Favourite tracks and lyrics would be an ideal starting point.Īnd if your mind is stuck on songs from 1963, as is mine after the previous post (in spite of the rather witty, I thought, playlist I’ve been tweeting about this past hour), I’d still like to remember those which I may have missed. Please feel free to spill forth anything remotely Wall-related. If you don’t fall into the above categories, as thoroughly depressing as that is, don’t feel left out. Heck, if you’ve ever had a ticket for anything, do join in. I’d love to hear of and from anyone with a golden ticket, or from anyone who has a ticket for upcoming Wall shows, or from anyone who has used tickets from earlier Wall shows, for that matter. Name : Roger Waters + David Gilmour_ Comfortably Numb, Live, O2 Are.mp4ĭavid will be joining Roger Waters for ‘Comfortably Numb’ at London’s O2 shortly this evening. I find it extraordinary when people think they can copy his sound by duplicating his gear.» Soaring, triumphant, emotional – this above all the other tones in this list is the sound that most people hear when they first fantasise about playing lead guitar… and that’s why it wins. Gilmour’s guitar tech Phil Taylor concurs: «It really is just his fingers, his vibrato, his choice of notes and how he sets his effects. «He’s truly got the best set of hands with which I’ve ever worked.» «You can give him a ukulele and he’ll make it sound like a Stradivarius,» Ezrin says. As ever, the essential ingredient is Gilmour’s technique. It was played using a heavy pick, his iconic black Fender Strat with maple neck through a Big Muff and delay via a Hiwatt amp and a Yamaha RA-200 rotating speaker cabinet. In our faces in a different way is the majestic tone used for the solos in Comfortably Numb. The limiting amplifier makes it pop, and the compressor gives it a kind of density, the sound of being right in your face.»

«First we put the guitar through a very aggressive limiting amplifier, compressed that output, and overdrove it.

At the peak of his creative powers during the recording of The Wall, on Another Brick In The Wall (Part II) he had explored the opposite end of the electric lead tone spectrum: for that, he’d dispensed with his trusty Strat, and DI’d his 1955 Les Paul Goldtop with P-90s straight into the mixing desk before compressing it to create the taut, rapid-attack sound heard on the record: «That’s just Dave direct,» producer Bob Ezrin explains, «with a little compression – we used a form of double compression.»

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