"And that in combination with the internal distortion on the Gallien-Krueger was how I got that particular sound." About the song Sorrow.

There is a photo about Face touring rig pictured in David's home studio in 1986. And two more sources. http://www.gilmourish.com/wp-content/uploads/2010/12/aboutface_rig.jpg The About Face touring rig pictured in David's home studio in 1986. The actual 1984 touring rig was slightly smaller as the inlay picture shows. 1. 2 MXR Digital Delay System II, 2. 2 MXR Digital Delay System I, 3. 2 Conn ST-11 Strobo Tuners, 4. 3 Fender Twin Reverb II heads, 5. Mesa/Boogie amp, 6. Gallien-Krueger 250 ML MK II, 7. Schaffer Vega wireless system 8. Boss SCC-700 board,(from top left) SD-1 overdrive, GE-6 equalizer, CE-3 chorus, CS-2 compressor, HM-2 distortion, DD-2 digital delay, DD-2 digital delay (right side) CE-3 chorus, GE-7 equalizer. Inlay picture from Utrecht, Holland April 5 1984 (top left to bottom right): MXR Pitch Transposer, MXR Digital Delay System I, MXR Digital Delay System II, Schaffer Vega wireless system, Boss CE-2, Boss HM-2, Electro Harmonix Big Muff ram's head (circled) and 2 Fender Twin Reverb II heads. Found on: http://www.gilmourish.com/?page_id=22

And: http://www.kitrae.net/music/David_Gilmour_Tone_Building_1_1.html And: http://sparebricks.fika.org/sbzine08/sections/ggg.html

As seen in this Gallien-Krueger ad. This amp was used on the "Power Windows" album.

Dave Murray used the Gallien-Krueger 250ML amplifier for the distinctive tones on Iron Maiden's "Somewhere in Time" and "Seventh Son of a Seventh Son" recordings. A user-uploaded photo confirms this usage.

The amplification for the Somewhere in Time tone and the Seventh Son of a Seventh Son recording.

During the "Human Tour of the World" in the early 90s, Chuck was miking up a Gallien-Krueger model GK-250 with hollow stacks for appearances. Aditional info: https://en.wikipedia.org/wiki/Chuck_Schuldiner

In the user-uploaded photo, Richard Patrick's Gallien-Krueger 250ML amplifier is visible atop his rack. Notably, the amplifier in the photo is missing the "GK" logo usually present in the bottom left corner.

Mentioned the September 1990 Guitar Player interview "Gary Lucas' Gods and Monsters" by Mark Dery.

Lucas remains true to Beefheart's aesthetic. Backed by Gods and Monsters – country yodeler Julia Heyward, bassists Paul Now and Jared Nickerson, and alternate drummers Tony "Thunder" Smith and Tony Lewis – he rattles off strings of notes like a turret gunner spitting shells. He runs his sunburst '63 Fender Strat and red '65 Gibson Firebird (both strung with light-gauge D'Addario rock strings) through a maze-like signal chain: "My pedals sit on a percussion stand," he explains. "I go through a [Dunlop] Cry Baby wah into a T.C. Electronic Sustainer/Equalizer, a Boss Digital Metallizer, a Boss Flanger, another equalizer, which I use as gain-stage control, and then into a noise suppressor, a DeArmond volume pedal, a Whirlwind box – an effects loop with a gain stage – and then into a Boss Pitch-Shifter/Delay, a Boss Chorus, and then into another Pitch Shifter – which I manually manipulate – and then into a DigiTech 8-second delay, an Electro-Harmonix 16-second delay, an Alesis Midiverb, and a second Electro-Harmonix delay. At that point, I split the signal, running the direct sound into a Gallien-Krueger 250 ML and the effects into a Roland JC-120."

Andy is seen jamming out with a custom B.C. Rich Gunslinger plugged into a GK250 ML amp located behind him.

As seen on top of the Steve's Marshall cabinet in this vintage FM photo.