The Alan Parsons Project, a legendary British rock band, has a rich history of innovative and groundbreaking music. Their sound is characterized by a blend of progressive rock, classical influences, and electronic music. This unique blend has earned them a devoted following and critical acclaim.
Regardless of the nomenclature, Parsons knows how to, yes, truly cook in Atmos, bringing tracks like “Voyager,” “Can’t Take It With You,” “Hyper-Gamma-Spaces,” and “Shadow of a Lonely Man” to literal new heights. In short, Parsons’ Pyramid Atmos remix ascends and envelops you in all the ways it should—and shrewdly avoids the pitfalls of how it shouldn’t. During a recent Zoom interview to his home in Southern California, Parsons, 75, and I discussed his overall Atmos goals for Pyramid, what he was able to “correct” in Atmos, and his Atmos remix wishlist for other artists. But the dream seemed to end just as soon as it had begun / Was I to know? / For the last thing of all that was on my mind / Was the close at the end of the show. . .
What were your goals for this remix? Mike Mettler: I wanted to take the original track and really push it into a new dimension. I wanted to make it more modern, more atmospheric, and more immersive.
I had never heard it before, and it was a perfect example of how Atmos can transform a song. The way the soundstage was created, the way the instruments were placed, the way the vocals were processed – it was all so immersive and engaging. This is just one example of how Atmos can elevate a song to a whole new level.
This is a new recording, a new mix, not a remaster. We’re going to release it on the 40th anniversary of the album’s release in 2023. It’s going to be a limited edition release, and the first ever Atmos version of this legendary album. Now, this isn’t just a simple re-mixing.
Mettler: I remember the tour was a bit of a mess. We had a lot of technical difficulties, and the sound was terrible. The band was also struggling with their own internal conflicts. The tour was a huge disappointment for the band, and it was a huge disappointment for the MetLife Stadium.
All of these albums, I’ve only got as far as mixing in 5.1. I’ve never been able to get to the mastering stage. Parsons: I’ve been working on this new album, and I’m really excited about it. I’ve been working on it for a while now, and I’m really happy with the way it’s coming along. I’m really excited about the sound of it.
13 is a lucky number. It’s a number that brings good fortune. It’s a number that brings success. It’s a number that brings happiness. It’s a number that brings peace. It’s a number that brings love. It’s a number that brings prosperity. It’s a number that brings abundance.
Mettler: I think it’s really important to understand that the evolution of a song is not linear. It’s not like a straight line from A to B to C. It’s more like a spiral, where you’re constantly exploring different directions, trying different things, and seeing what works.
It was a real joy to work with them. The choir was a big part of the album’s success. Parsons: We had a lot of fun recording the album. We were all really excited about it. We were all really into the recording process.
Parsons: In particular was also the choral section for “In the Lap of the Gods,” the one I just drew attention to—the “hail to the king / praise to our king” parts—where the strings were sort of baroque and very, very fast, like (mouths the faster string part). That always annoyed me as being slightly behind. When working to a recorded track, string players tend to be a little lazy, and then the conductor has to work very hard to get them back on track. I have managed to pull those strings ahead—and it’s a piece of cake now, on a digital workstation. In this case, I just highlighted it and dragged the file to the right side to get it in time.
The music is just there, and it’s beautiful, but it’s not a logical progression. It’s like a dream, a journey, a feeling. It’s not a linear progression of events. The album is a journey through the mind of a man who is struggling with loneliness and isolation.
Mettler: Yeah, it’s a real crowd pleaser.
Parsons: Yeah, I’m just waiting for that. Mettler: You know, I’ve been thinking about this whole thing. Parsons: Yeah? Mettler: I think we should just go ahead and do it. Parsons: What do you mean?
* **Steven Wilson’s Atmos Mastery: Immersive Soundscapes**
* **Atmos:
He’s a master of the craft, and I’ve been fortunate enough to work with him on a few projects. Mettler: Steven Wilson’s work on the Atmos mixes is particularly noteworthy because it showcases the power of Atmos to create immersive, multi-dimensional soundscapes. He’s able to use the format to create a sense of presence and immersion that is truly unique and captivating.
This is a very interesting development because it’s a very popular track, and it’s a very well-known track. It’s a very well-known track in the world of EDM, and it’s a very well-known track in the Atmos world. So, if Raven is going to do this, it’s going to be a huge deal.
I think you’re a natural fit for it. You’ve got the skills, the experience, and the passion. But, I want you to be aware of the challenges. Mettler: The biggest challenge is the pressure. The pressure to deliver, to meet deadlines, and to exceed expectations.
* Mettler: Steven Wilson did the Atmos mix for Who’s Next. * Mettler: The Atmos mix was created for the 50th anniversary box set of Who’s Next. * Mettler: Steven Wilson is a renowned audio engineer. * Mettler: The Atmos mix is a new way of experiencing music.
He’s got a whole studio dedicated to it. He’s got a whole team of engineers and producers working on it. He’s got a whole system of tools and software that he’s developed to make it easier to work with. This is a testament to the power of Atmos and its potential. It’s not just about creating a 3D sound experience; it’s about creating a truly immersive experience that can transport listeners to another world.
I’m not sure what you mean by “truth” in this context. Truth is a very complex concept, and it’s not always easy to define. But I can tell you that there are many different ways to understand and experience truth. Parsons: The idea of truth is often associated with objective reality, but that’s not always the case.
Mettler: Yeah, why not? I’d also say a track like “Pyramania,” which has a different type of, we’ll say, attack during the choruses—you had to make sure those ack-ack-acks, if you will, hit properly, and in a very precise way. Parsons: The ack-ack-acks, yes. That was what they were calling, in classical music, the scherzo—the joke, the sort of tongue-in-cheek comedy number. (chuckles) I’m trying to find the word, but it was dedicated to a fashion at the time known as Pyramid Power. And it was a very popular notion that, if you put, say, a bottle of milk inside a pyramid, it would not go sour. I mean, it was ridiculous, really—but it was fun. I’ve compared Pyramid Power with the Pet Rock. Do you remember the Pet Rock?
Mettler: I’m not sure if I’d call it a fad, but it was definitely a cultural phenomenon. It was a time when people were really into the idea of having a personal connection with their food. People were looking for ways to make their food more interesting, more exciting, and more meaningful.
Mettler: You know, it’s not just about the numbers. It’s about the story. It’s about understanding the context. Mettler: You’ve got to be able to tell a story with your data.
It has to be a real, organic, and natural sound. Parsons: The key to Atmos is to create a sense of immersion. You want to make the listener feel like they are actually in the middle of the action. You want to make them feel like they are surrounded by the sounds of the environment. Parsons:
It was a real treat. Mettler: I’m not sure if I’m supposed to be happy about it, but I’m kind of enjoying this. I’m starting to feel like I’m getting somewhere.
Parsons: We’re going to have to do some work on the album, but we’re going to do it together.
* Mettler discusses the potential of Atmos for immersive audio experiences. * He highlights the importance of having a strong foundation in sound design and mixing for successful Atmos implementation. * He emphasizes the need for creative and innovative approaches to utilize the full potential of Atmos. * He suggests that albums like “The Time Machine” by The Smashing Pumpkins could be ideal for Atmos implementation.
I was not involved in the recording of their subsequent albums. Parsons: I was not involved in the recording of their subsequent albums. Parsons: I was not involved in the interview with the band.
* Mettler is interested in learning about the Life Beyond L.A. project. * Mettler believes that they have valuable insights to offer on how to approach the project. * Mettler is confident that they can contribute to the project’s success.
Mettler: Yeah, me neither. (more laughter) But however people listen to music in those days to come, and they type in “Alan Parsons” or “Alan Parsons Project” into whatever their listening device is then, what kind of listening experience do you want a future listener to get from your music? Parsons: I would hope that I could be considered a reasonable talent for the late-’70s and early-’80s. Stylistically, I would think we would represent that to a degree. And I’d be glad if they, 50 years from now, wanted to hear music from the late-’70s and early-’80s. I’d be glad if they would visit my stuff in that context.
Until we all meet out here again. . . it’s been truly immersive! –MM