Well, there is going to be one.
It will be from last August’s Gdańsk concert.
It will be out sometime next year.
There will be one or two assorted extras thrown in for good measure…
And that’s all you’re getting for now, so please don’t bother asking for more. This is obviously a work in progress (with any ‘assorted extras’ as yet undecided, by the way).
There’ll be more on this as and when details are confirmed, so stick with me.
That wasn’t such a bad start to the week, was it?
The Maestro Rover has been an important (and often overlooked) piece to Gilmour’s sound for many years. Since using them myself for quite a while now, I cannot see going without them… and I fear the day they will eventually die. Years ago, you and Pete Cornish developed 100 watt variations of this unique, aging and difficult-to-replace unit. Any hope of that design being released to the public, or an amp builder for limited production some day? (Gary Griffith)
David only used the Rovers when recording the ‘Division Bell’ album. To recreate this sound live for the ensuing tour (as the Rovers are low powered, therefore too quiet and not suitable for large stages alongside his 4 x 12 cabinets), I decided to replicate the Rover sound and function with a high powered version utilising not one, but two, stacked high powered 6″ drivers. I asked Paul Leader from Leader Sound to source the motors and work out the speed control system for me. Between us, we put together the ‘Doppolas’, as they were christened. The guitar audio signal is first eq’d with a modified Boss GE 7 graphic; this then goes into a Hiwatt amplifier and then into the Doppola through mercury contacts to the drivers. There are no plans to make them available.
You know the part of ‘Comfortably Numb’ David plays, when the mirror ball starts to open on the ’94 tour, what exactly does he add to achieve this sound? Is it simply more delay? (Kristopher Junner)
Is it true that during the late ’60s and early ’70s David used a pedal called Orange Treble and Bass Booster? If not, what effect was used live and in the studio to create his overdrive tone (e.g. from ‘Embryo’, ‘Cymbaline’ or ‘Shine On You Crazy Diamond’)? Or maybe it was good old Fuzz Face? (Rafal)
Mostly, he used a Colorsound Treble and Bass Booster, a Fuzz Face and an EH Big Muff.