In Casablanca there is a scene with Bogart and Bergman saying goodbyes in an aircraft hanger. In the background there is an aircraft with a group of people loading baggage. They could not fit a real aircraft on the soundstage. It was actually a model aircraft and the people were midgets, giving the appearance of correct scale.

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Official page here:

http://artifactproductions.ca/lechantdesondes/wavemakers-the-film/?lang=en

National Film Board of Canada page here:
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“Wavemakers pursues the legacy of an electronic musical instrument as fragile as it is magical: the Ondes Martenot. The Martenot so sensitive, so expressive, that nearly a century after its invention, musicians, artisans and scientists are still trying to unravel its secrets. Among them are the inventor’s son, Jean-Louis Martenot, Suzanne Binet-Audet, the “Jimi Hendrix of the Martenot”, and Jonny Greenwood of Radiohead.

Integrating vérité, never-before-seen archival material and an entrancing soundtrack, this feature documentary explores the origins and workings of the Martenot, and draws us inexorably into its spell. A modern-day story set against a historical background, Wavemakers is a journey into the very heart of the mystery of music.

With Wavemakers, Caroline Martel returns with the signature approach that turned her first feature doc about telephone operators into a “non-stop visual and intellectual stimulation… an enormously creative documentary.” (Variety). She pursues her fascination with culture and technology, using her distinctive blend of humanism, lyricism and experimentation.”

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An awesome post from the synth list!
808 state on a TV program in the early 90’s!
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ARP 2600,
ARP Odyssey,
ARP Sequencer,
Maplin 5600,
Memorymoog,
Minimoog,
Moog Opus-3,
Moog Prodigy,
Oberheim 4 Voice,
Roland JD-800,
Atari 1040ST running Cubase as sequencer.
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This is amazing…

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“I took the head off a snare drum and started whacking it with a wooden ruler, recording it through a Shure 57 microphone,” he says. “As I did that, I started twisting the hell out of the [API 550] EQ around 1 kHz on it, to the point where it was starting to sound more like a crash. I blended that with a snare I found in the Linn itself, which was a 12-bit machine, so it sounded pretty edgy to start with.” But the coup de grace for the sound was when Z pumped the processed and blended sample through an Auratone speaker set upside down atop another snare drum, which rattled the metal snares and gave the result some ambience and even more high end. The whole thing was limited slightly and then sent to a track on a roll of Ampex 456 running on a Studer A800 at 15 ips. Only a slight amount of reverb was added to the track later on. The sonic result was closer to a hollow wood block sound than any snare found on a conventional rock record, and in becoming, along with Gift’s vocals, the signature of the song, it would go on to have many lives of its own subsequent to the single’s run up the charts.”