PAUL WALL THE PEOPLES CHAMP ALBUM CLEAN SERIES

The Treble pull pot that added a mid boost may have also been something that appealed to Gilmour. Although it had lots of bells and whistles, David used it strictly for its Princeton-like blackface Fender clean tone. Many consider it to be the best sounding of all the Rivera era Fender amps. These have become collectors items now, but the 6C10 compactron preamp tube it uses is no longer produced and is becoming hard to find, and very expensive. The 50w 10' Eminence speaker it shipped with had a lot of mid range and not much bottom end. The blackface style clean channel sounded very similar to a Fender Princeton. It was very versatile and covered a wide range of tones. Designed to compete with Mesa/Boogie 2-channel amps that were very popular at the time, the Super Champ also featured a 2-channel design with a foot-switchable Lead channel gain stage for an overdrive sound, master volume, reverb, and a mid boost pot. It was powered by two 6V6GT tubes running 18w into a 1x10' speaker. That concept was developed into the '82 Super Champ by Ed Jahns and Rivera, and was one of the last point-to-point wired Fender amps built. The Super Champ was based on one of the first amps Rivera ever built as a young boy, a hot-rodded Princeton Reverb with a master volume, but without the reverb.

PAUL WALL THE PEOPLES CHAMP ALBUM CLEAN SERIES

Rivera managed the revamped 1982 Fender design team responsible for all the Series II amps. That was a similar setup as David's 1984-86 rigs, but in that rig he used a Mesa Boogie in place of the GK amp.įENDER SUPER CHAMP - The Super Champ was a small combo amp from Fender's Paul Rivera design era, sold from 1982-1986. Note the GK amp was used as an overdrive and EQ in the signal chain, not powering a speaker cabinet. Another setup seems to be the Boss HM-2 going into the 250ML(used in the signal chain as an overdrive effect) then into a Super Champ. The primary setup for most of the tracks seems to be a split signal with one feed going to a Boss HM-2 running into a Fender Super Champ amp set for a clean tone and the other feed going into the gain channel of a Gallien Krueger 250ML. He was still using a Big Muff, a Boss HM-2, Boss GE-7 equalizers, a Boss compressor, along with chorus and delay. Looking at the rigs we know David used just prior to and just after MLOR, we can get an idea about some of the setups. Promotional photo of David Gilmour, Nick mason, and Rick Wright during mixing sessions for A Momentary Lapse of Reason, and the white Steinberger G元T with TransTrem used on much of the record The Sorrow solo was recorded the day the song was written. David said in the October 1988 issue of Guitar magazine that the guitar solos for On the Turning Away and Sorrow were the first takes for each song. It is confirmed that he used the red Strat on the songs Signs of Life and Learning to Fly. For electric guitars, David used his 57V red Strat and a Steinberger G元T, each equipped with EMG-SA pickups and the SPC EQ. For effects he used a Boss HM-2 Heavy Metal pedal, an Electro-Harmonix Big Muff, a Boss GE-7 graphic equalizer, a Gallien Krueger 250ML amplifier, a Boss CE-2 chorus pedal, a stereo Ernie Ball volume pedal, two Boss DD-2 Digital Delay pedals, and an MXR Digital Delay System II rack unit. For the MLOR sessions David used two small Fender Super Champ combos in stereo. That was recorded in 1986 for Berlin's Count Three & Pray album sessions, which Bob Ezrin also produced. Recording and mixing stretched from November 1986 - March 1987.ĭavid Gilmour's solos from the Berlin song Pink And Velvetĭavid's lead guitar tone sounded like a continuation of the tone he used on the Berlin song Pink & Velvet. Bob Ezrin, who produced Pink Floyd's The Wall and David's About Face album, was the producer. Most of the demos and studio recordings were done in the cramped recording rooms of the Astoria, David's floating recording studio anchored on the River Thames. There is very little information about the recording sessions, but some facts are known. Although it featured very little playing from Floyd members Nick Mason and Rick Wright, it was still very sucessful in relaunching Pink Floyd, with several radio hits like Learning to Fly, On the Turning Away, and Sorrow. The 1980s sound is all over it, especially the gated drum sounds. 1987 Momentary Lapse of Reason Lead Tones for Solosġ986-87 - THE MOMENTARY LAPSE OF REASON LEAD TONES - This first Gilmour-led Pink Floyd album, released in 1987, is one of the few Floyd albums that sounds very dated to the period.

Paul wall the peoples champ album clean