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Electronic Sound
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==Recording and content== {{quote box|quote= All I did was get that very first Moog synthesizer, with the big patch unit and the keyboards that you could never tune, and I put a microphone into a tape machine β¦ So whatever came out when I fiddled with the knobs went on tape β but some amazing sounds did happen.{{sfn|White|1987|p=56}}|source=β George Harrison, 1987|width=25%|align=right|style=padding:8px;}} According to the album's liner notes, "No Time or Space" was recorded "in California in November 1968 with the assistance of Bernie Krause".<ref name="GH.com" /> The title was a phrase Harrison had adopted when discussing the aim of [[Transcendental Meditation]] in a September 1967 interview for the [[BBC Radio 1]] show ''Scene and Heard''.{{sfn|Winn|2009|pp=123β24}} Krause later said that "No Time or Space" was a recording of him demonstrating the Moog III to Harrison in Los Angeles, following a session for [[Jackie Lomax]]'s album ''[[Is This What You Want?]]'', which Harrison was producing at the time.{{sfn|Rodriguez|2010|p=11}}{{sfn|Winn|2009|pp=222β23}} Krause claimed that the demonstration was recorded without his knowledge and nor would he have given his consent, since his playing included ideas he intended to develop on the next Beaver & Krause album. Krause's name was originally included on the front cover of ''Electronic Sound'', under Harrison's, but it was painted over at Krause's insistence.{{sfn|Holmes|2012|p=446}} The words "Bernie Krause" were nevertheless visible under the silver ink on original LP pressings.{{sfn|Madinger|Easter|2000|p=423}}{{sfn|Pinch|Trocco|2002|pp=124β25}} The information for "Under the Mersey Wall" reads: "Recorded at Esher in Merrie England; with the assistance of Rupert and Jostick The Siamese Twins β February 1969."<ref name="GH.com" /> The title of this piece was a play on "Over the Mersey Wall", a column by a newspaper journalist named George Harrison that appeared in ''[[The Liverpool Echo]]''.{{sfn|Rodriguez|2010|p=11}}{{sfn|Harry|2003|p=164}} Harrison recorded "Under the Mersey Wall" at his house, [[Kinfauns]],{{sfn|Madinger|Easter|2000|pp=422, 423}} after Krause had travelled to England to help him set up the new Moog system.{{sfn|Rodriguez|2010|p=11}} [[File:Moog Synthesizer 3P (1972), CRuNCh Lab.jpg|thumb|upright=1.1|left|An early 1970s version of the [[Moog modular synthesizer|Moog 3-series]] synthesizer used on the album]] Costing around $8000 (equivalent to ${{formatnum:{{Inflation|US|8000|1968|r=-4}}}} in {{Inflation-year|US}}), Harrison's was the 95th synthesizer sold by the Moog company,{{sfn|Everett|1999|p=353}} but only the third to arrive in Britain.{{sfn|Brend|2012|pp=199β200}} At Harrison's request, Krause first persuaded customs officers at [[Heathrow Airport]] that the system was a musical instrument and to accept a minimal tariff to release the equipment.{{sfn|Madinger|Easter|2000|p=423}} Harrison's Moog 3P set-up comprised a pair of five-octave keyboards with [[portamento]] control, a [[ribbon controller]], modules including ten [[voltage-controlled oscillator]]s, a [[white noise]] generator, three [[ADSR envelope]] generators, voltage-controlled filters and amplifiers, a spring [[reverberation]] unit and a four-channel mixer.{{sfn|Spizer|2005|pp=209β10}}{{sfn|Everett|1999|p=303}} By 1968, Krause had become disillusioned with working with rock artists and what he saw as their limited view of the Moog's potential.{{sfn|Pinch|Trocco|2002|p=122}} Aside from Krause's discovery that Harrison intended to use the 1968 demonstration piece on the album, the relationship between the two musicians was adversely affected by Harrison's stay in hospital in early February, where he had his [[tonsil]]s removed. Krause felt insulted by the treatment he received at the [[Apple Corps]] headquarters, where the staff had no knowledge of his visit. Krause and his wife then went to Paris, only to be summoned back to London by Harrison once he was released from hospital.{{sfn|Madinger|Easter|2000|p=423}} Harrison later commented that the Moog had no instruction manual; the falling out between him and Krause meant that Harrison received only basic guidance on how to operate the system.{{sfn|Pinch|Trocco|2002|p=126}}{{refn|group=nb|By comparison, when [[Mick Jagger]] received his Moog in September 1968, the company sent an employee to London to spend a week teaching him how to use the instrument.{{sfn|Brend|2012|p=187}} In California, Krause and Beaver regularly hosted Moog classes for groups of up to 30 and individual tuition sessions for their customers.{{sfn|Pinch|Trocco|2002|p=123}}}} The notes accompanying the track listing on the LP sleeve were taken from a Zapple press release written by [[Richard DiLello]],{{sfn|Harry|2003|p=165}} who served in the position of "house hippy" at Apple.{{sfn|Miles|2016|pp=61, 82}} Among DiLello's comments, he described "No Time or Space" as "a pottage of space music" and said of "Under the Mersey Wall": "in a mounting vortex of decibels, there came to pass a wrecked chord of environmental sound that went beyond the genre of hashish cocktail music. The bass line had been milked through the Moog machine and, lo and high, we behold electronic music β¦"{{sfn|Harry|2003|p=165}} The inside sleeve included a quotation attributed to "Arthur Wax": "There are a lot of people around, making a lot of noise; here's some more."{{sfn|Spizer|2005|p=210}} {{Clear}}
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