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[Joseph D. Macry]

They take a few modern conveniences, the clocks on Time are sampled but the congos are done live. 

Just to be pedantic: The real PF used two banks of Roto-Toms (with lighted drumsticks!), not congas, during the intro to "Time".

[Mike Sokol]

Just to be pedantic: The real PF used two banks of Roto-Toms (with lighted drumsticks!), not congas, during the intro to "Time".

Do I need to contact Remo to see if I can get a set of RotoToms? 

[Mike Sokol]

Just to be pedantic: The real PF used two banks of Roto-Toms (with lighted drumsticks!), not congas, during the intro to "Time".

And these LED drumsticks change color every time you hit a drum. I want a pair of them just for myself (and I'm not a drummer). Too trippy? I'm not responsible if any of you start having flashbacks.... 

[Mike Sokol]

Just thinking.... I have an original Rhodes 73 piano that plays great. I think that's required for Time..

[Tim McCulloch]

Do I need to contact Remo to see if I can get a set of RotoToms? 

They are still in production.

[Mike Sokol]

They are still in production.

Remo marketing just contacted me back. Yippiee!!!!

[Chris Hindle]

Do I need to contact Remo to see if I can get a set of RotoToms? 

naw. I know a semi-retired "source" that won't miss them for a week or three.......
Knowing it's for Floyd doesn't hurt. May have to pay his way too.......

edit: Reading further, i see you have a source lined up.
The Don probably wouldn't let us in anyway.
Fukin hippies from the north !
 
Chris.

[Jean-Pierre Coetzee]

Do I need to contact Remo to see if I can get a set of RotoToms? 

I'm pretty sure that I have a set, I'm a bit far though...

[Dan Mortensen]

So whatever happened to this project?

BTW, I wasn't on the 1973 tour, but did run a follow spot at the September 29, 1972 stop in Seattle at Hec Edmundson Pavilion on the University of Washington campus.

They had the circular projection screen with lights and fireworks around its perimeter. That's almost all I remember of the gear.

That was also the first time I'd ever seen a mixing console "explode" upon plug-in. We were on headset talking to the sound guy for some reason as he'd be the one calling spot cues. Don't ask me how this could have been, but I definitely remember being on headset talking to someone on their crew when the AC was connected to the console and there was a big explosion and burst of smoke. He was not fazed at all and said that he and the pyro guys played jokes on each other and they were getting back at him.

Could it have been Tycobrahe Sound and one of their consoles? I wasn't into sound as much and didn't really recognize the gear. They did come through a couple times.

I don't know how it sounded because the headsets used there at that time used omni mics and had either no way to mute or no way to easily unmute when you needed to talk to the cue-caller, so you listened to six or eight open mics spread out over a 9,000 seat room with terrible acoustics anyway. We couldn't aurally pick out solos or anything, we relied entirely on the person calling cues to tell us where to point the follows. We saw the shows but didn't really hear them.

[Ron Hebbard]

So whatever happened to this project?

BTW, I wasn't on the 1973 tour, but did run a follow spot at the September 29, 1972 stop in Seattle at Hec Edmundson Pavilion on the University of Washington campus.

They had the circular projection screen with lights and fireworks around its perimeter. That's almost all I remember of the gear.

That was also the first time I'd ever seen a mixing console "explode" upon plug-in. We were on headset talking to the sound guy for some reason as he'd be the one calling spot cues. Don't ask me how this could have been, but I definitely remember being on headset talking to someone on their crew when the AC was connected to the console and there was a big explosion and burst of smoke. He was not fazed at all and said that he and the pyro guys played jokes on each other and they were getting back at him.

Could it have been Tycobrahe Sound and one of their consoles? I wasn't into sound as much and didn't really recognize the gear. They did come through a couple times.

I don't know how it sounded because the headsets used there at that time used omni mics and had either no way to mute or no way to easily un-mute when you needed to talk to the cue-caller, so you listened to six or eight open mics spread out over a 9,000 seat room with terrible acoustics anyway. We couldn't aurally pick out solos or anything, we relied entirely on the person calling cues to tell us where to point the follows. We saw the shows but didn't really hear them.

  Are you speaking of the tour using a 35 mm projector loaded with 35 mm sprocketed film on the front and 35 mm sprocketed 8 track audio on the back?  I remember using two chain hoists to lift the projector into its position to project onto the round screen from the rear.  This was the tour which played outdoor arenas in quad and waited for the sun to set prior to rolling the rear projection.  Hamilton, Ontario was the last stop in Canada before they were heading back across the border into the U.S.  The pyro dude took all of his remaining charges and set them in one heap against a corrugated steel retaining wall at the rear of the east end seating immediately below the 'Black Cat' cigarettes scoreboard.  Sometime prior to sunrise he used one electric match to explode ALL of his remaining charges in one shot.  At the instant, I was a local hand disassembling the rear quad stack and amps at the same elevation of the west end seating.  The concussive wave pummeled our ears and bodies.  I remember the flash and smoke and I especially recall the large plastic face of the internally illuminated 'Black Cat' sign shattering and falling into the growing cloud.  By the time the cloud cleared there was a hole about four to six feet in diameter blown through the corrugated galvanized steel retaining wall.  This was in the older Ivor Wynne Stadium in the midst of residential Hamilton.  Windows were shattered in neighboring homes for several blocks to the east of the stadium.  It was the first concert of its type in the stadium.  To phrase it politely, 'the city was not amused.'  I ran one of two arc Supers on the stage left side.  This was the tour where a plane was released from the upper level of a press box above and behind me and slid down a slack wire to vanish just below the round RP screen in sync with the explosion.  "Money" was the big song of the tour. 
Toodleoo!
Ron Hebbard.

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