Brit Floyd - Fractal Tone Tour with Cooper Carter
"(...) Finally, we come to our fourth preset: The bombastic big Tim Renwick live solo...”
Pink Floyd Sounds - Amp & Effect Settings
Cooper Carter – our virtuoso guitarist, tone wizard for the greatest artists across the globe, and creator and host of the Fractal Tone Tours – had the honour of joining Brit Floyd on stage at their 12th consecutive sold-out show at Red Rocks, playing one of Pink Floyd's greatest tracks, "Another Brick in the Wall Part 2," based on the live version from the 1994 Pulse tour.
In this ‘Tone Tour edition’ of Fractal Friday, Cooper breaks down the very presets he used to nail those iconic Pink Floyd sounds. This performance included the second guitar solo after David Gilmour's iconic clean lead break, originally played by their touring guitarist Tim Renwick. A heads up – free presets included in the download below AND a Solo lesson at the end of this article. From shimmering cleans to monstrous fuzz tones, discover how you can capture the essence of David Gilmour's guitar work using Fractal Audio gear.
Preset Download
Another Brick Pt. 2 - Free Fractal Presets from Brit Floyd Important: Review all assigned modifiers before using this preset. If you don't have a pedal connected, adjust or bypass relevant blocks (e.g., Volume, Wah). Use the Modifier Overview in the Controllers menu to see all assigned modifiers at a glance. | Download |
Overview
- Tone Tour Video
Scroll to the top and click the top image to watch the Tone Tour video - Brit Floyd Tone Tour
- Tone Breakdown
- David Gilmour's Gear
- 1. The Iconic Intro Tone
- 2. Fuzz Rhythm Tones
- 3. Clean Tone
- 4. Big Tim Renwick Live Solo
- Socials and more on Cooper Carter
Brit Floyd Tone Tour 2024
In summer 2024, Cooper Carter joined Brit Floyd along with Damian Darlington and Edo Scordo in Denver to recreate the most accurate David Gilmour tones for their tour. While Cooper Carter is widely recognized for creating custom sounds for the greatest artists, he also took the opportunity to film a special Tone Tour episode with Brit Floyd which provides detailed breakdowns of the gear, settings, and thought processes.
Make sure to check out the complete Brit Floyd Tone Tour.
The Complete Brit Floyd Tone Tour
Brit Floyd Pulse Tour 2024 - Current Lineup
- Damian Darlington: Guitarist, Vocalist and Musical Director
- Edo Scordo: Guitars, Vocals
- Ian Cattell: Vocals, Bass
- Further Members: Gareth Darlington, Bryan Kolupski, Matt Riddle, Ian Cattell, Arran Ahmun, Eva Avila, Jenn Kee, Ryan Saranich, Andrea Pellegrini, Robyn Cage, Ella Chi, Randy Cooke
Tone Breakdown - Pink Floyd Presets
The presets below have been perfected for the Fractal Axe-Fx III, ensuring every nuance of Pink Floyd's iconic tones is captured with precision. The Axe-Fx III's unparalleled processing power allows for detailed signal chains, multiple parallel paths and blocks, and complex effects that bring these tones to life on any stage. For those using the FM9 or FM3, these presets are also available. While the FM9 and FM3 offer slightly different hardware configurations, they are more than capable of delivering the same rich, authentic sounds with a few smart adjustments. Explore these presets to unlock the full potential of your Fractal Audio gear and bring the legendary sounds of Pink Floyd to your performances.
Fractal Audio - Axe-Fx III, FM9 & FM3
David Gilmour’s Gear: Recreate the Pink Floyd Experience with Fractal Audio
David Gilmour’s guitar work with Pink Floyd is the stuff of legend, and his live tones are a benchmark for guitarists seeking that perfect blend of clarity, depth, and emotion. From the haunting beauty of “Echoes” to the raw power of “Run Like Hell", or the lush, swirling textures of “Shine On You Crazy Diamond,” Gilmour’s sound is a testament to the power of carefully chosen gear. Now, with Fractal Audio’s Axe-Fx III, FM9, and FM3, you can tap into this sonic legacy like never before. From the towering clean tones of the Hiwatt DR103 to the creamy overdrive of the BK Butler Tube Driver, every detail has been meticulously modeled, offering you the tools to not just replicate, but refine and innovate on Gilmour’s iconic soundscapes.
In the following sections, we’ll dive into some of the key effects and gear modeled in the Fractal Audio Axe-Fx III, FM9, and FM3, tweak the settings, and bring the spirit of Pink Floyd to your own performances.
Hiwatt DR103 Custom Head
Channel the iconic power and precision of David Gilmour’s live rig with the Hiwatt DR103, perfectly captured in the Fractal Audio Axe-Fx III, FM9, and FM3 as Hipower Brilliant, Hipower Normal, and Hipower Jumped. It’s like plugging into the very amp that defined Gilmour’s legendary tone. But here’s the kicker: with Fractal’s endless tweakability, you’re not just replicating history - you’re reinventing it, crafting your own masterpiece from a rock legend’s foundation.
Fender Twin Reverb
David Gilmour famously used a Fender Twin Reverb during the Pulse tour, specifically for its rich, clean tones that complement his more overdriven sounds. The Fractal Audio models this classic amp with the Double Verb model, which perfectly captures the sparkling highs and deep lows that made the Twin Reverb a go-to for Gilmour. Whether you're after that pristine clean tone or want to push it with some drive, the Double Verb model gives you all the flexibility you need to recreate those iconic Gilmour sounds.
WEM Super Starfinder 200
The 4x12 STARFOUND MIX (TAF) model in the Fractal Axe-Fx III, FM9, and FM3 brings the legendary WEM Super Starfinder 200 cabinet to life, faithfully capturing its rich, full-bodied tone. This cabinet, loaded with custom Fane speakers, was a cornerstone of David Gilmour's setup during the Pulse tour. When paired with the Hipower (Hiwatt) or Double Verb (Fender Twin Reverb) models, it delivers the powerful, clear sound that defined Gilmour’s live performances, making it an essential component for replicating his iconic tones.
BK Butler 911 Tube Driver
David Gilmour’s signature overdrive sound often relied on the Chandler Tube Driver. BK Butler is the original designer of the Tube Driver, and after his split with Chandler, he continued producing and refining the pedal under his own name. The Butler Tube Driver is often considered the "authentic" version, directly from the designer, with his oversight on quality and component selection - and yes, you guessed it, it's available in both 3-Knob and 4-Knob versions in the Fractal Audio units. The 3-Knob version offers a brighter tone with manageable gain, perfect for bluesy leads, while the 4-Knob version provides more tonal flexibility, true to the original’s design. Both models are essential for recreating Gilmour's smooth, saturated overdrive tones, giving you the flexibility to dial in everything from subtle warmth to searing lead tones.
Big Muff Pi (Triangle)
The Pi Fuzz model in the Fractal Audio Multi-FX unit is based on the original Triangle version of the Electro-Harmonix Big Muff Pi, the fuzz pedal that gave David Gilmour his legendary "Comfortably Numb" tone. Known for its rich, creamy sustain and dark, smooth fuzz, this pedal is less spitty than other fuzzes, making it ideal for use with a clean amp. In the Axe-Fx III, the Pi Fuzz allows you to dial in those iconic tones, with added flexibility to ensure you cut through the mix.
ProCo RAT II
Born from a happy accident in a Kalamazoo basement, the ProCo RAT has been the secret weapon for guitar legends like David Gilmour, Kurt Cobain, and Jeff Beck. The RAT is famous for its raw, aggressive tone, delivering everything from crunchy overdrive to full-on, face-melting distortion.
In the Fractal, the Rat Dist model faithfully captures this iconic sound, allowing you to harness the same power that Gilmour used to add bite to the Pink Floyd performances. Whether you’re looking to recreate the gritty tones of the 1980s or push your sound into new territory, the RAT is a pedal that demands to be heard.
EHX Electric Mistress
The Electric Mystery in the Fractal unit is your gateway to achieving the rich, swirling flanger effects that defined David Gilmour’s sound on tracks like "Shine On You Crazy Diamond" and "Dogs." This effect was crucial in adding depth and a three-dimensional quality to Gilmour’s guitar tones, making them feel expansive and ethereal.
With the Electric Mystery model, you can explore the full range of modulation that made the Electric Mistress a favorite among guitarists. From subtle, chorus-like textures to full-on jet swooshes, this flanger delivers everything you need to capture those iconic sounds.
Boss CE-2 Chorus
Gilmour relied heavily on the Boss CE-2 Chorus during the Pulse tour to add depth and richness to his sound. The Japan CE-2 in the Fractal is modeled after the Boss CE-2, capturing the lush, swirling modulation that the CE-2 is known for. Whether used subtly or as a more prominent effect, this chorus plays a crucial role in shaping the ambient, expansive tones.
TC 2290 Digital Delay
The TC 2290 is of course included in David Gilmour’s delay setup during the Pulse tour. This piece of gear crafted the expansive, rhythmic delays that added depth and dimension to Pink Floyd's songs. The 2290 w/ Modulation model in the Fractal Multi-FX unit faithfully captures these characteristics, making it ideal for those who want to recreate the detailed, spatial effects that defined Gilmour’s live sound.
1. Preset One - The Iconic Intro Tone
This preset captures the essence of David Gilmour’s clean, snappy sound, recreating the legendary intro from "Another Brick in the Wall."
Intro Tone - Signal Chain
The chain begins with two compressors to ensure that “snappiness”, a smooth and even dynamic range, followed by a drive block that can be engaged if needed for additional grit. Next, a chorus and flanger add modulation and movement to the sound, giving it that distinctive Gilmour flavor. The core tone is provided by the Double Verb Normal amp model based on the 1966 blackface Fender Twin Reverb, known for its clean and rich sound.
Following the amp, the signal is then sent through a send/return loop (no changes made in the loop), splitting into two paths with same cabinet blocks but a separate chorus effect on the left cab to create a wide stereo image. After the cabinets, the signals are merged back together, refined with a final compressor, a parametric EQ set for each venue separately, delay and reverb in parallel routing to add depth and ambiance.
Below are the detailed settings for each component of this signal chain.
Amp Settings
Amp - Double Verb Normal: Provides the core tone.
-
- Settings:
- Gain: 5.00
- Bass: 4.00
- Mid: 4.50
- Treble: 5.00
- Level: -20.0 dB
- Settings:
"Based around the Double Verb Normal here for a nice snappy clean."
Cab Settings
The signal chain splits into two paths for a stereo cab selection.
- Left Path:
- Chorus 2 (Japan CE-2): Further modulation for stereo effect.
- Settings:
- Rate: 0.400 Hz
- Depth: 60.0%
- Delay Time: 20.00 ms
- Mix: 50.0%
- Settings:
- Cabinet (4x12 STARFOUND MIX (TAF)): First cabinet is panned fully left.
- Chorus 2 (Japan CE-2): Further modulation for stereo effect.
- Right Path:
- Cabinet (4x12 STARFOUND MIX (TAF)): Second cabinet is panned fully right.
The signals from both paths are then merged back together.
"The icing on the cake that is this preset though really comes in what Edo has done with the chorusing and the cabinets. You'll notice there are two cabinet blocks. They are exactly the same; they use the same IR except for the fact that they are hard panned. So, this first cabinet is panned fully left, the second cabinet is panned fully right. And what that allows Edo to then do is put this chorus pedal here only on the left side of the stereo image to really widen out the sound just in a massive way that makes it sound absolutely perfect for the Pulse intro."
Compression
A pedal compressor is used, followed by a dynamic compressor. This combination ensures a snappy, responsive tone. A studio compressor is then added at the end of the chain to complete the sound, providing the necessary sustain and punch.
- Compressor 1 (Pedal Compressor): Provides initial compression for a snappy, clean sound.
- Compression: 3.00
- Attack Time: 19.763 ms
- Release Time: 100.00 ms
- Mix: 100%
- Level: -3.00 dB
"We start off with the pedal compressor stacked up against my favorite compressor, the dynamic comp."
- Compressor 2 (Dynamic Comp): Adds further compression to refine dynamics.
- Settings:
- Compression: 3.00
- Attack Time: 6.400 ms
- Release Time: 1399.9 ms
- Mix: 100%
- Level: 4.00 dB
"Pair these two and we get that really nice snap."
- Compressor 3 (Studio FB Compressor): Final compression to refine dynamics. This block is set after the cab blocks.
- Settings:
- Threshold: -35.4 dB
- Ratio: 3.000
- Attack Time: 0.100 ms
- Release Time: 100.00 ms
- Mix: 100%
- Level: 3.54 dB
"The real sweetener here comes in this Studio FB Compressor at the end of the chain."
Effects in front of Amp
- Drive (Bypassed): Adds grit and character, if needed.
- Chorus 1 (Japan CE-2): Adds modulation for a wider sound.
- Settings:
- Rate: 0.390 Hz
- Depth: 59.0%
- Delay Time: 20.00 ms
- Mix: 10.0%
"A chorus here set to the CE-2 for that classic sound."
- Flanger (Electric Mistress): Adds subtle flanging effect.
- Settings:
- Rate: 0.300 Hz
- Depth: 70.0%
- Feedback: 5%
- Min Time: 1.000 ms
- Max Time: 11.00 ms
- Mix: 15.0%
"Very low mix at 15% but definitely a key part of this sound. You can listen to it without it, just doesn't sound edgy enough. The depth is fairly high, the rate is very low – so what you’re getting is that slow warble that gives it that spacy vibe."
Effects after the Cabinets
- PEQ (Parametric EQ): Precise tonal adjustments.
- Settings:
- Frequency 1: 288.89 Hz; Gain 1: -2.99 dB
- Frequency 4: 2499.9 Hz; Gain 4: -1.00 dB
- Delay (2290 w/ Modulation) – in Parallel Routing: The delay effect is pivotal, with a modulation setting and a slight stereo widening trick (delaying the right post by 4 milliseconds). This subtle delay between the left and right channels opens up the sound, making it more spacious and dynamic. Set to "Mute FX In" and use the "Kill Dry" switch when routing in parallel.
- Settings:
- Time: 440 ms
- Feedback: 60.0%
- Right Post Delay: 4.0 ms
- Mix: 100% (Or Kill Dry Switch: ON)
- Level: -4.0 dB
"You could really use this [delay] tone for just about any song on The Wall."
- Reverb (Medium Plate) – in Parallel Routing: For Parallel Routing, you can always use the Kill Dry Switch and the Bypass Mode “Mute FX In”. Adjust the level to mix it with the dry signal.
- Settings:
- Time: 0.91 sec
- Size: 48.0
- Pre-Delay: 62.5 ms
- Mix: 100%
- Level: -7.8 dB
"A medium plate reverb rounds out our time-based effects. Very reminiscent of how the guitars were mixed on The Wall album itself."
2. Preset Two - The Big Fat Fuzzy Rhythm Tone
This preset is designed to replicate David Gilmour’s powerful, fuzz-laden rhythm tones, particularly inspired by the iconic sounds from the "Pulse" tour. The signal chain is built to deliver a thick, rich, and saturated tone, perfect for playing those heavy, driving rhythm parts.
"A joy of a tone to just bash out some chords to."
Two Amp Solution
Individual Characteristics: When listened to individually, the first amp provides a fuzzy but somewhat plasticky tone, lacking in low-end definition. The second amp offers a beefier sound but misses some high-end sparkle.
Combined Effect: Blending these two amps together results in a massive, rich tone that balances the strengths of both. The combined sound is powerful and full-bodied, perfect for bashing out big chords and providing a solid foundation for the performance.
“When we put the two amps together, you get this massive beautifully layered tone that really stands as an amazing contrast to the clean part that comes right after it.”
Rhythm Tone - Signal Chain
The chain starts with a drive block, which adds significant sustain and distortion, crucial for that fuzzy character. This is followed by a split in the signal path, routing the signal to two different amp blocks. To create a layered, textured sound, the same amplifier is used twice, each with different tone stack frequencies. The first amplifier has a tone stack frequency centered around 556 Hz, while the second is set at 2000 Hz.
The signals from both amps are then merged and processed through additional effects, including a flanger for added modulation, a PEQ for precise tonal shaping, and finally, a reverb to add space and depth.
Amp Settings
Signal Split: The signal splits into two paths, each going through a different amp setup.
Amp - Hipower Jumped
Modeled after the Hiwatt amplifier, this setting delivers the high headroom and punchy tone required for David Gilmour’s iconic sound. The Hipower Jumped model is known for its ability to handle both clean and distorted sounds with clarity and presence.
Left Path (Amp 1) - Hipower Jumped: Provides the main distorted tone.
- Settings:
- Treble Gain: 4.05
- Normal Gain: 3.96
- Bass: 2.69
- Mid: 4.15
- Treble: 6.00
- Presence: 6.72
- Master Volume: 8.00
- Level: -24.4 dB
- Tonestack Freq in the Preamp Tab: 556.5 HZ
Right Path (Amp 2) - Hipower Jumped: Similar to Amp 1 but with different tone stack settings for a complementary sound.
- Settings:
- Same Settings as Amp 1
- Level: -19.1 dB
- Tonestack Freq in the Preamp Tab: 2000 HZ
The signals from both amps are merged back together.
"Amp 2's tonestack frequency, the center frequency around which all of these tone knobs are actually affecting the sound, is 2000 Hz, while Amp 1's is 556.5 Hz. This makes the tones entirely different."
Cab Settings
The signal chain splits after the Reverb Block into two paths for a stereo cab selection.
Stereo Cab Path: Simulates speaker cabinet. See Preset 1.
- The cabinet block is configured like in the previous preset, with one cabinet panned fully left and the other panned fully right. The left path includes a chorus effect to widen the stereo image.
The signals from both paths are then merged back together.
Drive in front of the Amp
- Drive - Pi Fuzz: This effect is crucial for achieving the thick, saturated distortion that defines the rhythm parts of the performance. The Pi Fuzz replicates the classic fuzz tones used by Gilmour, providing a rich, harmonic-laden sound
- Settings:
- Sustain: 5.00
- Tone: 3.14
- Mix: 100%
- Level: 3.00
Effects after the Cabinets
- Reverb (Sun Plate) in Parallel: Adds space and ambiance.
- Settings:
- Time: 3.00 sec
- Size: 60.6
- Pre-Delay: 45.2 ms
- Mix: 100% (Engage Kill Dry Switch)
- Level: -7.0 dB
- Spread: 95.0%
3. Preset Three - The Classic Clean Sound
This preset is a variation of Preset 1, designed to capture David Gilmour’s classic clean tone without the use of delay. It delivers a pristine, warm, and full-bodied sound that is perfect for those iconic clean passages in Pink Floyd's music.
“A classic David Gilmour clean once again... this clean preset is also used by Edo during the show and in the case of the Red Rock show, by me to play the rhythm part underneath Damian's playing Gilmore's very famous first solo in the song."
The setup maintains the same intricate signal chain as Preset 1 with very small changes (e.g., Reverb level -9 dB instead of 7.8 dB), ensuring the clean, snappy sound that characterizes Gilmour’s style. It uses the same compressors, amp, chorus, and reverb settings, but omits the delay to provide a pure and straightforward clean tone. This preset is ideal for playing rhythm parts that need to sit clearly in the mix without the added ambiance of delay.
Settings Reference: See Preset 1 for detailed settings and configurations.
4. Preset Four - Big Tim Renwick Live Solo
This preset is designed to capture Tim Renwick's powerful and expressive lead tones, drawing inspiration from his live performances with Pink Floyd. The signal chain is carefully crafted to deliver a rich, sustaining lead sound with plenty of articulation and depth. Below is the breakdown of the signal chain and the detailed settings for each component.
Lead Tone - Signal Chain
The setup starts with a drive block to add sustain and character to the signal. It then passes through an amp block set to the Hipower Jumped model, providing a strong and clear lead tone. A flanger and a delay in parallel routing create a dynamic and spacious sound. The signal is then split to the standard cab blocks. The cabinet configuration is like in the previous presets, with stereo imaging enhanced by separate left and right cab paths, one of which includes a chorus effect. After merging back together, the signal passes through another PEQ for final tonal adjustments and a sun plate reverb to add depth and ambiance.
Amp Settings
Amp - Hipower Jumped: Provides the main amplification and tone shaping.
-
- Settings:
- Treble Gain: 6.00
- Normal Gain: 7.00
- Bass: 6.97
- Mid: 6.00
- Treble: 4.00
- Presence: 1.00
- Master Volume: 7.50
- Level: -11.0 dB
- Tonestack: 950 Hz
- Settings:
This amp block is set with the tone stack at 950 Hz, offering a balanced frequency response suitable for lead tones.
Cab Settings
Cabinet Block as in Preset 1.
Drive in front of the Amp
Drive - Tube Drive 3-Knob: This drive is based on the Butler Tube Driver. The Tube Driver is a pedal that contains a real tube. This block adds tube-like drive and sustain to the signal.
-
- Settings:
- Drive: 7.50
- Tone: 5.00
- Mix: 100%
- Level: 7.50
- Settings:
"An iconic pedal that actually featured a tube inside the pedal itself made very famous by David Gilmour and others. Eric Johnson, of course, comes to mind when you think of the Butler Tube Driver."
Effects before the Cabinets
- PEQ 1 (Parametric EQ): For initial tonal shaping. The 2500 Hz dip is especially for the pick attack.
- Settings:
- Frequency 2: 880.75 Hz, Gain 2: 1.00 dB (Peaking)
- Frequency 4: 2499.9 Hz, Gain 4: -3.00 dB (Peaking)
- Flanger (Electric Mistress): Adds modulation to the signal.
- Settings:
- Rate: 0.300 Hz
- Depth: 70.0%
- Min Time: 1.000 ms
- Max Time: 11.00 ms
- Mix: 15.0%
- Delay (Digital Mono): Adds echo and depth to the lead sound.
- Settings:
- Time: 500 ms
- Tempo: 1/8 Dot
- Feedback: 35.0%
- Mix: 100% (Or Kill Dry Switch)
- Level: -10.0 dB
- Parallel Routing: Mute FX In
Effects after the Cabinets
- PEQ 2 (Parametric EQ): Additional tonal shaping after the cabs are merged. This EQ is shaped when playing on a new stage.
- Settings:
- Frequency 2: 440.00 Hz, Gain 2: -4.50 dB (Peaking)
"And a little more polishing PEQ. Again, this is the kind of thing that they would dial in literally with one guy standing on stage and another in front of house."
- Reverb (Sun Plate) in Parallel: Adds space and ambiance.
- Settings:
- Time: 3.00 sec
- Size: 60.6
- Pre-Delay: 45.2 ms
- Mix: 100% (Engage Kill Dry Switch)
- Level: -7.0 dB
- Spread: 95.0%
The combination of the High Power Jumped amp, Tube Drive 3-Knob, PEQ adjustments, and time-based effects results in a powerful and expressive lead tone. This sound is characterized by its warmth, sustain, and clarity, making it ideal for the intricate solo sections played by Tim Renwick.
Cooper mentioned how he had previously broken down this solo in his "Solo a Week" series on YouTube. Check out the video below.
"The bombastic big Tim Renwick live solo...”
More on Cooper Carter - Fractal Friday & Masterclass
For more on Cooper, check out his own Tone Tour 2023 below or visit our Fractal Friday Section for more videos and courses. Also make sure to follow Cooper online.
In addition to recording his popular Fractal Friday videos for G66, where he shares tips, tricks and insights into Artist tones, Cooper is the mastermind and presenter of the critically acclaimed online Masterclass education series for the FM3, FM9, and Axe-Fx. This invaluable resource, a gem for the Fractal community, is so beneficial that we include a $30 discount voucher with every modeller sold, ensuring effortless access for everyone to get the most out of their Fractal units.
Cooper Carter FM9 Live Tone Tour Pt.1
Cooper Carter FM9 Live Tone Tour Pt.1
For more insights on using the Axe-Fx III and other Fractal Audio Systems products, visit the Product Page, Fractal Audio Wiki, or Forum. To purchase your unit, head to our shop and for in-depth learning, check out Cooper Carter’s Complete Fractal Audio Master Class Series.