Odd that the author thinks this sequence originated with the movie, when it's present on the album. He says "we know the number is" such and such without saying how.
Decoding the telephony signals in Pink Floyd's 'The Wall'
71–80 of 141 posts
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#72Earlier quoted context omitted.
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.
Yes. See https://en.wikipedia.org/wiki/Signaling_System_No._5 SS5 was derived from AT&T's US MF signaling system, described in "Signaling Systems for Control of Telephone Switching" by Breen and Dahlbom, Bell System Technical Journal, November 1960. PDF here: https://explodingthephone.com/hoppdocs/breen1960.pdf The BSTJ article has a discussion on international signaling on pp. 1430-1441.
CCITT (ITU-T) version can be downloaded for free (!) from their website. https://www.itu.int/rec/T-REC-Q.140-Q.180-198811-I/en Specific download link in English is https://www.itu.int/rec/dologin_pub.asp?lang=e&id=T-REC-Q.14...
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#73Earlier quoted context omitted.
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…
My then-15 year old daughter surprised me a few years ago. We had just pulled up to the house. Instead of opening the car door, she put on Led Zeppelin I and we sat in the car listening to the entire album together. I honestly think that was the first time in her life that she put on an entire album to listen to. And she did appreciate what an experience it was - like watching a movie when all you've ever seen were Y…
Most good albums have one song that was never released as a single, that’s just for the fans. So even beyond the “story” the album contaminates, they miss important chapters.
Anyone who talks about Tears for Fears, a side conversation about The Working Hour will start. Throwing Copper had five or six singles released over almost three years, but Pillar of Davidson is still my favorite song from that album, and one of my favorites overall. I could listen to Kashmir or PoD in much the same mood. They just build and build.
It would be similar to Patreon content today (though writers with Patreon or magazine articles often release collections later that have all of the rarer content. Martha Wells is the first to spring to my mind, and Naomi Novik for another)
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#74Earlier quoted context omitted.
Alphaville's second album Afternoons in Utopia starts with quiet muffled word "night", then followed by few seconds of silence and then first song called IAO starts. The last song on that album is about Lady Bright: There was a young lady named Bright Who's speed was much faster, much faster than light She departed one day In a relative way And returned on the previous...
The first words on Pink Floyd’s The Wall are “… we came in?”. The last words on the album are “Isn’t this where …”.
If memory serves, I believe record players that could flip the records were contemporary to the release of The Wall. My parents didn’t have a flipper but they had a player that could play a stack of records and The Wall was the first or second LP try bought to play on it.
That definitely works on an auto reversing tape deck, which it looks like existed for fifteen years prior.
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#75Odd. This and other PF audio figured in a dream last night. Then I came downstairs and saw this.
In a parallel universe, this thread is about the Beatles, where you woke up from the dream, found your way downstairs, had a coffee and somebody replied to your post.
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#76Young Lust is the song where this operator is heard. Not being an audiophile, it took me some time to figure out the specific song. My brother had The Wall album, and I enjoyed it, but I never listened to it on my own. I went back and listened to it again for the context. I really enjoy music but I don't listen to it as often I'd like. I think part of the reason is that I have difficulty concentrating when there is a…
I have the same issue. When I turn music on, I can't stop focusing on it and losing track of whatever intellectual task I'm on. The only thing I can listen to while writing/reading is white noise or nature sounds type of thing. Also, having a show play in the background while I do something else like many people love to do? I can't do it.
This has changed for me over time. I’ve been trying to learn a new framework and working on leetcode problems. I used to put on an old album and go into Flow state, but now it’s too much at once. I dunno if it’s age or just being out of practice.
Less than fifteen years an ago someone caught me listening to music while watching an old movie and typing on my computer at the same time. I was like, I can explain.
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#77A while back I tracked down the video clip from the show Gomer Pyle that was used for the “But there's somebody else that needs taking care of in Washington” background audio. Seeing that in its original context was jarring
I know what you mean. I recently did the same thing for the little bit from Gunsmoke at the beginning of “Is There Anybody Out There?”, e.g. “Is it unsafe to travel at night?” - incidentally spoken by actress Diana Muldaur, who later played Dr. Pulaski in Star Trek TNG.
“Stewardess, I speak Jive.” Will to me always be the weirdest later screen appearance. June Cleaver arguing in jive is hard to beat.
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#78Earlier quoted context omitted.
Author here. Yep, 44 is the UK country code. The problem I got stuck on is that the rest of the number, 1831, didn't make sense. I assumed the number was complete, since it had the right start and stop signalling (KP1/KF). It's not long enough to be a London telephone number, and, today, I think London numbers start with 020. The UK numbering plan has changed several times since 1980, but I couldn't find a time betwe…
A London number at the time would be from the UK (01) eee nnnn where e is the exchange[1] and n is just a number, and the 01 can be omitted if you're in the 01 area. For intentional calls it would be (+44) 1 eee nnnn, as you omit the initial 0 that on an internal UK call is an indication you're dialling an STD[2] number and not a local number. There doesn't seem to have been an 831 exchange at the time[3], so as note…
Show me… subscriber trunk dialing. I must know everything.
Re: Decoding the telephony signals in Pink Floyd's 'The Wall'
#79From: 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
The session singer who did "The Great Gig in the Sky" vocals on The Dark Side of the Moon famously got £30. She later sued and got an undisclosed settlement.