Guy Berryman

Guy Berryman uses the Wisycom MPR50-IEM in-ear monitor system, as detailed by Wisycom.

At 11:06 in this video, Guy Berryman can be seen using an Apple, MacBook Pro.

Guy listed "Ampeg 8 x 10" Cabinet" amongst his equipment in Coldplay's self published [E-Zine] to promote the A Rush of Blood to the Head tour in 2003. (http://vivacoldplay.com/wp-content/uploads/2011/04/lista_equipament_coldplay.pdf)

In this photo, Guy can be seen playing a Moon Custom Acoustic Bass. On Moon Guitars' website, Guy is listed as an artist which uses their instruments. It says "We met Guy a few years ago and he asked if we would build an Acoustic Bass. It has Koa back & sides and Sitka Spruce ‘Bear Claw’ soundboard."

On Moon Guitars' website, Guy is listed as an artist which uses their instruments. It says "We met Guy a few years ago when he was looking for a mandolin to use in their live shows. He was delighted with the A plus". Guy used the Mandolin throughout the Viva La Vida tour.

Chris Martin says Guy Berryman programs the band's synths and the Tempest is shown beside the computer throughout this video

The Yamaha CS-80 is shown throughout the video on the right side beside the tree in Coldplay's studio "The Bakery" and at the 3:20 mark Chris Martin says Guy Berryman programs the bands synths

Mentioned in this article from the official Sensaphonics website.

One of the hottest arena/shed tours on the road this summer was Coldplay’s Viva La Vida. With a large stage set-up for sheds and arenas, in-ear monitoring was a critical element to the band’s success. As they have for the past several years, the band members were all on Sensaphonics custom earphones via Sennheiser wireless systems.

However, there were a few key changes for this year’s tour. All four band members have upgraded from the classic ProPhonic 2X-S to the Sensaphonics 2MAX. “Most of the backline crew also have Sensaphonics IEMs,” says [monitor engineer Chris] Wood. “We have found the drivers to be very reliable. I can’t recall having a problem in the eight years we have used them.” A few wedges can still be seen on stage, but are used mainly for backup.

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends.

Bass: EAR 660, Altec 436B, Dbx 160, Akai S612, Moog MKPE

"The bass was interesting. I had the same bass track coming back on two channels, and on one of them I had the EAR 660 compressor, going into an Altec 436B compressor, going into my Moog MKPE three–band parametric EQ, all going via the inserts. That channel was for the low end, giving the sound its fullness. On the other channel I had a Dbx 160, crushing heavily, with the bottom end taken out. That gave the bass its punch and mid-range. I also sent the basses to an Akai S612 sampler. A friend of mine turned me on to doing this. I don't use it as a sampler, but as a distortion device. If you put the Akai in microphone mode and you overload it, you get really nice warm distortion that you don't really notice, but it sounds good. If I want something more vicious than the Akai, I'll use the [Thermionic Culture] Culture Vulture instead, which I feel is one of the best pieces of equipment for adding some attitude. It's great for when tracks are recorded too cleanly. Finally the basses, like the drums, went through Bus B in my multi–bus compression setup, which consists of Distressors going into my Avalon E55 EQ."

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends.

Bass: EAR 660, Altec 436B, Dbx 160, Akai S612, Moog MKPE

"The bass was interesting. I had the same bass track coming back on two channels, and on one of them I had the EAR 660 compressor, going into an Altec 436B compressor, going into my Moog MKPE three–band parametric EQ, all going via the inserts. That channel was for the low end, giving the sound its fullness. On the other channel I had a Dbx 160, crushing heavily, with the bottom end taken out. That gave the bass its punch and mid-range. I also sent the basses to an Akai S612 sampler. A friend of mine turned me on to doing this. I don't use it as a sampler, but as a distortion device. If you put the Akai in microphone mode and you overload it, you get really nice warm distortion that you don't really notice, but it sounds good. If I want something more vicious than the Akai, I'll use the [Thermionic Culture] Culture Vulture instead, which I feel is one of the best pieces of equipment for adding some attitude. It's great for when tracks are recorded too cleanly. Finally the basses, like the drums, went through Bus B in my multi–bus compression setup, which consists of Distressors going into my Avalon E55 EQ."

Mentioned by A Head Full of Dreams co-producer Rik Simpson in this Sound on Sound article.

"Electric guitar cabinets have an SM57 and a Royer on them, and the bass cabinet an SM7. I always take DIs of the bass and electric guitar as well, just in case I want to later embellish these and play them through an amp again."

Guy Berryman utilizes the Sennheiser SK 9000 wireless microphone system during live performances, as highlighted by Sennheiser.

Used on "Hymn for the Weekend", as mentioned by A Head Full of Dreams co-producer Rik Simpson in this March 2016 Sound on Sound interview.

"The ‘KEGuyEndProphet’ track is a Prophet 12 played by Guy [Berryman] and it has an EastWest Quantum Leap Spaces reverb on it, which is one of my favourites."

Guy listed "2 x Ampeg 15" Cabinet" amongst his equipment in a self published E-Zine in 2003.

Mentioned in this article from the official Sensaphonics website.

One of the hottest arena/shed tours on the road this summer was Coldplay’s Viva La Vida. With a large stage set-up for sheds and arenas, in-ear monitoring was a critical element to the band’s success. As they have for the past several years, the band members were all on Sensaphonics custom earphones via Sennheiser wireless systems.

However, there were a few key changes for this year’s tour. All four band members have upgraded from the classic ProPhonic 2X-S to the Sensaphonics 2MAX. “Most of the backline crew also have Sensaphonics IEMs,” says [monitor engineer Chris] Wood. “We have found the drivers to be very reliable. I can’t recall having a problem in the eight years we have used them.” A few wedges can still be seen on stage, but are used mainly for backup.

Used for backing vocals on Coldplay's Viva la Vida Tour.

The band performs two songs on the ramp (stage B) and another two songs out in the audience tiers (stage C). “Our RF tech, Stephanie Thompson, handles stage C duties: cables apart from the IEMs which are the Sennheiser EW300 systems alongside a power amplifier to ensure that the IEMs work, regardless of where the band is performing,” [FOH engineer Daniel] Green explains. “On stage B, the band is once again on Sennheiser EW300 IEMs. We use two radio Neumann KK105s for Will and Guy's backing vocals, plus a radio Shure SM58 for Chris' vocals. Jonny and Chris' guitars are also on Shure wireless systems.”

Mentioned in this Front of House Magazine article.

Speakers: 2 d&b audiotechnik M2 wedges (for bassist Guy Berryman)

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends.

Bass: EAR 660, Altec 436B, Dbx 160, Akai S612, Moog MKPE

"The bass was interesting. I had the same bass track coming back on two channels, and on one of them I had the EAR 660 compressor, going into an Altec 436B compressor, going into my Moog MKPE three–band parametric EQ, all going via the inserts. That channel was for the low end, giving the sound its fullness. On the other channel I had a Dbx 160, crushing heavily, with the bottom end taken out. That gave the bass its punch and mid-range. I also sent the basses to an Akai S612 sampler. A friend of mine turned me on to doing this. I don't use it as a sampler, but as a distortion device. If you put the Akai in microphone mode and you overload it, you get really nice warm distortion that you don't really notice, but it sounds good. If I want something more vicious than the Akai, I'll use the [Thermionic Culture] Culture Vulture instead, which I feel is one of the best pieces of equipment for adding some attitude. It's great for when tracks are recorded too cleanly. Finally the basses, like the drums, went through Bus B in my multi–bus compression setup, which consists of Distressors going into my Avalon E55 EQ."

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends.

Bass: EAR 660, Altec 436B, Dbx 160, Akai S612, Moog MKPE

"The bass was interesting. I had the same bass track coming back on two channels, and on one of them I had the EAR 660 compressor, going into an Altec 436B compressor, going into my Moog MKPE three–band parametric EQ, all going via the inserts. That channel was for the low end, giving the sound its fullness. On the other channel I had a Dbx 160, crushing heavily, with the bottom end taken out. That gave the bass its punch and mid-range. I also sent the basses to an Akai S612 sampler. A friend of mine turned me on to doing this. I don't use it as a sampler, but as a distortion device. If you put the Akai in microphone mode and you overload it, you get really nice warm distortion that you don't really notice, but it sounds good. If I want something more vicious than the Akai, I'll use the [Thermionic Culture] Culture Vulture instead, which I feel is one of the best pieces of equipment for adding some attitude. It's great for when tracks are recorded too cleanly. Finally the basses, like the drums, went through Bus B in my multi–bus compression setup, which consists of Distressors going into my Avalon E55 EQ."

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends. It is visible in this photo from the same interview.

Bass: EAR 660, Altec 436B, Dbx 160, Akai S612, Moog MKPE

"The bass was interesting. I had the same bass track coming back on two channels, and on one of them I had the EAR 660 compressor, going into an Altec 436B compressor, going into my Moog MKPE three–band parametric EQ, all going via the inserts. That channel was for the low end, giving the sound its fullness. On the other channel I had a Dbx 160, crushing heavily, with the bottom end taken out. That gave the bass its punch and mid-range. I also sent the basses to an Akai S612 sampler. A friend of mine turned me on to doing this. I don't use it as a sampler, but as a distortion device. If you put the Akai in microphone mode and you overload it, you get really nice warm distortion that you don't really notice, but it sounds good. If I want something more vicious than the Akai, I'll use the [Thermionic Culture] Culture Vulture instead, which I feel is one of the best pieces of equipment for adding some attitude. It's great for when tracks are recorded too cleanly. Finally the basses, like the drums, went through Bus B in my multi–bus compression setup, which consists of Distressors going into my Avalon E55 EQ."

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends. It is visible in this photo from the same interview.

Bass: EAR 660, Altec 436B, Dbx 160, Akai S612, Moog MKPE

"The bass was interesting. I had the same bass track coming back on two channels, and on one of them I had the EAR 660 compressor, going into an Altec 436B compressor, going into my Moog MKPE three–band parametric EQ, all going via the inserts. That channel was for the low end, giving the sound its fullness. On the other channel I had a Dbx 160, crushing heavily, with the bottom end taken out. That gave the bass its punch and mid-range. I also sent the basses to an Akai S612 sampler. A friend of mine turned me on to doing this. I don't use it as a sampler, but as a distortion device. If you put the Akai in microphone mode and you overload it, you get really nice warm distortion that you don't really notice, but it sounds good. If I want something more vicious than the Akai, I'll use the [Thermionic Culture] Culture Vulture instead, which I feel is one of the best pieces of equipment for adding some attitude. It's great for when tracks are recorded too cleanly. Finally the basses, like the drums, went through Bus B in my multi–bus compression setup, which consists of Distressors going into my Avalon E55 EQ."

Used for Mylo Xyloto, as mentioned by producer Rik Simpson in this 2011 interview for Universal Audio's blog.

We've got about eight 6176 Vintage Channel Strips, which cover everything from bass, vocal, piano. Generally I go through the same mic amps every time for the whole project, so I don't have to repatch stuff and everything is always ready to go.

In this photo (from 'A Head Full of Dreams' documentary), you could see Guy playing an Epiphone 1920's Round Inspiration Tenor Guitar (4-String), during the Viva La Vida album recording in the studio.

Note: Due to the instrument being vintage, the colour of the wood has possibly darkened, and the pickguard changing colour.

Throughout this performance of “Speed of Sound”, we see Guy playing a Moog Minimoog Voyager Performer. This synth has been with Guy since at least 2004 and made appearances as recently as Coldplay’s 2014 Ghost Stories tour. The synth can be seen particularly well from around 0:18 to 0:25

In this interview with GearJunkies.com, Guy discusses his love for and home studio usage of Chandler Limited units, mentioning the TG12413 Zener Limiter specifically.

In this interview with GearJunkies.com, Guy discusses his love for and home studio usage of Chandler Limited units, mentioning the Curve Bender Mastering EQ specifically.

In this interview with GearJunkies.com, Guy discusses his love for and home studio usage of Chandler Limited units, mentioning the TG Series Mini Rack Mixer specifically.

In this Instagram video, Guy Berryman shows a pair of his AlphaTheta CDJ-3000X Professional DJ Media Players. The video has a caption:

Going into the weekend with some new toys, and some old ones

In this Instagram video, Guy Berryman shows his Pioneer DJ DJM-A9 4-channel DJ Mixer in between a pair of his AlphaTheta CDJ-3000X Media Players. The video has caption:

Going into the weekend with some new toys, and some old ones

In this post by the Instagram account of Embodme, the maker shows that Guy, along with the rest of Coldplay, played the instrument during their Music of the Spheres World tour