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Saturday 29 August 2026 04:22:00 GMT
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@Rafael Cabral @Ícaro e Gilmar @Panda 🐼 @Cê Tá Doido Festival @Humberto e Ronaldo @Lukinha #mjmusiccy
@Rafael Cabral @Ícaro e Gilmar @Panda 🐼 @Cê Tá Doido Festival @Humberto e Ronaldo @Lukinha #mjmusiccy
In 1981, as Alan Parsons and Eric Woolfson were assembling material for Eye in the Sky, Parsons got his hands on the revolutionary Fairlight CMI (Computer Musical Instrument)—one of the world's very first digital sampling synthesizers and sequencers. Intrigued by its built-in digital page-sequencer, Parsons programmed a hypnotic, driving, 16th-note synth pattern. Rather than using the Fairlight merely for realistic acoustic samples, he used it to build a cold, precise computer loop that served as the heartbeat of the track. To lock in the tempo, he paired it with an early LinnDrum To prevent the computerized sequence from feeling stiff or clinical, Parsons brought in the Project's regular studio virtuosos: David Paton laid down a warm, pulsing bassline to anchor the Fairlight loop. Ian Bairnson added clean, funk-infused rhythmic guitar chops and subtle lead accents over top. Stuart Elliott added live acoustic drum overdubs to blend human timing with the programmed machine precision. Andrew Powell added subtle orchestral textures to give the track a cinematic scope. The title
In 1981, as Alan Parsons and Eric Woolfson were assembling material for Eye in the Sky, Parsons got his hands on the revolutionary Fairlight CMI (Computer Musical Instrument)—one of the world's very first digital sampling synthesizers and sequencers. Intrigued by its built-in digital page-sequencer, Parsons programmed a hypnotic, driving, 16th-note synth pattern. Rather than using the Fairlight merely for realistic acoustic samples, he used it to build a cold, precise computer loop that served as the heartbeat of the track. To lock in the tempo, he paired it with an early LinnDrum To prevent the computerized sequence from feeling stiff or clinical, Parsons brought in the Project's regular studio virtuosos: David Paton laid down a warm, pulsing bassline to anchor the Fairlight loop. Ian Bairnson added clean, funk-infused rhythmic guitar chops and subtle lead accents over top. Stuart Elliott added live acoustic drum overdubs to blend human timing with the programmed machine precision. Andrew Powell added subtle orchestral textures to give the track a cinematic scope. The title "Mammagamma" was a tongue-in-cheek nod to Pink Floyd's 1969 experimental double album Ummagumma. Having served as the sound engineer on Pink Floyd's The Dark Side of the Moon, Parsons often embedded subtle references to his history with the band. The track's rhythmic pulse also echoed the space-age atmosphere of tracks like Pink Floyd's "One of These Days" and "On the Run." Though never released as a primary commercial single itself, "Mammagamma" became one of the album's most recognizable pieces. Its infectious loop made it a massive favorite for TV broadcasts, sports stadium entrances, radio station IDs, and euro-disco club sets throughout the 1980s. In 2004, Parsons released an updated techno-style version titled "Mammagamma 04" on his solo album A Valid Path. Album : Eye in the Sky (1982) Composers : Eric Woolfson & Alan Parsons Key Personnel : Alan Parsons (Programming/Production), Eric Woolfson (Keyboards), Ian Bairnson (Guitars), David Paton (Bass), Stuart Elliott (Drums) #MusicLovers #Alex -n #Music 👇 Follow for your daily music dose!
ঢাকা মিরপুর এর প্রোগ্রাম । গায়ে হলুদ এর ডালা সাজানোর আইডিয়া 🥰 #foodvarving #foryou #carving #গায়েহলুদ #বিয়ে @MD Oliullah
ঢাকা মিরপুর এর প্রোগ্রাম । গায়ে হলুদ এর ডালা সাজানোর আইডিয়া 🥰 #foodvarving #foryou #carving #গায়েহলুদ #বিয়ে @MD Oliullah

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