Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
Yes Music Podcast did a very interesting interview with Casey Young recently: https://yesmusicpodcast.com/whos-tha...-about-it-444/ He talks of them evolving material over the tour, adding in vocal samples.
Henry
Where Are They Now? Yes news: http://www.bondegezou.co.uk/wh_now.htm
Blogdegezou, the accompanying blog: http://bondegezou.blogspot.com/
Yes, definitely tapes used on the Progeny performances. The birds at the beginning of "Close to the Edge" was obviously a tape too. But certainly on a much smaller scale than by 9012Live.
Young says the only reason he was under the stage is because they'd designed the stage before they decided to ask him along! The band had planned to move him on to the stage for future touring, but he ended up not doing any more with them.
Yes and ABWH have occasionally had extra musicians on stage since then (McDonald and Colbeck for ABWH, Sherwood for Talk), but they've also had tapes and samples triggered by techs on all subsequent tours, across all line-ups. I don't know exactly, but I think someone like Steve Rispin, the current keys tech, may actually play a few parts here and there. When they've done "Ritual", there's a point during the part when everyone moves to drums where it's obvious there's some music continuing but you can't see anyone playing it. The heavily produced YesWest songs seemed to be the driver for the greater use of samples/tapes/extra players, so I'd guess there's been less demand given a set list that's focused more on '70s stuff.
Henry
Where Are They Now? Yes news: http://www.bondegezou.co.uk/wh_now.htm
Blogdegezou, the accompanying blog: http://bondegezou.blogspot.com/
BTW, there's a great and exhaustive, if mostly quite techy report by Julian Colbeck about his role in live ABWH in the Muzines archives of old magazines (a treasure trove for all kind of 70s, predominantly 80s, and 90s muso features, lovingly scanned and made to be searchable)
http://www.muzines.co.uk/articles/keyboard-life/5828
To illustrate the point, take a song like Brother Of Mine. Sound like fun to play? Well, yes it is, but not perhaps in the way one would imagine.
Bill Bruford starts the number with a crescendo gong roll. At its peak I hit the top key of the A50, which triggers a Koto run on the Akai S1000 sampler. Full velocity and play to the end, so I don't need to worry about how hard I hit it or how long I keep the key pressed down. Which is just as well, seeing as I then have to watch Jon like a hawk for the first downbeat - a large-scale jangly string/electric piano/koto trem type patch employing two or three instruments.
The introduction over, there's a nasty sort of hang before beat one of a guitar solo, by which time I've eased off entirely on the koto trem volume pedal and eased back a tad on the electric piano.
After the first verse comes a chorus, in which the electric piano is increased slightly and a twice repeated backing vocal part is both sung and triggered from a top F key, a manoeuvre that involves cross-hand work. Another verse and chorus follows.
Then the mood changes to a more insistent beat and I patch change to a sturdy brassy sound. I have but a 'sniff', or upbeat, to change patches. As you may know, the Roland A50 mother keyboard will not change patches if a key remains pressed down, but it will change patch if you take your fingers off the keys during a long release sound - so I have to time my foot stabbing at the increment switch with absolute precision.
This section doesn't last long and ends with a slow, diminished (I think!) run, culminating in a diminished (I know) koto run which is triggered by the second-to-top key. For this, I will have changed back to the first patch used. Another guitar solo and bridge brass stab section follows on, this time ending with a return to the chorus - in a different key.
The intro theme then makes a reappearance, with an added counter melody I play on a muted, plucked sound. What's tricky here, aside from a blind (no count) entry, is that I'm now playing with my left hand what I played with my right hand during the intro. My right hand is now playing the counter melody. This section swells into a guitar solo, at which point I stamp on the koto trem pedal and leap up an octave. It goes on for a while and then deviates into a manic cross-time section, involving six members of the band playing 4/4 and Bill playing in 12s. Basically, during this section, one listened to Bill at one's peril. At this point I also switch to an acoustic piano patch.
The crazy-time instrumental section leads into an up-tempo chorus - still piano, plus lots of backing vocals; live ones only this time. After a second instrumental comes a second chorus, and then a half-time section on electric piano, followed immediately by a return to acoustic piano for a final instrumental in which Bill now joins us all in 4/4. Another half-time electric piano bit leads into the end section, which is a speed-freak run of ascending triads.
Brother Of Mine involves a dozen or more patch changes; probably 4Mbytes worth of triggered samples; a myriad key, tempo, and basic time changes; and lasts approximately 12 minutes. Fun, to be sure, but it ain't exactly get down and boogie stuff!
τί ἐστιν ὃ μίαν ἔχον φωνὴν τετράπουν καὶ δίπουν καὶ τρίπουν γίνεται;
εἰσί κασίγνηται δισσαὶ, ὠν ἡ μία τίκτει
τὴν ἑτέραν αὐτὴ δέ τεκοῦσ` ὑπό τὴσδη τεκνούται
τίς δὲ κασίγνηται δύο;
i had the original cassette of 90125, and i always thought the vocals for Leave it were pre recorded.
it sounded too much like the original record. the music was played live but they i think they lip synched the vocals.
possible Jon sang it live, but the harmonies seemed too good to be live.
I assuem you mean 9012Live. A lot of those big budget concert videos, they shoot a lot of inserts during soundchecks or maybe even after the fact. Things like closeups, or shots where they wanted big sweeping shots done with a camera crane (which might be awkward to do with an audience present) would be done with no audience present. So something like the shots of them during the intro of Leave It might not even be from the actual concert, so they very well could be lip syncing.
As a related note to that, I recall reading where one of Roger Waters' record critic buddies, Timothy White, wrote a book that quoted an unnamed source as claiming he watched Pink Floyd perform Comfortably Numb several times, in an empty arena, before cameras, apparently for the Delicate Sound Of Thunder project.
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