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«Without the public, the WHOs in Pompeii would not have worked. The Pink Floyd, on the other hand, are cool and detached, do not play to please the spectators. It's almost like seeing a dream of Pink Floyd who play live. As if they played a cloud. The context is perfect for them ».
Steven Wilson described in part for the monthly Mojo The Live at Pompeii Of the Pink Floyd, Adrian Maben's film shot in part in the ancient Pompeii amphitheater that will return to Italian theaters from 24 to 30 April. Wilson, who is known in addition to that of musician, also has a parallel career of Remixer's Great Rock Remixer, he has dealt with the sound of both the film and the live album that will be released on May 2.
“Registration is decidedly essential,” says Wilson, “four mono tracks for drums, bass, guitar and keyboards, plus vocal parts. In Paris, they made overwritten and added new vocal parts, a little sound design and sound effects, but for 85% of the time what you hear is an instrumental band on four tracks ».
«Compared to work I usually do, therefore there was not much to do. However, we do not forget that they played outdoors, so there wasn't much “environment”. The sound was very dry, direct, without too reverberation. As if they were in the desert ». Wilson worked on that, on the distortion that was in a few tracks, on the not perfect levels fixed by the phonic at the time. «Much of my work was cleaning. And I tried to take into account what was happening on the screen. The mix takes into account when for example Roger starts playing the dishes on the left and then passes on the right to the gong ».
As for the reasons that make the Pink Floyd timeless, Wilson speaks of “simplicity, atmosphere, weaving. There is a magic, a alchemy. If you are looking for a great example of why you don't have to be technically incredible musicians, and the alchemy of playing together, have good ideas without complicating everything, that is the live in Pompeii ».
