Discussion in 'General Discussion' started by Sean G, Jul 11, 2016.
The New AT5047 Premier Studio Microphone
One of the best tribute bands going around
"ha - ha, charade you are..."
I've always loved that hook.
Brit Floyd is, hands down, the best PF tribute I've ever seen or heard. They are in a class by themselves. These guys are selling out concert halls and amphitheaters like Red Rocks, venues usually reserved for only "big" well-known acts. I saw Kenny Loggins there years ago.
Let's put it this way... I saw Pink Floyd live, back in the 70's at Cleveland's Muni Stadium, and they didn't sound nearly as good as Brit Floyd does here.
Granted, live sound and stage instrumentation have both come a long way since then, but I still think it's funny that a tribute band actually sounds better now than the original act I saw then.
If Waters ever decided to tour and do classic PF as part of his set, he could do a lot worse than to hire these guys as his back-line.
Brit Floyd at Red Rocks Amphitheater; these cats have got some SERIOUS game.
Incredible players, a great visual show, and obviously a very talented FOH engineer.
10:00 on is incredible.
Its one of my all-time favorites Donny
I love how they get the local kids in as part of the production
They have had a line-up change I believe...the left handed lead player and drummer are no longer in the show, replaced by another two players.
IMO this line-up at Red Rocks above was the best line-up from what I have seen and heard.
Ola Bienkowska performs a great version of Great Gig In The Sky....this girl smashes it out of the park, performing over 600 times with The Australian Pink Floyd Show prior to linking up with Brit Floyd. Ola has a solo career in her own right in her native homeland of Poland.
Makes the hair on the back of your neck stand up
I think that Merry Clayton sang on the original GGITS track ( Merry also did vocals on The Stone's Gimme Shelter), and she had more of an "edge" to her voice, but Ola's performance is beautiful in its own way, too.
I believe you are correct there...apparently the original was one take...Floyd were auditioning for a female vocalist and I believe that there were four who did audition on the day.
Merry only found out about the audition at the last minute, and I believe that she went in last.
They told her to improvise, rolled the tape and she did her thing...after the take she was embarrassed from her performance and apologised...
They kept the take...the rest is history.
And if my memory serves me correct, she earned the grand sum of either 30 or 40 pounds for her effort.
Actually Donny, we are both wrong...
It was Claire Torry, not Merry Clayton...and it was two or three takes
According to Wikipedia : (In Claire Torrys' own words) "I went in, put the headphones on, and started going 'Ooh-aah, baby, baby – yeah, yeah, yeah.' They said, 'No, no — we don't want that. If we wanted that we'd have got Doris Troy.' They said, 'Try some longer notes', so I started doing that a bit. And all this time, I was getting more familiar with the backing track. […] That was when I thought, 'Maybe I should just pretend I'm an instrument.' So I said, 'Start the track again.' One of my most enduring memories is that there was a lovely can [i.e headphone] balance. Alan Parsons got a lovely sound on my voice: echoey, but not too echoey. When I closed my eyes — which I always did — it was just all-enveloping; a lovely vocal sound, which for a singer, is always inspirational."
Also from Wikipedia : In 2004, Torry sued Pink Floyd and EMI for songwriting royalties, on the basis that her contribution to "Great Gig in the Sky" constituted co-authorship with Richard Wright. Originally, she was paid the standard Sunday flat studio rate of £30. In 2005, prior to a hearing in the High Court, an out-of-court settlement was reached. Although the terms of the settlement were not disclosed  all pressings after 2005 list the composition to Richard Wright and Clare Torry.
I stand corrected
Listen & learn what ribbon mics can do for you in your studio.