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Do you play piano ever to come up with
ideas?
I'm a truly rotten piano player, but I
mean, High Hopes I wrote on the piano.
Boat Lies Waiting I wrote on the piano.
In any tongue, I wrote on the piano. I
mean, I've written quite a few
songs with the piano, but they are very,
very simple. I've also seen you play
drums, and I've seen videos of you
playing drums. Yeah. Now, do you ever
come up with grooves uh on the drums and
think of it that way or program a drum
part? Well, I program drum parts and I I
think of what
um what it should be and I put a guide
in. Yeah, I'm quite definite and
specific about how this thing should be.
I mean, I I played um drums on Fat Old
Son on the Record originally 69 and and
on um Obscured by Clouds, the track I
think I
played. So, I I've always loved
drumming, but I'm again don't want to
put myself down too much, but my timing
on drums mostly isn't usable. I mean,
certainly not Steve G. It's I think I'm
doing something perfectly and you listen
afterwards and it's just pulling and
pushing and you're going no it's
just I'm just not a drummer but but a
lot of ideas
I have drumming ideas that are quite
good at Soro again I played the drums on
but I played it on a pad kit um and then
we added samples later and we
um you know shunted it all onto the bar
quantized. We quantized it. That's what
I was searching for. Um, so that uh it
was interesting because on last night,
Fat Old Son and Sorrow are two songs
that you play at your show. And the uh
Sorrow, like the the tone, your guitar
tone during the solo, that's your Big
Muff, right? Yeah. Yeah. That thing
sounds so powerful. Yeah. I mean, it's
really The big muff is the is is the
killer distortion. It's not subtle. No,
it's not subtle at all. It's um it's raw
power. It feels like it's got a
compressor built in, but it hasn't. But
it's just the way it seems to work. Um,
yeah, it's a sort of sound that when you
get it going, you could you feel on
stage like you could just lean back and
the sound coming from behind you would
prevent you from falling over
backwards. I'd like to take a second to
talk to you about this channel. This is
actually Rick Bott 2. I've had it since
the beginning of my main channel and
many of you are not subscribed. As a
matter of fact, 87% of the people that
watch this channel regularly are not
subscribed. So, I encourage you to hit
the subscribe button on this channel and
on my main channel. This will help me
get even more of my dream guests and
help continue to grow both channels.
Thank you. How loud is your stage sound?
Most of the set it's certainly, you
know, in the bounds of reason. I mean,
there's a real uh dynam incredible
dynamic range from song to song. There's
some songs where you play really quietly
and then you'll increase your level as
the intensity Yeah. uh goes up. But um
do you ever use compression with your
distortion sounds? Yeah. Nearly all of
the time. I was going to say not with a
big muff, but um with um the tube driver
things. Yeah. Which are lovely little
Yeah. Talk talk about those. You've been
You've had those. I've had those used
these RK Butler um tube
drivers. Um and I a lot of people do the
driver first and the compressor
afterwards. I do it the other way
around. I compress the sound going into
the driver usually
um and you know I've got two or three
compressors and two or three tube
drivers and uh in various different
combinations for these songs like
the Black Cat 5 a.m. is a tube driver.
It's my number one tube driver with a
compressor on the lowest setting I can
get the tube driver. Yeah, we work all
this time to get the cleanest, most pure
sound going through these amplifiers.
You want these perfect pure amplifiers
and then you put artificial distortion
into the line or nearly everything you
do to some extent. So tube driver number
one is the most subtle. Tube driver
number three is the least subtle.
And do you use the tube different tube
drivers for different guitars typically
or will you just if you want a a you
know more gain you'll just use one or do
you kind of have them set up for for the
Strat or the less Paul whatever just set
up for the for a general theme for any
guitar. You came up with what I consider
to be the most famous chord in rock
history on Shineon. Technically
speaking, an arpeggio, but yeah. Yeah,
I'll take it. How did you come up with
that
chord? I was in a rehearsal
room in King's Cross in
London. Um, we the four of us, the band
Pink Floyd, you play something. You're
doing all sorts of little things and
that one comes out and you your
something in your brain goes that's
that's there's something to that. So you
do it
again and you do it again and after a
while people other people in the room
stop. You can see you can see this thing
in
people's on people's faces this this
awakening moment when they people are
going there's a possibility here there's
something here there's something here
and that happened I there are other
moments where that has happened but it
was a very clear moment
um and
basically the whole of Shineon grew out
of that moment so David I've coined a
term which I call the Gilmore effect.
And the Gilmore effect is not a guitar
thing. It's not a pedal. It's when I
make a video with any guitar player, an
interview, no matter who it is, there's
always hundreds of comments about how
people prefer your playing to whoever it
is. No matter No matter who it is, well,
I prefer David Gilmore's playing, and I
call that the Gilmore effect. Maybe they
should keep it to themselves on those
occasions.
I mean, it's lovely. Thank you. I mean,
it's just that it's it and it what
they're talking about is this the
lyrical playing. Yeah. I
my I wasn't gifted with enormous speed
on the guitar. Um, and there were, you
know, years when I was younger when I
thought I could get that if I practiced
enough, but just wasn't ever really
going to happen.
And you know some of the influences um
on on me like even the shadows back in
the 60s you know Hank just playing a
tune and uh I mean I think I come from
there really just I just want to play a
nice tune.
Obviously, when you're racked up to 150
dBs and you're leaning against that wall
of sound on stage, it's the tunes change
a
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