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Topic: Mike's Guitars and Effects Timeline, At Last!< Next Oldest | Next Newest >
Craig Evans Offline




Group: Members
Posts: 237
Joined: Sep. 2004
Posted: Mar. 31 2018, 09:58

In a similar vein to my Mike Oldfield synth timeline thread I made a few years back, I have finally made a timeline of all of Mike's electric guitars and effects devices and rigs and where he had used them.  I'm sorry it took so long!

Tubular Bells Era - 1971-1973
Tubular Bells
For this album Mike only had his 1965 Blonde Fender Telecaster electric guitar which was previously owned by Marc Bolan.  In 1969, the Fender Telecaster had an extra pickup, a single coil Bill Lawrence, fitted into the middle position on the body of the Tele along with a phasing system.  However even in the early days of recording "Tubular Bells", with some help from people such as Tom Newman doing some fishing for all kinds of old and rare devices, Mike was able to create a variety of his trademark sounds for this album.  Much of the gear from the "Tubular Bells" guitar effects rig would stick around almost to the 1980s and at least some pieces even longer than that.  The TEAC A3300 Tape Recorder in particular is a centrepiece of Mike's 1970s fuzz guitar rigs.  This album sees the first appearance of the famous Glorfindel Box.  "Tubular Bells" also features a different Fender Twin Reverb Amplifier to the one that would be a mainstay of Mike's guitar rigs.  The Fender amp on this album had different speakers instead of the typical JBLs that Mike prefers.  This is the first and last album to feature the Fender Telecaster Bass.  Pictures of the Tubular Bells Premiere Concert at Queen Elizabeth Hall in June 1973 show Mike with a Shaftsbury Ned Callan Cody bass however this bass was most likely only used for that concert.  Towards the end of this period Mike purchased the famous 1966 Gibson SG Junior which would make its first appearance at the Tubular Bells Premiere Concert at Queen Elizabeth Hall in June 1973.  In late 1973 the 1960 Blonde Fender Precision will make its first appearance at the BBC Second House performance of "Tubular Bells Part 1".  Mike's rigs for this album are:-

1)  Fender Telecaster Bass guitar>Ernie Ball volume pedal>Glorfindel Box>BSS Direct Injection Box>Walsall Timing Developments 20 channel mixer.  This rig is used for the fuzz bass sounds in "Part 1" playing these parts; 6:57-7:42, 17:02-24:07 (main "Finale" bass line) and 21:00-21:23 (bass guitar solo).

2)  1965 Blonde Fender Telecaster electric guitar>Ernie Ball volume pedal>Glorfindel Box>BSS Direct Injection Box>Walsall Timing Developments 20 channel mixer (mic preamp, EQ, and compressor)>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Belcaman C-102 limiter>Walsall Timing Developments 20 channel mixer (via return input).

This rig is used for the clean, heavily compressed, and soft Tele sounds in "Part 1" playing these parts; 2:55-4:05, 4:03-4:42 (double speed mandolin guitar with little compression), 9:14-9:40 (double speed mandolin guitar with little compression), 21:23-22:10 (these play music box like tune at double speed), and 23:19-24:36 and these parts in "Part 2"; 0:00-1:19 (harmonic lead 1), 0:07-1:29 (harmonic lead 2), 1:19-5:20 (soft harmonic Tele lines), 1:43-5:20 (double speed mandolin guitars playing intermittently throughout with more compression.  These are more clear in the 1976 "Boxed" and 2009 remixes), 8:00-8:50 (double speed mandolin guitars with more compression.  One of my favourite ever musical moments!.), 16:32-21:46 (intermittently throughout this whole section) and 21:46-23:16 (These play music box like tune in "Sailor's Hornpipe" at double speed.  This is more clear on the 1976 "boxed" and 2009 remixes.).

This rig is also used for clean but reedy and woody Tele sounds in "Part 1" playing this part; 17:08-24:07 (doubling on the main "Finale" bass guitar part) and these parts in Part 2; 1:17-5:20 (reedy harmonic Tele lines), and 16:32-21:46 (intermittently throughout this whole section) and 21:46-23:16 (jig-like power chords of "Sailor's Hornpipe" only).

3)  1965 Blonde Fender Telecaster electric guitar>Ernie Ball volume pedal>Glorfindel Box>TEAC A3300 Tape Recorder (mic preamp)>BSS Direct Injection Box>Walsall Timing Developments 20 channel mixer (mic preamp, EQ and compressor)>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Belcaman C-102 limiter>Walsall Timing Developments 20 channel mixer (via return input).

This rig is used for the mostly clean but slightly overdriven Tele sounds in "Part 1" playing these parts; 3:37-4:17 (double speed), 11:29-13:30, and 14:52-15:45 (power chords only), and 18:40-24:07 (doubling on the main "Finale" bass guitar part) and these parts in "Part 2"; 11:55-12:19, 12:19-12:41, 12:41-15:00 (chords), 15:00-15:20, 15:20-15:42, 15:42-16:32 (chords), and 16:32-21:46 (intermittently throughout).

This rig is also used for the slightly distorted Tele sounds in "Part 1" playing these parts; 13:28-13:50 (chords), 13:28-13:50 (double speed solo) and 21:45-22:57.

This rig is also used for the very distorted Tele sounds in "Part 1" playing these parts; 6:07-6:58 and 14:07-14:55 and these parts in "Part 2"; 12:48-12:53 (lead), 13:00-13:04 (lead), 13:08-13:15 (lead), 13:19-13:26 (lead), 13:26-13:47 (lead), 13:47-13:58 (lead), 13:58-14:20 (lead), 14:20-14:31 (lead), 14:31-15:00 (power chords), 14:31-15:00 (lead), 15:50-15:55 (lead), 16:02-16:06 (lead) and 16:10-16:32 (lead).

This rig is also used for the moderately distorted, heavily compressed, filtered with muted attack and synthesizer-like sustain bagpipe guitars in "Part 2" playing this part; 8:41-11:42 (all parts double speed).  "Bagpipe Guitars" is one of the first pieces that Mike constructed based on power chord related fifths which Mike would explore even further in pieces such as the "Thunderstorm" (from "Hergest Ridge Part 2"), "First Excursion", "Incantations", "Platinum" (especially the title piece of the "Platinum Title Track" and "Punkadiddle") and of course "Tattoo" (from "Tubular Bells II").  Here, "Bagpipe Guitars" consist of a little coda at the end of "Peace Finale" from 8:41-8:50 followed by the main tattoo-like section from 8:50-11:04 where each of the two main tattoo-like themes are alternatingly repeated 3 times.  Non-electric guitar company is provided by Concert Tympani, ground Fender Telecaster bass guitar, acoustic guitar and possibly a faint Lowrey Organ.  A very angry grand piano joins in for the mad bit from 11:04-11:42.  Interestingly throughout this little bit at 10:41-10:55 there is some strange high pitch electronic whistling.  Is this tape hiss, a Lowrey Organ sound or guitar feedback?  The most scary and unexpected part of "Tubular Bells" is were all the bagpipe guitars, after playing the previous 3 different, reflective and melodic power chord tunes in unison from 8:41 to 11:04, suddenly diverge into at least 3 separate "tunes".  This forms the mad bit from 11:04-11:42.  This would have been perfect for "The Exorcist" film but wasn't chosen.  One of the "tunes" in the mad bit consists of intermittent human like screams played by some of the bagpipe guitars.  Another tune in the mad bit consists of other bagpipe guitars playing a very angry ascending melody whilst the remaining bagpipe guitars play the same sort of chaotic and fast descending power arpeggios that would form the famous guitar solos from albums like "Ommadawn".  Surprisingly the bagpipe guitar screams from this mad bit were seemingly never recreated by Mike live in any of his concerts that featured "Bagpipe Guitars" (albeit this piece was only rarely played live) or even in Tubular Bells 2003.  On the other hand Mike would create similar but happier yelps with his SG guitar synth 11 years later on the concluding part of 1984's "Saved By A Bell".  The "Making Of Mike Oldfield's Tubular Bells" book describes "Bagpipe Guitars" as containing "100 overdubbed pipers" ("pipers" meaning Bagpipe Guitars of course!.).


Hergest Ridge and Orchestral Tubular Bells Era - 1974
Hergest Ridge
The Telecaster gained many friends on this album.  "Hergest Ridge" marks the first album to feature the famous 1966 Cherry Red Gibson SG Junior and the first album to feature the 1960 Blonde Fender Precision and possibly the first to feature the Cherry Red Gibson EB3.  During the early stages of making this album, Mike had a special custom made parametric equalizer commissioned for his fuzz guitar rigs.  Not only is this an equalizer, it is equipped with 2 footpedals that allow Mike to sweep through the entire frequency range of his electric guitar, creating what Mike describes as a "nicer Wah-Wah".  This custom EQ device thus results in the subtle and quirky honking effect on much of his 1970s and 1980s fuzz guitar sounds.  This device would be a mainstay of all of Mike's albums from 1974's "Hergest Ridge" to and including 1987's "Islands".  Its probably also used for parts of "Amarok" and "Tubular Bells 2003".  "Hergest Ridge" also features for the first time, Mike's preferred and trusty JBL speaker equipped Fender Twin Reverb Amplifier which would be a mainstay of Mike's guitar rigs.  Mike's rigs for this album are:-

1)  1960 Blonde Fender Precision bass guitar>Ernie Ball volume pedal>Glorfindel Box>BSS Direct Injection Box>Walsall Timing Developments 20 channel mixer.  This rig is used for the fuzz bass sounds in "Part 1" playing these parts; 13:21-14:57 (pre-emptive of main "Thunderstorm" power chord and bass line theme) and 14:57-17:40.

2)  Cherry Red Gibson EB3 bass guitar>Ernie Ball volume pedal>Glorfindel Box>BSS Direct Injection Box>Walsall Timing Developments 20 channel mixer.

This rig is used for the fuzz bass sounds in "Part 2" playing these parts; 8:32-9:16 (second reprise of romantic theme.  Gibson EB3 used?), and 9:30-11:04 (main "Thunderstorm" power chord theme), 11:04-11:57 (power chords playing hybrid variation of first "Bagpipe Guitars" tattoo theme and first main "Caveman" power chord theme), 11:57-13:37 (very angry power chords playing variation of second main "Caveman" power chords theme), 13:37-14:43 (main "Thunderstorm" power chord theme) and 14:43-15:36 (power chords playing hybrid variation of first "Bagpipe Guitars" tattoo theme and first "Caveman" power chord theme.)  All EB3 parts from 9:30-15:36 are sped up.  Is the Gibson EB3 used for the "Thunderstorm" parts?

3)  1965 Blonde Fender Telecaster electric guitar>Ernie Ball volume pedal>Glorfindel Box>BSS Direct Injection Box>Walsall Timing Developments 20 channel mixer (mic preamp, EQ and compressor)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Belcaman C-102 limiter>Walsall Timing Developments 20 channel mixer (via return input).  This rig is used for the clean, heavily compressed, and soft Tele sounds in "Part 1" playing this part; 2:36-7:41 (3 note theme).

This rig is also used for clean but reedy and woody Tele sounds in "Part 1" playing this part; 8:03-8:44.

4)  1965 Blonde Fender Telecaster electric guitar>Ernie Ball volume pedal>Glorfindel Box>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Walsall Timing Developments 20 channel mixer (mic preamp, EQ and compressor)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Belcaman C-102 limiter>Walsall Timing Developments 20 channel mixer (via return input).

This rig is used for the mostly clean but slightly overdriven Tele sounds in "Part 2" playing these parts; 9:30-11:04 (main "Thunderstorm" power chord theme), 11:04-11:57 (power chords playing hybrid variation of first "Bagpipe Guitars" tattoo theme and first main "Caveman" power chord theme), 11:57-13:37 (very angry power chords playing variation of second main "Caveman" power chords theme), 13:37-14:43 (main "Thunderstorm" power chord theme), 14:43-15:36 (power chords playing hybrid variation of first "Bagpipe Guitars" tattoo theme and first main "Caveman" power chord theme.  Rubbed tape pitch-bend effect on at least one Tele overdub?), 14:09-14:43 (chugging counter power chords) and 14:43-15:36 (jig-like counter power chords).  Most Tele parts from 9:30-15:36 are sped up.

This rig is also used for the distorted Tele sounds in "Part 1" playing this part; 7:41-8:07 and this part in "Part 2"; 11:28-11:57 (counter melody Tele solo.  Tele used?).

5)  1966 Cherry Red Gibson SG Junior electric guitar>Ernie Ball volume pedal>Glorfindel Box>BSS Direct Injection Box>Walsall Timing Developments 20 channel mixer (mic preamp, EQ and compressor)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Belcaman C-102 limiter>Walsall Timing Developments 20 channel mixer (via return input).  This rig is used for the clean, heavily compressed, and soft SG sounds in "Part 1" playing these parts; 2:36-7:05 (3 note theme.  Steel slide used?), and 2:36-4:53 (intermittent trills).

6)  1966 Cherry Red Gibson SG Junior electric guitar>Ernie Ball volume pedal>Glorfindel Box>Vox Wah-Wah pedal>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Walsall Timing Developments 20 channel mixer (mic preamp, EQ and compressor)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Belcaman C-102 limiter>Walsall Timing Developments 20 channel mixer (via return input).  This rig is used for the clean but squelchy SG sounds in "Part 1" playing these parts; 4:03-8:05 (3 note theme.  Steel slide used?), 4:03-8:05 (intermittent trills), and 4:55-5:45 (playing variation on opening Lowrey Organ synth panpipe theme.  Steel slide used?).

7)  1966 Cherry Red Gibson SG Junior electric guitar>Ernie Ball volume pedal>Glorfindel Box>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Walsall Timing Developments 20 channel mixer (mic preamp, EQ and compressor)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Belcaman C-102 limiter>Walsall Timing Developments 20 channel mixer (via return input).

This rig is used for the distorted SG sounds in "Part 1" playing these parts; 5:41-6:35, 8:03-8:55 (gain level decreases towards end), 10:55-12:47, 12:47-13:26 (first pre-emptive of main "Thunderstorm" guitar soloing theme) and 15:32-18:18 (SG only?) and Part 2; 0:00-2:37 (first reprise of romantic theme.  2:00-2:37 double speed?), 2:34-5:21 (SG only?), 7:19-8:33 (second pre-emptive of main "Thunderstorm" guitar soloing theme), 9:13-9:32 (one quiet lone bagpipe SG explodes into 62 loud ones!.), 9:30-11:04 (main "Thunderstorm" power chord theme), 11:04-11:57 (power chords playing hybrid variation of first "Bagpipe Guitars" tattoo theme and first main "Caveman" power chord theme), 11:57-13:37 (very angry power chords playing variation of second main "Caveman" power chords theme), 13:37-14:43 (main "Thunderstorm" power chord theme) and 14:43-15:36 (power chords playing hybrid variation of first "Bagpipe Guitars" tattoo theme and first "Caveman" power chord theme.  Rubbed tape pitch-bend effect on at least one SG overdub.  Awesome!.), 10:33-11:04 (playing main "Thunderstorm" guitar soloing theme.  This is longer from 9:30-11:04 on 1974 mix), 13:35-14:45 (playing main "Thunderstorm" guitar soloing theme.  Fades towards end.), 15:08-15:36 (playing first half of lead-in bridge to "Spanish Tune" reprise) and 16:37-18:05 (SG used?).  Most SG parts from 9:30-15:36 are sped up.

As with "Bagpipe Guitars" from "Tubular Bells Part 2", Mike also created another angry mass overdubbed electric guitar piece in 9:30-15:36 of "Hergest Ridge Part 2", this time known as the "Thunderstorm".  Like with "Bagpipe Guitars", the main "Thunderstorm" power chord guitars were moderately distorted, heavily compressed and filtered with attack muted by the Glorfindel Box. The Glorfindel also creates synthesizer-like sustain for the "Thunderstorm" power chord guitars.  Legend has it that at least 62 electric guitar overdubs were used for the "Thunderstorm" power chords alone.  That's not even counting the other parts in there which includes an unusual mix of solo electric guitar, angry Gibson EB3 fuzz bass lines, cutting Lowrey Organ chords, Morse code-like Lowrey Organs, murmuring Lowrey Organs, angelic choirs provided by Sally Oldfield and Clodagh Simmons and a Nutcracker in the middle!  Unfortunately the latter three embellishments are only present in the 1974 mix of "Hergest Ridge".

The "Thunderstorm" is one of Mike's most intense pieces.  The intense and repetitive synthesizer like sound of the main "Thunderstorm" power chord guitars and basses and there occasional pitch-bending even creates a feel that foreshadows techno and acid house!  The "Thunderstorm" as a whole represents one of the few moments in musical history were the worlds of classical music, electronic music, heavy metal, folk jigs and progressive rock all collide at once in just a six minute piece of music.  Mike didn't do things by half on this awesome album!  This is also perfect music for a real thunderstorm.  Sadly this is another awesome piece that Mike has almost never played live apart from a few dates on the 1982 Five Miles Out World Tour and 1982 Who's Next? tour.  Infact Mike has sadly never played any of the other parts of "Hergest Ridge" live either.


Orchestral Tubular Bells
This album sadly marks the last to feature the 1966 Cherry Red Gibson SG Junior due it being stolen amongst other gear from The Beacon in the autumn of 1974.  Later in this period the 1968 Black Beauty Gibson Les Paul Custom will make its first appearance on the non-album track "Stars End".  Mike's rig for this album is:-

1966 Cherry Red Gibson SG Junior electric guitar>Ernie Ball volume pedal>Glorfindel Box>Vox Wah-Wah pedal>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Walsall Timing Developments 20 channel mixer (mic preamp, EQ and compressor)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Belcaman C-102 limiter>Walsall Timing Developments 20 channel mixer (via return input).  This rig is used for the clean but squelchy SG sounds in "Part 2" playing these parts; 20:00-20:29 (steel slide used?) and 21:04-22:40 (gain level increases towards Moribund climax.  Steel slide used?)


Ommadawn Era - 1975-1976
Ommadawn
This album sees the first use of the 1957 TV Yellow Gibson Les Paul Junior and the famous 1962 Cherry Red Gibson Les Paul SG Junior.  Starting with this album and going all the way to and including "Amarok", the SG Junior and TV junior would frequently double up on the famous distorted guitar solos and forming what I regard as the "Awesome Twosome"!  The two unusually long screws in the tail of the bridge of the 1962 SG are the remnants of a Vibrola Vibrato system that was removed at an unknown point prior to "Ommadawn".  At some unknown point prior to "Ommadawn", the TV Junior was fitted with a full two octave (24 fret) neck, a feature in common with Mike's later Gibson L6-S, Höfner Shorty, and PRS Custom 24s.  Sadly I've never found any pictures of the TV Junior from before 1981.  This is surprising since Mike once said that the TV Junior was his main guitar in the 1970s.  "Ommadawn" also possibly sees the first and last album use of the 1968 Black Beauty Gibson Les Paul Custom however it would be used one more time for each of the non-album tracks; Sirens, Phaeacian Games and The Rio Grande.  Later in this period the famous Natural Finish Gibson L6-S Deluxe will make its first appearance on the non-album track "First Excursion".  This album also marks the only one to feature the Fender Lap Steel and so far any lap steel.  Mike's rigs for this album are:-

1)  1960 Blonde Fender Precision bass guitar.

2)  Cherry Red Gibson EB3 bass guitar>Ernie Ball volume pedal>Glorfindel Box>BSS Direct Injection Box>Helios 10 Channel Sidecar.  This rig is used for the fuzz bass sounds in "Part 1" playing these parts; 1:06-1:46 and 2:33-4:42 and these parts in "Part 2"; 0:00-4:55 and 11:05-11:48.

3)  1965 Blonde Fender Telecaster electric guitar>Ernie Ball volume pedal>Treble Booster>Vox Escort Amplifier>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Helios 10 Channel Sidecar (mic preamp)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Helios 10 Channel Sidecar (via return input).  This rig is used for the mostly clean but slightly overdriven Tele sounds in "Part 1" playing this part; 4:09-4:51 (Tele used?  Double speed?) and this part in "Part 2"; 11:05-11:48 (Tele used?  Double Speed?).

4)  1962 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Glorfindel Box>BSS Direct Injection Box>Helios 10 Channel Sidecar (mic preamp)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Helios 10 Channel Sidecar (via return input).  This rig is used for the clean, heavily compressed, and soft SG sounds in "Part 1" playing these parts; 0:00-1:01 (intermittent trills), 5:13-5:23 and 5:55:-6:02.

5)  1962 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Glorfindel Box>Vox Wah-Wah pedal>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Helios 10 Channel Sidecar (mic preamp)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Helios 10 Channel Sidecar (via return input).  This rig is used for the clean but squelchy SG sounds in "Part 1" playing these parts; 3:10-3:42 and 13:53-14:24 and this part in "Part 2"; 6:52-7:12.

6)  1962 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Vox Escort Amplifier>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Helios 10 Channel Sidecar (mic preamp)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Helios 10 Channel Sidecar (via return input).  This rig is used for the distorted SG sounds in "Part 1" playing these parts; 3:37-4:19, 6:04-6:59, 9:25-9:48, 9:45-11:09*, 11:07-11:47*, 11:45-11:58*, and 16:18-18:29 (steel slide used?  Double speed?) and this part in "Part 2"; 12:26-13:47, and these parts in "On Horseback"; 0:26-0:48, 1:11-1:34, and 1:55-3:23.  Was the SG doubling the lap steel and being played with a slide?

7)  1962 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Glorfindel Box>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Helios 10 Channel Sidecar (mic preamp)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Helios 10 Channel Sidecar (via return input).

This rig is used for the slightly distorted, compressed and filtered with muted attack clarinet SG sounds in "Part 1" playing this part; 14:22-18:25*.  This rig is also used for the moderately distorted, heavily filtered and heavily compressed along with muted attack and synthesizer-like sustain swirling and foggy SG sounds in "Part 2" playing these parts; 0:00-5:23* (steel slide used in parts?) and 11:14-11:48* (steel slide used?).

I use to think the clarinet SG sound was a sequenced ARP 2600 synth part but Korgscrew informed me its a double speed electric guitar.

8)  1957 TV Yellow Gibson Les Paul Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Vox Escort Amplifier>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Helios 10 Channel Sidecar (mic preamp)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Helios 10 Channel Sidecar (via return input).  This rig is used for the distorted TV sounds in "Part 1" playing these parts; 3:37-4:19, 6:04-6:59, 9:25-9:48, 9:45-11:09*, 11:07-11:47*, 11:45-11:58*, and 16:18-18:29 (steel slide used?  Double speed?) and this part in "Part 2"; 12:26-13:47, and these parts in "On Horseback"; 0:26-0:48, 1:11-1:34, and 1:55-3:23.  Was the TV doubling the lap steel and being played with a slide?

9)  1957 TV Yellow Gibson Les Paul Junior electric guitar>Ernie Ball volume pedal>Glorfindel Box>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Helios 10 Channel Sidecar (mic preamp)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Helios 10 Channel Sidecar (via return input).

This rig is used for the slightly distorted, compressed and filtered with muted attack clarinet TV sounds in "Part 1" playing this part; 14:22-18:25*.  This rig is also used for the moderately distorted, heavily filtered and heavily compressed along with muted attack and synthesizer-like sustain swirling and foggy TV sounds in "Part 2" playing these parts; 0:00-5:23* (steel slide used in parts?) and 11:14-11:48* (steel slide used?).

10)  1968 Black Beauty Gibson Les Paul Custom electric guitar>Ernie Ball volume pedal>Glorfindel Box>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Helios 10 Channel Sidecar (mic preamp)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Helios 10 Channel Sidecar (via return input).  This rig is used for the moderately distorted, heavily filtered and heavily compressed along with muted attack and synthesizer-like sustain swirling and foggy Black Beauty sounds in "Part 2" playing these parts; 0:00-5:23* (Black Beauty used?  Steel slide used in parts?) and 11:14-11:48* (Black Beauty used?  Steel slide used?).

11)  Fender Lap Steel guitar>Ernie Ball volume pedal>Treble Booster>Vox Escort Amplifier>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Helios 10 Channel Sidecar (mic preamp)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Tape Delay Device>Helios 10 Channel Sidecar (via return input).  This rig is used for the soft distorted lap steel sounds in "On Horseback" playing these parts; lead at 0:26-0:48, 1:11-1:34, and 1:55-3:23 (and magical bits on top at 0:38-0:41, 1:22-1:25, 2:07-2:12, 2:17-2:30, 2:52-2:57 and 3:12-3:16.  Other more whistling magical bits are probably the ARP 2600 synth.).  Was "On Horseback" lap steel only on the electric guitars front?

*Double speed guitar parts

The start of "Ommadawn Part 2" from 0:00-5:23 has another mass overdubbed electric guitar piece.  However in contrast to the angry "Bagpipe Guitars" and "Thunderstorm", this is a much calmer piece.  The calm but still sombre atmosphere in the "Ommadawn Part 2" intro evokes swirling foggy imagery.  On the other hand because of the 1984 electric guitar overdubs its even harder to work out exactly what electric guitar Mike used for this awesome part.  Its most likely not the Tele and probably a mixture of the SG Junior, TV Junior and maybe even the elusive Black Beauty.  Unusually there is an accordion and acoustic guitar along some Gibson EB3 fuzz bass mixed in there as well, possibly even with a smidgen of ARP 2600 synthesizer.  Towards the end of this section there is also some sad Penny Whistles and ominous tubular bells.  Once again the guitars have an unusual modest distortion, but heavily filtered and heavily compressed nature along with muted attack and synthesizer-like sustain courtesy of the Glorfindel Box.  A similar mass overdubbed electric guitar arrangement was used at 11:14-11:48 in "Part 2" with another unusual mix of company provided by a fuzz Gibson EB3 bass, a Fender Precision bass, slightly overdriven Tele, glockenspiel, ARP 2600, acoustic guitar, panpipes and the Hereford City Brass Brand.  These pieces were possibly also partially double speed.  These swirling foggy pieces are also perfect for real foggy weather!  Sadly, neither of these great pieces or any other part from the classic "Ommadawn Part 2" has been played live by Mike.  On the other hand a variation of the chords of the theme of 11:14-11:48 will be used in the middle and "Sana Rosana" sections of 1981's "Taurus II".


Incantations Era - 1977-1978
Incantations
The beautiful "Incantations" is Mike's culmination of his work involving the "circle of fifths" which had previously been a major part of awesome tracks such as "First Excursion".  In fact the main "First Excursion" theme serves as the genesis of much of the music from "Incantations".  This is the first album to feature the famous Natural Finish Gibson L6-S Deluxe.  Mike also bought an Ebony Gibson L6-S Custom during this period however it seems to only have acted as a spare guitar for the 1979 Tour Of Europe.  The Ebony Gibson L6-S Custom was ultimately sold at the 1980 Abbey Road Sale.  This is the last album (if not "Ommadawn") to feature the Cherry Red Gibson EB3.  Sadly in the only live tours to feature "Incantations", both the 1979 Tour Of Europe and 1980 In Concert tours, Mike would always skip much of the epic guitar parts of "Incantations" such as 2:15-8:35 from "Part 3" and 8:06-11:58 from "Part 4".  Mike's rigs for this album are:-

1)  1960 Blonde Fender Precision bass guitar.

2)  Cherry Red Gibson EB3 bass guitar (Gibson EB3 used?).

3)  1965 Blonde Fender Telecaster electric guitar>Ernie Ball volume pedal>Treble Booster>Vox Escort Amplifier>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>EMT 250 (Digital reverb)>Rebis Mixer (via return input).  This rig is used for the mostly clean but slightly overdriven Tele sounds in "Part 4" playing these parts; 8:06-9:48 (doubling on bass guitar part), 9:48-11:37 (power chords), 11:37-12:17 (doubling on bass guitar part) and 14:41-15:03 (cleaner and softer layer of the same SG and TV solo).

This rig is also used for the distorted Tele sounds in "Part 3" playing these parts; 11:23-12:07 and 15:20-16:56.

4)  1962 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Vox Escort Amplifier>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>EMT 250 (Digital reverb)>Rebis Mixer (via return input).  This rig is used for the distorted SG sounds in "Part 3" playing this part; 13:43-15:20 and these parts in "Part 4"; 3:33-5:24, 8:06-9:06 (feed-backing power chords), 9:06-9:48 (epic solo), 9:48-11:37 (power chords), 10:42-11:37 (reprise of first "Part 4" SG solo), 11:37-11:58 (reprise of epic "Part 4" SG solo), 14:41-15:03 (more distorted and sharper layer to Tele solo) and 16:24-16:52 (SG used?).

5)  1957 TV Yellow Gibson Les Paul Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Vox Escort Amplifier>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>EMT 250 (Digital reverb)>Rebis Mixer (via return input).  This rig is used for the distorted SG sounds in "Part 3" playing this part; 13:43-15:20 and these parts in "Part 4"; 3:33-5:24, 8:06-9:06 (feed-backing power chords), 9:06-9:48 (epic solo), 9:48-11:37 (power chords), 10:42-11:37 (reprise of first "Part 4" SG solo), 11:37-11:58 (reprise of epic "Part 4" SG solo), 14:41-15:03 (more distorted and sharper layer to Tele solo) and 16:24-16:52 (SG used?).

6)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Rebis Mixer (mic preamp)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>EMT 250 (Digital reverb)>Rebis Mixer (via return input).  This rig is used for the clean, heavily compressed, and soft L6-S sounds in "Part 1" playing this part; 10:25-15:00 and these parts in "Part 4"; 12:57-14:41 (doubling on bass guitar part) and 14:41-16:52 (doubling on bass guitar part).

7)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>Treble Booster>Vox Escort Amplifier>TEAC A3300 Tape Recorder (mic preamp)>MXR Graphic Equalizer>TEAC A3300 Tape Recorder (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>Allison Research Kepex Noise Gate>Custom Made Parametric Equalizer>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>EMT 250 (Digital reverb)>Rebis Mixer (via return input).  This rig is used for the distorted L6-S sounds in "Part 1" playing these parts; 2:37-2:54, 4:12-4:30, 4:30-5:21, 7:25-8:08* and 7:56-8:08 (mini solo), these parts in "Part 2"; 4:00-4:20, 4:53-5:12, 5:46-6:05, 6:47-7:16, 8:23-8:45, 9:30-9:56 and 9:56-10:18, these parts in "Part 3"; 0:00-2:15, 2:11-8:35*, 3:30-8:35 (epic solo!  Based on variation of "First Excursion" theme.), 8:35-9:19*, 9:19-10:01*, 10:01-10:22*, 10:22-11:04*, 11:04-12:07*, 12:07-12:49*, 12:49-13:32*, 13:43-15:20* and 15:20-16:56* and this part in "Part 4"; 8:06-9:48 (brassy licks.  L6-S used?).

*power chords

Exposed and Platinum Era - 1979-1980
Exposed Live Album
For the 1979 Tour Of Europe which is documented by the "Exposed" live album and "Exposed DVD", Mike modified his guitar effects rig significantly.  From 1979's "Exposed" to and including 1987's "Islands" as well as parts of "Amarok" and "Tubular Bells 2003", the Mesa/Boogie amplifier would become the centrepiece of Mike's fuzz guitar rigs.  According to Mike's autobiography book, "Changeling", the string players of this "Incantations" tour discovered Mike was recording them.  In response, Mike dismantled his TEAC A3300 Tape Recorder and left all the pieces on stage for all to see, so that the string players would even go on stage!  Mike's rigs for this live album are:-

1)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>Amp Selector Footpedal>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Computerised Mixer (via return input).

This rig is used for the clean, heavily compressed, soft and almost talking L6-S sounds in "Live Incantations Part 1", "Live Incantations Part 2", "Live Incantations Part 3", "Live Incantations Part 4", "Live Tubular Bells Part 1", "Live Tubular Bells Part 2" and "Live Guilty".

2)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>Amp Selector Footpedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Computerised Mixer (via return input).

This rig is used for the distorted L6-S sounds in "Live Incantations Part 1", "Live Incantations Part 2", "Live Incantations Part 3", "Live Incantations Part 4", "Live Tubular Bells Part 1", "Live Tubular Bells Part 2" and "Live Guilty".

3)  Ebony Gibson L6-S Custom electric guitar>Ernie Ball volume pedal>Amp Selector Footpedal>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Computerised Mixer (via return input).

This rig is a spare rig for the clean, heavily compressed, soft and almost talking L6-S sounds in "Live Incantations Part 1", "Live Incantations Part 2", "Live Incantations Part 3", "Live Incantations Part 4", "Live Tubular Bells Part 1", "Live Tubular Bells Part 2" and "Live Guilty".

4)  Ebony Gibson L6-S Custom electric guitar>Ernie Ball volume pedal>Amp Selector Footpedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Computerised Mixer (via return input).

This rig is a spare rig for the distorted L6-S sounds in "Live Incantations Part 1", "Live Incantations Part 2", "Live Incantations Part 3", "Live Incantations Part 4", "Live Tubular Bells Part 1", "Live Tubular Bells Part 2" and "Live Guilty".


Platinum
In late 1979, at some point after "Platinum" was finished, Mike had his Natural Finish Gibson L6-S Deluxe customised by Tony Zemaitis.  The customisations were a stop-bar tail-piece bridge (replacing the original through body bridge system), a metal scratchplate, a metal headstock plate and metal control knobs.  Mike's rigs for this album are:-

1)  1960 Blonde Fender Precision bass guitar.

2)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).

This rig is used for the clean, heavily compressed, and soft L6-S sounds in "Platinum Part 2" playing these parts; 1:02-3:42 (more clear from 2:06-3:42), these parts in "Platinum Part 4"; 0:00-2:42 ("North Star" theme disco lick 1), 2:09-2:42 ("Platinum Finale" theme mandolin guitars.  Double speed?), and 2:42-4:20 ("North Star" theme disco lick 2), and this part in "Punkadiddle"; 0:25-0:49 (very faint).

3)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>Glorfindel Box>Vox Wah-Wah pedal>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).  This rig is used for the clean but squelchy L6-S sounds in "Woodhenge" playing this part; 1:47-3:10 (rubbed tape pitch-bend effect at 2:16-2:20?  Gain level increases at end).

4)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).  This rig is used for the mostly clean but slightly overdriven L6-S sounds in "Platinum Part 1" playing this part; 3:04-4:01 (counter melody).

This rig is also used for the distorted L6-S sounds in "Platinum Part 1" playing these parts; 1:30-2:30, 2:30-3:08, 3:04-3:16 (chords), 3:27-4:01 (solo contains pre-emptive of "Sally" theme), 4:01-5:06 (sharp solo), and 4:01-5:06 (softer solo), these parts in "Platinum Part 2"; 0:00-1:02, 1:02-1:35, 1:35-2:06, 2:06-2:38, 2:38-3:10, 3:10-3:42, 3:42-4:38, and 5:10-6:06, these parts in "Platinum Part 4"; 1:36-2:42 ("Platinum Finale" theme electric guitar solo), and 3:14-4:41 (epic "Platinum Finale" theme electric guitar solo reprise), these parts in "Punkadiddle"; 0:00-0:25 (solo), 0:25-0:49 (solo), 0:49-5:30 (main power chords), 1:48-2:28 (solo), 2:53-3:35 (solo), 4:00-5:32 (solo), and 4:39-5:42 (feed-backing power chords), and this part in "I Got Rhythm"; 2:47-4:42.

0:00-0:49 from "Punkadiddle" is the remnants of the deleted track "Sally".

QE2 Era - 1980-1981
QE2
Shortly after "QE2" was released, in late 1980, Mike purchased his 1963 Cherry Red Gibson Les Paul SG Junior.  However this guitar would simply be a spare guitar for the 1981 European Adventure tour and 1982 Five Miles Out World Tour and 1982 Who's Next? tour and would make its first album appearance on "Crises".  As well as becoming the "Gibsynth" in late 1982, the 1963 SG was Mike's goto axe at the excellent July 1981 Montreux Jazz Festival which is documented on "Mike Oldfield Live At Montreux DVD".

Starting in this period some red herrings start to appear among Mike's guitars.  The "Wonderful Land" video shows Mike playing a Cherry Red Gibson EBS-1250 twin neck bass/guitar but its almost certain this guitar was never used on any of Mike's work.  The correct guitar on "Wonderful Land" is almost certainly the Natural Finish Gibson L6-S Deluxe.  Mike's rigs for this album are:-

1)  1960 Blonde Fender Precision bass guitar.

2)  1965 Blonde Fender Telecaster electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).  This rig is used for clean, heavily compressed, and soft Tele sounds in "Taurus I" playing this part; 5:26-5:54 (Tele used?).

3)  1965 Blonde Fender Telecaster electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).  This rig is used for the slightly distorted Tele sounds in "Taurus I" playing these parts; 1:12-3:36 (chopping chords), 1:12-3:36 (soft solo.  Tele used?), 2:13-3:36 (power chords), 7:25-8:09 (intermittent throughout.  Woofing "Outcast"-like power chords.  Tele used?), and 8:12-8:19 (Tele used?), and these parts in "Sheba"; 1:06-1:47 and 2:14-2:56.

4)  1962 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).  This rig is used for the distorted SG sounds in "Taurus I" playing this part; 2:13-3:36 (sharp solo), these parts in "Conflict"; 0:21-1:08, 1:19-1:50, and 2:22-2:47, this part in "Arrival"; 0:06-2:45, these parts in "Mirage"; 0:02-1:21, and 1:32-4:37, and these in "QE2 Title Track"; 0:45-2:40, 2:40-3:20, 3:22-4:00, 3:35-3:43 (sustained low chord), 4:00-4:38 (lovely double speed solo), and 5:30-7:37.

5)  1957 TV Yellow Gibson Les Paul Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).  This rig is used for the distorted TV sounds in "Taurus I" playing this part; 2:13-3:36 (sharp solo), these parts in "Conflict"; 0:21-1:08, 1:19-1:50, and 2:22-2:47, this part in "Arrival"; 0:06-2:45, these parts in "Mirage"; 0:02-1:21, and 1:32-4:37, and these in "QE2 Title Track"; 0:45-2:40, 2:40-3:20, 3:22-4:00, 3:35-3:43 (sustained low chord), 4:00-4:38 (lovely double speed solo), and 5:30-7:37.

6)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Roland VP-330 Vocoder Plus>Rebis Mixer (via return input).

This rig is used for clean, heavily compressed, soft and talking L6-S sounds in "Molly" playing these parts; 0:00-1:10 (main melody), and 0:00-1:10 (counter melody).  For these vocoded L6-S tunes Mike's voice is being used as a modulator.

7)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).  This rig is used for the distorted L6-S sounds in "Taurus I" playing these parts; 5:22-5:27 (L6-S used?), 6:44-7:04 (intermittent throughout.  L6-S used?), 7:11-8:09 (intermittent throughout), 8:26-8:29 (L6-S used?), and 9:16-10:07 (intermittent throughout.  L6-S used?), this part in "Wonderful Land"; 0:00-3:37, and these parts in "Celt" 1:07-1:44, 2:03-2:16 and 2:39-3:01.


Five Miles Out Era - 1981-1982
Five Miles Out
The flute-like clean guitar sound makes its first appearance on "Five Miles Out", in the middle of "Mount Teide".  This was one of Mike's trademark clean guitar sounds on most of his 1990s albums and concerts and 2002's "Tres Lunas".  Sadly I've not found any photos post 1981 of the Natural Finish Gibson L6-S Deluxe, apart from a recent one showing the L6-S Deluxe (still in its late 1979 Tony Zemaitis configuration) in Luke Oldfield's studio.  This is surprising since the L6-S Deluxe (or at least what sounds like an L6-S) is still a major part of Mike's guitar rigs on albums such as "Five Miles Out" and "Islands".  "Five Miles Out" sees the last regular appearance of the 1965 Blonde Fender Telecaster.  Pictures and rare footage from the 1982 Five Miles Out World Tour and 1982 Who's Next? tour show Mike with a Aria Pro II SB-1000 bass however this was most likely only used for live work.  Mike's rigs for this album are:-

1)  1960 Blonde Fender Precision bass guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Neve 8108 with NECAM automation.  This rig is used for the fuzz bass sounds in "Taurus II" playing these parts; 7:59-10:03, 10:03-10:42, 10:42-11:10, and 16:47-20:00.

2)  1965 Blonde Fender Telecaster electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Neve 8108 with NECAM automation (via return input).  This rig is used for the mostly clean but slightly overdriven Tele sounds in "Taurus II" playing these parts; 7:59-10:03 (Tele used?), 13:40-14:50 (chords.  Tele used?), 14:50-16:47 (chords.  Tele used?), and these parts in "Family Man"; 0:43-2:11 (faint chords), 0:43-2:11 (quieter fuzzy riff throughout this section), 2:30-3:40 (quieter fuzzy riff throughout this section), and 2:30-3:40 (faint chords).

This rig is also used for the slightly distorted Tele sounds in "Taurus II" playing these parts; 0:10-1:15 (chords), 1:19-1:40, 1:50-2:03 (chords), 5:23-5:38 (chords), 5:38-6:14 (chords.  Tele used?), 8:25-8:31 (single chord.  Tele used?), 10:03-10:42 (power chords), 10:42-11:10, 19:58-21:48 (clicky chords), 21:48-22:11 (clicky chords), 22:10-22:32 (clicky chords), 22:32-22:53 (chords), 22:53-23:17 (chords), and 23:17-23:53 (chords), these parts in "Family Man"; 0:29-0:45 (solo), 0:49-0:59 (fill), 1:17-1:20 (fill), 1:23-1:27 (fill), 1:54-2:11 (solo) and 2:52-2:58 (fill), this part in "Orabidoo"; 7:49-8:33 (Tele used?), and these parts in "Five Miles Out Title Track"; 0:26-0:39 (Tele used?), 1:10-1:22 (Tele used?), 1:43-1:56, 2:05-2:18 (power chords), 2:17-2:40 (power chords), 3:21-3:45 (intermittent power chords throughout.  Tele used?), 3:45-4:17 (screaming riff.  This is more clear in the "Five Miles Out" demo.), and 3:50-4:17 (intermittent power chords throughout.  Tele used?).

3)  1962 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Glorfindel Box>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Neve 8108 with NECAM automation (via return input).

This rig is used for the clean, heavily compressed, soft and filtered with muted attack flute SG sounds in "Mount Teide" playing this part; 2:18-2:40.  This very beautiful sound is like a cross between a woolly flute and a muted electric piano.

4)  1962 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Glorfindel Box>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Roland VP-330 Vocoder Plus>Neve 8108 with NECAM automation (via return input).  This rig is used for the mostly clean but slightly overdriven and talking SG sounds in "Orabidoo" playing these parts; 3:21-4:13, and 5:20-6:11.

For these vocoded SG parts Mike's and Maggie Reilly's voices are being used as modulators.

5)  1962 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Neve 8108 with NECAM automation (via return input).  This rig is used for the distorted SG sounds in "Taurus II" playing these parts; 0:27-1:15 (solo) and 1:50-2:03 (solo), and these parts in "Five Miles Out Title Track"; 1:54-2:36 (faint intermittent fills.  SG used?), 2:36-2:52 (solo), 3:07-3:25 (intermittent fills.  SG Used?), and 3:53-4:17 (intermittent fills.  SG Used?).

6)  1957 TV Yellow Gibson Les Paul Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Neve 8108 with NECAM automation (via return input).  This rig is used for the distorted TV sounds in "Taurus II" playing these parts; 0:27-1:15 (solo) and 1:50-2:03 (solo), and these parts in "Five Miles Out Title Track"; 1:54-2:36 (faint intermittent fills.  TV used?), 2:36-2:52 (solo), 3:07-3:25 (intermittent fills.  TV Used?), and 3:53-4:17 (intermittent fills.  TV Used?).

7)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Neve 8108 with NECAM automation (via return input).  This rig is used for clean, heavily compressed and soft L6-S sounds "Mount Teide" playing these parts; 0:38-1:08 (very faint clean lick), 1:48-2:18 (very faint clean lick), and 2:58-4:10 (clean lick.  Very faint but a bit clearer.).

8)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Neve 8108 with NECAM automation (via return input).

This rig is used for the distorted L6-S sounds in "Taurus II" playing these parts; 3:03-5:00 (L6-S used?), 5:00-5:38 (L6-S used?), 5:38-6:14* (steel slide used?  L6-S used?), 10:03-10:45 (faint solo.  L6-S used?), 10:45-11:10 (faint solo.  L6-S used?), 13:44-14:50, 15:40-16:47 (faint solo), 18:39-19:01, 19:01-19:36, 19:58-21:48, 20:54-21:08 (warmer extra layer to main L6-S solo), 21:48-22:10, 22:10-22:32, 22:32-22:53, 22:53-23:17, 23:33-23:53, this part in "Family Man"; 2:11-2:30, this part in "Orabidoo"; 8:32-10:51, these parts in "Mount Teide"; 1:27-1:53, 1:49-2:19 (fuzzy lick), 2:38-3:12 and 3:39-4:10 (fuzzy lick) and this part in "Five Miles Out Title Track"; 1:21-1:33 (solo).

*On the "Five Miles Out" tracksheet, this part is named "Rick Solo".  Did only Rick Fenn or Mike play this or is this a guitar duet of Mike and Rick?  However it sounds like Mike although its hard to tell what guitar was used exactly as it sounds like a cross between the SG and L6-S.  Other "cross between the SG and L6-S" sounds appear all over the "QE2", "Five Miles Out", "Crises" and "Islands" albums.

9)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Roland VP-330 Vocoder Plus>Neve 8108 with NECAM automation (via return input).  This rig is used for the distorted and vocoded L6-S sounds in "Orabidoo" playing these parts; 5:45-6:11 and 6:11-7:00.

For these vocoded L6-S parts Mike's and Maggie Reilly's voices are being used as modulators.

*Continued below.*


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"It is good to be on Horseback" - Mike Oldfield "On Horseback"

"(Insert "The Thunderstorm" here)"
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Priabonia Offline




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Posts: 178
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Posted: April 05 2018, 15:22

Excellent stuff - looking forward to the Incantations era analysis...kind of lose interest after that!

P


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Craig Evans Offline




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Posted: April 05 2018, 19:25

Thankyou Priabonia.  I believe the awesome "Amarok" and "Return To Ommadawn" albums will prove quite a challenge to analyse due to their wide variety of instruments, length and combined pieces!  Also, there is a lot of uncertainty in this which I would be grateful if it could get cleared up.

A list of all the uncertainties can be found in this topic:-
https://tubular.net/forums....t=11740


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"It is good to be on Horseback" - Mike Oldfield "On Horseback"

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Olivier Offline




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Posted: April 06 2018, 12:13

I added a link from http://tubular.net/instruments/ but we should make a special page for it...
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nightspore Offline




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Posted: April 06 2018, 17:03

I didn't know about this list when I started the "Trumpet" thread elsewhere on the forum. But the list is obviously missing many, many instruments, such as the recorder and the clarinet.
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Craig Evans Offline




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Posted: April 10 2018, 21:08

*Due to exceeding maximum message length, I've continued this from above*
Crises Era - 1982-1983
Crises
"Crises" sees the first appearance of the famous 1959 Sunburst Fender Stratocaster.  This album also sees the first album appearance of the 1963 Cherry Red Gibson Les Paul SG Junior.  This album also sees the first appearance of the Roland G-808 guitar synth controller and the first appearance of its synth friend, the Roland GR-100 guitar synth module.  This album also sees the first appearance of the Roland G-88 bass guitar synth controller and the first appearance of its synth friend, the Roland GR-33B bass guitar synth module.  On the other hand "Crises" sees the last ever appearance of the Glorfindel Box and the last album appearance of the 1962 Cherry Red Gibson Les Paul SG Junior as well as the "Awesome Twosome" solos it joined in with the TV Junior on.  However the 1962 SG would still play a major role in the 1983 Crises Tour and the 1984 Discovery Tour and will make its last appearances on the non-album tracks, "Crime Of Passion" and "Jungle Gardenia".  Another red herring appears in this period in the form of a 1959 Ivory Gibson Les Paul Special, however there is little evidence apart, from some Puma advertisements, to suggest that Mike ever owned or used it.

At some point in late 1982, Mike turned the 1963 Cherry Red Gibson Les Paul SG Junior into the "Gibsynth" by fitting the 1963 SG with a Roland STK-1 GK divided synth pickup to control the Roland GR-100 guitar synth module.  Later in this period Mike was given the Natural Finish Höfner Shorty Super "Tubular Bells Guitar" by Virgin to celebrate the Tubular Bells 10th Anniversary in 1983.  The Höfner shares many of the features of the Gibson L6-S Deluxe such as the 24 fret neck, Natural Finish, thin body and humbucking bridge pickup, and if "Amarok" is anything to go by, also has a very similar dark and brittle but powerful, hard and sharp sound to the L6-S.  The Höfner also has a "Tubular Bells" headstock logo and a built in battery powered amplifier so that it can be used as a travel guitar.  There are many pictures of Mike with the Höfner from 1983 through 1990 but none with the L6-S Deluxe.  However it is unknown if the Höfner replaced the Gibson L6-S Deluxe prior to Mike buying his first Paul Reed Smith guitar in 1989.  The only album known for certain to feature the Höfner is "Amarok".

Of all of Mike's short songs, the 12 inch version of "Shadow On The Wall" must have a record for the high number of different electric guitar models featured in its length.  There is no less than 4 guitar models used by Mike and this is not even including the banjo, keyboard synths, drums, bass and Ant Glynne's guitars.  The 12 inch version of "Shadow On The Wall" features the 1959 Sunburst Fender Stratocaster, the 1957 TV Yellow Gibson Les Paul Junior, the 1962 Cherry Red Gibson Les Paul SG Junior and the Roland G-808.  For this reason I have chosen to showcase the 12 inch version of "Shadow On The Wall" for my analysis of electric guitars on "Crises".  Mike's rigs for this album are:-

1)  1960 Blonde Fender Precision bass guitar.

2)  Roland G-88 bass guitar>Roland GR-33B.

3)  1959 Sunburst Fender Stratocaster electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Neve 8108 with NECAM automation (via return input).

This rig is used for the clean, heavily compressed and soft Sunburst Strat sounds in "Crises Title Track" playing these parts; 5:24-6:06, 6:06-7:30, 7:26-7:49, 7:47-10:02, and 8:54-9:13 (booming and very twangy part), these parts in "Moonlight Shadow"; 0:00-0:09, 1:05-1:20 (doubles on acoustic guitar chords), 1:50-2:05 (doubles on acoustic guitar chords), and 2:06-3:37 (clean and soft solo), and these parts in "Shadow On The Wall" 12 Inch Version; 0:00-0:47 (clean counter-lead), 1:04-1:31 (clean counter-lead), and 1:48-4:40 (clean counter-lead).

4)  1962 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Glorfindel Box>Vox Wah-Wah pedal>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Neve 8108 with NECAM automation (via return input).

This rig is used for the clean but squelchy 1962 SG sounds in "Crises Title Track" playing this part; 2:19-2:47.

5)  1962 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Neve 8108 with NECAM automation (via return input).

This rig is used for the distorted 1962 SG sounds in "Crises Title Track" playing these parts; 2:40-3:50, 3:12-3:50 (extra higher layer to SG solo), 3:30-3:50 (extra lower layer to SG solo), 3:48-5:25 (fast riff), 3:48-5:25 ("Thunderstorm Finale"-like solo), 6:06-7:30, and 7:26-7:49, this part in "Moonlight Shadow"; 2:35-3:37 (fuzzy solo) and these parts in "Shadow On The Wall" 12 Inch Version; 0:18-0:47 (fuzzy lead), 1:04-1:31 (fuzzy lead), 1:48-2:14 (fuzzy lead), 2:10-2:47 (solo), 2:25-2:47 (fuzzy lead), 4:03-4:40 (faint fuzzy lead) and 4:11-4:27 (solo).

6)  Dual signal rig of P-90 pickup signal 1>1963 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Glorfindel Box>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Neve 8108 with NECAM automation (via return input).  (Blended with Roland STK-1 GK Pickup signal 2>1963 Cherry Red Gibson Les Paul SG Junior electric guitar>Roland GR-100>Neve 8108 with NECAM automation (via return input).)

This dual signal rig is used for the mostly clean but slightly overdriven and guitar/synth blend sounds in "In High Places" playing this part; 0:52-2:42.

7)  1957 TV Yellow Gibson Les Paul Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Neve 8108 with NECAM automation (via return input).

This rig is used for the distorted TV sounds in "Crises Title Track" playing these parts; 2:40-3:50, 3:12-3:50 (extra higher layer to TV solo), 3:30-3:50 (extra lower layer to TV solo), 3:48-5:25 (fast riff), 3:48-5:25 ("Thunderstorm Finale"-like solo), 6:06-7:30, and 7:26-7:49, this part in "Moonlight Shadow"; 2:35-3:37 (fuzzy solo) and these parts in "Shadow On The Wall" 12 Inch Version; 0:18-0:47 (fuzzy lead), 1:04-1:31 (fuzzy lead), 1:48-2:14 (fuzzy lead), 2:10-2:47 (solo), 2:25-2:47 (fuzzy lead), 4:03-4:40 (faint fuzzy lead) and 4:11-4:27 (solo).

8)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Neve 8108 with NECAM automation (via return input).

This rig is used for the distorted L6-S sounds in "Crises Title Track" playing these parts; 1:27-2:21 (main line.  L6-S used?), 1:27-2:21 (sustained note.  L6-S used?), 9:42-10:02 (trills), 15:47-16:17 (higher layer to Roland G-808 solo bit.  Mostly buried by the Prophet 5 synth.  L6-S used?), 16:27-16:57 (higher layer to Roland G-808 solo bit with varying volume), and 18:31-20:00 (L6-S used?).

9)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>Treble Booster>Vox Wah-Wah pedal>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Neve 8108 with NECAM automation (via return input).

This rig is used for the distorted and crying L6-S sounds in "Crises Title Track" playing this part; 11:12-12:57 (very sad and crying guitar.  L6-S used?).

10)  Roland G-808 electric guitar (via Roland STK-1 GK Pickup)>Roland GR-100>Neve 8108 with NECAM automation (via return input).

This rig is used for the clean synth only lead guitar sounds in "Shadow On The Wall" 12 Inch Version playing this part; 2:55-4:15.

11)  Dual signal rig of humbucking pickup signal 1>Roland G-808 electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Neve 8108 with NECAM automation (via return input).  (Blended with Roland STK-1 GK Pickup signal 2>Roland G-808 electric guitar>Roland GR-100>Neve 8108 with NECAM automation (via return input).)

This dual signal rig is used for the distorted and guitar/synth blend lead guitar sounds in "Crises Title Track" playing these parts; 15:47-16:17 (lower layer to L6-S solo bit.  Mostly buried by the Prophet 5 synth.  Roland G-808 used?), 16:27-16:57 (lower layer to L6-S solo bit with varying volume.  Roland G-808 used?), and these parts in "Shadow On The Wall" 12 Inch Version; 3:17-4:00, 4:06-4:15, 4:24-4:40.


Discovery and The Killing Fields Era - 1983-1985
Discovery
This album sees the final regular appearance 1960 Blonde Fender Precision and the final appearance of the Roland G-808.  "Discovery" also sees the last album appearance of the Roland GR-100 guitar synth module however it will return one last time for each of the two non-album tracks, "In The Pool" and "Shine".  The 1957 TV Yellow Gibson Les Paul Junior and 1963 Cherry Red Gibson Les Paul SG Junior formed a new "Awesome Twosome" for this album and will also do the same in "The Killing Fields", the "Islands" era and the "Amarok" album.  "Discovery" also sees the first appearance of the famous 1962 Fiesta Red Fender Stratocaster.  Mike's goto bass guitar on 1984 Discovery Tour was a Black Fender Precision however there is no evidence to suggest it was used on studio work.  Mike's rigs for this album are:-

1)  1960 Blonde Fender Precision bass guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Rebis Mixer.  This rig is used for the fuzz bass sounds in "Talk About Your Life" playing this part; 2:25-3:05 and this part in "The Lake"; 7:29-8:47.

2)  Roland G-88 bass guitar>Roland GR-33B.

3)  1962 Fiesta Red Fender Stratocaster electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).

This rig is used for the clean, heavily compressed and soft Fiesta Red Strat sounds in "To France" playing these parts; 0:00-0:12 (faint), 0:47-1:02 (faint), 1:50-1:58 (faint), 2:00-2:38 (faint), 2:48-2:58, 3:15-4:37 (becomes clearer towards "Poison Arrows" segue), these parts in "Poison Arrows"; 0:11-1:45 and 2:27-3:57, these parts in "Crystal Gazing"; 0:00-0:11, 0:41-0:48, 1:19-1:38, 1:54-2:00, and 2:26-2:47, these parts in "Tricks Of The Light"; 0:02-0:17 (counter-lead), 1:15-1:41, 2:09-2:35, 2:47-3:03, and 3:01-3:52 (faint counter-solo becomes clearer towards end), these parts in "Talk About Your Life"; 0:02-0:20 (faint) and 0:54-4:00 (quotation of "North Star" disco lick 1), and these parts in "The Lake"; 4:35-4:53 and 8:44-9:58.

5)  1962 Fiesta Red Fender Stratocaster electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).

This rig is used for the slightly distorted Fiesta Red Strat sounds in "The Lake" playing this part; 10:09-12:00.

4)  1959 Sunburst Fender Stratocaster electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).

This rig is used for the clean, heavily compressed and soft Sunburst Strat sounds in "The Lake" playing these parts; 2:42-2:55 and 2:58-3:08.

5)  1963 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).

This rig is used for the distorted SG sounds in "To France" playing these parts; 2:16-2:38 (solo), 2:14-2:40 (faint counter-solo), 3:34-4:33 (solo goes quieter towards end), 3:32-4:33 (faint counter-solo), and these parts in "The Lake"; 7:29-8:47 (counter-solo) and 7:15-8:38 (solo).

6)  1963 Cherry Red Gibson Les Paul SG Junior electric guitar (via Roland STK-1 GK Pickup)>Roland GR-100>Rebis Mixer (via return input).

This rig is used for the distorted synth only lead guitar sounds in "Saved By A Bell" playing these parts; 1:08-1:42, 2:40-4:37, and 3:00-4:37 (synth yelps).

7)  Dual signal rig of P-90 pickup signal 1>1963 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).  (Blended with Roland STK-1 GK Pickup signal 2>1963 Cherry Red Gibson Les Paul SG Junior electric guitar>Roland GR-100>Rebis Mixer (via return input).)

This dual signal rig is used for the clean and guitar/synth blend sounds in "Discovery Title Track" playing these parts; 0:17-0:40, 1:07-1:30, and 2:48-3:12 (goes faint towards end).

8)  Dual signal rig of P-90 pickup signal 1>1963 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).  (Blended with Roland STK-1 GK Pickup signal 2>1963 Cherry Red Gibson Les Paul SG Junior electric guitar>Roland GR-100>Rebis Mixer (via return input).)

This dual signal rig is used for the distorted and guitar/synth blend sounds in "To France" playing this part; 3:56-4:33 (counter-solo with soft distortion), these parts in "Poison Arrows"; 1:42-2:27 and 2:27-3:25, these parts in "Tricks Of The Light"; 0:02-0:17 (lead), 0:02-0:17 (counter-solo), 0:43-0:59 (lead), 0:43-0:59 (faint counter-solo), 1:39-1:53 (lead), 1:39-1:53 (faint counter-solo), 2:33-2:48 (lead), 2:33-2:48 (faint counter-solo), and 3:00-3:42, these parts in "Discovery Title Track"; 0:00-0:18, 0:34-0:58, 0:56-1:08, 1:24-1:48 (riff), 1:46-2:00, 1:57-2:34, 2:31-2:49, 2:47-3:10 (riff), 3:10-4:32 (riff), and 3:16-3:47 (solo).

9)  1957 TV Yellow Gibson Les Paul Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).

This rig is used for the distorted TV sounds in "To France" playing these parts; 2:16-2:38 (solo), 2:14-2:40 (faint counter-solo), 3:34-4:33 (solo goes quieter towards end), 3:32-4:33 (faint counter-solo), and these parts in "The Lake"; 7:29-8:47 (counter-solo) and 7:15-8:38 (solo).

10)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).

This rig is used for the distorted L6-S sounds in "Discovery Title Track" playing this part; 3:44-4:10 (solo.  L6-S used?) and these parts in "The Lake"; 2:20-3:28 (Status Quo-like power chords), 2:20-2:44 (solo), 2:51-3:27 (solo), 3:27-3:38, 4:03-4:08, 4:17-4:22, 4:48-5:05, 5:11-5:17, 5:28-5:59 (power chords), 5:28-5:59 (solo), 6:20-7:00 (power chords), and 6:20-7:00 (solo).  Was the L6-S used in "The Lake?

11)  Dual signal rig of humbucking pickup signal 1>Roland G-808 electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).  (Blended with Roland STK-1 GK Pickup signal 2>Roland G-808 electric guitar>Roland GR-100>Rebis Mixer (via return input).)

This dual signal rig is used for the distorted and guitar/synth blend lead guitar sounds in "Talk About Your Life" playing these parts; 1:40-1:51, 2:16-2:28, and 3:11-4:00, and this part in "The Lake"; 1:44-2:25.


The Killing Fields
Unusually for a Mike Oldfield album, there is a dearth of guitars on "The Killing Fields" with them only having an embellishing role to the Fairlight CMI dominated "Bad News", "Good News" and "Étude".  In 1985 another red herring appears in the form of a 1963 White Fender Stratocaster.  Mike used this in 1985 to mime "Arrival" and "Pictures In The Dark" on some German music shows however there is no evidence to suggest he ever used it for studio work.  As great as "The Killing Fields" album is, I've always been curious as to how much music was left out of the "The Killing Fields" film and album and how much of it had guitars in it.  A long time back, I read somewhere that Mike had almost 4 hours of music created for "The Killing Fields" but only some of it was ever used.  So far no bootlegs of the "missing" music have surfaced.  Sadly an opportunity to release the "missing Killing Fields" music as part of "Suite 1984" was also lost.  In the early stages of making this album in late 1983, Mike replaced the original ebony neck of his 1959 Sunburst Fender Stratocaster with a maple neck.  Mike's rigs for this album are:-

1)  1959 Sunburst Fender Stratocaster electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).

This rig is used for the clean, heavily compressed and soft Sunburst Strat sounds in "Bad News" playing this part; 0:00-0:48.

2)  1963 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).

This rig is used for the distorted SG sounds in "Good News" playing this part; 0:50-1:13, and this part in Étude; 2:20-4:37 (gain level decreases towards end).

3)  1957 TV Yellow Gibson Les Paul Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Rebis Mixer (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Rebis Mixer (via return input).

This rig is used for the distorted TV sounds in "Good News" playing this part; 0:50-1:13, and this part in "Étude"; 2:20-4:37 (gain level decreases towards end).

Distorted guitar-like sounds also appear throughout "Capture" and in "Execution" at 2:39-2:43 however these are most likely guitar-like synth sounds created from the Fairlight CMI, Prophet 5 and Oberheim OB-Xa synthesizers.


Islands Era - 1986-1987
Islands
At some point in between releasing "The Killing Fields" in late 1984 and making "Islands" in late 1986, Mike replaced the maple neck on his 1959 Sunburst Fender Stratocaster with the original ebony neck.  Mike also replaced the Sunburst Strats original black scratchplate with the fancy red marble scratchplate in this same period.  "Islands" sees the last appearance of the Roland G-88, the last appearance of the Roland GR-33B and the last appearance of the Natural Finish Gibson L6-S Deluxe.  Its possibly the first to feature the Natural Finish Höfner Shorty Super "Tubular Bells Guitar".  However the only evidence in support of this is its appearance with Mike in a few pictures circa 1987.  The headstock of this guitar is also visible in the "The Wind Chimes Part 2" video at 5:20-5:40.  "Islands" is the first album to feature the Danelectro/Coral Electric Sitar Guitar.  There is some uncertainty of some of the guitar sounds on "Islands".  I suspect this album could feature the elusive Veillette-Citron and equally elusive Gordon Smith.  From my research, both of those companies have made everything from their own models to replicas of classics including Fender and Gibson so it wouldn't surprise me if Mike used the Veillette-Citron and/or Gordon Smith for some of those L6-S-like sounds.  I also suspect Mike might have borrowed Rick Fenn's Washburn Wing Falcon electric guitar.  A suspect for this is this part of "The Wind Chimes Part 2" (at 16:35-17:57).

This album is also possibly the only one to feature the Fire Engine Red Gibson L6-S Custom.  The finish of this L6-S is very rare and I've never seen it anywhere else.  The only evidence of this guitars existence is the "North Point" video which shows Mike with an L6-S guitar once again.  However it isn't the Natural Finish Gibson L6-S Deluxe which had earlier been customised by Tony Zemaitis in late 1979.  Nor is it the Ebony Gibson L6-S Custom which apparently was only used as a spare guitar for the 1979 Exposed Concerts and was sold at the Abbey Road Sale in 1980.  Its also too bright to be the common L6-S finish of Wine Red.  Its not very clearly shown, I admit, but this mysterious "North Point" L6-S appears to have a very rare Fire Engine Red finish on its body.  This is most clearly shown at 2:13-2:22 in the "North Point" video.  Unusually for all electric guitars, this mysterious L6-S also appears to lack a scratchplate.  Mike's rigs for this album are:-

1)  Roland G-88 bass guitar>Roland GR-33B>Harrison Series X (via return input).

2)  Danelectro/Coral Electric Sitar Guitar.
This is used for the electric sitar sounds in "The Wind Chimes Part 2" playing these parts; 1:05-1:32, 1:30-1:48, 1:48-2:03, 7:46-8:11, 14:37-14:55, 15:45-16:02 (doubling strat bass line), 16:02-17:05, and 17:05-17:57, and these parts in "Flying Start"; 0:00-0:23, 0:36-0:57, 1:18-1:22, 1:28-1:49, 2:09-2:14, and 2:20-3:30.

3)  1959 Sunburst Fender Stratocaster electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>AMS Digital Delay>Harrison Series X (via return input).

This rig is used for the clean, heavily compressed and soft Sunburst Strat sounds in "The Wind Chimes Part 2" playing these parts; 15:10-16:02 ("Tubular Bells Side 1 Finale"-like bass line), and 17:22-17:35 (strat used?), these parts in "Islands Title Track" Maxi Version; 1:33-2:06 and 3:03-4:19, and this part in "The Time Has Come" Maxi Version; 0:36-4:25 (doubling bass guitar part).

4)  1963 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>AMS Digital Delay>Harrison Series X (via return input).

This rig is used for the distorted SG sounds in "The Wind Chimes Part 2" playing these parts; 4:17-4:37, and 6:10-6:45, and these parts in "When The Night's On Fire"; 2:58-3:35 and 4:08-6:30 (mostly faint and intermittent throughout).

5)  1957 TV Yellow Gibson Les Paul Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>AMS Digital Delay>Harrison Series X (via return input).

This rig is used for the distorted TV sounds in "The Wind Chimes Part 2" playing these parts; 4:17-4:37, and 6:10-6:45, and these parts in "When The Night's On Fire"; 2:58-3:35 and 4:08-6:30 (mostly faint and intermittent throughout).

6)  Natural Finish Gibson L6-S Deluxe electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>AMS Digital Delay>Harrison Series X (via return input).

This rig is used for the distorted Natural Finish L6-S sounds in "The Wind Chimes Part 2" playing these parts; 2:22-3:27, 5:11-5:24 (L6-S used?), 5:37-6:10, 7:42-7:47, 8:17-8:57 (faint), 9:37-11:05, 14:18-14:37 (L6-S used?), 15:30-15:50 (L6-S used?), 16:02-16:37 (L6-S used?), 16:35-17:07 (L6-S used?  Steel slide used?), 17:04-17:40 (L6-S used?), and 17:40-17:57, these parts "Islands Title Track" Maxi Version; 0:10-0:32 (power chords), 0:12-0:32 (solo), 1:15-1:36, 1:31-2:06, 2:44-3:05, 3:03-4:19, 4:19-5:36 (power chords), and 4:19-5:36 (solo), this part in "Flying Start"; 2:36-3:37, these parts in "Magic Touch"; 0:00-0:12, 0:07-0:25, 0:24-0:41, 0:40-0:57, 0:56-1:14, 1:12-1:30, 1:28-1:45, 1:45-2:01, 2:00-2:17, 2:15-2:50, and 2:57-4:05, these parts in "The Time Has Come" Maxi Version; 1:32-1:53, 2:26-2:47, and 3:26-4:25 (L6-S used?), and these parts in "When The Night's On Fire"; 0:10-0:36 and 3:05-3:35 (harder layer to SG solo).

7)  Fire Engine Red Gibson L6-S Custom electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>AMS Digital Delay>Harrison Series X (via return input).

This rig is used for the clean, heavily compressed and soft Fire Engine Red L6-S sounds in "North Point" playing this part; 0:00-3:33 (mostly faint apart from start and end).

8)  Fire Engine Red Gibson L6-S Custom electric guitar>Ernie Ball volume pedal>Treble Booster>Reverse Wired Vox Wah-Wah pedal>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>AMS Digital Delay>Harrison Series X (via return input).

This rig is used for the distorted and seagull crying Fire Engine Red L6-S sounds in "North Point" playing these parts; 0:49-0:57 (higher gain), 1:23-1:29 (gain reduced to clean but squelchy level), 1:39-1:43 (gain reduced to clean but squelchy level), 1:53-1:57 (higher gain), 1:57-2:04 (gain reduced to clean but squelchy level), and 2:13-3:06 (higher gain solo ending with seagull cries.  This seagull cry is a softer version of what David Gilmour played with his Black Fender Stratocaster through Reverse Wired Wah-Wah pedal and Pete Cornish distortion rig in the middle of "Echoes" and the start of "Is There Anybody Out There?").

9)  Natural Finish Höfner Shorty Super "Tubular Bells Guitar" electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>AMS Digital Delay>Harrison Series X (via return input).

This rig is used for the clean, heavily compressed and soft Höfner sounds in "The Wind Chimes Part 2" playing these parts; 2:14-2:27, and 5:02-6:10.


Earth Moving Era - 1988-1989
Earth Moving
This is the first album to feature Mike's famous 1989 Vintage Yellow Paul Reed Smith Custom 24 Signature and the first album to feature the Paul Reed Smith bass.  This is also the first album to feature the Roland GP-8.  Mike's rigs for this album are:-

1)  Paul Reed Smith bass guitar.

2)  1962 Fiesta Red Fender Stratocaster electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>AMS Digital Delay>Harrison Series X (via return input).

This rig is used for the clean, heavily compressed and soft Strat sounds in "Blue Night" playing these parts; 0:07-0:25 (faint trills) and 0:53-1:14.

3)  1962 Fiesta Red Fender Stratocaster electric guitar>Roland GP-8 (with Roland EV-5)>Harrison Series X (via return input).  Using the Roland GP-8 overdrive, compression and Wah-Wah, this rig is used for the clean but squelchy strat sounds in "Far Country" playing this part; 2:41-3:15 (guitar duet solo layer played by Adrian Belew.  Interestingly Adrian's part of the "Far Country" guitar duet solo seems to have him borrow Mike's "clean but squelchy Strat" rig.), and these parts in "Nothing But"; 0:08-0:19, 1:10-1:35, 1:59-2:16, 2:22-3:07, and 3:49-3:54 (gain and Wah-Wah levels reduced).

4)  1989 Vintage Yellow Paul Reed Smith Custom 24 electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).

This rig is used for the clean, heavily compressed and soft but reedy PRS Custom 24 sounds in "Innocent" playing these parts; 0:46-0:55, 1:34-1:42, 2:21-2:37 and 2:47-3:30 (faint intermittent trills), these parts in "Runaway Son"; 0:26-0:37, 1:08-1:20, and 2:05-2:22, and these parts in "Earth Moving Title Track"; 0:00-0:52, 1:05-2:02, and 2:15-2:37.  Its interesting that the pure clean sound of the PRS is reedy like the pure clean sounds of the L6-S, Höfner Shorty, TV junior, SG junior and Black Beauty Les Paul Custom.

5)  1989 Vintage Yellow Paul Reed Smith Custom 24 electric guitar>Roland GP-8 (with Roland EV-5)>Harrison Series X (via return input).  Using the Roland GP-8 compression and Wah-Wah, this rig is used for the clean, heavily compressed and soft but crying PRS Custom 24 sounds in "Bridge To Paradise" playing these parts; 4:02-4:12, 4:56-5:14, and 6:15-6:25.

Using the Roland GP-8 overdrive, compression and Wah-Wah, this rig is also used for the clean but squelchy PRS Custom 24 sounds in "Hostage" playing these parts; 0:05-0:12, 1:10-1:18, and 2:15-2:23, these parts in "Runaway Son"; 0:59-1:05 (bass line), 1:22-1:27, 1:58-2:01 (faint bass line), and 3:09-3:21 (cries), this part in "Earth Moving Title Track"; 2:19-2:34, and this part in "Bridge To Paradise"; 5:20-5:26.

Using the Roland GP-8 overdrive and compression, this rig is also used for the clean but slightly overdriven PRS Custom 24 sounds in "Holy" playing these parts; 0:43-0:50, 1:26-2:06 (faint bass line), and 2:42-4:37 (bass line).

Using the distorted "Tubular Bells" preset, this rig is also used for the distorted PRS Custom 24 sounds in "Holy" playing these parts; 1:26-2:06, 2:14-2:37 (power chords), and 2:42-4:37 (power chords), these parts in "Hostage"; 0:04-0:25 (power chords), 0:33-0:40, 0:53-1:11 (counter-power chords), 1:10-1:31 (power chords), 1:38-1:44 (power chords), 1:58-2:16 (counter-power chords), 2:15-2:36 (power chords), 2:43-2:49, and 3:03-4:08 (counter-power chords), these parts in "Runaway Son"; 0:05-0:23, 0:34-0:43, 0:56-1:05 (power chords), 0:56-1:01 (fill), 1:17-1:27, 1:42-1:54, 1:52-2:02 (power chords), 2:13-2:23, 2:48-2:58, and 3:14-3:26, these parts in "See The Light"; 0:00-3:50 (main riff), and 0:08-3:50 (counter-riff), these parts in "Earth Moving Title Track"; 1:50-2:02, 2:33-2:55 (sustained chords mostly buried by saxophone), and 3:07-4:02 (solo), and these parts in "Bridge To Paradise"; 4:56-5:15 (power chords), 6:15-6:21 (power chords) and 6:24-6:44 (power chords).

Using the distorted "Tubular Bells" preset and Roland GP-8 Wah-Wah, this rig is also used for the distorted and crying PRS Custom 24 sounds in "Holy" playing these parts; 2:14-2:37 (solo) and 3:58-4:37 (solo), these parts in "Hostage"; 0:15-0:25 (fill), 0:53-1:11 (power chords), 1:19-1:31 (fill), 1:58-2:16 (power chords), 2:27-2:36 (fill), and 3:03-4:08 (power chords), these parts in "Far Country"; 2:51-3:28 (guitar duet solo layer played by Mike), and 3:17-3:28 (sustained single power chord played by Mike), these parts in "See The Light"; 0:00-0:22 (intermittent counter-power chords), 0:31-0:36 (fill), 0:39-1:18 (intermittent counter-power chords), 1:27-1:32 (fill), 1:35-2:15 (intermittent counter-power chords), 2:23-2:28 (fill), 2:31-3:50 (intermittent counter-power chords), and 3:23-3:50 (solo), these parts in "Earth Moving Title Track"; 0:50-1:09 (faint sustained chords), 1:58-2:18 (faint sustained chords), and 2:50-4:02 (faint sustained chords), and these parts in "Bridge To Paradise"; 4:12-4:30, 5:14-5:32, and 6:24-6:44 (solo).


Amarok Era - 1989-1990
Amarok
Amarok sees the first of two one off return appearances of the 1965 Blonde Fender Telecaster.  The 1960 Blonde Fender Precision also makes a one-off return here.  Amarok sees the last ever appearance of the 1957 TV Yellow Gibson Les Paul Junior as well as the "Awesome Twosome" solos it joined in with the 1963 SG on.  This album also sees the last ever appearance of the Natural Finish Höfner Shorty Super "Tubular Bells Guitar".  This album also sees the last regular appearance of the Mesa/Boogie amplifier.  "Amarok" is possibly the only album to feature the Vox Electric Mandolin.  It originally belonged to Cat Stevens who ultimately gave it to Tom Newman, who in turn lent it Mike for recording "Amarok".  However this electric mandolin was originally a 12 string electric guitar with an unusual short scale length.  At some unknown point prior to 1990, Tom was able to convert this electric 12 string guitar into the Vox Electric Mandolin due to the unusual short scale length.  Mike at some point removed the frets from his 1960 Blonde Fender Precision bass guitar in between its July 1981 Montreux Jazz Festival appearance and 1990 when he made "Amarok", effectively creating a fretless Fender Precision bass guitar.  This fretless bass guitar was used for the fretless bass line in the "Boat Reprise" section of "Amarok" at 42:29-43:37.

Amarok is an amazing album and one of my all time favourites however its been very hard trying to work out exactly what electric guitar was used and where.  The distorted sounds from the SG, TV, PRS and Höfner guitars often sound the same on this album, especially in those mad bits where a lot of seemingly different electric guitars are layered and morph together.  The rhythm licks of the Tele, PRS and Höfner also sound very similar on this album.  Its interesting that at least the more obvious distorted Höfner sounds (especially the boxy and honking ones) are very much reminiscent of the dark and brittle but powerful, hard and sharp distorted L6-S sounds from works such as "First Excursion", "Incantations", "Exposed", and "Platinum".  This applies to both the distorted and pure clean sounds which are clean, heavily compressed and soft but reedy for both the L6-S and Höfner.  The similarity between the Höfner and L6-S sounds leads me to wonder if the Höfner was also used on at least some of the L6-S-like parts on the "Discovery" era and "Islands" era tracks.  Something unusual occurs in the middle of the awesome "Africa 2" guitar solo (53:52-54:24).  At 54:10 Mike swaps the PRS for the Höfner.  Strangely it took me 16 years to realise this.  Mike's rigs on this album are:-

1)  1960 Blonde Fender Precision "Fretless" bass guitar.  This modified bass was used for the gliding bass sounds in "Amarok" playing these parts; 42:29-42:51 (steel slide used?) and 42:51-43:37 (steel slide used?).  These are my favorite bass lines ever!

2)  Paul Reed Smith bass guitar.

3)  Vox Electric Mandolin.  This is used for the electric mandolin sounds in "Amarok" playing these parts; 29:06-29:28 (tremolo picked layer), 29:06-29:28 (harmonics layer), 33:12-34:00, 34:00-34:08, 35:38-36:07, and 42:50-43:28.

4)  Danelectro/Coral Electric Sitar Guitar.  This is used for the electric sitar sounds in "Amarok" playing these parts; 11:00-11:15, 15:56-16:32 (faint), 16:23-16:32, 16:30-16:45, 16:36-18:01, 16:40-16:50, 17:10-17:19, 17:18-17:48, 41:20-41:36, and 41:53-42:09.

5)  1965 Blonde Fender Telecaster electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Neve 8108 with NECAM automation (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Neve 8108 with NECAM automation (via return input).  This rig is used for the slightly distorted Tele sounds in "Amarok" playing these parts; 6:05-6:27 (faint clicky chords), 11:00-11:12 (chords behind sitar), 14:07-14:18 (intermittent clicky chords), 14:30-14:51 (quieter chords), 14:40-14:51 (louder chords), 15:08-15:20 (chords), 19:57-20:19 (steel slide used?), 20:37-20:58 (lower solo layer.  Steel slide used?), 21:16-21:40 (loud counter-chords.  Tele used?), 21:16-21:40 (even louder counter-chords), 23:42-23:59 (chords.  Tele used?), 24:13-24:26 ("Smoke On The Water" style chords!.), 24:24-24:31 (chords), 24:47-25:05 (intermittent clicky chords), 36:14-37:07, 36:43-37:07 (low counter-solo.  Steel slide used), 38:46-39:18 (lower lick layer.  Tele used?), and 50:34-50:42 (clicky chords).

This rig is also used for the distorted Tele sounds in "Amarok" playing these parts; 31:24-31:30 (chords.  Tele used?) and 32:39-33:15 (booming counter-chords Tele used?).

6)  1962 Fiesta Red Fender Stratocaster electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).

This rig is used for the clean, heavily compressed and soft Red Strat sounds in "Amarok" playing these parts; 9:07-9:30 and 22:33-22:52.

7)  1962 Fiesta Red Fender Stratocaster electric guitar>Roland GP-8 (with Roland EV-5)>Harrison Series X (via return input).  Using the Roland GP-8 overdrive, compression and Wah-Wah, this rig is used for the clean but squelchy Red Strat sounds in "Amarok" playing these parts; 4:24-4:35 (strat used?) and 4:44-5:03 (strat used?).

8)  1959 Sunburst Fender Stratocaster electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).

This rig is used for the clean, heavily compressed and soft Sunburst Strat sounds in "Amarok" playing this part; 22:29-22:52.

9)  1963 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).

This rig is used for the clean, heavily compressed and soft SG sounds in "Amarok" playing this part; 32:39-33:15 (faint counter-tune.  SG used?).

10)  1963 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Vox Wah-Wah pedal>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).

This rig is used for the clean but squelchy SG sounds in "Amarok" playing this part; 43:08-43:22 (doubling clean but squelchy PRS!.).

11)  1963 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).

This rig is used for the distorted SG sounds in "Amarok" playing these parts; 3:44-3:48 (SG used?), 4:17-4:22 (SG used?), 5:04-5:35 (layer of random guitar noises 1.  SG used?), 5:04-5:35 (layer of random guitar noises 2.  SG used?), 5:04-5:35 (layer of random guitar noises 3), 5:46-6:27, 8:17-8:37 (solo.  SG used under PRS?), 9:42-9:57 (solo layer 1.  SG used?), 9:44-9:57 (solo layer 2.  SG used?), 10:23-10:43 (solo tune 1), 10:23-10:43 (solo tune 2), 10:40-11:05 (solo layer 1.  SG used?), 10:40-11:05 (solo layer 2), 12:03-12:23 (classic familiar Les Paul Junior sound!  Steel slide used?), 14:40-14:52, 20:37-20:58 (higher solo layer.  SG used?  Steel slide used?), 23:19-23:30 (main solo.  SG used?), 23:42-23:59 (chords.  SG used?), 24:24-24:31 (chords), 28:08-28:31 (classic "Hergest Ridge" croaky SG sound!.), 28:43-29:03 (lovely solo!.), 35:38-36:07 (SG used?), 36:35-37:07 (classic solo.  Double speed?), 38:37-38:47, 39:50-41:06 (epic fast riff!  Double speed?), 40:02-41:02 (main solo), 43:31-43:36, 43:34-43:50, and 43:50-44:13.

12)  1957 TV Yellow Gibson Les Paul Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).

This rig is used for the distorted TV sounds in "Amarok" playing these parts; 3:44-3:48 (TV used?), 4:17-4:22 (TV used?), 5:04-5:35 (layer of random guitar noises 1.  TV used?), 5:04-5:35 (layer of random guitar noises 2.  TV used?), 5:04-5:35 (layer of random guitar noises 3), 5:46-6:27, 8:17-8:37 (solo.  TV used under PRS?), 9:42-9:57 (solo layer 1.  TV used?), 9:44-9:57 (solo layer 2.  TV used?), 10:23-10:43 (solo tune 1), 10:23-10:43 (solo tune 2), 10:40-11:05 (solo layer 1.  TV used?), 10:40-11:05 (solo layer 2), 12:03-12:23 (classic familiar Les Paul Junior sound!  Steel slide used?), 14:40-14:52, 20:37-20:58 (higher solo layer.  TV used?  Steel slide used?), 23:19-23:30 (main solo.  TV used?), 23:42-23:59 (chords.  TV used?), 24:24-24:31 (chords), 28:08-28:31 (classic "Ommadawn" croaky TV sound!.), 28:43-29:03 (lovely solo!.), 35:38-36:07 (TV used?), 36:35-37:07 (classic solo.  Double speed?), 38:37-38:47, 39:50-41:06 (epic fast riff!  Double speed?), 40:02-41:02 (main solo), 43:31-43:36, 43:34-43:50, and 43:50-44:13.

13)  Natural Finish Höfner Shorty Super "Tubular Bells Guitar" electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).

This rig is used for the clean, heavily compressed and soft Höfner sounds in "Amarok" playing these parts; 11:10-11:35, 20:16-20:38 ("Exposed Guilty" L6-S-like licks), 20:56-21:40, 24:33-24:48 (faint line.  Höfner used?), 42:35-43:33 (Höfner used?), 44:47-45:54 (faint lick becomes clearer as rhythm builds), 52:25-53:33 (Höfner used?), and 53:35-54:24 (Höfner used?).

14)  Natural Finish Höfner Shorty Super "Tubular Bells Guitar" electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).

This rig is used for the distorted Höfner sounds in "Amarok" playing these parts; 2:47-3:02 (steel slide used?), 4:17-4:22 (Höfner used?), 5:04-5:35 (layer of random guitar noises 1.  Höfner used?), 5:04-5:35 (layer of random guitar noises 2.  Höfner used?), 5:04-5:35 (layer of random guitar noises 3), 7:34-7:38 (classic honking L6-S-like sound!.), 8:11-8:16, 8:17-8:37 (solo.  Höfner used under PRS?), 9:42-9:57 (solo layer 1.  Höfner used?), 9:44-9:57 (solo layer 2.  Höfner used?), 10:23-10:43 (solo tune 1), 10:23-10:43 (solo tune 2), 10:40-11:05 (solo layer 1.  Höfner used?), 10:40-11:05 (solo layer 2), 10:45-10:58 (counter-solo), 15:08-15:20 (broken solo), 20:37-20:58 (higher solo layer.  Höfner used?  Steel slide used?), 23:19-23:30 (main solo.  Höfner used?), 23:42-23:59 (chords.  Höfner used?), 24:24-24:31 (chords), 24:42-24:48 (Höfner used?), 35:38-36:07 (Höfner used?), 43:31-43:36, 48:53-49:20 (steel slide used?), 49:41-50:18 (broken solo.  Steel slide used?), 50:07-51:07 (classic "Platinum Finale" L6-S-like sound), 54:10-54:24 (Höfner takes over the PRS solo!.), and 59:40-60:02 (classic "First Excursion" L6-S-like sound).

15)  1989 Vintage Yellow Paul Reed Smith Custom 24 electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).

This rig is used for the clean, heavily compressed and soft but reedy PRS Custom 24 sounds in "Amarok" playing these parts;  21:16-21:40 (counter-lick.  PRS used?), 41:02-41:25 (counter-line), 41:20-41:36 (counter-line), 41:36-41:54 (counter-line), 41:52-42:23, and 51:34-51:57.

16)  1989 Vintage Yellow Paul Reed Smith Custom 24 electric guitar>Roland GP-8 (with Roland EV-5)>Harrison Series X (via return input).  Using the Roland GP-8 compression and Wah-Wah, this rig is used for the clean, heavily compressed and soft but crying PRS Custom 24 sounds in "Amarok" playing this part; 49:38-50:08 (Counter-line.  Faint at first but becomes clearer.).

Using the Roland GP-8 overdrive, compression and Wah-Wah, this rig is also used for the clean but squelchy PRS Custom 24 sounds in "Amarok" playing these parts; 0:00-0:07, 1:01-1:19, 1:54-2:14, 3:04-3:17, 3:52-4:03, 7:02-7:21, 7:38-8:03, 9:29-9:44, 11:35-12:47, 12:35-12:47, 13:08-13:17, 14:03-14:33, 14:15-14:21 (little counter-lick), 14:33-14:51, 14:51-14:57, 15:56-16:14, 16:23-16:31, 16:43-17:17, 17:43-18:01, 18:43-20:02, 23:03-23:19 (main solo), 27:13-28:09 (buried under piano but becomes more clearer later), 32:23-32:41, 33:40-34:21, 35:02-35:13, 37:30-37:47, 38:37-38:47, 41:02-41:25 (main lead), 41:36-41:57 (main lead), 43:08-43:22 (doubling clean but squelchy SG!.), 46:13-46:25, 46:34-46:44, and 53:13-53:35.

Using the distorted "Tubular Bells" preset, this rig is also used for the distorted PRS Custom 24 sounds in "Amarok" playing these parts; 3:44-3:48 (PRS used?), 4:17-4:22 (PRS used?), 5:04-5:35, (layer of random guitar noises 1.  PRS used?), 5:04-5:35 (layer of random guitar noises 2.  PRS used?), 5:04-5:35 (layer of random guitar noises 3), 6:02-6:27, 8:17-8:37 (power chords), 9:42-9:57 (solo layer 1), 9:44-9:57 (solo layer 2.  PRS used?), 10:23-10:43 (solo tune 1), 10:23-10:43 (solo tune 2), 10:40-11:05 (solo layer 1.  PRS used?), 10:40-11:05 (solo layer 2), 14:40-14:52, 15:38-15:50, 20:37-20:58 (higher solo layer.  PRS used?  Steel slide used?), 23:19-23:30 (main solo.  PRS used?), 23:29-23:38, 23:42-23:59 (chords.  PRS used?), 24:24-24:31 (chords), 28:43-29:03 (booming chords), 29:59-31:52 (broken solo), 32:55-32:58 (racing car-like counter-chord), 32:47-33:15 (broken solo), 35:38-36:07 (PRS used?), 37:49-37:53, 38:52-38:55 (racing car-like counter-chord), 38:46-39:18 (higher lick layer), 38:46-39:18 (mad solo), 43:31-43:36 (PRS used?), 47:51-48:04 (racing car-like chord), 51:42-52:07 (solo), 51:51-51:57 (power chords), 52:00-52:07 (power chords), and 53:52-54:10 (PRS gives up to the Höfner!.).  The GP-8 "Tubular Bells" preset distorted sounds are referred to as the so-called "Glorfindel Guitar" in the "Amarok" instruments list.

Using the distorted "Tubular Bells" preset and Roland GP-8 Wah-Wah, this rig is also used for the distorted and crying PRS Custom 24 sounds in "Amarok" playing these parts; 0:27-0:49, 8:17-8:37 (solo.  PRS only?), 21:26-21:31, 21:37-22:00, 22:44-22:51, 23:03-23:26 (counter-solo.  Faint at start), 23:51-24:02 (solo), 24:24-24:35 (solo), 25:51-26:08, 37:28-37:32, 38:15-38:26, 40:26-41:06 (intermittent counter-solo), and 44:38-44:47.


--------------
"It is good to be on Horseback" - Mike Oldfield "On Horseback"

"(Insert "The Thunderstorm" here)"
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qjamesfloyd Offline




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Posts: 993
Joined: April 2001
Posted: April 11 2018, 02:52

Really impressive work Craig, keep going :)

--------------
Please visit my Mark Knopfler/Dire Straits forum below:

https://www.tapatalk.com/groups/silvertown_blues/index.php
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Craig Evans Offline




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Posts: 237
Joined: Sep. 2004
Posted: April 16 2018, 10:48

*Due to exceeding maximum message length, I've continued this from above*

Heaven's Open Era - 1990-1991

Mike's rigs for this album are:-
Paul Reed Smith bass guitar.

00) Danelectro/Coral Electric Sitar Guitar.  This is used for the electric sitar sounds in "Music From The Balcony" playing these parts; 0:09-0:52 (doubling piano), 1:19-2:10 (doubling piano), 3:00-3:18 (doubling piano), 8:33-8:52 (doubling piano), 11:54-12:12 (doubling piano), 16:54-17:33 (doubling piano), , , ,

00)  1962 Fiesta Red Fender Stratocaster electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).

This rig is used for the clean, heavily compressed and soft Strat sounds in "Music From The Balcony" playing these parts; 0:50-1:21 (county-melody), 2:11-2:40 (counter-melody), 4:07-4:27 (counter-melody).

7)  1962 Fiesta Red Fender Stratocaster electric guitar>Roland GP-8 (with Roland EV-5)>Harrison Series X (via return input).  Using the Roland GP-8 overdrive, compression and Wah-Wah, this rig is used for the clean but squelchy Strat sounds in "Music From The Balcony"; 9:46-10:00, 14:53-15:09


11)  1963 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Vox Wah-Wah pedal>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).
This rig is used for the clean but squelchy SG sounds in "Music From The Balcony" playing this part; 1:23-2:14 (buried by synth and intermittent).

This rig is also used for the non-GP-8 distorted and crying SG sounds in "Music From The Balcony" playing these parts; 0:50-1:21 (solo), 2:11-2:40 (doubling squelchy PRS!.),

00)   1963 Cherry Red Gibson Les Paul SG Junior electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).
This rig is used for the distorted SG sounds in "Music From The Balcony" playing these parts; 17:19-17:37, 17:35-17:57 (faint) and 18:38-19:11.


11)  1963 Cherry Red Gibson Les Paul SG Junior electric guitar>Roland GP-8 (with Roland EV-5)>Harrison Series X (via return input).  Using the distorted "Tubular Bells" preset and Roland GP-8 Wah-Wah, this rig is used for the GP-8 distorted and crying SG sounds in "No Dream"; playing this part; 4:11-6:02 (broken solo),

13)  Natural Finish Höfner Shorty Super "Tubular Bells Guitar" electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).

This rig is used for the clean, heavily compressed and soft but reedy Höfner sounds in "Gimme Back" playing these parts; 0:15-1:29, 1:50-2:30, 2:47-2:56 (licks), "Music From The Balcony"; 6:03-6:40,,,,,,,,,,,,,,



14)  Natural Finish Höfner Shorty Super "Tubular Bells Guitar" electric guitar>Ernie Ball volume pedal>Treble Booster>Mesa/Boogie>MXR Graphic Equalizer>Mesa/Boogie (via return input)>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).

This rig is used for the distorted Höfner sounds in "Music From The Balcony" playing these parts; 4:07-4:27 (solo), 7:38-7:57, 11:35-11:56, and 14:34-14:46 (counter-solo).

14)  Natural Finish Höfner Shorty Super "Tubular Bells Guitar" electric guitar>Roland GP-8 (with Roland EV-5)>Harrison Series X (via return input).  Using the distorted "Tubular Bells" preset and Roland GP-8 Wah-Wah, this rig is used for the distorted and crying Höfner sounds in "Mr Shame" playing this part; 2:19-2:35 (broken solo), 2:38-2:54 (intermittent fills), 3:20-4:22 (broken solo),,,,,,,,,,,,.


00)  1989 Vintage Yellow Paul Reed Smith Custom 24 electric guitar>Ernie Ball volume pedal>BSS Direct Injection Box>Harrison Series X (mic preamp)>ADR Vocal Stresser F769X-R>Custom Made Parametric Equalizer>Urei 1178 dual channel peak limiter>Fender Twin Reverb Amplifier>Beyerdynamic M88 Mic>Urei 1176 Peak Limiter>Klark Teknik DN70 digital time processor>MXR Pitch Transposer>Harrison Series X (via return input).

This rig is used for the clean, heavily compressed and soft but reedy PRS Custom 24 sounds in "No Dream" playing these parts; 1:00-1:05, 1:49-6:02 (doubling bass guitar part.  Mostly faint), 2:42-2:50 (counter-fills), these parts in "Heaven's Open Title Track"; 0:31-1:36, 2:22-2:40

5)  1989 Vintage Yellow Paul Reed Smith Custom 24 electric guitar>Roland GP-8 (with Roland EV-5)>Harrison Series X (via return input).  Using the Roland GP-8 compression and Wah-Wah, this rig is used for the clean, heavily compressed and soft but crying PRS Custom 24 sounds in "No Dream" playing these parts; 0:24-0:53, 1:14-1:41, 2:03-2:30, and this part in "Music From The Balcony"; 15:06-16:10.

Using the Roland GP-8 overdrive, compression and Wah-Wah, this rig is also used for the clean but squelchy PRS Custom 24 sounds in "Music From The Balcony" playing these parts; 2:11-2:40 (PRS layer of SG solo), 16:58-17:17

Using the Roland GP-8 overdrive and compression, this rig is also used for the clean but slightly overdriven PRS Custom 24 sounds in "No Dream" playing this part; 1:49-1:55 (fill), "Mr Shame" playing these parts; 1:07-1:28 (bass line), 1:05-1:28 (counter-line), 2:10-2:35 (bass line), 2:09-2:35 (counter-line), 2:53-4:22 (bass line), 2:55-4:22 (counter-line),  "Gimme Back"; 0:00-0:15, 1:34-1:49, 2:27-2:42, 3:21-3:35 (bass bit),


Using the distorted "Tubular Bells" preset, this rig is also used for the distorted PRS Custom 24 sounds in "Mr Shame" playing these parts; 0:49-1:11 (power chords), 1:53-2:13 (power chords), 2:35-2:55 (power chords), "Heaven's Open Title Track"; 0:15-0:33 (power chords), 0:15-0:33 (solo), 1:34-1:42, 1:42-1:50 (faint power chords), 1:46-1:50 (fill), 1:50-2:08 (power chords), 1:50-2:08 (solo), 2:37-2:45, 2:45-2:52 (faint power chords), 2:49-2:52 (fill), 2:52-3:11 (power chords), 2:52-3:11 (solo), 3:32-3:55 (power chords), 3:51-3:55 (fill), 3:55-4:25 (power chords), 3:55-4:25 (solo), "Music From The Balcony"; 3:15-3:22, 10:19-10:48, 14:21-14:52 (main solo), ,, , ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,


Using the distorted "Tubular Bells" preset and Roland GP-8 Wah-Wah, this rig is also used for the distorted and crying PRS Custom 24 sounds in "No Dream" playing these parts; 0:00-0:04, 4:17-5:10 (broken counter-solo), "Gimme Back"; 2:44-2:56 (solo), 3:19-3:37 (solo), "Heaven's Open Title Track"; 3:39-3:48, and these parts in "Music From The Balcony"; 2:38-3:02(mad solo!.), 6:39-7:04 (mad solo!.), 16:07-16:56 (mad solo!.).


--------------
"It is good to be on Horseback" - Mike Oldfield "On Horseback"

"(Insert "The Thunderstorm" here)"
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manintherain Offline




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Posts: 527
Joined: Mar. 2004
Posted: July 25 2018, 08:56

As the founder of the instrument list here on this site I salute you for your excellent work, Craig.
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fragile Offline




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Posts: 41
Joined: April 2006
Posted: July 26 2018, 08:10

Craig this is so extraordinary! I posted a link on the german forum to these posts. Could you please tell us how you got all these detailed informations? Thanks a lot for that tremendous work you did. Hope you will find time to go on to TB2 and TSODE for example.
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nightspore Offline




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Joined: Mar. 2008
Posted: July 26 2018, 20:04

It's great information that may see the forum balloon into encyclopedia size  :laugh: Maybe, for the sake of conciseness, there should be a list of instruments and effects that Mike HASN'T used (I did start a thread along those lines some time ago, but it died - maybe there are no such instruments and effects... although the ondes martenot may be one?? Anyone know?)
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