, that would have been great! There aren’t that many professional recordings though but there are several BBC radio shows from 1967-70 and I know that Vienna 1977 was also multi track recorded. – Bjorn]

  29. martin says:


    [Thanks! – Bjorn]

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