—once you're in the stereophonic field, sensitive to all kinds of minute changes in acoustic space, an errant reverb event kind of blends in. But in the mono mix, the sound is musically distinct and quite frightening: something (perhaps the inside of a way-hot piano) is resonating at a quarter tone between Bb and B, not a tritone away from the orchestra's peak, not a fifth away, but a universe away. An overtone of f# separates out just before the massive E major and sustains into the chord (the chord also contains everything (only the keys were a triad
Wednesday, March 10, 2010
The Astronomy Domine chord is being strummed in Studio Three
The space between the climax of the second orchestral swell (4:19) and the giant piano chord (4:21) in "A Day in the Life" is not empty. It is very full. Beneath the decay of the orchestra's final note, a second, weirder echo rushes in. It is audible in the stereo mix, though my ear kind of normalizes it
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2 comments:
Like the buzz that comes through everything at Brattleboro House Cartoon. Sometimes I tune to it and then pitch control to make it a workable drone relative to the "key". Is british buzz the same note? Was it then?
our electrical drone is generally 60 Hz while in the U.K. it is generally 50 Hz.
US power = 60 Hz = B1 (minus 49 cents)
UK power = 50 Hz = G1 (plus 35 cents)
also, i wonder if the orchestra was tuning to A440 or not, and if actual A440 has changed (i think its been getting sharper) for orchestral tuning since Feb 10 1967.
"Prior to the standardization on 440 Hz, many countries and organizations followed the 435 Hz recommendation the Austrian government made in 1885...In the period instrument movement, a consensus has arisen around a modern "baroque pitch" of 415Hz."
pitch is ASCENDING!
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