DU Wiki > Ămnen - Subjects > Ljud- & Musikproduktion > Inspelning i Studio VT15 > Pink Floyd - Money
Pink Floyd - Money
Table of contentsNo headers
Pink Floyd's 1973 single "Money" uses "tape loop" as a "guide track" for studio recording.
"Money" is a song by British group Pink Floyd [Cambridge:655], released as single on 7 May 1973.
Musicians: Roger Waters - bass, David Gilmour - guitar, Richard Wright - keys, Nick Mason - drums and Dick Parry on sax.
Record label: Harvest.
Producers: Pink Floyd.
Technicians: Alan Parsons (sound engineer), Chris Thomas (mix supervisor) and Peter James (assistant technician).
Writer and composer: Roger Waters.
There’s nothing really similar to Pink Floyd’s use of “tape loop” found before the arrival of digital sampling in the 1980s.
Many tracks, though, have the idea of a “tape loop” as an intro and a background track.
Terry Riley 1969 "Poppy Nogood and the Phantom Band" track [Youtube].
Robert Fripp and Brian Eno 1973 “Swastika Girls” track [Youtube].
Time-accurate repeated segment of recorded material.
Method's history and decision-making in studio:
Although Pink Floyd did not invent “tape loop” method, they definitely pioneered its use as a “guide track” [BBC] in popular music production. Terry Riley used “tape loops” as a base for his compositions since late 1950s [Synthtopia], but only in experimental, “free form” music. Robert Fripp and Brian Eno elaborated on Riley’s ideas in their 1973 album “No Pussyfooting”. Many other musicians (The Beatles, Can, Gong etc.) used “tape loops”, but not in the same way as Pink Floyd.
The idea of “looped” intro belongs to the song’s author Roger Waters [BBC], who was Pink Floyd’s co-producer together with David Gilmore. According to Alan Parsons (sound engineer at this session) Waters played a role more that of a "director"[Lambert]. Waters created the original loop at his home-studio [BBC]. Nick Mason also claims his participation in the creation (drilling coins) [Mason: 171].
The only way to create a stable (without significant time-shifting) loop was to physically measure the tape with a ruler and cut seven equal pieces of tape [Lambert]. Those joined together segments were looped between two reel recorders.
Other source of information tells that the original loop was re-recorded and that the five (not seven) pieces of tape were cut and circled the studio held by microphone stands [Blake: 185].
There are indications that communications between the band leaders (Waters and Gilmore) as well as between them and technical personal and between technicians were not always easy. Gilmore and Waters had their particular sonic preferences they wanted to implement. Gilmore requested a mix supervisor Chris Thomas [Harris: 105] to participate and Thomas had to deal with often disagreeing band leaders, although, as Thomas points out they were usually asking for the same thing in different terms [Harris: 91] [Blake: 200]. Discussions went on also between Thomas and Parsons. According to Parsons, Thomas wanted “to compress” everything, which Parsons actively opposed [Massey: 116]. Parsons also opposed the use of Dolby reduction on the first generation of recording, which band insisted on [Massey: 114]. Parsons, by his own words considered himself to be "a new breed of engineers that didn’t mind making criticisms or suggestions that would normally be made by a producer" [Blake: 183].
As Parson recalls:” “The first week was almost disastrous” [Harris: 91]. But when the team established their line of work, everyone contributed to the success of the track and the "Dark Side Of The Moon" album as a whole. Yet even when the things went well, the band rarely expressed enthusiasm, "very low-key, very calm" recording sessions according to Parsons [Blake: 185] .
Creative suggestions were taken from technical personal too: e.g. Chris Thomas suggested to add more guitar to the track [Harris: 103] [Blake: 198], while Gilmore's ideas found their way into mixing domain: he came up with the "no reverb" part of the song [BBC]. Band members and technicians participated in mixdown together, "there was no automation, so, all hands were on the mix" [BBC]. Roles between engineer, and producer sometimes were blurred on this record [Blake: 199].Not everybody agrees on this: if Mason thinks, that Parsons was an outstanding engineer/producer, who made a viable contribution to the record, Gilmore means, that any good engineer would do [Blake: 200].
It is difficult to suggest improvements to one of the most famous and commercially successful rock albums in history. They all had their different views in the studio, but maybe that is exactly what helped them to create an outstanding work. This work is fundamental for modern recording approach on many levels: self-produced album, musicians as experienced home-studio recordists, technicians actively participating in creative process and, of course, the method of recording to a loop [Modern Recording:31], which is probably a de facto standard for majority of music-makers today. Ironically, "Money" was, probably, the most commercially-oriented hit-single from a very commercially successful album, which starts the story of never-ending envy, grievances and bitter financial disputes between the members of the team, who made it.
"Money, it's a hit... Don't give me that do goody good bullshit" from "Money" Lyrics by Roger Waters.
Cook, Nicholas (2004) The Cambridge History of Twentieth-Century Music. Cambridge: Cambridge University Press, pp.818
Huber, David Miles/Runstein,Robert E. (2013) Modern recording techniques,Boston : Focal Press, pp. 644
BBC Documentary: Classic Albums: Pink Floyd - The Making of The Dark Side of the Moon 55:00
Massey, Howard. (2009) Behind the Glass: Top Record Producers Tell How They Craft the Hits.Backbeat Books, pp.332
Mason, Nick (2004) Inside Out: A Personal History of Pink Floyd. London: Weidenfeld & Nicolson Illustrated, pp.360
Harris, John (2006) The Dark Side of the Moon: The Making of the Pink Floyd Masterpiece, Da Capo Press, pp.192
Blake, Mark (2008) Comfortably Numb: The Inside Story Of Pink Floyd, Da Capo Press, pp.448
Lambert, Mel (1998) Interview with Alan Parsons http://www.mediaandmarketing.com/13Writer/Interviews/PAR.Alan_Parsons_HFR.html
Terry Riley On Tape Loops at Synthtopia online http://www.synthtopia.com/content/2015/02/12/terry-riley-on-tape-loops/
Terry Riley on Youtube https://www.youtube.com/watch?v=vF7GUhGeRYU
Fripp and Eno on Youtube https://www.youtube.com/watch?v=JZIl9DKmcrQ
Powered by MindTouch Core