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Les 40 ans de Back in Black

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LEDEFRE
 
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Re: Les 40 ans de Back in Black

Messagepar LEDEFRE » 18 Sep 2020, 08:28

C'est étonnant en effet, je suis plutôt perplexe...
D'autant que lorsque Brian tapait dessus, comme un "sourd", lors des concerts de 80, le son de la cloche n'avait absolument rien à voir avec celui de l'album !
:roll:

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lordangus
 
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Re: Les 40 ans de Back in Black

Messagepar lordangus » 18 Sep 2020, 13:39

Achète le hors série sur AC/DC de rock hard comme ça tu sera moins perplexe et tu sortira moins de conneries.

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lordangus
 
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Re: Les 40 ans de Back in Black

Messagepar lordangus » 18 Sep 2020, 13:42


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lordangus
 
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Re: Les 40 ans de Back in Black

Messagepar lordangus » 18 Sep 2020, 13:51

je vais te mâché le travail:

Tony Platt nous explique comment ils ont fait pour obtenir la bonne tonalité pour le son de la cloche.

‘Hells Bells’, the opening track on AC/DC’s first album without Bon Scott, commences with the slow, funereal–sounding tolling of a 2000–pound bronze bell. Manufactured by John Taylor Bellfounders in the Leicestershire town of Loughborough, this was recorded by Tony Platt using Ronnie Laine’s mobile studio following the completion of the Back In Black tracking sessions at Compass Point in the Bahamas.

“The bell that AC/DC had ordered to take out on tour with them still hadn’t come out of the mould when I arrived in Loughborough,” Platt recalls. “So, the people who were making it arranged for me to record another bell of the same size and key that was hanging in a nearby church. However, after placing microphones in the belfry I discovered that what no one had considered were the birds living inside there. As soon as the bell was hit, the first thing we’d hear was this mad fluttering of wings as pigeons flew away. Then, by the time the bell stopped ringing enough for us to hit it again, all of the birds had returned. We therefore had to abort that whole idea while the bell foundry people hurried up the process of getting the other bell out of the mold.

“As I couldn’t get the Rolling Stones’ mobile, I used Ronnie Laine’s mobile, which was in an Airstream caravan. At that time it was being run by a mate of mine, so we towed it up to Loughborough and actually parked it inside the bell foundry. The bell itself weighed one ton because that was the largest feasible size to take on tour, but the pitch of the bell as you hear it on the record is an octave lower than the actual bell; it was slowed down to half–speed to replicate the sound of a two–ton bell that would have been impossible for the band to take on the road with them or to hang in the venues. As a result, when that bell was hit on stage, it was an octave higher than on the record.

“The guy who made the bell was the guy who hit the bell on the record. We hung it on a block and tackle in the foundry and there was a specific spot, painted red, where he had to hit it. Being that I had a short time in which to record this before flying to New York to do the mix, I put up 15 or 16 microphones all around in different places, and recorded across 24 tracks using lots of Neumann U87s and some AKG 451s. As a bell’s sound is mostly harmonic, it’s very difficult to record. So, I went all the way from having Shure SM57s at the dynamic end to using B&Ks at the top end, covering all the bases. That was the only way to do it because I had to consider what we were going to mix and slow it down to half–speed. When you do that, all sorts of things you didn’t know were there suddenly appear.

“At Electric Lady when we were doing the mix, Mutt and I chose a combination of the close and distant microphones that produced the best sound, made a mix to half–inch at 30ips and then slowed that down to 15ips. Out of the takes that we had, we chose the best one and, because there were no samplers in those days, spun it in. We had quarter–inch and two–inch tape machines, I started the two–inch and dropped it in, and Mutt started the quarter–inch at the appropriate moment.”

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LEDEFRE
 
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Re: Les 40 ans de Back in Black

Messagepar LEDEFRE » 18 Sep 2020, 15:33

Alors, mon cher ami, qui sait beaucoup de choses, contrairement à moi sans doute, je sors peut-être des conneries, mais au moins, je ne fais pas de fautes d'orthographe ni de conjugaison...et bing !
Ça, c'est parce que je n'aime pas que l'on me prenne de haut !
Maintenant, je te remercie pour ton explication, qui, effectivement, éclaire ma lanterne...mais tu l'aurais dit gentiment, ça aurait été mieux.
Voilà !
Allez, merci à toi...et sans rancune.
:wink:

Shannen
 
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Re: Les 40 ans de Back in Black

Messagepar Shannen » 18 Sep 2020, 17:21


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lordangus
 
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Re: Les 40 ans de Back in Black

Messagepar lordangus » 18 Sep 2020, 21:07

pas de problème j'accepte la critique.

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Heatseeker
 
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Re: Les 40 ans de Back in Black

Messagepar Heatseeker » 21 Sep 2020, 14:13

En re-re-re-regardant les photos pour la millième fois, je trouve la configuration du groupe vraiment très sympa, avec un minimun d'amplis, un petit riser pour Phil : je trouve ça vraiment sobre et efficace, ça me fait rêver à une tournée des petites salles qui aurait une configuration pareil.
Ce serait l'apothéose d'en finir avec les gros stades à neuneus, et de revenir à quelque chose de plus sobre et classe, centré sur la musique et la connexion avec le public.
Enfin, ce n'est surement qu'un doux rêve...

Shannen
 
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Re: Les 40 ans de Back in Black

Messagepar Shannen » 21 Sep 2020, 21:59

[quote="Heatseeker"]En re-re-re-regardant les photos pour la millième fois, je trouve la configuration du groupe vraiment très sympa, avec un minimun d'amplis, un petit riser pour Phil : je trouve ça vraiment sobre et efficace, ça me fait rêver à une tournée des petites salles qui aurait une configuration pareil.
Ce serait l'apothéose d'en finir avec les gros stades à neuneus, et de revenir à quelque chose de plus sobre et classe, centré sur la musique et la connexion avec le public.
Enfin, ce n'est surement qu'un doux rêve...[/quote

Entièrement d'accord avec le propos. Mais, serait-ce envisageable en terme de rentabilité? Je veux dire, pour les promoteurs, une stade de France, un Vélodrome est plus avantageux qu'une succession de petites salles. De même, une tournée de salles à taille humaine pourrait-elle répondre à la demande du public? Je veux dire, il est plus facile d'entasser de contenter plus de personnes en entassant 80 000 gugus en une fois dans un stade que d'enfiler les salles des fêtes!

Mais oui, un concert, genre Circus Krone,.... ça aurait davantage de gueule!

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