Coming Back to Life Riff Guitar Tone Settings — Pink Floyd
Pink Floyd · 1990s · rock
studio
Original Recording
Studio recording, 1993, The Division Bell sessions. Riff section uses the Black Strat with EMG SA pickups. Amp is a Hiwatt DR103, no evidence of rotating speaker or heavy fuzz for the riff section. Effects chain includes compression, delay, and chorus. Settings are estimated based on Gilmour's typical Division Bell-era studio setup for rhythm/riff parts, not solo.
Amp Settings
Effects Chain
- Boss CS-2 Compression Sustainer · compression
- Boss CE-2 Chorus (Pete Cornish Custom Stereo Chorus) · chorus
- Pete Cornish Tape Echo Simulator · delay
Fender Stratocaster (EMG SA neck or neck+middle) → Boss CS-2 Compression Sustainer → Boss CE-2 Chorus (Cornish mod) → Pete Cornish Tape Echo Simulator → Hiwatt DR103 → WEM 4x12 cabinet (studio plate reverb added at mix)
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Tone Character
- clean and glassy
- lush and spacious
- slightly compressed
- chorus shimmer
- clear note separation
- warm lows
- articulate highs
- dynamic and touch-sensitive
- subtle delay ambience
- studio clarity
Notes & Caveats
- No direct source lists exact amp knob settings for the riff section; values estimated based on Division Bell-era Hiwatt usage and typical Gilmour clean settings.
- Pedal models confirmed for the album, but exact settings and order for the riff section are inferred from known Gilmour rigs and audible effects.
- Pickup position inferred from typical Gilmour clean tones and the audible warmth/clarity of the riff.
- No evidence of fuzz or heavy drive pedals in the riff section; those are reserved for solos.
- Chorus and delay are clearly audible, but specific pedal settings are not documented for the riff.
- Settings cross-referenced with genre and era conventions for accuracy. David Gilmour's tone on 'Coming Back to Life' is edge-of-breakup with rich mids, slightly boosted bass for warmth, and smooth but present highs; he typically uses Hiwatt amps set clean with a touch of breakup, plus moderate reverb for space. These settings reflect his 90s era preferences and the song's lush, expressive blues-rock sound.