Pete Cornish, the guy who straightened out rock
PETE CORNISH
Unit 5, Silveroaks Farm,
Hawkhurst Lane, Waldron, Heathfield,
E.Sussex, UK, TN21 0RSTel (0)1435- 813393,
International - 0044 1435 813393,
From US - 01144 1435 813393
VAT Reg. No. GB 241 7291 72
Pink Floyd – RelicsOriginally published in Guitarist Magazine July 1995 written by Jordan McLaughlin
There are few British superstar Musicians since the early 70’s who have not had reason to call on the services of Pete Cornish, Queen, Genesis, The Police, Black Sabbath, Iron Maiden, The Pretenders, Eric Clapton, Sting and even some non UK residents Bryan Adams and Lou Reed have turned to the amplification and effects guru when they have had need of a fully custom tailored, hand built system to get their guitar or bass sound together.
One of Pete’s longest standing professional relationships is with Pink Floyd – he has been closely involved in putting together rigs for several of the band’s musicians, including Mr. Gilmour of course, off and on for nearly 20 years and here he takes us through the major projects undertaken to ensure that works like Shine On You Crazy Diamond and Money sound as good from the 30th row as they do in your front room…
“March 7th 1976 was when the very first drawings were done for the first board I built for Dave – that included a Fuzz Face, a Cornish Custom Fuzz, MXR Phaser, a Uni-Vibe, a CryBaby, MXR Dynacomp and an MXR noise gate.”
“The routing starts with an input selector for two guitars, then onto a strobo tuner feed, then a master bypass before we get to the effects. First of all there’s a tone control – the board had three modified CryBabys on it – one of them is a tone control and one is a volume control, only one was actually a wah. The next thing is the Fuzz Face – Dave really liked the Dallas Arbiter Fuzz Face a lot – then my fuzz, then the MXR Phase 100, the Uni-Vibe, then the wah with a reverse switch on it to reverse the travel, the MXR Dynacomp, then a send and return, the MXR noise gate and then three outputs, each with their own on/off switch, so Dave could have any combination of the three amps (HiWatt, Marshall or Yamaha) on at any one time.”
“In 1977 we moved the tone circuit to just before the volume pedal, and we added a treble and bass boost, which I think was a Colorsound unit – that went between the Uni-Vibe and the wah.”
“The drawings for the second board are dated 15/2/79 – my birthday! It’s got the same input selector as the first board, master bypass, MXR Dynacomp, Fuzz Face, Big Muff, send and return for each echo, MXR Phase 100, a Deluxe Electric Mistress flanger which has been modded, the Colorsound treble and bass boost, a volume pedal and a ‘Vib’ pedal, which is known as the Money pedal. Something I’m asked to do quite a lot is reproduce sounds from records which can be difficult, but it has its advantages – I’m nearly always given the artist’s whole back catalogue to work from!”
“This board’s got just one CryBaby, fitted out as a volume pedal – by this time we’d standardized the CryBaby body for pedal controllers, they looked good, they were very well built and sturdy and Phil liked them! And then up to about Oct ’82 I did certain other mods – the Fuzz Face had a tone circuit fitted, I fitted a Boss CE-2 and actually we moved the compressor to a parallel circuit with the treble and bass boost.”
“For ‘The Wall’ Dave had his main board, the one with the three CryBabys on and I made another one for Snowy White for all the acoustic guitars. They sat behind the wall but during the show the musicians moved to the front of the stage, in front of the wall that had been built. Obviously they couldn’t pick up all that stuff and move it so I made four small pedal boards – two bass and two guitar – because each member of the band was shadowed by another person, dressed in grey, I think. I made the boards as mirror images of each other, so in a pair one would have all the leads to the right, like Dave’s and Snowy’s would have all the connections to the left, so they could stand next to each other and play.”
“These little boards have a single input, a Big Muff, one send and return, the Electric Mistress flanger, a volume pedal and a master bypass, all coming out of two outputs, which went into the HiWatt amps.”
BACK
There are few British superstar Musicians since the early 70’s who have not had reason to call on the services of Pete Cornish, Queen, Genesis, The Police, Black Sabbath, Iron Maiden, The Pretenders, Eric Clapton, Sting and even some non UK residents Bryan Adams and Lou Reed have turned to the amplification and effects guru when they have had need of a fully custom tailored, hand built system to get their guitar or bass sound together.
One of Pete’s longest standing professional relationships is with Pink Floyd – he has been closely involved in putting together rigs for several of the band’s musicians, including Mr. Gilmour of course, off and on for nearly 20 years and here he takes us through the major projects undertaken to ensure that works like Shine On You Crazy Diamond and Money sound as good from the 30th row as they do in your front room…
“March 7th 1976 was when the very first drawings were done for the first board I built for Dave – that included a Fuzz Face, a Cornish Custom Fuzz, MXR Phaser, a Uni-Vibe, a CryBaby, MXR Dynacomp and an MXR noise gate.”
“The routing starts with an input selector for two guitars, then onto a strobo tuner feed, then a master bypass before we get to the effects. First of all there’s a tone control – the board had three modified CryBabys on it – one of them is a tone control and one is a volume control, only one was actually a wah. The next thing is the Fuzz Face – Dave really liked the Dallas Arbiter Fuzz Face a lot – then my fuzz, then the MXR Phase 100, the Uni-Vibe, then the wah with a reverse switch on it to reverse the travel, the MXR Dynacomp, then a send and return, the MXR noise gate and then three outputs, each with their own on/off switch, so Dave could have any combination of the three amps (HiWatt, Marshall or Yamaha) on at any one time.”
“In 1977 we moved the tone circuit to just before the volume pedal, and we added a treble and bass boost, which I think was a Colorsound unit – that went between the Uni-Vibe and the wah.”
“The drawings for the second board are dated 15/2/79 – my birthday! It’s got the same input selector as the first board, master bypass, MXR Dynacomp, Fuzz Face, Big Muff, send and return for each echo, MXR Phase 100, a Deluxe Electric Mistress flanger which has been modded, the Colorsound treble and bass boost, a volume pedal and a ‘Vib’ pedal, which is known as the Money pedal. Something I’m asked to do quite a lot is reproduce sounds from records which can be difficult, but it has its advantages – I’m nearly always given the artist’s whole back catalogue to work from!”
“This board’s got just one CryBaby, fitted out as a volume pedal – by this time we’d standardized the CryBaby body for pedal controllers, they looked good, they were very well built and sturdy and Phil liked them! And then up to about Oct ’82 I did certain other mods – the Fuzz Face had a tone circuit fitted, I fitted a Boss CE-2 and actually we moved the compressor to a parallel circuit with the treble and bass boost.”
“For ‘The Wall’ Dave had his main board, the one with the three CryBabys on and I made another one for Snowy White for all the acoustic guitars. They sat behind the wall but during the show the musicians moved to the front of the stage, in front of the wall that had been built. Obviously they couldn’t pick up all that stuff and move it so I made four small pedal boards – two bass and two guitar – because each member of the band was shadowed by another person, dressed in grey, I think. I made the boards as mirror images of each other, so in a pair one would have all the leads to the right, like Dave’s and Snowy’s would have all the connections to the left, so they could stand next to each other and play.”
“These little boards have a single input, a Big Muff, one send and return, the Electric Mistress flanger, a volume pedal and a master bypass, all coming out of two outputs, which went into the HiWatt amps.”
BACK
Unit 5, Silveroaks Farm, Hawkhurst Lane, Waldron, Heathfield, E.Sussex, UK, TN21 0RSTel (0)1435- 813393, International - 0044 1435 813393, From US - 01144 1435 813393VAT Reg. No. GB 241 7291 72
JIMMY PAGE'S GUITAR/EFFECTS/AMPS FLOOR SYSTEM
After extensive testing and comparisons of various effects pedals and amplifiers by Jimmy and his technician we were asked to build an effects system that would operate with equal efficiency in every country in the world and incorporate all Jimmy's chosen effects and route the signal to several amplifiers. Most of the effects had so called "true bypass" footswitches and we decided to investigate whether we could use this system with the entire collection of effects and amps as so many manufacturers offer the "true bypass" as the ultimate type of switching.Our findings were that the "true bypass" did NOT create unified signal level or tone from the guitar for the following reason:Take for instance a 5m guitar cable linked to six pedals, each linked by a 1m cable, and then on to the amp by say a 15m cable. If all pedals have "true bypass", and are off, then the total cable length hanging on the guitar output will be 25m. This will cause a huge loss of tone and signal level particularly if the guitar is a vintage type with low output. The amp volume is then turned up and the treble control increased to compensate for the losses. The inherent background noise now increases by the amount of the gain and treble increase and is usually, in my experience, too bad for serious work. If one of the pedals is now switched on, then it's high input impedance (and usually low output impedance) will buffer the output cables from the guitar; the signal level and treble content will rise due to the removal of some of the load on the pickups (i.e. 6m instead of 25m of cable). If that pedal was for example a chorus or delay, devices which are usually unity gain, then the overall signal level and tone will vary each time an effect is added...not a very good idea.The "Pete Cornish System", which we devised in the early 70's, is to feed the guitar into a fixed high impedance load, which is identical to the amp input, and then distribute the signal to the various effects and amps by low impedance buffered feeds. This gives a constant signal level and tonal characteristics from the guitar, which do not change at all when effects are added. The proof that this works are in the recordings of our clients: Roxy Music; The Police; Queen; Pink Floyd; Bryan Adams; Lou Reed; Dire Straits; Paul McCartney; Sting; Judas Priest; Black Sabbath....For Jimmy's stage system, we fitted additional high impedance pre-amps between each effect to further isolate each one from the next in line. We also provided two send/return circuits so that new effects could be added at a later date and another send/return to Jimmy's Echoplex. The four isolated outputs to the stage amplifiers each had a line driver fitted to overcome the very long across-stage cables (total length 64m).To ensure that the sound of the guitar and effects would remain constant at each venue across the world we designed "super regulated" dc power supplies to suit both the effects and the audio frequency pre-amps. Each effect and pre-amp had it's own isolated dc feed which we know helps to prevent cross-leakage of effect signals: for example upper harmonic distortion products can leak into clean chorus circuits through a common power supply if this precaution is not taken.Jimmy was very pleased with his "Pete Cornish Guitar/Effects/Amps System" and it has proved most reliable and convenient to set up, as all the effects and routing are permanently in the correctorder and it is so simple to "just plug in and play..."
GUITAR SYSTEM S/No: 257DESIGNED AND BUILT BY PETE AND LYNDA CORNISHOCTOBER 1993
Signal Routing:
Guitars connected to Pete Cornish Input Selector and Line Driver (off stage) via Pete Cornish HD Guitar CablesSelected Guitar Signal to Effects / Amps Pedalboard via Pete Cornish CustomSignal Cable Loom (Loom includes Amp Feeds and Remote Mute Control)Pedalboard Input - Unity GainEmergency Automatic Mechanical Bypass to Output #1 in case of Power FailureSend / Return to Spare FX #1 with Bypass SwitchRoger Meyer Voodoo Fuzz - Removed in January 1996 - Replaced by Amp Lead switch for 2 off Fender Tone MasterMXR Phase 90 with Bypass SwitchYamaha CH-10Mk II Chorus with Bypass SwitchSend / Return to Spare FX #2 with Bypass SwitchBoss CE-2 Chorus with Bypass SwitchJen Cry-Baby Wah with Bypass SwitchDigitec WH-1 Whammy + Pete Cornish Linear Boost 0/+20dB with Bypass SwitchSend / Return to Echoplex EP3 (modified by Pete Cornish) with Adjustable Gain and Bypass SwitchLinear Boost all Outputs 0/+20dB with Bypass SwitchMaster VolumeLocal and Remote Mute All Outputs3 off Outputs to Amps - Output #4 added January 1995115V Output to Echoplex
AMPS:
2 off Fender Tone-Master S/Nos: 0869/08642 off Vox AC30 (Original T.Boost Model)
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JIMMY PAGE'S GUITAR/EFFECTS/AMPS FLOOR SYSTEM
After extensive testing and comparisons of various effects pedals and amplifiers by Jimmy and his technician we were asked to build an effects system that would operate with equal efficiency in every country in the world and incorporate all Jimmy's chosen effects and route the signal to several amplifiers. Most of the effects had so called "true bypass" footswitches and we decided to investigate whether we could use this system with the entire collection of effects and amps as so many manufacturers offer the "true bypass" as the ultimate type of switching.Our findings were that the "true bypass" did NOT create unified signal level or tone from the guitar for the following reason:Take for instance a 5m guitar cable linked to six pedals, each linked by a 1m cable, and then on to the amp by say a 15m cable. If all pedals have "true bypass", and are off, then the total cable length hanging on the guitar output will be 25m. This will cause a huge loss of tone and signal level particularly if the guitar is a vintage type with low output. The amp volume is then turned up and the treble control increased to compensate for the losses. The inherent background noise now increases by the amount of the gain and treble increase and is usually, in my experience, too bad for serious work. If one of the pedals is now switched on, then it's high input impedance (and usually low output impedance) will buffer the output cables from the guitar; the signal level and treble content will rise due to the removal of some of the load on the pickups (i.e. 6m instead of 25m of cable). If that pedal was for example a chorus or delay, devices which are usually unity gain, then the overall signal level and tone will vary each time an effect is added...not a very good idea.The "Pete Cornish System", which we devised in the early 70's, is to feed the guitar into a fixed high impedance load, which is identical to the amp input, and then distribute the signal to the various effects and amps by low impedance buffered feeds. This gives a constant signal level and tonal characteristics from the guitar, which do not change at all when effects are added. The proof that this works are in the recordings of our clients: Roxy Music; The Police; Queen; Pink Floyd; Bryan Adams; Lou Reed; Dire Straits; Paul McCartney; Sting; Judas Priest; Black Sabbath....For Jimmy's stage system, we fitted additional high impedance pre-amps between each effect to further isolate each one from the next in line. We also provided two send/return circuits so that new effects could be added at a later date and another send/return to Jimmy's Echoplex. The four isolated outputs to the stage amplifiers each had a line driver fitted to overcome the very long across-stage cables (total length 64m).To ensure that the sound of the guitar and effects would remain constant at each venue across the world we designed "super regulated" dc power supplies to suit both the effects and the audio frequency pre-amps. Each effect and pre-amp had it's own isolated dc feed which we know helps to prevent cross-leakage of effect signals: for example upper harmonic distortion products can leak into clean chorus circuits through a common power supply if this precaution is not taken.Jimmy was very pleased with his "Pete Cornish Guitar/Effects/Amps System" and it has proved most reliable and convenient to set up, as all the effects and routing are permanently in the correctorder and it is so simple to "just plug in and play..."
GUITAR SYSTEM S/No: 257DESIGNED AND BUILT BY PETE AND LYNDA CORNISHOCTOBER 1993
Signal Routing:
Guitars connected to Pete Cornish Input Selector and Line Driver (off stage) via Pete Cornish HD Guitar CablesSelected Guitar Signal to Effects / Amps Pedalboard via Pete Cornish CustomSignal Cable Loom (Loom includes Amp Feeds and Remote Mute Control)Pedalboard Input - Unity GainEmergency Automatic Mechanical Bypass to Output #1 in case of Power FailureSend / Return to Spare FX #1 with Bypass SwitchRoger Meyer Voodoo Fuzz - Removed in January 1996 - Replaced by Amp Lead switch for 2 off Fender Tone MasterMXR Phase 90 with Bypass SwitchYamaha CH-10Mk II Chorus with Bypass SwitchSend / Return to Spare FX #2 with Bypass SwitchBoss CE-2 Chorus with Bypass SwitchJen Cry-Baby Wah with Bypass SwitchDigitec WH-1 Whammy + Pete Cornish Linear Boost 0/+20dB with Bypass SwitchSend / Return to Echoplex EP3 (modified by Pete Cornish) with Adjustable Gain and Bypass SwitchLinear Boost all Outputs 0/+20dB with Bypass SwitchMaster VolumeLocal and Remote Mute All Outputs3 off Outputs to Amps - Output #4 added January 1995115V Output to Echoplex
AMPS:
2 off Fender Tone-Master S/Nos: 0869/08642 off Vox AC30 (Original T.Boost Model)
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Unit 5, Silveroaks Farm, Hawkhurst Lane, Waldron, Heathfield, E.Sussex, UK, TN21 0RSTel (0)1435- 813393, International - 0044 1435 813393, From US - 01144 1435 813393VAT Reg. No. GB 241 7291 72
ERIC CLAPTON'S AMPS/EFFECTS SYSTEM
We were contacted by Lee Dixon, Eric's technician, with the request that we build a complete stereo touring system using the amps recently built for Eric by Mike Soldano (SLO 100s) and the effects which had been used in the recording studio. We first noted that all the effects, with the exception of the Wah pedal were stereo rack devices requiring line level (+4dBm) input and output signals; all at low impedance. As it is not advisable to connect guitars to low impedance effects we made the decision to route all the rack effects to a point between the output of the SLO 100's "pre-amp" section and the "power amp" input. This proved not practical as the measured input sensitivity of the power amp was found to be 11V RMS (+23dBm), a signal level too high to be provided by the effects. We therefore designed an extra gain stage for the power amps to make the input sensitivity +4dBm, and as the amps had been returned to the USA for recording we requested that Mike Soldano add the gain stage. We also asked Mike to make some other modifications to the master volume controls of the SLO 100 pre-amp stages so that the output of the pre-amp stages were also +4dBm.The next problem was how to link together many effects units that all have a mono input and stereo outputs. The only option was to feed all the effects inputs with the same isolated, balanced signal from the SLO 100 pre-amp sections and as this was to be a stereo system there were two pre-amps, eachwith a footswitch controlled "Clean/Crunch" or "Lead" output. As our system was to be as flexible as possible we decided to used both pre-amps, with their channel switching, and allow either one pre-amp to drive the effects or both pre-amps to be combined and then drive the effects. This produced some very interesting sounds, as it was now possible to use one pre-amp "Clean", the other in "Lead" and combine them together. The other "Clean" and "Lead" pre-amps could now be adjusted to provide different amounts of overdrive and tone and used either separately or combined.Having split and isolated the selected pre-amp signal to provide low impedance balanced feeds to all the effects the next job was to combine all the effects outputs into one stereo pair suitable for driving the two power amp sections of the Soldano SLO 100s. A problem immediately arose: if each of the effects passed the "Dry" signal to the power amps then they would add together and alter the signal level each time an effect was added. It was also a requirement that when no effects were in use the SLO 100s should sound EXACTLY as they did before we built the routing system. We therefore removed all the "Dry" signals from each effect unit and routed the selected pre-amp signal directly to the power amps at unity gain. As the effects were, in general, all various types of delay and would usually not be louder than the "dry" signal we could ensure that the overall volume would remain constant no matter which effects were included in the power amp input signals. The effects outputs were now to be muted rather than bypassed as we already had the "Dry" signal and did not require another one!For some special type of effect it might be essential to have only the "Effect" signal without the "Dry" so we arranged for the two pre-amp signals to be muted at certain times but still sending them to the effects. This system was used when the Leslie Effect (Dynachord CLS222) was switched on.As the effects mutes, the pre-amp selectors and the dry mutes may be required to be switched simultaneously we decided add a matrix controller so that the various combinations could be pre-programmed and selected with just one footswitch. The matrix fitted was 10 X 20; the 10 vertical rows represented the 10 footswitches at stage front for operation by Eric and the 20 horizontal rows the various effects and routings that could be programmed by placing a pin in the crossing point by Lee. Any number of pins, up to the maximum of 20 could be inserted in each horizontal row and those functions or effects would then be assigned to the footswitch associated with that row.Further refinements were added:1) all effects inputs and outputs were converted to male and female locking XLR connectors to ensure that vibration in transit would not cause any loss of signal due to jack plugs working loose;2) An automatic voltage stabilizer, providing an exact 117Vac was built to power the system.
GUITAR SYSTEM S/No: 200DESIGNED AND BUILT BY PETE AND LYNDA CORNISHJUNE 1989
The Routing System consists of 19 inch Rack Mount Units with a remote control footboard connected via a 16 metre multicore. All the effects bypasses and mutes, preamp muting, preamp channel change, Linear Boost, dry mutes etc. etc. are pre-selected by Lee Dickson via a pin matrix system on the off-stage rack and controlled in real time by Eric using the on-stage remote footboard. The pin matrix (20 X 10) allows the creation of any combination of effects and preamp usage to be controlled by a single footswitch thus with the ten available footswitches (nine on footboard plus one in Wah pedal) ten different combinations of the twenty options can be easily accessed.
Considerable modifications were done by Pete Cornish to the Soldano SLO100 Amps - Crunch, Clean and Lead preamp levels corrected and buffered to suit effects in use - Power amp section isolated to allow separate Master Volume and Linear Boosts to be utilized.
Signal Routing:2 off Samson BR-3 Wireless receivers S/No:01904 / 01932
Pete Cornish Routing Unit S/No:200A2 off Receiver Balanced Input with Gain Controls2 off Auxiliary (Cable) Unbalanced InputsTuner Select (Input 1 or 2)Lee Dickson’s Tuner OutputGuitar Input SelectorGuitar Gain Selector (6 Way : each +14dB/-12dB)LED Guitar Level DisplayClean D.I. with MuteEric Clapton’s Guitar Tuner OutputSend / Return to Drawmer Tube Compressor (Model 1960) S/No:1138Send / Return to Preamp section of Soldano SLO 100/88043EC (Modified by Pete Cornish) with muteSend / Return to Preamp section of Soldano SLO 100/88044EC (Modified by Pete Cornish) with muteClean / Lead Control to SLO 100 / 88043ECClean / Lead Control to SLO 100 / 88044ECPreamp D.I. with MuteRemote / Local Volume Control (Pedal)Remote / Local Wah-Wah Control (Pedal)Spare Send / Return (#4)Output to S/No: 200BReturn from S/No: 200B (Stereo)Send / Return Roland SDE3000 S/No: 426140 with BypassSend / Return TC Spatial Expander S/No:150833 with Bypass (Fitted later in place of Stereo EQ - S/R12)Stereo / Mono SwitchMaster Volume ControlMaster Mute (Linked to D.I.s)Effects D.I. (L)Effects D.I. (R)Output to SLO 100 S/No: 88043EC Power AmpOutput to SLO 100 S/No: 88044EC Power AmpAuxiliary Output (L)Auxiliary Output (R)Linear Boost with Bypass (SLO 100 L/R + Aux L/R)
Pete Cornish Routing Unit S/No: 200BSend / Return to Yamaha SPX90 S/No: 2155 with MuteSend / Return to Dyna-My-Piano Tri-Stereo Chorus S/No: 3768 with MuteSend / Return to TC2290 S/No: 512315 with MuteSend / Return to Dynachord 222 S/No: 13157 with MuteSpare Send / Return with Mute (#9)Dry Mute (L)Dry Mute (R)Send / Return to Yamaha GEP50 S/No: OMO 1626 with Mute10 X 20 Pin Matrix10 off (A-J) Local Switches for FX Selection (Duplicates Footswitches)Output to S/No: 200A
Loudspeakers:2 off Marshall Bass 4 X12 Cabs fitted with EV12L Drivers
Power Distribution Unit S/No: 199Automatic Voltage Stabilizer
Input Range #1
76 - 134V
Input Range #2
158 - 279V
Output Voltage
117V ±0.5%
Output Load
2 X 15A Max
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Unit 5, Silveroaks Farm, Hawkhurst Lane, Waldron, Heathfield, E.Sussex, UK, TN21 0RSTel (0)1435- 813393, International - 0044 1435 813393, From US - 01144 1435 813393VAT Reg. No. GB 241 7291 72
DAVID GILMOUR’S ALL TUBE EFFECTS SYSTEM
We were asked to design a new effects system for David Gilmour’s solo shows and guest appearances with bands other than Pink Floyd. His request was that the sound be exactly the same as when he plugged straight into his tube amps (Fender Tweed originals or re-issues and Hi-Watt 50W Combos etc.) We decided to eliminate the loading influence of a large chain of effects by incorporating unity gain tube pre-amps, with identical characteristics to his amp input stage, as the guitar input stage and also as isolators between effects. We designed and built a stereo tube line driver that could send the effects signals over long cables to the amps without loss of signal or change of tone. After extensive tests David decided on the following list of effects to be incorporated:
Boss CS-2; Pete Cornish G-2 Fuzz; EH Big Muff; Pete Cornish Soft Sustain-2; Chandler Tube Driver; Pete Cornish Tape Echo Simulator; Pete Cornish Custom Stereo Chorus using a modified Boss CE-2.
The inclusion of a custom designed and built tube pre-amp between one effect and the next ensured that each effect performed as if it were connected directly to the amplifier and completely eliminated the interaction and cross loading affects of multiple effects set-ups that are usually used without inter-effect isolation.
To eliminate the possibility of feedback or microphonic problems when the system is used on a stage with loud bass and drums we designed a tube suspension method that would allow the tubes to be mechanically isolated from the main case of the board. A total of ten tubes were required and we used miniature double triodes, all operating in Class A to provide the isolation pre-amps and the line drivers.
We decided on providing four isolated, floating outputs (two per stereo channel) so that David’s preferred amp setup of two Hi-Watt 50W Combo on the floor with two Fender Bassman re-issues placed on top of the Hi-watts could be used without introducing any ground loop hums. The resulting sound of this combination was very full as the Hi-Watts provided the solid low frequency foundation and the Fenders the smooth upper harmonics.
For small venues or for just a single song as a guest David uses a single Fender Tweed Twin or Tweed Deluxe Amp. The All Tube Effects System can be used in mono mode as well as stereo so it is fully flexible for any type of show.
After the All Tube Effects System had been in use for three years we were asked to provide a new facility. David wished to play "Shine On You Crazy Diamond" as a solo feature at Robert Wyatt’s Meltdown show at London’s Royal Festival Hall. The first section of this song was originally acoustic guitar played over a sustained synthesiser pad and David had the idea of using a very long delay to provide an accompaniment to his acoustic guitar solo. We added a special level corrected balanced output from the All Tube Effects System to provide a +4dBm signal for the long delay (Roland SDE 3000) fed through a volume pedal. The repeats of the long (1500mS) delay were fed to a Fender Stereo PA amplifier so that David could play the solo section over the sustained chord that he had previously sent to the long delay. We set the repeats to provide about 20 seconds of the sustained chord and we also fitted D.I. outputs for the acoustic guitar and the long delay so that the main PA could receive the signal without the possibility of feedback from open mics on the stage.
The show was recorded and filmed and was released as a DVD "David Gilmour at Robert Wyatt’s Meltdown".
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