Jerry loved these speakers but as the system evolved they changed location several times for a variety of reasons. The speakers are held with the signature Hard Trucker lugs to facilitate rapid removal and replacement without causing injury to the cabinet or delay in the performance.
#Wall of sound grateful dead professional#
They each house a 12" JBL Professional Series speaker with 2 1/2 lbs. They are built with 3/4 inch 13 ply Finnish birch and are roughly 22 inches long by 14 1/4 by 14 5/8. The sound engineers and carpenters at Hard Truckers built these with the care and attention that studio quality monitors would receive. This was the same problem that faced us ten years and hundreds of thousands of dollars later with our 'Wall of Sound' system." Rock goes on to described the many important technological advances in sound and projection developed by the Dead during the late 1960s and early 1970s, before returning to the two speakers at hand: " These speakers were built differently than any other cabinet on stage. As good as they sounded, they just wouldn't fit into most of our venues. These speakers were huge and ungainly but found their way into the acid test parties and our rehearsal rooms.
#Wall of sound grateful dead movie#
At that time Owlsley had been purchasing old 'Voice of the Theater' speakers from soon-to-be-demolished movie theaters. Rock Scully writes (in a hand-written letter of provenance accompanying this lot): " I should have seen the 75 ton 'Wall of Sound' coming as far back as Owlsey's sound lab in Berkeley in 1965. These speakers were used in the Grateful Dead's "Wall of Sound." 1972 custom-made-for-Jerry-Garcia speakers are specially rounded and created to a certain depth to meet Jerry's specifications. One Twitter user has compared the real Black Hole to Pink Floyd’s spacious 1971 masterpiece Echoes, but conceptually, it’s perhaps more in the spirit of their 1968 psychedelic era opus A Saucerful of Secrets.Wood, plywood, aluminum, black paper, gauze, metal nuts and bolts each speaker showing heavy wear, outer wood scratched and chipped, plywood chipped (a few minor pieces missing), paper wrinkled and ripped, aluminum creased and crushed. Strikingly, Nasa’s recording sounds absolutely nothing like Muse’s 2006 epic Supermassive Black Hole, a song that has long been the authority on these things, but now suddenly sounds like the work of a funky three-piece rock band from Teignmouth, rather than prophets of the space-time continuum. The sounds – striking, eerie, disturbing but strangely soothing and balm-like – have been compared to Björk but will also be recognisable to anyone familiar with Brian Eno’s 1983 ambient colossus Apollo: Atmospheres and Soundtracks, which has obviously struck a chord in the outer limits. The 34-second recording is a mantra-like loop or cycle, suggesting the influence of the 1970s German Krautrock bands Neu! and Can, and their gospel of repetition in music. Nasa’s recording of rumbling sound waves from the Perseus galaxy cluster, 200m light years away, sounds, on first hearing, like a lot of submerged wailing – or indeed whales – but like many a classic, takes time to reveal its true complexity and profundity. A s has become the wont of major artists, the debut from the Black Hole dropped so suddenly on Sunday that it might as well have landed from outer space.
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