Earlier quoted context omitted.
It takes exactly the same amount of time to say as “Pink”
?
It’s an interview. Pink Floyd, The Floyd. Why would you say The Floyd?
Decoding the telephony signals in Pink Floyd's 'The Wall'
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Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#42This brings back memories of being a clueless script kid in the 1990s. I knew those tones as CCITT5 tones. In the days of blueboxing I had a 486 laptop that I acquired because the harddrive died and booted from floppys, a DOS program called 'The Little Operator' that played tones and a photocopy of a book about telephone switching.
You're right; I think CCITT5 is just another name for SS5, because different groups were writing standards. Bell called it one thing, CCITT (an international standards group) called it another thing. And then in the 1990s, the CCITT renamed itself to ITU.
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#43Earlier quoted context omitted.
Sorry, I don't see the irony. Anyway, having ''The'' as an honourific for band names was commonplace in the UK prior to the '70s, even if the band's name had not been stylized with "The".
It takes exactly the same amount of time to say as “Pink”
It’s a term of familiarity. I don’t think it’s about efficiency of speech. Nicknames aren’t always about shortening names.
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#44Earlier quoted context omitted.
It's cool to hear how that came together as an improvisation. It recalls a simpler time when a major album (or movie, TV show, etc) could just feature your neighbor and a random telephone operator without signing releases and clearing rights. It also gave Chris Fitzmorris (the neighbor) one of the greatest "random cool thing that happened to me" stories ever.
Alternatively, treating the “random telephone operator” as a prop and forcing them to be part of your project without consent is troubling.
It’s their job. I “forced” them to be part of my project of making collect calls hundreds of times.
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#45From: James Guthrie interview > Another piece that worked better than expected was the telephone operator. Roger was keen to illustrate the personal disconnect of being on the road. We were in L.A. at Producer’s Workshop so I phoned my neighbour, Chris Fitzmorris in London. He had the keys to my flat and I asked him to go there and said that I would call him through an operator. “No matter how many times I call”, I s…
I was wondering if they ever figured out who the operator was? I couldn’t find anything about her through my Googling. Seems like she should have some credit in the album for her brilliant contribution
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#46On the cassette tape version of The Wall I had if you flipped the cassette over during this phone call sequence it would end up being right in the middle of another song (can't remember which one) which has this recording playing as part of the background. I feel like it couldn't have been intentional but who knows.
I’m betting subconscious but intentional. I’ve heard a couple artists talk about how they organize an album and there’s a vibe they’re going for but I didn’t get the impression any of them had it down to anything like a science. Dark Side of the Moon and the Wizard of Oz. It’s just two artists putting a story arc together by feel and getting the same shape. A bit birthday paradox, but a bit shared vibe. In the case o…
> One of the things I miss from the pre-streaming era is that “nobody” listens to whole albums at a time anymore
I’ve been looking forward to finding out how Aphex Twin has built projects around the streaming format. It may take many more years and releases until someone finds out something like the ten seconds from 0:30-0:40 on all his tracks work when randomly played together in any order, or something along those line.
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#47From: James Guthrie interview > Another piece that worked better than expected was the telephone operator. Roger was keen to illustrate the personal disconnect of being on the road. We were in L.A. at Producer’s Workshop so I phoned my neighbour, Chris Fitzmorris in London. He had the keys to my flat and I asked him to go there and said that I would call him through an operator. “No matter how many times I call”, I s…
"He keeps hanging up. And it's a man answering."
You can tell the operator was really loving that....
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#48Earlier quoted context omitted.
?
It’s an interview. Pink Floyd, The Floyd. Why would you say The Floyd?
Again, for people of a certain age or generation it was commonplace to prepend it. I find it endearing in a nostalgic way. I can infer from that person's use of it that he is of that age or generation.
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#49Earlier quoted context omitted.
“The Floyd”? Ironic that Have a Cigar was released four years before The Wall: The band is just fantastic, that is really what I think Oh, by the way, which one's Pink?
The band originally was The Pink Floyd (after changing their name from The Tea Set)
But never The Floyd. Just as the band isn’t named after a man called Pink.
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#50And what us the number in Knocking on Heavens door, the Guns n'roses version?