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Ha, ha, I figured that statement would catch your ears. Of course it referred to a very specific sound effects issue, which was getting the tapes of the clocks to chime together from an earlier quadrophonic experiment. Personally, I do have some experience with recording and I have worked in the non-automation world with reel-to-reel analog tape. I've been involved with "all hands on the mixing desk" situations where mixing is a performance in itself. I just don't think these guys were also trying to line all this up with TWOZ while they had so many other things on their minds. This whole thing has got me to thinking though. I am considering doing something of this nature myself, possibly one song written and recorded with the intent of creating some "syncronicities" maybe with an Alizée video, maybe PTB or something like that. Too bad I'm so busy with other projects right now.
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#12
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If you like Eraserhead, I hope that at some point, you will watch it synced to The Wall and comment about it. It is too bad that Part 2 is now missing... Here is a one of the great moments (set to start at 2m25s):
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_______________ Last edited by Corsaire; 06-01-2011 at 12:35 AM.. |
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#14
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Actually, I have always thought that Alan Parsons had been disingenuous about his comments concernnig the TDSOO “synchronization” topic. I believe that AP knows very well that you did not need to play a movie in the sound studio to produce a soundtrack. He also knows very well that in 1972-73, there was nothing magical about making studio recorded songs and sounds fit any specific pre-established time patterns. In a way, it's almost as if AP is having fun at the expense of PF fans. It is also interesting to point out that three years before the release of TDSOTM, Roger Waters collaborated with Ron Geesin on creating songs and sounds to match the images of the movie The Body. The soundtrack was released in 1970 and was titled Music From the Body. Here is an excerpt from the movie “The Body”: Incidentally, it is worth noting that you can hear here the predecessor of TDSOTM’s “Breathe”. More information about the soundtrack: http://www.floydianslip.com/pink-flo...lbum.php?id=34 Why would it be so inconceivable that Roger Waters and the boys would have secretly created a soundtrack to TWOO when Roger Waters collaborated on such a project 3 years before TDSOTM? Also, "Us and Them" is known to have been based from a piece originally composed by Wright for the film Zabriskie Point. BTW, it is not as if PF discovered something that had never been done before 1973. Scoring a movie is quite a simple process, really. There are different ways to go about it, but, as explained before, you can simply watch the movie and record the exact time where each song has to start. Also, you record the exact time of key moments where you might want to add sound effects, solos... This process is nothing unusual, it is called “spotting”. Afterwards, you get busy writing the music (you can also reuse songs and/or modified existing songs to make them fit the concept). Then, you record the songs and effects. You do not have to record in any particular order. In the last stage of production, you make all the pieces fit the pre-established time signature, and to have plenty of room to play with timing, you can add some “filling” between the tracks (as PF did for TDSOTM and The Wall). This way, you can adjust the start of a song by adding or removing some of that filling. Edit: Quote:
It is interesting that you mention this. A friend of mine often correlates mind control or mass manipulation with ancient Greek culture in the very same way as what you wrote. Myself, I believe that from the dawn of Humanity, people with certain knowledge have always controlled the non-initiated. In each epoch, the manipulation techniques used by the elite have been unknown to the masses. I believe every modern society is also controlled to a certain extent; a culture necessarily implies a certain degree of control. For example, people erroneously think that music and movies (or any mass-oriented entertainment) show a reflection of what the masses are or what the masses want, when in reality, it is the music and the movies that mould the masses. Mass-oriented entertainment is primarily a mass manipulation enterprise before it is a money making business. I might write more about this topic (in the context of recurrent themes) at some point...
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_______________ Last edited by Corsaire; 06-07-2011 at 07:46 AM.. Reason: Automerged Doubleposts |
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I agree Corsaire that it is possible that AP and RW could get together collaborating in this way, but It is more interesting to understand their motivation beyond being high and or bored. That is also my query regarding the mc dimension. I would think it would have to have a purpose beyond recurring themes and or just screwing with PF fans.Also if you play Dark Side of the Moon backwards you can hear Roger saying " Your scratching the record stupid".
I am not as much doubting your analysis as trying to understand their motivation to do such a thing. Matrix synchs music with Alizee video's he creates. His motivation is obcession with Alizee. That I can understand. Speaking of mind control lol They say L. Ron Hubbard wrote dianetics on a lark and a bet that he said he could write jibberish and sell a million copies. He won the bet. That is one of the few books I just couldn't get through. Speaking of MC. That book is full of it on so many levels. Sorry for getting off subject everyone. Actually Corsaire I would like to hear your take on their motivation/strategy for synching to AIW and WOOz. |
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A while back, I came across this piece of information and I remembered this thread. Well, it seems PF synchronised their music to films the exact way I proposed they could have done it. It is fairly simple, really, and I still cannot understand why most people believe it is ludicrous to think they synchronised TDSOTM to TWOO.
From http://en.wikipedia.org/wiki/Obscured_by_Clouds At this point in their career, the band were not new to scoring movies. They had already scored the films The Committee in 1968 and More in 1969. The band was already working on The Dark Side of the Moon during this period, but production was interrupted when the band travelled to France to score the movie. Nick Mason refers to the project: "After the success of More, we had agreed to do another sound track for Barbet Schroeder. His new film was called La Vallée and we travelled over to France to record the music in the last week of February... We did the recording with the same method we had employed for More, following a rough cut of the film, using stopwatches for specific cues and creating interlinking musical moods that would be cross-faded to suit the final version... The recording time was extremely tight. We only had two weeks to record the soundtrack with a short amount of time afterwards to turn it into an album."
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_______________ Last edited by Corsaire; 07-10-2012 at 11:53 PM.. |
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A recurrent team in media seem to be an attack, earthquake or similar large scale disaster in London. Just throwing that out since the olympic games begins in a few weeks
Spooks: Code 9 The series begins in 2012 (just after the 2012 Summer Olympics), when London and some of the south east has been evacuated in the wake of a nuclear attack during the opening ceremony of the Games. The government has relocated to Manchester; Thames House has been decommissioned, and MI5 is forced to set up offices across the UK in an attempt to help Britain avoid new attacks <iframe width="640" height="360" src="http://www.youtube.com/embed/LOffyyBtHTY" frameborder="0" allowfullscreen></iframe> The people at Rockefeller Foundation also have some positive "scenarios for the future"... Devastating shocks like September 11, the Southeast Asian tsunami of 2004, and the 2010 Haiti earthquake had certainly primed the world for sudden disasters. But no one was prepared for a world in which large-scale catastrophes would occur with such breathtaking frequency. The years 2010 to 2020 were dubbed the “doom decade” for good reason: the 2012 Olympic bombing, which killed 13,000, was followed closely by an earthquake in Indonesia killing 40,000, a tsunami that almost wiped out Nicaragua, and the onset of the West China Famine, caused by a once-in-a-millennium drought linked to climate change. p.34 http://www.rockefellerfoundation.org...eb007cc719.pdf
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#18
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During the recording of TDSOTM:
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