I don’t know. I’ve given it to him. He thought it was a daft idea. But a lot has happened to this guitar over quite a long period, and it has been used on some incredibly iconic recordings and live shows. There are probably not that many guitars that you could write an entire book about.
Is it true that you may write a comprehensive book about Pink Floyd’s gear?
There have been requests for such a book, but it’s just an idea at this time. I’m the only person who has worked with the band for so many years, and, therefore, my records and knowledge are pretty much second to none. But knowing how much work was involved with the Black Strat book, I have to decide if I can make the commitment.
What was your role in the Fender Custom Shop’s replication of the Black Strat?
Harassing Fender to make as authentic and precise a replica as possible [laughs]. Todd and Mike came to England, and we took the guitar apart and measured and photographed it. Much later, I took it to the Custom Shop in Corona for critical comparisons before the final prototypes were made. They had sent David and me several prototypes in between trips—along with a specially modified guitar that let us easily swap and try out different pickups. David’s main criteria were that the replica should have the same feel and setup as the original—including the tremolo setup—and that the pickups should sound the same.