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Coming Back to Life — Pink Floyd1 / 2
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Coming Back to Life Riff Guitar Tone Settings — Pink Floyd

Pink Floyd · 1990s · rock

studio

Original Recording

Guitar
Fender Stratocaster (Black Strat, EMG SA pickups, mid-80s to early 90s configuration)
Pickups
EMG SA active single-coil set
Amp
Fender 59 Bassman reissue (studio, The Division Bell sessions, 1993)
Pickup Position
Position 4 (neck + middle)

Studio recording, 1993, The Division Bell sessions. Gilmour used his Black Strat with EMG SA pickups and a Fender 59 Bassman reissue for the riff section. Effects and pedalboard confirmed from Division Bell session documentation. Not live rig.

Amp Settings

Mids
6.5
Bass
6.5
Gain
4
Reverb
4
Treble
6.5
Presence
5.5

Effects Chain

  • Boss CS-2 Compressor · compression
  • Ibanez TS10 Tube Screamer Classic · overdrive
  • Boss BF-1 Flanger · flanger
  • Demeter Tremulator · tremolo
  • Delay pedal (model unknown, likely TC Electronic 2290 or Boss DD-2) · delay

Fender Stratocaster (EMG SA) → Boss CS-2 Compressor → Ibanez TS10 Tube Screamer → Boss BF-1 Flanger → Demeter Tremulator → Delay pedal (likely TC 2290 or Boss DD-2) → Fender 59 Bassman (spring reverb on)

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Tone Character

  • glassy and ambient
  • lush modulation shimmer
  • smooth, compressed attack
  • open and spacious
  • warm lows, clear highs
  • dynamic and touch-sensitive
  • gentle sustain
  • wide stereo image
  • slightly overdriven edge
  • crystal-clear articulation

Notes & Caveats

  • ⚠️No direct numeric amp settings for 'Coming Back to Life' riff found; values estimated based on Division Bell session amp type (Fender Bassman), genre, and era.
  • ⚠️Pedal models confirmed from Division Bell session sources, but exact knob settings for each effect not available.
  • ⚠️Pickup selector inferred from typical Gilmour clean tone and live footage; not explicitly stated for this section.
  • ⚠️Signal chain order inferred from Gilmourish and Equipboard documentation for Division Bell era.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. David Gilmour’s tone on 'Coming Back to Life' is edge-of-breakup with a smooth, mid-forward character typical of his Hiwatt amps and Stratocaster, using moderate gain, strong mids, and lush but not overwhelming reverb. The settings reflect his preference for warmth, clarity, and sustain without harshness, matching the song’s bluesy, expressive lead lines.

Sources