Rattle That Lock tour 2015-16

David’s new stage setup is a surprising departure from the Pete Cornish pedalboards that’s been his main effects arsenal for the past couple of decades, and a return to the more elaborate systems similar to what we saw in the 80s and 90s.

David Gilmour is no doubt experimenting with both new and old sounds and the setlist also require versatility and a wide range of different tones.

The biggest surprises, gearwise, must be the return of the Electric Mistress flanger and the ’55 “Workmate” Fender Esquire.

See the Rattle That Lock 2015 gear guide for a detailed rundown of David’s recording setup.

Pedals, racks and additional units

Top of rack – top row
Electro Harmonix Big Muff (ram’s head)
Lehle parallel L (mixer for Electric Mistress?)
Electro Harmonix 1976/77 Electric Mistress
1 Chandler Tube Driver
2 BK Butler Tube Drivers

Top of rack – bottom row
Effectrode PC-2A Compressor
Demeter Compulator
Origin Effects Slide Rig Compact Deluxe Compressor
Origin Effects Cali 76 Compact Compressor (added summer 2016, replacing the Deluxe)
Sovtek Civil War Big Muff (added December 2015 for South America)
3 Boss GE-7 Equalizers (probably assigned to each Tube Driver)
3 Source Audio Programmable EQ (Royal Albert Hall 2016, replacing the Boss GE-7s)
2 Providence Chrono Delays
2 Free The Tone Flight Time Digital Delays
Dawner Prince Boonar (Royal Albert Hall 2016)

Changes and updates of the effect rack

As on previous tours, David’s effects setup went through several changes along the tour. During early rehearsals in 2015, a number of different pedals can be seen being tested but not used for the tour.
– September 2015 Brighton opening night, the Digitech Whammy WH-1 is not working and is later replaced by a Whammy 5.
– December 2015 South America, a Sovtek “Civil War” Big Muff Pi is added. One Source Audio Programable EQ has replaced one Boss GE7.
– July 2016 Pompeii, the Origin Effects Slide Rig compressor is replaced by a Cali ’76 Compact. Two of the Boss GE-7s are now replaced by Source Audio programable EQs and a third can be seen lying spare on the rack.
– September 2016 Royal Albert Hall, all three Boss GE7s are now replaced by Source Audio programable EQ units. A Dawner Prince Boonar Binson type echo is added, while the MXR delay rack system is removed, possibly replaced by the Boonar.

David Gilmour - Brighton 2015 effects

David Gilmour’s stage effect rack.
Top row: EHX ram’s head Big Muff, Lehle parallel L, EHX Electric Mistress, Chandler Tube Driver, 2 BK Butler Tube Drivers, Providence Chrono Delay, Free The Tone Flight Time Digital Delay
Front row: Effectrode PC-2A Compressor, Demeter Compulator, Origin Effects Slide Rig Compact Deluxe Compressor, 3 Boss GE-7 Equalizers, Providence Chrono Delay, Free The Tone Flight Time Digital Delay
Left rack: Skrydstrup MR10 Looper, MXR DDL II, UniVibe, Peterson Autostrobe 490 tuner
Right rack: Skrydstrup MR10 Looper, Skrydstrup tuner splitter, Skrydstrup SC1 Interface, Skrydstrup Amp splitter / Interface
(picture used with permission – Francesco Marinelli)

Rattle That Lock - South America stage rig

David Gilmour pictured at Allianz Parque, Sao Paulo, Brazil December 2015. Note the addition of the Sovtek Civil War Big Muff underneath the Tube Drivers. A Source Audio Programmable EQ has also replaced one of the Boss GE-7s.
(picture by Andre BaSil)

David Gilmour Royal Albert Hall 2016

David picture at London’s Royal Albert Hall in September 2016. All three Boss GE7s are now replaced by Source Audio EQs and a Dawner Prince Boonar Binson type echo is added. Note also that the MXR delay rack system is removed, possibly replaced by the Boonar.

Additional units
Skrydstrup SC1 Midi System Controller
Skrydstrup XT+ Module
– main pedalboard, controlling the pedals and rack units, with options for either single effect switching or multiple effect patches.

Digitech WH-1 Whammy (Brighton September 5 2015 only)
Digitech Whammy 5
Peterson Stomp Classic tuner
Pete Cornish line selector (main guitars/slides)
Ernie Ball volume pedal main
Ernie Ball volume pedal for slides

Effect rack (left)
Skrydstrup MR10 Loop System
MXR Digital Delay System model II (removed in September 2016)
Univox/Shin-ei Uni-Vibe (custom rack unit)
Peterson Autostrobe 490 tuner

Effect rack (right)
Skrydstrup MR10 Loop System
Skrydstrup tuner splitter
Skrydstrup SC1 Interface
Skrydstrup Amp splitter / Interface

David Gilmour - Rattle That Lock pedalboard

David’s Skrydstrup SC1 Midi Controller and XT+ extension module switcher board, as seen during the rehearsals for the tour. Note the Digitech WH-1 Whammy for The Blue, the Ernie Ball volume pedal and a Peterson Stomp Classic tuner. The small on/off switch in front says “talk back” and is probably connected to the vocal mic.

Guitars and amps

Fender Stratocaster The Black Strat
– 1969 black alder body with black pickguard, Fender 1983 57 reissue maple neck and Fender 1971 neck and middle pickups and a Seymour Duncan custom SSL-1 bridge pickup.
Gibson Les Paul Gold Top
– 1956 model with Gibson P-90 pickups and Bigsby tremolo system.
Fender Esquire Workmate
– 1955 sunburst ash body with black pickguard and maple neck. Fitted with a custom Seymour Duncan neck pickup.
Jedson lap steel
– Red, fitted with an EMG-H pickup. Open Em chord tuning (E B E G B E) for High Hopes and One of these Days.
Fender Deluxe lap steel (blonde)
– Blonde, stock pickups. Open G chord tuning (D G D G B E) for Great Gig in the Sky and A Boat Lies Waiting. Also used for High Hopes, with an open Em chord tuning (E B E G B E) during the summer 2016 shows.
Gibson Western 1959 acoustic steel string guitar
– With a L.R. Baggs M1 active pickup.
Taylor NS74 acoustic nylon string guitar

David Gilmour - Rattle That Lock guitars

David pictured at Brighton Centre, Brighton, UK, September 5th 2015 with his two main guitars for the tour, the ’55 Fender Esquire and the Black Strat.

2 Hiwatt Custom 50W heads
– With Mullard 2xEL34 power tubes and 4xECC83 pre-amp tubes. Modified for linked normal and brilliance inputs. David’s only using one head. The other is a spare.
Alessandro Bluetick 20w tube head
Alessandro Redbone Special 55w tube head
3 WEM Super Starfinder 200 cabinets
– with 4×12″ Fane Crescendo metal dust cap speakers

David Gilmour - Brighton 2015 amps

David Gilmour’s amp setup as seen at Brighton Centre, September 5th 2015. Two Hiwatt Custom 50 heads, with two Alessandro heads on top. The three WEM cabinets are each mic’ed with a Shure KSM 32 mic. (photo used with permission – Troy S).

Guitar and amp setup

David’s current stage setup is in mono – all effects fed right into each amp. Only one Hiwatt Custom 50 head (reportedly cranked to get more grit) and one of the Alessandro heads in combination. The Alessandro is also used alone for certain tones.

All pedals, racks and amps are connected with Evidence Audio Lyric HC cables. Guitars to pedalboard are connected with Evidence Audio Forte cables. David’s using a wide range of different picks, depending on guitars, including Herco Flex Nylon 75s 1.01mm.

All WEM speaker cabinets are mic’ed with Shure KSM 32 mics slightly off centre of the cone.

Further reading

See these in-depth features for more on David’s gear: The Black Stratocaster, Telecasters, Gibson Les Pauls, Slide Guitars, Hiwatt amps & WEM cabinets and Electric Mistress.

See the Rattle That Lock 2015 gear guide for a detailed rundown of David’s recording setup.

Acknowledgements and credits
Official Rattle That Lock EPK, video and photographs from rehearsals, Brighton Centre pre-tour warm up gig September 5th 2015, European tour 2015, David Gilmour Gear Forum. Thanks to Troy S and Francesco Marinelli for pictures.

298 Responsesso far.

  1. Kai Eun says:

    I’m just wondering what he has done in the live in pompeii – shine on you crazy diamond – that famous 4 note part. It sounds like a multi tapped digital delay. It might probably be him using 2 or more pedal delays (Chrono & Flight Time) but not sure. What do you think?

  2. Emilio says:

    Hi Bjorn, delays are in front of amp or in effect loop in Gilmour rig?

      • Emilio Biagini says:

        Thank Bjorn for fast reply. Another question struggling me, wheter David uses the same approach when recording; or you think delays are added afterwards in the mixing stage?
        I know this maybe not an easy question but you knowdledge or in alternative, guessings, are really welcome.
        Tks again–Emilio

        • Bjorn says:

          Perhaps a bit of both. It’s impossible to know and determine what’s going on in a studio and the mixing of an album but traditionally, David’s been using delay or echo machones or pedals while recording. Mostly the same stuff he’s been using on stage, like the old Binson machine in the 70s and digital stuff in recent decades and years, like the MXR, TC etc. But, when you’re mixing an album, especially with digital DAWs it’s very easy to just add a delay or some subtle effects to pin down the tones and effects you need. I’m sure that’s been done and it wouldn’t surprise me if both Endless River and Rattle That Lock has some of that.

  3. Mark Lugg says:

    Hey Bjorn,

    Do you know if David runs his lap steel through the main rig, or does he have a secondary rig dedicated to it?


  4. Francesco Giagnorio says:

    Hi bjorn! I am a Gilmour fan, basically I have most of his pedal effect, a fender amp and some strat trying to create a Gilmour’s tone even if I know that I am very far. I am reading a lot of information on your site ( compliment for all the info ) but basically it’s difficult for me to know how does the Gilmour tone works, so I am asking you if do you have the most recent schematics drawing with all the connections between the guitar, the rack, the pedals etc. Even if it is from the past it doesn’t matter. Thanks a lot.

    • Bjorn says:

      I don’t have any specific schematics but everything is listed in these album guides and each effect is listed in order, so you should be able to figure it out from there. That being said, there is a lot more to a good tone than just how you arrange the pedals. Regardless of whether it’s trying to replicate David’s tones or figuring out a tone you have in your head. Star with the basics and get a good tone from your amp and then layer the pedals on top of that. Spend some time to know the gear you have and its potential.

  5. Carlos bRASIL says:

    Hello Bjorn, greetings from Brazil!!! A subject NEVER commented by YOU at Gilmorish.com related to hardware (I know there is a text related to the subject). We all know that most Gilmour’s guitars are based on single-coils pickups (except the RedStrat with its active EMG pickups). We all know, informed by your owesome site, about the huge equipment he uses (overdrives, modulations etc.). But there is something that is always MISSING. on “Gilmour’s Gear Guide”… HOW DOES HE DEALS WITH HUMS (inevitable with so many “noisy pedals” + “single-coils”???? Does he uses some kind of “rack-based noise suppression system” (in “studio” and on “live gigs”)??? Any information about that (brands, specs etc.), pleeese??? Best regards, Carlos Mink.

    • Bjorn says:

      Hi Carlos. True, I have never addressed that subject in a single feature but it is documented in the different album guides and the noise tutorials, part 1 and part 2. There i discuss different methods and tips, with both mine and David’s setups as examples. You should find all the info there :) Cheers!

  6. Alexis says:

    Hi Bjorn!

    I was wondering why David used 3 Tube Drivers for this tour, and after reading the posts on this thread, can you confirm what I understood so far:
    – 1 TD is set for clean boost (possibly for both Muffs and/or for another TD)
    – 1 TD is set for overdrive tones (for rythmic works I assume)
    – 1 TD is set for distortion tones (for lead works)

    I had the chance to saw him at the Chantilly show in France, on 16/07/2016. Great show by the way, was the first time I saw David on tour. Maybe I’m now too much formatted to his sound, but I didn’t realized that he didn’t relied on the G-2 anymore nor Muffs for most of the lead tones.

    The tone he had on Sorrow was really fat, it reminded me the tones on Pulse. I was surprised that he could achieved that fat tone with the Black Strat and without a SPC or mid-boost circuit. So I assume he had settings similar to Pulse on his rig, but maybe with some tweaks on the EQ’s.


    • Bjorn says:

      He’s using those three Tube Drivers, with different settings, for the purposes you describe. It just gives him the full pallette of sounds and option for stacking. He’s using the Tube Drivers for most stuff but the Muff for Sorrow and Comf Numb.

  7. Drs M says:

    How about some more info on those Alessandro amps? Maybe an in-depth feature?
    Thanx for your hard work and great, informative website. Cheers from the Netherlands!

    • Bjorn says:

      No one is carrying them here in Norway so it’s hard for me to test them. I’ll certainly do a review if I ever come by one.

  8. justin says:

    what did Mr. Gilmour use the Digitech IPS 33 for back in the OAI days? was it a back up for the whammy? why did he have 2 of them for the recording of OAI?

    did he possibly do the ‘in the blue’ recording with the IPS?

    • Bjorn says:

      I haven’t quite managed to figure that out but the IPS is controlled with a customized Ernie Ball expression pedal and for the album, he apparently used the IPS for the The Blue. It might have been used as a spare for the tour.

      • justin says:

        thanks for the reply and clarification. I always wondered if he used something other than the whammy for the recording. Sometimes that sweep up and down the octave is so long and it seems smoother than the whammy. when I heard him play the solo live at Radio City Music Hall (was still breathtaking BTW) he seems to jump in-between octaves a lot quicker, and not on purpose, it seemed as if the sweep was limited.
        This might just be me and perhaps the song was actually at a higher BPM, therefore less ‘time’ for expressiveness.
        regardless. I don’t think that solo gets enough attention, to me it’s up there with …Numb. That and his album intros, castellorizian is so operatic! and I know you don’t like how much compression is on 5am but I absolutely love it… I love how he went for a different feel for this intro, the double bass could thump the subs in the back of a lowrider and the guitar is so squashed you can hear the makeup gain noise pumping in the background, it almost sounds like waves. he could have easily just done the intro with a tube driver but I think this was the right choice.
        on the RTL record do you think he used the slide rig? I used to have a large format slidrig and you could squash the hell out of any signal.
        anyway, thanks Bjorn.

        • Bjorn says:

          Hard to tell what he might have used in the studio. You normally don’t want too much compression while recording because there is so much compression going on in the lining of the signal and mixing. He’s probably using a pedal for some of the stuff but which is hard to tell and again, some of the compression could be processed, either analog or digital.

  9. Ian says:

    Hi Bjorn, any chance you can make a song by song breakdown? That would be awesome! Thnx

  10. David Du says:

    hi, bjorn
    what is the best alternative of digitech whammy wh-1? especially the latest released version, like whammy 5?
    or any others?

    • Bjorn says:

      I don’t have that much experience with Whammy pedals. I think Mopheus did a pedal called Bomber but I’m not sure they make that anymore. Digitech also have a couple of pitch pedals without the sweep pedal but they cover a slightly different ground.

  11. James Richard says:

    Hi Josh, wanted thank you for the information on how the most beautiful sound I’ve ever heard is produced, I’ve been listening and in awe since 1970, was at Hollywood bowl last year and was amazed again at Mr. Gilmore, this is really so cool how you’ve put this information together, Thank You

  12. Nick says:

    I saw Gilmour’s concert in Wroclaw . He changed his keyboardists . They used computers for keyboards . Does anybody know what vst was it? It also showed lyrics

    • Carlos says:

      Hello Nick,

      I don’t know what VST’s were used on the tour but there is a cool sight called waterish.com (click on Wrightish under the categories section) and there are various VST’s listed to get the classic Floyd sounds.

  13. John Nebus says:

    Hey Josh,
    I don’t know the URL but allesandro amps do have a very good website. And the are very responsive to questions. David is using their Bluetick.

  14. Josh says:

    I’m so pleased to see him using 50w Hiwatts these days… Mostly because it gives me an excuse to use my 50w as my main amp in my Floyd act. I have two 100w Hiwatts and one 50w, but the 50 is something special – the best sounding amp I’ve ever heard by a long shot. It’s been nice to put the 100w heads in the backseat for once as spares (they sound lovely but are _much_ less forgiving and quite a bit more harsh – depending on the venue they can be a real handful compared to the smaller wattage amp).

    I’d be interested to try one of those Alessandro amps someday, but they don’t seem to exist here in Canada!

    • Bjorn says:

      My experience is that you never really get to drive the 100w enough… unless you play stadiums :) Especially when you use the amp as a clean platform, you need to be able to drive the pre-amp a bit and push some air through the speakers and a 100w is just too loud for most venues. You get a flat sounding amp with little character.

    • Cameron T says:

      Hi Josh,

      I don’t suppose you could share a few details about your Floyd tribute act? I notice you’re in Canada, as I’m in Canada for most of the year, I’d love to come check you guys out if I get the chance!

  15. georg viel says:

    I wont the dvd from rattle that lock tour…shop????

  16. Chris says:

    PS I love your webiste!!!

  17. Chris says:

    Greetings, Bjorn. If you have a minute, I have quick request for a recommendation…Currently I have a Vick’s Audio ’73 Ram’s Head and a EO Pig Hoof (figuring out which I’ll keep). I am looking to stack either with the best boost/overdrive. I am torn between the Buffalo TD-X and the Power Booster (open to other suggestions but I know you think highly of both). I play through a VOX AC 15 but I am looking to get a Laney Cub head and cab.
    I guess my question is, which of the 2 Buffalo pedals would work best to smooth out the fuzz tone and get me closer to Gilmour’s ‘Numb solo tone? Also, since Gilmour recently seems to have gotten away from the classic clean power booster type of pedal, does a tube driver type of pedal make more sense? Did you think he figured out that he didn’t need a clean boost in his set up?

    Thank you in advance!


    • Bjorn says:

      The Tube Driver is very similar to the old Powerbooster but it has a bit more mid range and compression, which makes everything stand out more in a band mix. I love the Muff+Powerbooster combo but for your amp I would go for the TDX, as the VOX needs a bit of that mid range for the Muff to sound smooth.

  18. OTW says:

    How does David set his knobs on the Strat – what level on the tones/volume?

  19. Daniel says:

    Are the delays going into an fx loop of the amp?

  20. Soumya says:

    Hi Bjorn,

    Awesome article as always. This is a very significant year for me as i got the opportunity (at last) to be there in Rattle that Lock concert in Hollywood bowl , USA.

    Obviously i will never forget that experience in my lifetime and probably beyond (who knows!!) :)

    Coming back to guitar that David used, was Workmate telecaster and Black Strat. Is there any documentation on the pickups and configurations of workmate Telecaster?

    Happy Holidays and Merry Christmas to all my fellow Gilmourians!!!!

    –Cheers Soumya

    • Bjorn says:

      Thank you! There aren’t much info available on the Workmate but check out the Telecaster page for the info that I do have :)

      • Josh says:

        For what it’s worth, I had a lovely Workmate replica made last year and I put in a Bareknuckle Pickups Flat 50 in the bridge and their 63 Slab Board strat pickup (with no cover) in the neck. Use it live for Fat Old Sun and Run Like Hell and get lots of compliments on the sound.

  21. John Nebus says:

    Do you have a pedal order for the Rattle tour yet ???

  22. Chad says:

    Does Gilmour use a hero flex .50 at all or would that be Chester Camen? I thought maybe it would be for the girl in the yellow dress. I got the pick and it was between the two of them?

    • Bjorn says:

      David’s usually using heavy gauge 1mm but he could be using something softer for certain songs. Girl he does with his fingers I think.

  23. DavidGilnot says:

    I can’t believe you wouldn’t have seen this article yet Bjorn, but others here may not have. David’s Pompeii show (oh to have been there) with loads of great intimate photos and a sound sample. Good shots of his rig in close up detail and, despite my persistent criticism of Polly’s lyrics, I do love how happy she clearly makes him. I can forgive her for that.

  24. Mikep says:

    Can’t wait for Friday ! Off to see Mr Gilmour at the RAH…. can’t wait

    • Bjorn says:


      • mikep says:

        Really good show much better than last years show. 5am almost brought me to tears and the new stuff really worked. Yellow dress was boring as usual. On the last night thought he would bring someone on stage to sing cn but no. No Bowie and no Wright…we miss you.

        • Carlos-Brazil says:

          The Royal Albert Hall gigs recordings (for future DVDs/Blue-Rays lauching) are usually the most “extensive” and more “elaborate” ones. Something similar is easily noticeable at the last “Remember That Night” tour versions (Royal Albert Hall X Gdansk)… Maybe this new tour will result on a RAH DVD and a Pompeii DVD also… I’ve attended this tour in Brazil on december 2015 and it seemed “minimalist” on equipment and effects (similar to GDansk…).

  25. Cameron says:

    Hey Bjorn, this is a FANTASTIC resource as always, but I notice that there isn’t the same specific song rundowns that the other albums seem to have; is this in the works at all? In this case I’d imagine you’d be waiting for an official live release, in which case, no rush! Just wondering if it’s on its way :)

    • Bjorn says:

      Hi Cameron! Thanks for your kind words! There is some info available from looking at clips and pictures but it wouldn’t be enough to fill a complete list. I’m working on it but I’m probably waiting until we get the official releases :) Everything I’ve listed on this site is based on evidence, so I don’t want to guess :)

      • Lucas says:

        Is gilmour playing at lower volumes or using less compresion? I notice much less feedback and less sustain than usual in songs like sorrow

        • Bjorn says:

          He’s using 50w heads now, as oposed to the 100w he’s been using for decades but there’s smaller venues and the volume is relatively the same. He’s also driving the heads a tad harder, judging by the settings, so there’s a bit more compression coming from the tubes. He’s using a lot more compression on this tour and much less gain. There’s also less delay in the mix of his tones. I have too noticed that there is less sustain this time and it even seems like he’s struggling at times. A strange approach perhaps to use more compression and less gain, but I guess it’s down to taste and what he feels comfortable with these days. He has also mentioned that his fingers aren’t as fast as they used to, the man is getting older…, and more compression would make it easier to play.

          • Seen him last week at the RAH, London – He was superb – I thought his playing and singing were amazing. Noticed a few time what you called “struggling” but it seemed to make him really dig in a bit more which was great to see that earthy side to his playing and that the notes were not being carried by gain and delay! it was just an unreal and magical experience – first time i saw him live too!

            • Bjorn says:

              Glad to hear! I saw him early on the tour last year and I’m sure he got better after that. It was the same case in 2006. The first shows were dull in comparison with what you hear and see on the Gdansk show.

  26. Luc says:

    Can’t tell my emotions. In 10 hours, I’ll see for the first time David Gilmour without watching a screen. I never tough that day’ll come.

    I discovered Pink Floyd when I was a teenager around 1985 and was quickly hooked to their music but never had the chance to see them live.

    Tonight will be special I think because it”s the birthday of Richard Wright. I think there’ll be lot of emotions for David, Guy and others members of the band who have worked with him.

    By the way, I have to speak with David: because of him I started learning guitar at the age of 43 and it’s lot of suffering :D

  27. John Nebus says:

    Is there anybody out there…. Sorry, couldn’t help it….. with pics or info of Phil’s live rig ???

    • Bjorn says:

      Sorry for my very late reply. He’s using pretty much the same setup as in 2006 and most of it are David’s. An old Pete Cornish board from the late 80s and a single Hiwatt head with a WEM speaker cabinet.

  28. don’t know if it has been already posted, but here’s a link with amazing pics inside David’s gear, from the pompei show :


  29. John Nebus says:

    Yes. The picks are hero flex nylon 75
    Not .75
    75 is a designation I guess.
    They are 1.01 thick

  30. Veg says:

    Thanks mate,
    Do you know if he is still using DÁndrea 351 and 354’s?

  31. Night says:

    I’ve seen him yesterday in Verona,i had the impression that he is using much less delay than before,do you share this consideration?

    • Bjorn says:

      Indeed. The tones are overall brighter, slightly edger and with less delays compared to the 94 and 06 era. Check out this feature for some discussion on his current tone.

      • Carlos - Brazil says:

        The “Pulse era” seemed to be mostly based on modulation effects used in large scale (together with distortions, fuzzes etc. – to me it seems to highlight the frequent use of some kind of effect like “univibe/Leslies”) without forgetting to mention the RedStrat with its active pickups. The result of the show recorded and made available on DVDs was fantastic, creating a “magical atmosphere” throughout almost all the songs. In the “Remember That Night” tour appears to have been used a combination of “more clean” effects marked by the return of the BlackStrat with its passive pickups.

        • Troy says:

          I think that by ’06 DG was likely rethinking his approach to tone as a result of having got tired of modulation covering up his tone & was seeking out a more “honest”/direct/upfront sound that would also negate any cheap shot critic making the accusation that his effects were doing the heavy lifting of his sound.

          Some have mentioned that he seems to be using a lower level of delay in his current tour. He is also using Tube Drivers rather than Muffs for his lead gain with the exception of two songs. He minimises the use of the UniVibe to one song (with very low intensity) & the flanger to one or two – perhaps as a small nod to tones from his past.

          This seems to be a natural maturing of approach to tone – to represent his almost certainly having come to terms with changes that age & the hindsight & perspective that it can & should bring to enable one to speak more directly, unencumbered by potential distractions & with a sagacity that comes from experience, personal insight & reflection.

          Contemplating his changing approach to tone is to see it as a sonic philosophy gained through knowledge, understanding & wisdom.

          Certainly much can be learned from studying & enjoying all of his sonic textural explorations.

          • Carlos M says:

            First of all, sorry for my “poor English”… We all change over time. Talking about David Gilmour, I do some modest observations about his live performances. On the “Pulse tour”, we observed the intensive use of many effects, the use of the RedStrat with active pick-ups, with what I understand to be a clear intention to create a sound atmosphere typical of “progressive rock” of the earlies 60s – we can highlight of the huge use of modulations. On the “Remember That Night tour”, we observed a tendency to minimizing the use of effects, the return of the BlackStrat with its passive pickups and TWO versions of the same live show (one recorded at the Royal Albert Hall, with refined performances and extensive setlist and another recorded in Gdansk, with more simpleminded performences and a very small setlist). I believe that something similar happens with the “Rattle That Lock tour”. I was present at the live show in São Paulo, Brazil on december/2015 (and found it very similar to Gdansk DVD in terms of “audio quality” and more simple-minded performances). I await the “final version” to be recorded at the Royal Albert Hall to make comparisons with what I’ve watched live (although I’m pretty sure it will be much improved at the UK) and probably a recorded historical version of the show in Pompeii.

  32. Veg says:

    Hello Bjorn,
    Do you know what picks David is using?

  33. John Nebus says:

    Thank you Born.
    I, for the most part am lucky enough (blessed) to have almost all Daves rig right down to the evidence cables. Don’t have his elaborate switching yet. I guess my noise is coming from interference. Very old wiring here. And I’m playing in very close proximity to my amp. In the process of having some pdeals modded for noise(mistress, ge7s, rams head muff,)
    2 more questions.
    What are his live vocal mics and what mics for recording his guitar? ??.
    Thanks again for such an a$$ kicking site🎸😎🎸

  34. Troy says:

    It’s the Hall and Collins Signature Echo Unit.

    Have been very interested in this unit that was years in the making.

    It would be interesting to read how its Binson emulations stack up against the Catalinbread Echorec, Gurus Echosex & Dawner Prince Boonar.

    Any Echorec enthusiasts here that have an H&C Echo that are happy to share impressions/observations about the unit?

    Obviously the unit emulates a tot of other vintage echo units – & is big with guitar-playing Hank Marvin [The Shadows] fans. I like Hank & he’s a clear influence – along with some great American blues players – on DG.

  35. Pedro says:

    I was wondering if there are also backup guitars on the tour. I can’t imagine there isn’t a backup for the Black Strat or the Workmate Esquire?

    • Bjorn says:

      I haven’t seen any spare guitars being used, but it seems like he has a ’52 Tele and a NOS Black Strat as backups… as far as I can see.

      • Pedro says:

        Have been looking a bit further: A picture of the 52 Tele (reissue?) can be seen in the Royal Albert Hall backstage footage in the Guardian and on one of the Instagram posts of Polly Samson, their son is playing a second black strat but not clear if it’s a NOS or a relic.

        • Bjorn says:

          Yes I saw that :) I haven’t seen neither in the stage setup but the NOS was spotted during sound checks at some of the outdoor shows last year.

    • Fernando says:

      Pedro, in Santiago, Chile there were a 52 reissue Tele, a NOS Black Strat, the Red Strat and another Gold Top Gibson Les Paul with Bigsby and P90, as spares.

  36. John Nebus says:

    Thank you

  37. John Nebus says:

    What does David use for noise reduction? ??

    • Bjorn says:

      Nothing. Good quality cables, a bit of shielding inside the guitar and high quality pedals. Most of his pedals are also modified to perform better, with a lower noise floor. He’s also using the guitar volume and a volume pedal to mute the signal between songs and parts when he doesn’t play. It’s also how he use gain and combine different pedals. By carefully beldning two gain pedals, and compression, he use them as much as EQs as gain. It’s also the fact that when you see him live, the stage is large, which means that there will be less feedback and noise as a result of amps and pedals interacting. Still, there is noise in his rig. It’s just the nature of how everything works. He’s using different techniques, and high quality gear, to hide it.

      • Carlos - Brazil says:

        And,,, Probably a sound engineer handling a huge mixer behind the scenes (even managing some frequencies usually related to hums…). We can never forget that professional artists also have a huge backstage staff making everythint “easier” for them!! Best regards John and Bjorn :-)

        • Bjorn says:

          True. Keeping a tidy and neat rig at all times, which you can with a tech like Phil Taylor, will mean less noise and other unwanted issues. There’s different kinds of noise too abviously. Noise caused by electrical interferance can easily be dealth with but once David’s hits that Muff or high gain setting Tube Driver, there will be a lot of hiss and rumble, which he cleverly disguise with different techniques :)

  38. Anton says:

    There is one more pedal on this video https://www.youtube.com/watch?v=A5WSSG9SLjs

    It goes after 2 BK Butler Tube Drivers and it’s not Providence Chrono Delay. Can you define it?

    Here is screenshot: http://cs636621.vk.me/v636621709/17c4f/hMlT5uoqk-E.jpg

    Thank you!

    • Bjorn says:

      Seems like a tuner of some sorts. The footage is from the tour rehearsals last summer and he is seen tryng a bunch of pedals that didn’t make it on to the tour.

      • John Nebus says:

        I don’t think it’s a tuner. I checked out the video of that rehearsal and can’t really make it out. The sunken knobs look like a Hughes and kettner or line 6 something or other.🎸😎🎸

  39. Romano says:

    Correction, what I initaly thought to be the Fire Bottle is most probably the T-rex Replica. It is located among the delay pedals. Gone are 2 Boss eq’s as well with something else added instead.

  40. Romano says:

    Hello Bjorn.
    I saw David last light in Vienna and what I noticed is that the Mistress is gone and the Ram’s head as well. The Civil War muff was added to the setup. C Numb solo had no modulation effects on it. Just plain muff.
    I also noticed what looked like the Effectrode Fire bottle but I am not 100% sure.

  41. John Nebus says:

    Are the boss eq”s before or after the tube drivers in the signal path and are they modded ???

    • Bjorn says:

      They’re after. You always want EQ after gain effects. The GE7s David used in 94 was modified for a flatter or more neutral signal, so I’m guessing these are too… or they might even be the same pedals.

  42. John Nebus says:

    I have been back to this post so many times I almost have it memorized. Totally awesome to say the least. One question though…. Do you know how the mistress is incorporated with the lehle ???

    • Bjorn says:

      As far as I know, it’s boosting the volume of the Mistress to unity level of the bypassed signal.

      • Troy says:

        Ah! Now that would make sense if it can also do that that it would be used for this purpose. I was only aware of its parallel dry/wet blend feature, not that it could do raise the volume of wet only & take out the dry signal.

        I think that it had been suggested earlier that it was possibly being used to blend in more dry signal. It didn’t sound to me like that was what was going on which is why I thought that it was possibly being used to blend in the MXR DDL.

        That still leaves the question as to why DG didn’t simply get a Howard Davis style unity volume mod done to the pedal as many do with their vintage EHX EM’s?

      • Troy says:

        Might be worth adding that possibility (I would say probability) to the effects rundown at the top of the post. It says “mixer for Electric Mistress?” in parentheses after the Lehle. The volume boosting makes much more sense.

  43. Cameron says:

    Hi Bjorn! I was wondering if you knew if David has his Ernie Ball volume pedals modified in any way. Maybe buffered? I have an EB 6166 VP (the big version) and I’m thinking of getting a buffer mod.

  44. Von says:

    I was never a fan of the post Waters floyd era.. Specially their live albums… The classic songs felt sloppy and just lazy… But when I saw the “Remember that night” dvd I was like wow! David plays perfectly now! So sweet and tight… I was shocked to see him live this year and see how much he messes up!!! His playing was extremly sloppy and he messed up in every single song! Of course people were mesmerized and could not tell… But I could… And the fact that he could not play one single song perfectly through out dissapointed me… I’ve seen Roger Waters play live about 6 times and him and his band sound super tight every time… No mistakes there… I guess David has earned the right to fuck up, and improvise on the fly… Bht oh man… I took some videos and I seriously cannot post any of them… The solo on The Blue, which is one of my favorites was a total trainwreck…
    I still had a great time and I’m glad I got to see him live at least one time… But man, now I see how much they must fix the dvd’s on post … To make him sound like the best guitar player ever…
    He still is my favorite, not because of ability but because of his choice of notes that really make me feel…
    But wow! Even his guitar felt setup wrong… A lot of fret buzz…
    Crazy how an artist of his stature goes out and perform this way… Extremely dissapointed …

    • Francis Berthiaume says:

      Try and pay attention when you watch waters and you’ll notice he’s playing with all sprts of backing tracks since early 00’s. Don’t get me wrong, I love the guy but on a performance point of view I prefer mistakes than being lied to.

  45. mark says:

    Can someone help me decide whether I should go to United Center or Auditorium theater in Chicago, Thanks

  46. Lui Sutil says:

    Someone needs to introduce Strymon to David… I’m sure he would love El Capistan and the DiG

    • Troy says:

      Maybe they have & the Strymons didn’t make DG’s shortlist: Perhaps the sounds might not have been quite what he was looking for, “hidden controls” might have been a bit annoying, etc.

      I know that last year after having used a Diamond Memory Lane 2 for delay for a few years I wanted to expand my delay palette. I had looked at the Strymons closely, including the Timeline, but ended up acquiring the following: TC Triple Flashback, TC Alter Ego 2, Catalinbread Belle Epoch, Catalinbread Echorec.

      The relative simplicity & versatility of the first two made them perfect for different boards. The specialised nature of the latter pair, their compactness & their ability to dial in a wide spread of tones within their area of focus makes them inspirational creational tools.

      There’s certainly never been such a plethora of quality delay units out there. There are some other absolutely killer units out there, a couple of which really appeal which have been released since I last went on a delay splurge. These things have to tick the highest priority boxes for our individual needs. I’d still like some more though!

  47. Nick says:

    Hi Bjorn,

    No such thing as a dumb question I say but do you know if the Ernie Ball volume pedal is an older version? Or perhaps modded? It looks like the output jack is on the side, unlike mine.

    Thanks for all you do,

  48. Brad Roller says:

    I’m so glad he’s using the mistress on this tour! But I can’t help but wonder…”why?” What made him say “let’s use it for this one song!” Is it because this is probably his last tour and he’s just remenising? Same with having his power booster and phase 90 out in studio. It’s like an old man looking back at his younger self and the tools he used back in the day. I can see him now saying “I remember why I liked these pedals then!” Then again, I sometimes wonder if David and Phil sometimes spy on our curiosities and say “let’s use this pedal…that’ll make their panties wet” lol

    • Bjorn says:

      Ha ha, yeah, it’s just for us geeks :) I think it’s mainly Phil Taylor’s fault. He’s always been the guy checking out new pedals and getting hold of those old vintage ones. They did pretty much the same during 1993-94, when David obviously wanted a more authentic sound for the old Floyd classics. David didn’t have room for elaborate setups in his Astoria studio but with the building of his new Medina studio, they could afford to use much of the space for amp and pedal setups. They also did this during the Endless River sessions, which might have inspired them to dig up some old tones. It’s also fair to think that they wanted much of that setup on the tour, as he also recorded Rattle That Lock with it. To have all the pedals laid out like that gives you much more freedom to change things around, rather than having to open up and rewire a Cornish board. Why they use the Mistress? I don’t know but it sure sounds amazing!

  49. Galo says:

    Is the Source Audio – Programmable EQ

  50. Galo says:

    Hi Bjorn What is the grey pedal replacing one of the BOSS GE-7 on the Southamerican tour??

  51. Paulo Lang says:

    David’s tone for C. Numb in Curitiba felt much like the “Is there Anybody Out There” live album. I think he added the Sovtek Muff for Sorrow. I just wonder how he got that hot bluesy tone on Rattle that Lock (song). It sounded a little bit like SRV.

  52. El_Guitarrero says:

    Hi. Congratulations for the thorough job in keeping this website with updated information.
    I have just seen David Gilmour playing live in São Paulo, Brazil, on the 12th of december, 2015. It was an amazing show, a unique sonic experience. It was the clearest PA sound I’ve ever heard. David’s tones are fantastic as always. I kept wondering what his gear was, but from where I was I could only see the speaker cabinets, the guitars and the man. I’m glad I’ve found detailed information on his current setup here.
    The setlist was very good, a good balance between old and new material. I like his new songs. Of course I wanted to hear some Pink Floyd stuff, and David made sure everybody went home satisfied. I wish brazilian crowds were quieter and more focused on listening to the music; nevertheless I really enjoyed the concert.
    David is the best guitar player in the world. The sounds he gets are surreal.

  53. Kaspar says:

    Hi Bjorn,
    I saw a Backstage Picture from The Royal Albert Show, and it seems that, after the Whammy-malfunction in Pula he switched to the new Whammy 5 Pedal:


    You can see that it has a different logo on the Expressionpedal than on the rehearsal pictures, and under the tape, you can see the line from the “W” of “Whammy” that is on the Expressionpedal of the Whammy 5


    Judging by the pictures, would you confirm that observation?

    • Bjorn says:

      Sorry for my late reply, Kaspar. Judging by these pictures, you’re absolutely right. You can also see the mini toggle switch that’s on the 5. Nice find!

  54. hey Bjorn, great site! has been alot of help so far. Since it was to late for me to buy a ticket for Oberhausen(obviously), I was wondering if there is gonna be a live dvd of this tour. What are your thoughts on this? and if yes, what show would you reckon?

    • Bjorn says:

      I’m sure there will be a live album and DVD eventually. It seems to have been the way to do things since Momentary :) I read somewhere that they taped and filmed the pre-tour Brighton show and they’ve filmed a lot of backstage material throughout the tour. I doubt they’ll released the full Brighton show, given it was the first night but I’m sure we’ll see some stuff coming next year.

      • Carlos - Brazil says:

        Probably the new tour’s DVD/Blue-Ray will be based on a “best of” from the 03 gigs at Royal Albert Hall (the same as “Remember That Night Tour). On a “Blue-Ray version”, probably some excerpts of the first Brighton gin and “extra vídeos” (again, the same as the last tour..). Rebards Thomas and Bjorn ;-)

  55. Troy says:


    Video of DG mini-gig (four songs) at Koko, Camden, London (October 18 2015):


    Okay, people, here’s the results of studying the above video over the past few hours using screenshots that I took to glean as much info as possible:



    “Astronomy Domine” – “Workmate” Esquire [with added neck pickup] (bridge p/u)
    “In Any Tongue” – Black Strat (neck p/u – rhythm; bridge p/u – lead)
    “Wish You Were Here” – Gibson Western acoustic [with LR Baggs p/u]
    “Rattle That Lock” – “Workmate” Tele Esquire [with added neck pickup] (neck p/u – rhythm; bridge p/u – lead)


    Only amp used:

    Hiwatt DR-504 (50 watt) > one WEM 4×12:

    Amp settings (noted from several screenshots taken):

    Top bright channel jack input

    Normal 1:30 [6.5/10]
    Bright 11:00 [4/10]
    Bass 2:00 [7/10]
    Treble 9:00 [2/10]
    Middle 12:30 [5.5/10]
    Presence 8:30 [1.5/10]
    Master 8:30 [1.5/10]

    These appear to have been altered slightly from the settings that you referenced for the Brighton Centre gig which were as follows (I have added in brackets the “out of 10” reference points to the “o’clock” positions):

    Normal 1:00 [6/10]
    Bright 12:30 [5.5/10]
    Bass 3:00 [8/10]
    Treble 9:00 [2/10]
    Middle 1:00 [6/10]
    Presence 9:30 [2.5/10]
    Master 9:00 [2/10]

    Note that unlike the main 2015 tour gigs there is no Alessandro amp(s) accompanying the Hiwatt.


    Pete Cornish board: Appears to be the 2006 All Tubes Mk II board (DG is possibly only using the Demeter Compulator, the two BK Butler Tube Drivers & maybe the Boss GE-7 Graphic EQ from the internally mounted pedals).

    Two pedals sitting on top surface by upper row of built-in pedals:

    Upper right position of board: Providence Chrono delay (looks like DG might be adjusting this at the 5:04 mark just before “In Any Tongue”; at the 10:00 mark a single strike of damped strings is heard going through a delay just for DG starts the solo of “IAT”)

    Upper left position of board: Dark brown pedal that looks like a Boss unit: Possibly a CE-2B Bass Chorus with its dry blend mix control? Chorus sound like it may have been used here for rhythm parts of “Rattle That Lock” – though this might have been John Karin’s Strat guitar or the other guitarist (from the group “Boombox”) going through a chorus effect – or both of theirs?) Any thoughts on this one?

    Also: DG didn’t appear to be using any rack unit. Only other pedal noticed was an Ernie Ball volume pedal to DG’s right side of the Cornish board on the floor.

    Bjorn: Presumably DG has the bright channel hardwire-patched internally to the normal channel. Would this be to the bottom normal input or can it also go into the top normal input? Any info on how he has this wired?

  56. Troy says:

    Interesting info here (albeit 12 years old) on Hiwatt UK & Reeves amps:


    “Re: Hiwatt UK vs. Hiwatt USA
    Jul 08, 2003

    Just want to add to what Mark said – I spoke to the head tech @ Hiwatt UK (Music Ground/Biacrown) and he confirmed that Reeves is just a front. All the Reeves amps are imported from the UK and are manufactured at the same facility. They are identical in every way to the reissue Hiwatts save for the nameplate and corner protectors. If Fernandes didn’t have the trademark than the Reeves would have been Hiwatts. They’re a little on the expensive side though but no more so than your typical boutique amp”

    There is no likely reason that this situation has changed in the interim that I can think of, so bearing all of that in mind it would seem that for those who choose to go new rather than original & who are on the eastern side of the Atlantic then Hiwatt UK would be the way to go (same quality as Reeves amps due to being the actual same amps & already set up for 220/240 V rather than the US-ready 110/120 V.

    • Bjorn says:

      I really don’t have no info on this so I can’t comment.

      • Gabor Illy says:

        Interesting indeed, but not realistic.. Just calculate the costs of logistics.. Handmade Brittish chasse exported to Reeves factory for a simply assembly? Do not kidding.. I have a HIWATT Custom 50 Signature combo, it is pricey alone, directly from GB.. I do not think that there is a hidden cooperation between them. Taking into consideration, what happened when I ordered and paid my HIWATT Custom Little D rig, they are tending to lie sometimes..fantastic name, good product, but a not reliable company..

  57. Troy says:

    Any more info on the two Hiwatt Custom 50 heads? Re-issues? Originals? Any evidence one way or the other?

    • Bjorn says:

      Pete Cornish put out some pics in 2005/06 of David’s Custom 100 and 50s that he had modified and cleaned prior to the On an Island tour. They seem to be original 70s models.

      • Troy says:

        Makes sense if he had them then I guess.

        It seems the Hiwatt marque has been taken over (yet again) in 2013. Anyone here have any experience with recent issues of Custom 50’s & 100’s, especially with any experience of originals or the Reeves marque new versions to compare?

  58. Troy says:

    I presumed that it was a Goldtop LP with P90’s set to neck pickup – but maybe I was too far away at Brighton.

    • Bjorn says:

      That’s my guess, and that’s what he used on the album and the Albert Hall shows, but it would be interesting to see pics from the Brighton show.

  59. Hi Bjorn , I was at the Brighton gig , On The Girl In the Yellow Dress. From where I was sitting David appeared to use a gold Gretsch hollow body , I wasn’t close enough to see the headstock but it did appear to have f holes and would also fit in with the jazz nature of the song. I would like to know if anyone else was there who saw the guitar better than me, As photography and video were banned and nigh on impossible perhaps we shall never know. Great Gig and many thanks for all your work on this site.

  60. Matthias says:

    Hi Bjorn,
    Could you see the settings on David’s Hiwatts during the shows?
    Take care,

    • Bjorn says:

      Normal 1:00, bright 12:30, bass 3:00, treble 9:00, middle 1:00, presence 9:30, master 9:00 (all o’clock).

      • Troy says:

        Impressive detective work!

        9 o’clock on the master seems surprisingly way low. On the night that you were near the front did you notice the volume from the cabs being a lot less than in ’06 at the RAH (I recall you once writing that it was very loud coming from DG’s own rig)? I wonder if the chicken-head knobs for master were repositioned? What were the settings for the ’06 RAH gigs, anyone know?

        • Bjorn says:

          Those settings are from Brighton but I think they’re pretty accurate for the tour. Keep in mind that he’s using the Hiwatts in combo with the Alessandros too. His amps were pretty loud but if they were as loud as in ’06… hard to tell. You could clearly hear the amps from the stage though.

          • Troy says:

            Do we know that for sure that the Hiwatts & the Alessandros were being used simultaneously? I’d presumed that he had them for the odd number such as “GWTYD”.

            Have you set up your Reeves 50W with those settings? It would be interesting to know how you find it tonally compared to however you normally set it up. DG using two would obviously be louder.

            • Bjorn says:

              I have that from someone why sat with the sound tech during one of the shows in Albert Hall :)
              I did try the settings on my Reeves. Not too far from the 2006 tone but a tad darker and perhaps also a tad more grittier, although there’s obviously no breakup.

      • Matthias says:

        That’s radically more bass and less presence than in 2006

  61. Mark Williams says:

    To me, it seems obvious that Gilmour is no longer “endorsing” Mr. Corn*sh.

    • Bjorn says:

      Well, he has never endorsed Pete Cornish… I know you didn’t mean that literally. I guess they contacted him back in the days because not many people did pedalboards back then and they’ve kind of stuck with his designs. Still, keep in mind that David did not use Cornish in the 80s and 90s. That’s 15-20 years without. I’ve no idea why he doesn’t use Cornish now and it’s kind of strange that he’s so clearly not using ANYTHING but it’s always been Phil Taylor who’s in charge of checking out new stuff and introducing David to new sounds and Phil has always been very clear on the fact that David rarely use Cornish pedals. They’ve used the custom boards but rarely the pedals.

      • Mark says:

        Didn’t his Pulse rig consist of several Cornish pedals as well as a lot of custom Cornish rack switchers controlled by a Bradshaw MIDI switcher (another brand he seems to have strayed away from)?

  62. Troy says:

    What do you think of the possibility that the Demeter unit might actually be a Tremulator (possibly used in “Money”) rather than a Compulator? I know that it seems with its physical placement between two compressors that it would be another compressor but if it was a Compulator then what is he using for the rapid amplitude modulation sound? Or is that all Phil Manzanera?

  63. Matthias says:

    Hi Bjorn,
    What do you think are the pros and cons of equalizing the Tube Driver like David is doing and boosting it with a boost pedal? What pedal are you using to boost your TD? Should it rather be a transparent or midrangy boost?

    • Bjorn says:

      An EQ allows you to cut or boost specific frequencies, while a booster will colour the tone with its character. It’s just two different ways of enhancing the tone. From what I’ve seen in pictures, it seems that David’s using the GE7s with very modest settings. A slight low end cut and a tad more mids. He is also layering the Tube Driver, which will provide more gain, compression and volume.

      • Troy says:

        Hi Bjorn

        Do you mean that DG layers (stacks) the TD with a compressor as he mentioned in the recent Guitarist magazine interview or that he also stacks two TD’s (rather than switching between them using “patches” selected via the floorboard?
        had presumed that he does the latter (like an A/B channel switching scenario rather than stacking) but maybe you have some more info on this? I only have one TD so can’t really try this experiment any time soon. Would be interesting to know. Ta!

        • Bjorn says:

          He does a bit of both. It seems that he always keep one compressor or and for most stuff, the clean set Tube Driver. He layers the other two Tube Driver and the Muff on top of that. The EQs are used for different applications, when needed.

          • Troy says:

            I’d love to see a detailed official list of what the switches on the floorboard(s) activate.

            From pics that I have seen some (maybe all of the pedals) can be switched on individually (possibly excepting the TD’s & GE’s in loops?) A, B. C & D denote the four pedal delays.

            I am presuming that the bottom row has some multi-pedal “patches” activation selections available.

            Couple of other tone notes from memory: At neither of the gigs that I saw was the UniVibe detectable on “Breathe”, possibly Manzanera’s guitar had none & was high enough in the mix with DG’s to further negate the (presumably lightly set) intensity. Also: I don’t recall post-dirt UniVibe being particularly egregious in “Time”. Maybe Brighton & last night RAH were different in this respect to first run of RAH dates.

      • Matthias says:

        Thanks Bjorn,
        Which pedal are you using to boost your TD? Is it transparent?

  64. Andrew says:

    The Guardian have some photos from the RAH gig, including a few gear ones :

    behind the scenes with a guitar legend : http://tinyurl.com/ov2jt8o


  65. Fantastic updates… I didn’t think you could outdo your already primo-quality info, but you’ve done it!! Thanks!!

    Now… if I can only get DG to swing through TX on his tour!!

  66. Oleg says:

    Don’t know whether it actually belongs to tour section but there’s also Halls & Collins Signature Echo delay seen on Brighton rehearsal videos. Just where the upper Chrono and Flight Time placed now. Though I suspect it is not a news already for those who interested.

  67. Mark Thomas says:

    David performed 2 tracks on the UK show Later With Jools Holland last night . Good views of rack and pedal board :-)
    Didn’t notice any amps save for the 2 mic’d WEM cabinets .
    Good interview with him in this months Guitarist too where he states he very rarely uses the Muff anymore ( presume for new stuff ) and relies on his Tube Drivers . He also mentions how he now plays with his fingers a lot of the time .

  68. CARLOS - BRAZIL says:

    Well… If the “RedStrat” was not used on the current tour, probably the partner$$$ip with EMG has ended… Over several years at least ONE song in live performances was played in a RedStrat with active EMG’s pickups… Even at Fender’s StratPack concert…

    • Bjorn says:

      David has never been in partnership with EMG as far as I know…

      • Carlos - Brazil says:

        Hi Bjorn! I’ve heard something about it (“EMG active pickups built according to David Gilmour’s specs” – expression used along several years as merchandizing by the manufacturer (either for the standalone pickups set or full-loaded pickguards). He also has a partnership agreement with Fender (notably related to BlackStrat replicas marketed as “CustomShop” instruments) … But none of that matters. What interests us is the musician’s work, is not it? Best Regards!

        • Bjorn says:

          He does have two signature models with Fender – one replicate and one NOS of the Black Strat. There have been Hiwatt signature models, which aren’t endorsed by David. I’m not entirely sure about the EMGs but as far as I know, he has never endorsed them, although they have a DG20 set, consisting of SA single coils and the XPC and EXG tone controls, all of which are in David’s red Stratocaster.

          • Carlos - Brazil says:

            I have one CustomShop BlackStrat NOS since 2013 (I hated those “emulated scratches” of the “relic version”). It’s the most awesome instrument I ever put my hands on (and the luthier who works for me – and for “famous brazilian professional musicians” – agrees 100%). It’s “sonority”, even on a “clean setup” is “peculiar” and different from all other strats I ever heard/played. I also built a MOD with a full-loaded pickguard with EMG active single-coils (but it is not, obviously, “my favorite one”. Best regards from Brazil, Bjorn!

  69. Richard Rawlings says:

    Hi Bjorn. What would he have used for the vocal echoes for Us and Them? and who toggles them?

    Thanks, Richard

    • Bjorn says:

      It’s controlled real time from the sound board. I’ve no idea what delay they’re using. Back in the 70s, they used a Roland Space Echo.

  70. Ruud says:

    Inspired by his current Numb sound, the additionele amps and 3rd WEM I did some investigation how to use the Mistress. On my current stereo set up the Mistress ’78 sounds to dominant and hard to blend. With an additional amp I finally found the sound. Maybe this is already well known but for me it’s an eye/ear opener. Connect the direct output to your normal chain and the flanger output to an additional amp. You will keep your basic sound and adds the flanger sound just like he did with the Yamaha’s. With this set up you can blend the EM as you wish. On my set up the flanger is placed before the delay so only the direct signaal has delay which makes the flange sound also better to define.

  71. João Paulo says:

    As always, an amazing job, Bjorn! However, there’s a little mistake in the line “- 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.”

  72. davide garbin says:

    thank you for all these info, but a little question: is all send in front of the Hiwatts? there is a main line for clean sound and a couple of heads for stereo delays? I cannot find any info about the signal flow chart!

  73. Ruud says:

    Hi Bjorn, I was there also at the Royal Albert hall last Wednesday and it was great. The new songs fitted perfectly in the set and I really like them now. The same feeling I had when I saw Animals in ’77 and On an island in 2006. At a live concert you really learn to appreciate them. Thing i noticed last Wednesday is that he struggled a bit with his presets. Especially at Time where he started the solo with the Breathe preset (Univibe) and also on the Fat old Sun solo I had the feeling that this was not the sound that he had planned. The other sounds were awesome, For solo’s very often TD sounds and occasionally a Big Muff ( In any tongue, Numb, faces of Stone last part? and Sorrow of course). Do you know why he uses 3 Wems instead of 2 or 4? Could it be that he use a separate channel for the Mistress so he can add this instead of mix it with his basic sound? Just like he was use to do with the yamaha’s?

    • Bjorn says:

      No, there’s no rotary setup. As far as I know, he’s using all three WEM cabs, one Hiwatt and one Alessandro. The other two amps are spare.

  74. Alex says:

    Hi Bjorn, great page Man!! You forgot the stomp classic on the floor. That will be My new purchase!!!

  75. Jyri says:

    Thanks for your detective work Bjorn.

    Saw the gig in Oberhausen last night, spectacular. Everyone was standing up by Run Like Hell :D

    – I thought I heard the Electric Mistress on Comfortably Numb, and you proved me right!

    – Do you have any idea about what David might use the Alessandro amp for?

    – What do you think about the absence of the Red Strat? I was really surprised that he did Sorrow without it!

    • Bjorn says:

      Not sure how he’s using those amps. If they’re used for specific guitars or blended with the Hiwatts. I suspect that he’s using them for specific tones and are switching between them and the Hiwatts.
      It will be interesting to hear his tones when I get to see him live but I didn’t miss the red Strat in 2006, although he did use it on a couple of songs. I don’t think it fits the obvious return to a more natural and vintage tone.

    • Matt says:

      Yeah and he had big trouble getting the feedbacks

  76. Hi !
    I was in Orange for the concert. I saw David use a red whammy pedal. You can see it at the video rehearsal here :
    https://www.youtube.com/watch?v=6SLZpeNjvp4 (0’32)

  77. Now why would he be using Hiwatt Custom 50’s instead of the Custom 100’s he normally uses?

    • Bjorn says:

      Hard to tell but a 50w is easier to control and you can push them harder, without playing too loud. My guess is that it’s a combination of wanting to keep the overall stage volume at a reasonable level and David’s slightly different approach tone creating his tones this time. More medium gain pedals, lower wattage amps… Still, I bet you that we probably won’t hear a difference. It’s more about how you want the stage setup to function.

      • Makes sense,thanks.
        Would it make more sense to use 100’s in the larger venues,like in Canada and the US?

        • Bjorn says:

          It’s no problem using 100w here in Europe. He used those old 100w in Albert Hall back in 2006. I don’t think he’ll change the setup. It’s more about finding a good balance for all the sounds he’s using and I would suspect that 50w Hiwatts also match the Alessandro amps better.

  78. Brad Roller says:

    Can anyone tell me more about the lehle? How to use it ect. Thanks!

  79. Francis Buckley says:

    Hi bjorn, I saw the Pula show and the Orange show. I didn’t see listed the whammy pedal for the solo on The Blue. I assume that’s what he uses. Whatever he used he had trouble with it when hitting the notes and then the pedal it was way out of tune…sounded horrible. He played through it and tech came up on stage (I assume Phil Taylor) and scratched his head. Gilmour and Pratt were chuckling about it during the next song. Other than that sound was great as expected.

    In orange there were no videos on mr screen. I assume a projector issue. The concert. Was phenomenal and I think his voice was a little better than in pula.

    Hope I am not repeating what has already been posted. I’m in Paris with my wife and s little overwhelmed right now. Heading to London for the 23rd show at RAH


    Frank B

    • Bjorn says:

      Thanks for sharing, Frank! Yes, there’s indeed a WH1 in the rig, right next to his Skrydstrup switcher board.

    • davide garbin says:

      Hi, I was in Pula too! It was a pity the tech problem on the Blue… I really love that solo… I was in front but in the back of the Arena… I saw him trying to fix the whammy without succes… it happens to the Gods too I tought!!!! a part from that small dot, everything was great…
      But I was in Udine during The division bell tour… I was 15 years old…

      there is a thing that is missing, a great thing, and it isn’t the red Strat…

      Rick Write is missing…..is missing too much!

    • Francis Buckley says:

      Yep. He sounded like I do when I play! ;-) But here is a pic I got of Dave and Guy chuckling about it during the next song, while there was a horn solo going on:

  80. Troy says:

    Great new pic found & posted at top of the article showing that my speculations on the pedals to the right were incorrect. I wish that my pics had been as clear but nevermind. I’m just glad that someone was able to take one that was so clear & that it’s available here to view.

    There’s a new issue of Guitarist magazine out with DG on the front cover discussing his recent recordings & it touches on his gear & his attitude towards it. Very interesting (& perhaps for some a salutary) read.

    I do think that my other observations were accurate as to the usage of the rest of the gear live. I do wonder though exactly how he used the five delays throughout the set!

  81. Romano says:

    On the first part of “Beauty” I’m quite sure I can hear the red strat (fingerpicked).

  82. Roger Sartori says:

    Hi, Bjorn. This post is great! I think it will be interesting to open a new post just for you and us to comment our experiences lived on each show on this 2015 tour. Songs, equipments, stage effects, etc. I’m looking forward to see David here in Brazil, next December! cheers.

  83. Dan says:

    Having been there, all I can say was that it was emotional and near enough perfect. I found a bootleg online if anyone is after finding out how it sounded. The quality smacks of an inside job…

  84. Romano says:

    Looks like the picture from Verona on the Gilmour gear forum confirmed that the pedal in the upper left corner is a Ram’s Head Muff after all.

  85. Andrej says:

    Hey guys.. I was in Pula on the concert.. Dream finally came true..
    Sound was amazing and sounded like on PULSE tour

  86. Troy says:

    Looks like that pedal to the right of the Effectrode PC-2A Compressor is indeed a Demeter Compulator, not the Effectrode Glass-A that I surmised (which could still be under the sloped surface that angles the 16 pedals mounted on it). Also the vintage Ram’s Head Big Muff does now also appear to be confirmed in the same pic (in addition to what I heard with my own ears at Brighton – & on other Muffed-up live recordings of Sorrow, such as PULSE which I believe utilised the darker Civil War Sovtek/EH Muff):


    That’s quite a triumvirate of compressors. That seems to be a “theme” of the pedals selected. Three compressors, three BKB Tube Drivers, three Boss GE-7’s.

    I wonder if the poster of the pic linked above (Galo Branto) has any other pics of the pedals to the right of the TD’s & GE’s for a conformation of the two pedals placed there?

    • Bjorn says:

      Yep, that’s the Demeter. Hard to tell why he keeps so many of the same pedal. Or same type of pedal. Those compressors obviously has different tones and qualities but I’m not sure why he keeps that many delays. It’s very similar to the setup he used on the Division Bell tour in 94, although some of the brands are different.

      • Troy says:

        Looks like in rehearsals DG only used one Chrono delay & one Flight Time delay:


        Anyone know what the large pedal is that was in their place (top right position) in the above video clip?

        I think that Bjorn speculated somewhere that some of the duplicate pedals may be backups. In light of there only having been one of each of the two above-mentioned delays used in rehearsal that certainly seems likely for those.

        The other possibility that I thought of was that the Chrono & FTT delays may have been duplicated for a stereo twin delay path feeding the duplicated amp heads. This seems less likely though.

        There was/is no audio evidence at Brighton in the centre or in the videos that the Lehle was used to blend dry signal in with the Electric Mistress flanger. In his studio setup he used the Lehle for mixing in delay, clearly labelled in the pics. Seems a pretty safe bet that this was used to blend an analogue dry with the MXR digital delay.

        • Bjorn says:

          Sorry for my late reply… that big pedal behind the delays is a Hall and Collins signature echo.

          • Troy says:

            Very interesting! I had read the Charlie Hall forums (CH being the co-designer of that years-in-the-waiting pedal that I think many speculated might never appear) in my echo/delay researches. Amazed to see that it had been released. Vey tempting.

            Would be very interesting to hear its Binson Echorec emulations. Can’t find much online on that matter. It would be very cool if CH could loan you a unit for an Echorec-orientated review & video demo. Would be interesting to see how it compares to the Catalinbread Echorec & Gurus Echosex 2.

            Interestingly if DG had kept this for use on the tour he would have had 15 pedals on top of the racks in five groups of threes: Three compressors, three Tube Drivers, three GE-7’s, three delays & three miscellaneous (Muff, Lehle, Mistress) – reinforcing the “threes” theme further than I had initially suspected.

            Presumably DG was considering using it on “Astronomy Dominie” & the mid-70’s pre-MXR DD material (i.e. “SOYCD” & the four “DSOTM” numbers). I wonder which remaining delays (Chrono, Flight Time & MXR DD) he has subsequently for these pieces?

  87. Troy says:

    Studying a few pics including my own plus one from Polly Samson ( https://www.facebook.com/pollysamson/photos/a.168673489824901.43831.162582200434030/1191174340908139/?type=1&theater – especially this pic) & those from DG’s mult-tiered studio setup shots I have to say that what are labelled in the article as FTT Flight Time Delays – or at least the front right pedal – looks to me more likely to be an Effectrode Tube Drive.

    Has DG ever used five delays before? Seems like a pretty high count even for such a serious delay master. With five Effectrodes on his studio board (he rotated the Blackbird & the Tube Drive in the same spot in his studio setup) it would seem odd just to have the PC-2A Compressor on his live board. If we get any better shots of the pedals laid out on top of his dual rack that show conclusively that one of these or both are the FTT FT then so be it. Foe the time being I’m not so sure.

    Also: What is labelled as the Demeter Compulator may alternatively be one of the four unpainted Effectrode Glass-A valve buffers that DG reportedly took deliver of expressly for the tour rig just days before the Brighton gig.

    I do think now that the top left mystery pedal is a vintage EH Ram’s Head Muff. “Sorrow” heard from within the walls of the Brighton Centre sounded as extremely Muff-created as that heard on 90’s recordings. Going out on a limb here – though a pretty safe limb I think – in saying that the “Comfortably Numb” tone in Brighton was EH RH Muff > BKB Tube Driver (set for light breakup) > EH Electric Mistress (unblended with extra dry signal, just the basic internal 50/50 mix). Possibly PC-2A compressor before, possibly MXR delay after (if not the Chronos). “Run Like Hell” tone?: Best guess: Slide-Rig Compact > PC-2A (or the other way around) > Electric Mistress > Chrono > Chrono. Pedal steels may have used both the PC-2A & the Slide Rig Compact compressors.

    The Lehle Parallel was used in the studio setup for blending in rack delay (clearly labelled as such in the available pics) – & I would suspect the same at Brighton Centre too – hooked up to the MXR in the rack below.

    The BKB Tube Drivers I am thinking weren’t stacked but used in this manner separately:

    – post-Muff edge-of-breakup enhancer
    – medium-gain rhythm crunch
    – high gain lead (alternate lead tone to Muff > BKB TD very light-crunch referred to above).

    All three most likely in a loop each with one of the three Boss GE-7 for post-drive Graphic EQ & triggered from the floor switcher accordingly.

    Hoping that more comes to light on this.

    Looking forward to the Albert Hall final night (managed to get a ticket for that too recently). Best wishes to all those attending the gigs – & to those who wish they could but can’t.

    Kudos to Bjorn for this wonderful info-resource & exemplary approach balancing wisdom & humility.

    Apologies for my own lack of brevity! :D

  88. Thick Rederman says:

    What on earth are those two units at the top of each rack? Power conditioners maybe? My life is incomplete. I’d bet money the mystery pedal is a Muff.

    Thanks for this site Bjorn. Will you make more vinyl of your album? I can’t use CD for medical reasons.

    • Bjorn says:

      That’s two Skrydstrup MR10 loop system rack units :) And, as you’ve probably noticed by now, the mystery pedal is indeed a ram’s head Muff!
      There are available vinyl left. I’m currently out of stock but you should find it at Amazon or Burning Shed. Let me know if you can’t find any and I’ll see what I can do. Thanks!

  89. cesare bertagna says:

    Hi i saw in a picture that David is playing with two custom 50 heads

  90. Galo says:

    The First pedal at Left is a Big Muff!!

  91. Fabio Claudio says:

    Hi Bijorn the TD are one Chandler/Butler and 2 2006 BK , first pedal on the Left is a Ram’s Head a bit hiden but for sure it is!
    Grat work Bijorn!

    Warm regards from Italy


    • Bjorn says:

      How do you know that there’s a Chandler and two BKs? Do you have a source for that info?

      • Fabio Claudio says:

        Hi Björn, I’ve seen other photos where you notice that the Chandler chassis is slightly longer than the BK ones. The first from left is a Chandler TD !

        • Bjorn says:

          Yep, pictures surfacing the last couple of days seems to confirm that. Thanks!

          • Catmamdude says:

            Do you guys mean I can’t just plug in some generic modeling combo amp in, use a bad strat imitation & get that tone? I thought about running the amp wiring through this mean cat I havre. Then tape the cat to a turntable and let him scream through the cabinet holes for that classic rotating VOX modified tone. The cats cool with it as long as the amperage doesn’t climb too high.

  92. Issmol says:

    32 microphones! Wow. No wonder it sounded so good!

    I Hope you have a ticket to see him Bjorn. : )

  93. Ilias says:

    Hello Bjorn, next to effectrode PC-2A is the Demeter Compulator and next to it an origin effects SlideRig compressor. The only unknown pedal right now is the top left that it could probably be a Ram’s Head..

    • Bjorn says:

      Yeah, I have the Slide Rig down but I’m not convinced by the Demeter. Probably is but I want a better picture before posting anything that could be taken as a gospel :)

  94. Romano says:

    Pedal left of the Lehle looks a bit like the triangle Muff. Cannot imagine a Gilmour gig without a Fuzz. For C-numb at least.

    • Bjorn says:

      Hard to tell. Sure looks like one but he can easily get similar sounds with the Tube Driver, which now also have a dedicated EQ paired with it.

  95. jimmy bishop says:

    i have 2 comfortably numb videos from the gig.sounds like the mistress was used.

  96. Matthias says:

    Hi Bjorn,
    I’m surprised he dropped the Pete Cornish TES for the Providence Chrono Delay. Is it that good? Did you have a chance to try it?
    Take care

    • Bjorn says:

      Haven’t tried it… I have to now!

      • Bjorn says:

        Nice. The Chrono sounds better to my ears…

        • The delay to rival the TES is most certainly the Free the Tone – Flight Time. Simply a stunning digital delay in my opinion best out in pedal form. That’s why TES used the Rolland chip found in the old Japanese boss dd-2, high quality digital gets very close to what a healthy serviced & working tape machine would, clear high fidelity repeats.
          Highly recommend Flight Time for Gilmour / Floyd or any other styles of music. It’s well built, versatile & if you hear it in person just beautiful sounding….

          • Bjorn says:

            Thanks for the input!

            • Troy says:

              FTT Flight Time sounds & looks very interesting. Here’s some issues though that it would be nice if they could address for a Mk II model:

              Both Guitarist magazine review & Schnobel got a strange crackling digital distortion background noise out of the FTT FT delay when using modulation within the peda. Schnobel comments on this after comparing the 2290 & TC’s modulation while using a mildly set overdrive in front (11:24 mark). Maybe a processing/signal headroom issue?:



              Have any users here come across this artefact on their own units?

              It is interesting to note the difference in how the filters work on the 2290 & the FT. 2290 sends the repeats back through the filters for progressive filtering (if filters are used). FT has a one-time darkening that stays the same for all repeats.

              There is a very comprehensive review here:


              Also: It is strange that MIDI Clock has not been implemented when it has MIDI. My TC Flashback Triple Delay & Eventide H9 (& also my old Boss GT-8) have that. Maybe not a feature used by all but can be extremely useful for those who would.

              Not quite ready to spring for one of these when I have a bunch of very usable delays of varying flavours (aforementioned TC FTD, Eventide H9 as well as my trusty Diamond Memory Lane 2 & vintage-inspired specialty boxes: TC Alter Ego 2, Catalinbread Belle Epoch, Catalinbread Echorec.

              I wonder what DG was using for his primary lead/solo guitar parts delays? The Flight Time or the Chronos? Any info Bjorn? :)

    • Matthias says:

      And here are reviews of the other delay David is currently using:



      I think it sounds good too. I’m just wondering why David is using 4 delay pedals + a rack unit.

      • Bjorn says:

        Thanks for the links! Hard to tell why he’s using that many delays but I’m guessing they each have different settings and are patched up with other pedals through the Skrydstrup midi system. He might also be carrying spares.

  97. Romano says:

    Hi Bjorn.
    I’m pretty sure that left of the Mistress I can see the Lehle Parallel.

  98. Brad Roller says:

    Is it safe to say he used a tube driver as a distortion?

    • Bjorn says:

      Yes, and that seems to be the trend over the last decade or so. Less Muff and other high gain pedals and more Tube Driver. It basically means that he favour tube amp drive or distortion, which is what the TDs really are. He gets the best of both worlds – clean and loud Hiwatts and the TD providing classic Marhsall-ish dirt.

      • Brad Roller says:

        Im surprised he doesnt have a cornish g2 in there also. But I guess the tube driver has more amp like qualities that the g2 doesn’t. Im VERY inspired by his new setup. I may, just maybe, have to get my old mistress out! Ive never tried using my tube driver as a distortion either. I guess Gilmour has, in a way taken an approach to his tones in the way you have? By that I mean going for a “marshall” type tone?

        • Bjorn says:

          He’s repeating me now… ha! But really, there’s isn’t that huge difference between this set up and the one he used during the last tour. The TD can easily be tweaked for similar tones as both a Muff and G2 and I assume that the GE7s are each linked or looped with a TD, probably boosting the mids a tad. That will take them closer to the G2 and even a Sovtek Muff.

          • Brad Roller says:

            Yes! I knew he came to this site ;) lol but that makes sense about the ge7s though. And it also makes sense he would use his tube drivers for multiple different sounds! Like youve said before, it may not have much mid range but it somehow cuts through the mix very well! Since I use the dg20 set, if theres a song that I feel is more dense sounding all I have to do is turn the SPC up a bit and it works well with my Tube Driver! It makes up for having to use an equalizer! But you already know that! I sure hope to see the red strat be used this tour!

          • Matt says:

            Saw him in Germany yesterday. For Sorrow he used a brighter sounding muff. Sounded like sovtek or pete cornish to me.

  99. Jamie Wood says:

    It was a great gig! Are they definitely Skrydstrup racks? I couldn’t tell from the front of the stage. I have a slightly better pic if you want it.

  100. Cordon Norman says:

    Great piece, I was there. No possibility of getting the mobile out. Tight security hovering everywhere… One guy was escorted away.
    Great night… Judging by 2006 performances I’ve watched his guitar playing was much better more focused less sloppy. The band were marvelous , a lot going on in the background during each song…one keyboardist was playing a strat and a lap steel as well as a 3 tier keyboard…awesome. Light show was fabulous
    and the back video screen show mesmerising.
    On the whole a great night with a great sound.

  101. Emilio Melo says:

    Great post!!! Congratulations!!!

  102. Chris says:

    Hi Bjorn!

    I was at the show in Brighton on Saturday and it was absolutely amazing. Sound mix was flawless, David and the band were on great form plus the set reminded me of the Momentary Lapse/Division Bell tour videos.

    The new material fitted really well with the Floyd classics as well as a couple of On An Island tracks which were played in each half of the show

    Hope you’ll be seeing David during the tour

    Best Wishes

  103. sean says:

    Was thE mistress on for comf numb? There was a hint of it but it didn’t sound like it was in the chain directly – ie it sounded mixed down or blended ?

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