{"id":19098,"date":"2012-09-25T16:00:00","date_gmt":"2012-09-25T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/echoes-pink-floyd-leslie-piano-ping-then-a-backwards-wah\/"},"modified":"2026-09-26T23:59:31","modified_gmt":"2026-09-26T21:59:31","slug":"echoes-pink-floyd-leslie-piano-ping-then-a-backwards-wah","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/echoes-pink-floyd-leslie-piano-ping-then-a-backwards-wah\/","title":{"rendered":"Echoes – Pink Floyd : ping de piano Leslie, puis une wah \u00e0 l’envers"},"content":{"rendered":"

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Studio 3, une note de piano au bord du larsen<\/h3>\n

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Echoes occupe toute la face B de Meddle<\/em>. Pink Floyd sort l’album chez Harvest en Grande-Bretagne le 5 novembre 1971. Le morceau dure 23 minutes et 30 secondes. Pendant l’ann\u00e9e 1971, ils le jouent sur sc\u00e8ne sous le titre The Return of the Son of Nothing, apr\u00e8s une pile d’esquisses de studio qu’ils appelaient simplement Nothing. Les quatre l’ont \u00e9crit. David Gilmour et Richard Wright chantent.<\/p>\n

Le ping du d\u00e9but est une seule note de piano. Au Studio 3 d’Abbey Road, Wright envoie un piano \u00e0 queue dans une Leslie, le haut-parleur rotatif. La note est au bord du larsen, et c’est la figure qu’ils gardent, \u00e0 l’ouverture puis \u00e0 la fin. Abbey Road est encore en huit pistes. Quand la bande est pleine, ils passent le travail \u00e0 AIR, le studio de George Martin, pour du seize pistes, et ils continuent \u00e0 Morgan, \u00e0 Willesden. Peter Bown et John Leckie sont aux manettes pour Abbey Road et AIR. Le groupe produit le disque. Les s\u00e9ances courent de janvier \u00e0 ao\u00fbt 1971, dans les trous entre les tourn\u00e9es.<\/p>\n

La section du milieu est l’autre accident. Gilmour a une wah-wah, du type Cry Baby. Branch\u00e9e \u00e0 l’envers, elle ne filtre plus la guitare. Elle hurle, une oscillation qu’il calme ensuite avec une p\u00e9dale de volume et un delay. Ils posent ce son au centre du morceau, ces cris de mouette sur la d\u00e9rive lente. Roger Waters \u00e9crit le texte, celui des deux inconnus qui se croisent dans la rue sans vraiment se rencontrer.<\/p>\n

John Leckie commence ces s\u00e9ances comme assistant bande. Le huit pistes d’Abbey Road se remplit sur les premi\u00e8res pi\u00e8ces, et le groupe veut du seize. AIR et Trident sont les salles londoniennes qui l’ont. Ils choisissent AIR. Peter Bown, habitu\u00e9 \u00e0 la console d’Abbey Road, rentre, et Leckie reste pour ing\u00e9nier les overdubs. Les esquisses appel\u00e9es Nothing montent jusqu’\u00e0 la vingtaine. La plupart sont jet\u00e9es. Fearless<\/em> et San Tropez<\/em> sortent des m\u00eames mois. Echoes<\/em> est celui qu’ils ont d\u00e9j\u00e0 r\u00e9p\u00e9t\u00e9 comme une seule pi\u00e8ce, jou\u00e9 d’un bout \u00e0 l’autre plut\u00f4t que b\u00e2ti avec des restes. Une fois le ping pass\u00e9, l’orgue de Wright se pose sous la guitare de Gilmour et ils se partagent la voix.<\/p>\n

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\n

Un roadie avait branch\u00e9 la wah \u00e0 l’envers, j’ai appuy\u00e9 dessus et j’ai obtenu ce cri incroyable. Mais, comme on dit, il ne faut rien gaspiller.<\/p>\n<\/blockquote>\n

(David Gilmour, Guitar Player, 2009)<\/em><\/p>\n

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En octobre 1971, un mois avant que Meddle<\/em> n’arrive dans les bacs, Adrian Maben filme le groupe jouant Echoes<\/em> dans l’amphith\u00e9\u00e2tre vide de Pomp\u00e9i, sans public, avec un c\u00e2ble d’alimentation tir\u00e9 depuis la ville. Le film sort en 1972. Meddle<\/em> atteint la 3e place en Grande-Bretagne. La suite reste au programme des concerts du d\u00e9but des ann\u00e9es 1970, le long morceau qu’ils ont sur sc\u00e8ne avant que The Dark Side of the Moon<\/em> soit termin\u00e9.<\/p>\n

Ce qu’on entend sur la bande de 1971, c’est un piano dans une Leslie, une wah branch\u00e9e \u00e0 l’envers, et quatre personnes qui montent une face de 23 minutes \u00e0 Londres. Le remaster plus tardif n’est pas le sujet. Le sujet, c’est le Studio 3, puis AIR, puis un bassin romain vide en octobre, avec le m\u00eame ping aux deux bouts.<\/p>\n

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Echoes occupe toute la face B de Meddle, construit en 1971 \u00e0 partir d’une note de piano pass\u00e9e dans une Leslie et d’une p\u00e9dale wah branch\u00e9e \u00e0 l’envers.<\/p>\n","protected":false},"author":1,"featured_media":19091,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,293],"tags":[482,514],"class_list":["post-19098","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-titres","tag-classic-rock-fr","tag-pink-floyd-fr"],"yoast_head":"\nEchoes - Pink Floyd : ping de piano Leslie, puis une wah \u00e0 l'envers - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/echoes-pink-floyd-leslie-piano-ping-then-a-backwards-wah\/\" \/>\n<meta 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