Comfortably Numb

[CowboyNQ]

On 3/3/2023 at 9:58 AM, Stokely said:

There's a range between the extremes of agonizing every single thing on the album (that I wonder if Floyd itself bothers with) and not caring at all what it sounds like to drunk people.   I'm somewhere in the middle and it works for me.  I like to get the essence of music I play and not sweat the minutiae.  There are riffs I play exact, like the piano riff in the bridge of Listen to the Music, I guess everyone picks these little parts out of songs that seem important to them.  I've heard some doozies from players in bands through the years.  Like ridiculous little cymbal phase sounds and the like.  
 

As a player in a Floyd tribute - the approach various people/bands take to level of authenticity/accuracy (or however you’d describe it) to the original music is always fascinating to me.

 

From my own perspective - I tend to look at it through three different lenses.

 

The first thing to consider is the brand promise of your band.  If you market yourself as an “accurate to the recording” tribute act that’s different to a covers band throwing in a few Floyd tunes with their own arrangements.

 

The next thing to consider is that there are different versions of many of the iconic Floyd songs on record, due to the DSOT and Pulse albums.  So there’s an opportunity to make some choices there.

 

The third thing to consider is at what point do you reach “diminishing returns”.  By this I mean, how much work do you have to do to have your live playing considered “accurate” by (say) 90% of your audience, and is the work effort required to get it to 99% really worth it? Maybe it is - it’s a personal choice of course.

 

I can listen to ANY Floyd tribute (including my own) and easily identify the bits that aren’t exactly the same as the albums.  But that doesn’t necessarily perturb me. At some point choices have to be made - it’s then a question of the quality of those choices.  Which will be in the ear of the beholder.

 

Interestingly, the 1960s and 1970s versions of Pink Floyd had zero interest in making their live performances sound like their recordings.  In the 70’s it probably wasn’t even possible with the available technology and scant personnel they took on stage.  Richard Wright himself never played anything exactly the same way twice live.  Also - for many years Pink Floyd were something of a “jam band”, which lends itself to different interpretations of their songs when playing live.

 

For example, the tour we’ve just wrapped up contained “Set the Controls for the Heart of the Sun”.  Within certain boundaries, we allowed ourselves quite a bit of improvisation room during that song.  This is because we don’t consider the album version definitive given how many live variations are out there in the public domain.

 

 

[HammondDave]

6 hours ago, CowboyNQ said:

As a player in a Floyd tribute - the approach various people/bands take to level of authenticity/accuracy (or however you’d describe it) to the original music is always fascinating to me.

 

From my own perspective - I tend to look at it through three different lenses.

 

The first thing to consider is the brand promise of your band.  If you market yourself as an “accurate to the recording” tribute act that’s different to a covers band throwing in a few Floyd tunes with their own arrangements.

 

The next thing to consider is that there are different versions of many of the iconic Floyd songs on record, due to the DSOT and Pulse albums.  So there’s an opportunity to make some choices there.

 

The third thing to consider is at what point do you reach “diminishing returns”.  By this I mean, how much work do you have to do to have your live playing considered “accurate” by (say) 90% of your audience, and is the work effort required to get it to 99% really worth it? Maybe it is - it’s a personal choice of course.

 

I can listen to ANY Floyd tribute (including my own) and easily identify the bits that aren’t exactly the same as the albums.  But that doesn’t necessarily perturb me. At some point choices have to be made - it’s then a question of the quality of those choices.  Which will be in the ear of the beholder.

 

Interestingly, the 1960s and 1970s versions of Pink Floyd had zero interest in making their live performances sound like their recordings.  In the 70’s it probably wasn’t even possible with the available technology and scant personnel they took on stage.  Richard Wright himself never played anything exactly the same way twice live.  Also - for many years Pink Floyd were something of a “jam band”, which lends itself to different interpretations of their songs when playing live.

 

For example, the tour we’ve just wrapped up contained “Set the Controls for the Heart of the Sun”.  Within certain boundaries, we allowed ourselves quite a bit of improvisation room during that song.  This is because we don’t consider the album version definitive given how many live variations are out there in the public domain.

 

 

I saw them several times in the late 60’s and early 70’s and there was no doubt that much of the performance was improvised. That’s what made their concerts exceptional. 

[Stokely]

Very well said.

I sorta admire the tribute people that put a ton of effort getting things exactly correct (parts, patches, even the look), but it isn't for me.

That said I don't want to just half-ass things either and as I said we won't run tracks.  Choices and compromises have to be made.  Setting up 17 splits/scenes across my keyboards can create its own set of problems with volumes and just remembering where the heck you put the split points!   

Our band puts more focus on vocals in any case, on Eagles songs for example.  We may not have several guitars playing as they do but we do try to match the harmonies. 

[Jim Alfredson]

I do low brass (mostly French horns) in the lower octave. Middle and lower upper octaves have strings. Pinprick celeste is a sample on the highest note (easy to remember).

As others have said the string arpeggio part during the chorus is vital. Also note that when it modulates, the last arpeggio goes up, not down. I didn't realize that until recently.

[MathOfInsects]

13 hours ago, CowboyNQ said:

For example, the tour we’ve just wrapped up contained “Set the Controls for the Heart of the Sun”.  Within certain boundaries, we allowed ourselves quite a bit of improvisation room during that song.  This is because we don’t consider the album version definitive given how many live variations are out there in the public domain.

I am very, very proud of the logistical feat I pulled of for Set the Controls, two-board-wise. That one took some strategery. 

[JohnH]

On 3/2/2023 at 6:18 PM, Dave Bryce said:

Speaking of the Doobies...

...does anyone else grab the picked acoustic part in Long Train Runnin' on the keyboard?

 

I happily admit, I just love doing that.  I can play it on guitar too...but it's so much fun playing it on keys.

 

dB

Yes I have a cool layered 12 string setup . I love it. I also play the rhythm guitar parts  on keys when it goes to the other chords that part is not playing.