{"id":19142,"date":"2007-11-02T19:00:00","date_gmt":"2007-11-02T18:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/time-pink-floyd-shop-clocks-then-masons-rototoms\/"},"modified":"2026-09-27T01:16:02","modified_gmt":"2026-09-26T23:16:02","slug":"time-pink-floyd-shop-clocks-then-masons-rototoms","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/time-pink-floyd-shop-clocks-then-masons-rototoms\/","title":{"rendered":"Time – Pink Floyd : horloges de boutique, puis les rototoms de Mason"},"content":{"rendered":"

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Parsons a enregistr\u00e9 chaque horloge seule, puis les a align\u00e9es<\/h3>\n

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Time commence avant le groupe. Les alarmes et les carillons ne sont pas une pi\u00e8ce pleine d’horloges qui sonneraient ensemble par hasard. Alan Parsons, l’ing\u00e9nieur, les avait enregistr\u00e9es pour une d\u00e9monstration quadriphonique. Il a emport\u00e9 un magn\u00e9tophone portable dans une boutique d’horloges anciennes pr\u00e8s d’Abbey Road, a fait arr\u00eater les autres horloges par le patron, et a enregistr\u00e9 chacune \u00e0 part, le tic-tac et le carillon. De retour au studio, il les aligne sur le multipiste pour qu’elles sonnent comme une seule.<\/p>\n

La chanson est d\u00e9j\u00e0 dans la suite jou\u00e9e sur sc\u00e8ne. Parsons a dit que la basse qui cliquette \u00e9tait dans le spectacle Eclipse d’origine, et que les horloges ont \u00e9t\u00e9 ajout\u00e9es ensuite, cal\u00e9es sur un tempo qu’ils jouaient d\u00e9j\u00e0 sur un clic. La prise de base est faite au Studio 2 d’Abbey Road le 8 juin 1972, le lendemain de la prise de base de Money<\/em>. Les s\u00e9ances de l’album continuent jusqu’en janvier 1973. Pink Floyd produit le disque. Parsons est \u00e0 l’ing\u00e9nierie. Harvest sort The Dark Side of the Moon<\/em> aux \u00c9tats-Unis le 1er mars 1973 et en Grande-Bretagne le 16 mars.<\/p>\n

Apr\u00e8s les carillons, Nick Mason joue une descente de rototoms et la chanson d\u00e9marre. Waters a \u00e9crit le texte, sur les ann\u00e9es qui passent pendant qu’on attend de commencer. Gilmour chante les couplets et joue le solo de guitare. Wright chante le pont, la partie sur le fait de rester allong\u00e9 au soleil et de rester \u00e0 la maison pour regarder la pluie. Doris Troy, Lesley Duncan, Liza Strike et Barry St. John chantent les ch\u0153urs. Le morceau tombe ensuite dans une courte reprise de Breathe<\/em>, puis dans The Great Gig in the Sky<\/em>.<\/p>\n

Les horloges ne sont pas enregistr\u00e9es pendant la s\u00e9ance du morceau. Parsons les a faites plus t\u00f4t et a demand\u00e9 au producteur d’un disque d’effets EMI si Pink Floyd pouvait utiliser les bandes. La r\u00e9ponse a \u00e9t\u00e9 oui. Il n’est pas entr\u00e9 dans la boutique pour attraper toutes les horloges sonnant \u00e0 midi. Il a arr\u00eat\u00e9 la pi\u00e8ce et les a enregistr\u00e9es une par une, puis il a d\u00e9cal\u00e9 les pistes jusqu’\u00e0 ce que les carillons tombent ensemble. Les rototoms de Mason sont le pont entre ce montage et le groupe. Les choristes entrent sur les sections suivantes, pas sous le premier couplet de Gilmour. La voix de Wright au pont est l’autre lead, la ligne sur le fait d’\u00eatre fatigu\u00e9 de rester allong\u00e9 au soleil. La paie de Parsons pour tout l’album, c’est son salaire d’employ\u00e9 d’Abbey Road. Les horloges font partie de ce travail.<\/p>\n

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\n

J’ai fait des prises st\u00e9r\u00e9o dans une boutique d’horloges anciennes, pas loin du studio. Je suis sorti avec un magn\u00e9tophone portable, j’ai demand\u00e9 au patron d’arr\u00eater toutes les autres horloges, et je les ai enregistr\u00e9es une par une. Ensuite je les ai assembl\u00e9es sur le multipiste.<\/p>\n<\/blockquote>\n

(Alan Parsons, \u00e0 propos des horloges de Time)<\/em><\/p>\n

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Sur sc\u00e8ne, \u00e0 partir de la tourn\u00e9e de 1972, les horloges sortent d’une bande pendant que le groupe attend d’entrer. Le solo enregistr\u00e9 est celui de Gilmour, sans se presser, sur la m\u00eame bobine d’Abbey Road que le reste de la face. La chanson n’est pas une histoire de remaster. C’est un enregistrement de boutique mont\u00e9 sur une prise de base de juin 1972, avec la batterie de Mason qui r\u00e9pond au dernier carillon.<\/p>\n

L’album va au num\u00e9ro 1 en Am\u00e9rique et au num\u00e9ro 2 en Grande-Bretagne, et il reste 741 semaines de suite dans le Billboard 200. Time<\/em> est le morceau o\u00f9 le concept se r\u00e9duit \u00e0 une horloge et \u00e0 un d\u00e9part rat\u00e9. L’astuce qui fait marcher l’intro est simple : une horloge \u00e0 la fois, puis les rototoms.<\/p>\n

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Time s’ouvre sur des horloges qu’Alan Parsons a enregistr\u00e9es une par une dans une boutique d’antiquit\u00e9s, puis les rototoms de Nick Mason, s\u00e9ance d’Abbey Road du 8 juin 1972.<\/p>\n","protected":false},"author":1,"featured_media":19135,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,293],"tags":[482,514],"class_list":["post-19142","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":"\nTime - Pink Floyd : horloges de boutique, puis les rototoms de Mason - 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\/time-pink-floyd-shop-clocks-then-masons-rototoms\/\" \/>\n<meta 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