ראיון עם גילמור ב-Guitar World
משנת 1993. גילמור דיבר במהלך הראיון על שירים שונים שהפלויד הקליטו, ביניהם גם הנ"ל. הנה הקטע במלואו: GW: Another technical point: the instrumental "One of these Days" was born when someone plugged a bass into a "Binson Echorec". What is this device? DG: The Binson was an Italian made delay unit. It was strange because it didn't utilize tape loops. Instead, it used a metal recording wheel. [Binson's Echorec was basically a wire recorder - a precursor of magnetic tape. It had six knobs: an input volume, on to control the length, volume and tone of a swell, a three position selector knob. The selector accessed either echo (one repeat), repeat (more than one repeat) or swell (reverbs cleverly devised by feeding the outputs of the heads back to themselves), while the switching knob accessed 12 variations of these - GW Ed.] You could get some wonderful delay effects that aren't attainable on anything that's been made since "One of these Days" evolved from some of my experiments with the Binson, as did "Echoes" [also from Meddle]. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. And he came up with that basic riff that we all worked on and turned into "One of these Days". For the middle section, another piece of technology came into play: an H&H amp with vibrato. I set the vibrato to more or less the same tempo as the delay. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. I just played the bass through it and made up that little section, which we then stuck on to a bit of tape and edited in. The tape splices were then camouflaged with cymbal crashes. GW: So you played the bass on that track? DG: Yes. The opening section is me and Roger. On "One of these Days", for some reason, we decided to do a double track of the bass. You can actually hear it if you listen in stereo. The first bass is me. A bar later, Roger joins in on the other side of the stereo picture. We didn't have a spare set of strings for the spare bass guitar, so the second bass is very dull sounding. [laughs] We sent a roadie out to buy some strings, but he wandered off to see his girlfriend instead. GW: How did you hit on the idea of playing slide guitar on the track? DG: I guess I was never particularly confident in my ability as a pure guitar player, so I would try any trick in the book. I'd always liked lap steels, pedal steels and things like that. I can't remember exactly what I used an "One of these Days"; I may have bought a lap steel by that point, but maybe I used a regular guitar. When I tour, I use two cheap Jensen lap steels customized with Fender pickups for slide parts. The lap steel on "One of these Days" is tuned to an open E minor chord - E, B, E, G, B, E, low to high. The other lap steel is basically tuned to an open G chord [D, G, D, G, B, E, low to high]. I use that for "The Great Gig in the Sky". You'll notice that I kept the top string tuned to an E so that I could do major and minor chords on the first three strings. The only thing I don't do is regular slide guitar with the thingie on your finger. I've never had any interest in that. GW: "One of These Days" is one of those early tracks that crystallized for people what Pink Floyd was all about. Did you have that sense within the band - that you'd really discovered something? DG: Well, I think "Echoes" is the masterwork of the album - the one where we were all discovering what Pink Floyd is about. "One of These Days" is a little subsidiary piece that came out of the work on "Echoes". I always loved it. It's seminal, I suppose, yeah. A lot shorter, in any case - better for radio play. Meddle is really the album where all four of us were finding our feet - the way we wanted Pink Floyd to be. Much more than on Ummagumma or Atom Heart Mother. GW: I was going to ask why Ummagumma and Atom Heart Mother aren't represented in this box set. DG: Well, we just had to pick and choose the ones we felt were most important. And although Atom Heart Mother has some pointers and directions as to where we would finally go, it's not as important as Meddle was. I would have liked to include everything, but we couldn't, because of price constraints. The record company felt that once the price of a box set gets up over 200 bucks, people aren't going to buy it. Who am I to argue? ובעברית: גם ווטרס וגם גילמור ניגנו בס בפתיחה של One of these days. והנה לינק לראיון במלואו: http://www.pinkfloyd-co.com/band/interviews/djg/djgGW93.html אני מקווה שזה שכנע אותך.
