Sonic experimentation
Throughout their career, Pink Floyd experimented with their sound. Their second single, "See Emily Play" premiered at the Queen Elizabeth Hall in London, on 12 May 1967. During the performance, the group first used an early quadraphonic device called an Azimuth Co-ordinator. The device enabled the controller, usually Wright, to manipulate the band's amplified sound, combined with recorded tapes, projecting the sounds 270 degrees around a venue, achieving a sonic swirling effect. In 1972, they purchased a custom-built PA which featured an upgraded four-channel, 360-degree system.
Waters experimented with the EMS Synthi A and VCS 3 synthesisers on Pink Floyd pieces such as "On the Run", "Welcome to the Machine", and "In the Flesh?". He used a Binson Echorec 2 delay effect on his bass-guitar track for "One of These Days".
Pink Floyd used innovative sound effects and state of the art audio recording technology during the recording of The Final Cut. Mason's contributions to the album were almost entirely limited to work with the experimental Holophonic system, an audio processing technique used to simulate a three-dimensional effect. The system used a conventional stereo tape to produce an effect that seemed to move the sound around the listener's head when they were wearing headphones. The process enabled an engineer to simulate moving the sound to behind, above or beside the listener's ears.
Film scores
Pink Floyd also composed several film scores, starting in 1968, with The Committee. In 1969, they recorded the score for Barbet Schroeder's film More. The soundtrack proved beneficial: not only did it pay well but, along with A Saucerful of Secrets, the material they created became part of their live shows for some time thereafter. While composing the soundtrack for director Michelangelo Antonioni's film Zabriskie Point, the band stayed at a luxury hotel in Rome for almost a month.
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