We’re almost at the half-way stage of Phil Manzanera’s Q&A. Thank you again to Phil for taking the time to answer so many questions, and thank you to everyone who sent in a question for consideration.
Special thanks to those of you who sent in the following five.
Just in case you don’t recognise it, this isn’t a screenshot taken from the DVD, but one of Polly’s photographs. It was taken at New York’s Radio City Music Hall last April.
Don’t forget that it’s your last chance to see David’s excellent ‘Live From Abbey Road’ performance on the Sundance Channel tonight. Fans in the US can tune in from 6PM (E/P).
There’s no chat today, but the chatroom will be open tomorrow from 4PM (UK). Everyone is welcome.
If you haven’t visited the chatroom before, don’t be shy. It’s only takes a moment to register and is very easy to use. You’ll find plenty of friendly people to make you feel welcome and to help you out if you get stuck, so come and introduce yourself.
If you could have any one of David’s guitars, which one would you choose and why? (Kris)
Obviously 001, as it’s iconic. However, the black Strat is pretty damn good.
I am a big Stratocaster fan: so, what pickups are you using in your black Strat and do they come close to the Fender ’54 custom shop pickups? (I use those.) (Ernest Peske)
The Strat I use on stage is one of David’s, as I wanted to get a similar sound when duplicating parts he played on the records. Only Phil Taylor, David’s guitar tech, knows exactly what pick-ups are used.
It’s well documented on the modifications David made to his black Strat. What kind of mods, if any, have you made to your main Strat? (Andrew)
None, because it’s David’s. (Sorry, there’ll have to be a separate Phil Taylor Q&A for guitar geeks.)
Using so many powerful amps on stage, is the sound comfortable to play with, or do you battle against each other? (5 Times)
The stage is so big and the amps quite directional, so monitoring is not a problem – due in large part to the excellence of the stage crew.
The involvement of digital technology in (nearly) every form of sound processing is one of the factors that has changed making music compared with, say, 20 years ago. As a musician, what do you see as major advantages and drawbacks of this development? (Ronny)
The advantages are it speeds up the whole ‘capturing’ process and what you can do with it. The disadvantage is that technology can become an end in itself, and not the music.