Ads
related to: pink floyd sound effects
Search results
Results From The WOW.Com Content Network
Pink Floyd " On the Run " is the third track [ nb 1 ] from English rock band Pink Floyd 's 1973 album, The Dark Side of the Moon . [ 6 ] [ 7 ] It is an instrumental piece performed on an EMS synthesizer ( Synthi AKS ).
The song itself is a sound collage, which features no lyrics (although it contains parts of the conversation tapes that Pink Floyd recorded, as well a short snippet of Clare Torry's vocal performance on "The Great Gig in the Sky"), and consists of a series of sound effects.
Pink Floyd used innovative sound effects and state of the art audio recording technology during the recording of The Final Cut. Mason's contributions to the album were almost entirely limited to work with the experimental Holophonic system, an audio processing technique used to simulate a three-dimensional effect. The system used a conventional ...
As heard on Classic Albums: Pink Floyd – The Making of The Dark Side of the Moon, the demo is in the key of G-sharp minor, as opposed to the B minor of the final version. [7] Recording of Pink Floyd's version began on 6 June 1972 at Abbey Road Studios with a new recording of the sound effects. Some effects such as the cash register were taken ...
Pink Floyd would again use this technique on the bass line for "Sheep". This riff was first created by David Gilmour on guitar with effects, then Roger Waters had the idea of using bass instead of guitar, so they recorded the song on two different bass guitars. The piece is in B minor, occasionally alternating with an A major chord.
The shrill siren-like sound effect used during this song is also used in an earlier Pink Floyd work, "Echoes". The noise is mimicking a seagull cry. The noise is mimicking a seagull cry. The seagull noise was created by David Gilmour using a wah-wah pedal with the guitar and output leads plugged in the wrong way round.
"Welcome to the Machine" is the second song on Pink Floyd's 1975 album Wish You Were Here. [3] [4] It features heavily processed vocals, layers of synthesizers, acoustic guitars as well as a wide range of tape effects. The song was written by bassist Roger Waters.
They serve as bookends to the instrumental track "Terminal Frost", and feature David Gilmour's voice, electrically distorted, through a vocoder and a rising synth note.The narrator seems to express weariness with a lifetime spent in one body, waiting for the moment of death, but seeks consolation in the fact that this "waiting" will eventually end.