Favorite sounds

[j.vavala513@gmail.com]

Pink Floyd has always been identified with amazing sounds. From the early excursions with the Binson to so many bands touring Europe in the late 70s renting one of their PAs they had invested in and started Brittoannia Row for originally. The Azimuth Co-ordinator, the non-musical elements like DSoTM’s interviews, the baby crying and footsteps during “Cymbaline” and “the Embryo” live in ‘70-‘71. So many amazing sounds. What are some of the ones that stand out to you?




For me:




Echoes: the seagull section with David’s iconic guitar sound combined with Roger’s use of a slide on a Binson treated bass and Rick’s ethereal high noises whistling through the ether. Also, Nick’s backwards treated drums during the verse parts.




Mudmen: the super dry drum sound with the slightest bit of delay on the snare drum, David’s glassy slide guitar, and Rick’s (I think) Fender Rhodes with tremolo on it, giving it a hazy sound like the sound of a candle flickering in the dark.




On the Run: the use of the VCS3 wasn’t just revolutionary but sounds alien and amazing 50 years on.




Shine On: the kitchen sink approach to the keyboards on this makes this Rick’s greatest moment in my opinion. The opening is a massive drone of ARP Solina String Ensemble, Hammond Organ, and apparently 4 VCS3 synth tracks. Later we get the Steinway Piano, Wurlitzer Electric Piano, the MiniMoog (the horn sounding lead bits), the Clavinet during the funky parts of pts 6-9, the wine glasses, and supposedly even glass harmonica. Absolutely stunning performance and perfect use of what was available to him.




One of these Days: while the doubled bass part of the studio version is obvious, I have always been enamored with especially the 1971-1972 middle sections that get wild and spaced out. The shows from Japan, France, and Switzerland at the end of 1972 are just insane. There’s also a great version from the Lisner Auditorium in Washington DC from November 1971 that is amazing as well.




Guitar solos, the Final Cut: while not my favorite PF album, I do probably like it more than many. This is largely due the the amazing guitar sound that Gilmour had on the album. It’s been said that David plays live and tracks in the studio using ABSURDLY loud amplifiers. It’s part of the formula for how he manages to get the amazing singing sustain that he does out of a single coil equipped guitar with light gain-iness. There’s no where in their cannon that it is more obvious than the guitar solos on “the Final Cut” and “the Fletcher Memorial Home”. I’ve read that he used much of the same gear he had during the wall album and tour, which would include a Fuzzface, a Big Muff, and a Cornish overdrive into at the least a Hiwatt 100w head run through a full stack of WEM cabinets, in addition to a pair of Leslies speaker cabinets and a Yamaha tube preamp and an Alembic preamp.




Specifically during the solo to “the Fletcher Memorial Home”, the sound of what is simply his fingers passing across the string as he moves to a different position on the fretboard is so powerful and pronounced that you can hear just how LOUDDDDDDD those amps were when he tracked that solo. And that loudness adds an aggressive emotion to those solos that I find irresistible. Even if you hate the Final Cut, I highly suggest listening to that solo. So powerful. Gilmour’s mastery on full display.


I feel like almost every single song has some element that is truly an amazing sound.


I look forward to hearing what you like.

[DesertRat]

Can’t put my finger on why, but I’ve always loved that sound at the beginning of SOYCD that sounds like a creaky door opening. Also, on 1977 shows I like hearing Mason tune into local radio before WYWH.

[j.vavala513@gmail.com]

I don’t know if we are talking about the same thing, but during the first maybe 10-15 seconds there’s this sound that always made me think of some mysterious light spiraling away through space or something, such a little understated touch that is just so perfect…the attention to detail…amazing.

[voices2010]

For me, the birds at the beginning of Southampton Dock

[Demamo]

Pink Floyd has always been identified with amazing sounds. From the early excursions with the Binson to so many bands touring Europe in the late 70s renting one of their PAs they had invested in and started Brittoannia Row for originally. The Azimuth Co-ordinator, the non-musical elements like DSoTM’s interviews, the baby crying and footsteps during “Cymbaline” and “the Embryo” live in ‘70-‘71. So many amazing sounds. What are some of the ones that stand out to you?




For me:




Echoes: the seagull section with David’s iconic guitar sound combined with Roger’s use of a slide on a Binson treated bass and Rick’s ethereal high noises whistling through the ether. Also, Nick’s backwards treated drums during the verse parts.




Mudmen: the super dry drum sound with the slightest bit of delay on the snare drum, David’s glassy slide guitar, and Rick’s (I think) Fender Rhodes with tremolo on it, giving it a hazy sound like the sound of a candle flickering in the dark.




On the Run: the use of the VCS3 wasn’t just revolutionary but sounds alien and amazing 50 years on.




Shine On: the kitchen sink approach to the keyboards on this makes this Rick’s greatest moment in my opinion. The opening is a massive drone of ARP Solina String Ensemble, Hammond Organ, and apparently 4 VCS3 synth tracks. Later we get the Steinway Piano, Wurlitzer Electric Piano, the MiniMoog (the horn sounding lead bits), the Clavinet during the funky parts of pts 6-9, the wine glasses, and supposedly even glass harmonica. Absolutely stunning performance and perfect use of what was available to him.




One of these Days: while the doubled bass part of the studio version is obvious, I have always been enamored with especially the 1971-1972 middle sections that get wild and spaced out. The shows from Japan, France, and Switzerland at the end of 1972 are just insane. There’s also a great version from the Lisner Auditorium in Washington DC from November 1971 that is amazing as well.




Guitar solos, the Final Cut: while not my favorite PF album, I do probably like it more than many. This is largely due the the amazing guitar sound that Gilmour had on the album. It’s been said that David plays live and tracks in the studio using ABSURDLY loud amplifiers. It’s part of the formula for how he manages to get the amazing singing sustain that he does out of a single coil equipped guitar with light gain-iness. There’s no where in their cannon that it is more obvious than the guitar solos on “the Final Cut” and “the Fletcher Memorial Home”. I’ve read that he used much of the same gear he had during the wall album and tour, which would include a Fuzzface, a Big Muff, and a Cornish overdrive into at the least a Hiwatt 100w head run through a full stack of WEM cabinets, in addition to a pair of Leslies speaker cabinets and a Yamaha tube preamp and an Alembic preamp.




Specifically during the solo to “the Fletcher Memorial Home”, the sound of what is simply his fingers passing across the string as he moves to a different position on the fretboard is so powerful and pronounced that you can hear just how LOUDDDDDDD those amps were when he tracked that solo. And that loudness adds an aggressive emotion to those solos that I find irresistible. Even if you hate the Final Cut, I highly suggest listening to that solo. So powerful. Gilmour’s mastery on full display.


I feel like almost every single song has some element that is truly an amazing sound.


I look forward to hearing what you like.

Right on the money!

[MGoBlue1989]

Guitar solos, the Final Cut: while not my favorite PF album, I do probably like it more than many. This is largely due the the amazing guitar sound that Gilmour had on the album.

I agree with the guitar sound on TFC; it keeps me coming back to it. I also probably listen to that album more than most and like the sounds of the cars passing in Two Suns. In fact, I think what make PF special for you is very much the same for me.

I find their experimentation with sounds interesting in almost all cases. I WISH we had more of the Household Objects recordings. I even enjoy the studio sides of Ummagumma and the experimentation there. The one exception that comes to mind is the birds on Grantchester Meadows- my brain can't handle the endless bird loop. The looping of other animal sounds in Several Species doesn't bother me though. I've never been able to sort out why one song annoys me to no end and the other song doesn't. I'd much rather listen to Grand Vizier's Garden Party than either though, which I'm sure puts me in the minority.

[MrFender]

I agree with the guitar sound on TFC; it keeps me coming back to it. I also probably listen to that album more than most and like the sounds of the cars passing in Two Suns. In fact, I think what make PF special for you is very much the same for me.

I generally can't stand TFC but as you note, Dave's guitar work is so good on it. There are pictures of him at Abbey Road of him recording the solo on Time in the big orchestra studio, just him and his cranked up HIWATT.

[keleven]

Good list. I can only think to add the Leslie.

[j.vavala513@gmail.com]

I generally can't stand TFC but as you note, Dave's guitar work is so good on it. There are pictures of him at Abbey Road of him recording the solo on Time in the big orchestra studio, just him and his cranked up HIWATT.

I love that photo. I believe it’s the visual for a YouTube video of an alternate longer take of Shine On, and for obvious reasons, I’ve always identified it with that song. But I have no real reason to believe that other than someone putting that picture with that video.

I love the story of during the Dark Side of the Moon (I want to say American Tour), the PA dying during a show, and instantly all sound disappears but from way back in the venue, you can still hear David’s guitar just from stage volume. I think it was an interview with Arthur Max or Brian Humphries, or whoever was their live sound mixer (but not Alan Parsons, I don’t think) and he talks about how usually you’d have to push the faders up when a guitar solo comes, but with David, you really barely had to mic his cabinets. I’m sure all of that changed post ‘73 when they started playing megadomes and such, but nonetheless I always get a kick out of it.

[j.vavala513@gmail.com]

I agree with the guitar sound on TFC; it keeps me coming back to it. I also probably listen to that album more than most and like the sounds of the cars passing in Two Suns. In fact, I think what make PF special for you is very much the same for me.

I find their experimentation with sounds interesting in almost all cases. I WISH we had more of the Household Objects recordings. I even enjoy the studio sides of Ummagumma and the experimentation there. The one exception that comes to mind is the birds on Grantchester Meadows- my brain can't handle the endless bird loop. The looping of other animal sounds in Several Species doesn't bother me though. I've never been able to sort out why one song annoys me to no end and the other song doesn't. I'd much rather listen to Grand Vizier's Garden Party than either though, which I'm sure puts me in the minority.

I have a feeling we very much so are intrigued by the same things. I also really enjoy the Final Cut occasionally, and Ummagumma (and the Narrow Way in particular) with its experimental nature is what really pulled me into the obsessive level fandom that has defined periods of my life.

I truly love of all of…Love Syd, Love classic lineup, love post-waters, love the solo records…but the stuff that really commands my attention is the pre-DSOTM live shows (Pink Floyd as Cosmic Space Rock Masters), and stuff like Saucerful/More/Ummagumma.

But those non-musical elements are really just everywhere through their catalogue and were used so effectively that I feel like it’s a signature piece of what makes their music so unique and interesting and special.

[A Prick Like You]

The start of See Emily Play, which in five seconds, sounds like a space ship taking off and exploring the vastness of space. This is reinforced in Syd’s guitar solo that sounds like Star Trek.

[YASHA]

The start of See Emily Play, which in five seconds, sounds like a space ship taking off and exploring the vastness of space. This is reinforced in Syd’s guitar solo that sounds like Star Trek.

I also like this introduction, despite the criticism from "Procol Harum"

[YASHA]

Besides, I like the beginning of "Queen of my Dreams", a kind of outburst of emotions before the confession.
Meowing of the cat in TFC

[MrFender]

The live version of Childhood's End funky middle section. Very primitive sounding, I don't know what else in their catalog sounds like it.

The intro to Shine On when Dave first comes in with those notes after Rick. It's like raindrops hitting a pond of water or someone making ripples in a pond. That sound is so syrup-y, drippy, swampy, whatever. Maybe not some much the notes themselves as just the overall tone and how the sound is formed. Along with Riders on the Storm, it just feels musically like rain.

MLoR was my first real intro to Floyd and the start with Signs of Life is a favorite. I can remember exactly where I was when I first popped the tape in and it always brings me back to that time. It was just so different of a way to start an album versus the normal way classic rock albums generally start (crash, boom, bang!). The rowing and water sounds were just unique (to me anyway), the "whistling" synth notes and then those low guitar "boom, boom, boom. Granted it's very thematically similar to the Shine On intro, Rick starts it off and then Dave's notes evoking rain/water. Probably the most "Pink Floyd" part of that album.

Lastly, of all things, Nick's cymbals on Echoes at the 17:45-ish to 18:15 mark. You can just feel that it's a human hand hitting that cymbal. The strikes are not the same every time and there's some dissonance in it. There's been discussion for decades on how Nick is a feel vs technical drummer and this kind of highlights it. I love it.

[Blackstrat]

Well, first of all there's the slide guitar in See Emily Play. Gets me right in the feels every time.

Then there's that first rimshot on the Ummagumma CWTAE. In fact, the sound of the toms on the live side of that album. So full of life.

There's also the 1969 era PF where Rick lays down all kinds of haunting chords while David plays slide over the top in e.g. Sleeping, IO and some of the ZP stuff.

And finally, there's the band version of AHM where David and Rick are doing the choir part together.

There's probably a lot more, but those are the first that spring to mind

[Alanko]

Rick's Farfisa Compact Duo organ. My first Floyd album was Ummagumma, and the live album stuck out in particular. Drop a needle anywhere on the live album and there is that harmonium-y organ, pulsing and weaving through the music.

Most professional organists would start on a Farfisa with a view to evolving up the ladder to a Hammond B3 or similar. The Compact Duo straddles the void between a professional instrument and a home entertainment keyboard. At its heart, transistors provide a harsh, tuned buzz and various circuits split or multiply this tone source into different octaves. Brash, hard notes that you hear all over garage rock.

Rick was a magician, sculpting this harsh buzz into these curtains of sound. He somehow smoothed off the burr from each note, controlled the attack of individual notes and was able to build these vast pools of sound.

The organ solo on the Ummagumma version of Astronomy Domine is a short lesson in all of this. Rick is weaving a melody that fits over the chord changes (though no root notes are really present). Each note is constantly changing volume, and Rick is also controlling how much of each note is fed into the Binson Echorec, as well as the level and number of repeats coming from the Echorec. Each note can be brought to the foreground or send backwards into the landscape of echoes. Tiny variances in the performance of the disk in the Echorec result in lush modulations within the echoes, creating even more depth.

Likewise, the space interludes in live versions of Set the Controls. Rick combined what would otherwise be a tacky 'repeat percussion' tremolo effect with echo to create these cascades of stuttering waves of sound, like signals from a distant, failing space probe. Especially towards 1971, these stuttering abstract lead lines were combined with lush, darkly voiced chords that were often quite harmonically complex and seemed to each rise up from nowhere (check Pompeii and other 1971 live performances).

When Rick did get a Hammond (albeit an L100 or similar) he doesn't initially know how to get as creative with it. It often sounded dull and mild during those first months of 1970. In the KQED performance it is relegated to providing blocky chords during Atom Heart Mother, while the Farfisa is used to provide more 'repeat percussion' effects during the solo,

[TheGreenStrat]

The last paragraph is definitely true. I was always curious why he played the organ that way in that time period. That being said his B3 playing is excellent esp in the mid 70’s.