in the song "Hear Me Out" by the group Frou Frou, in "Forgive" by British producer Burial, in "Ascent" by Michael Dow, a London electronic music producer, and in "The Ending" by British DJ Graham Gold. It has also been used in several films, such as Traffic and 28 Days Later, and in the London Olympiad opening (the memorial wall section). Many of the tracks on the album were recorded with soft "attacks" of each note, then played backwards, with multiple heavy echoes and reverb added in both directions to merge the notes into one long flowing sound with each note greatly overlapping each adjacent note, producing the "floating" effects that Eno desired. Eno used the Yamaha DX7 synthesiser extensively However, it's also been said by engineer Daniel Lanois that a Yamaha CS-80 was used on "Deep Blue Day". Eno once stated regarding the soundtrack: "...so many processings and reprocessings – it's a bit like making soup from the leftovers of the day before, which in turn was made from leftovers..." Eno said, ".... Well, I love that music anyway .... what I find impressive about that music is that it's very concerned with space in a funny way. Its sound is the sound of a mythical space, the mythical American frontier space that doesn’t really exist anymore. That's why on Apollo I thought it very appropriate, because it's very much like 'space music' — it has all the connotations of pioneering, of the American myth of the brave individual...." Live version In the summer of 2009 a live version of the album was performed at two concerts in the IMAX cinema of London's Science Museum and in an arrangement by South Korean composer Woojun Lee for the ensemble Icebreaker with featured artist B J Cole on pedal steel guitar. The album was performed in its entirety, with the tracks in a different order, to a silent and edited version of For All Mankind, closer to the original conception than the released version of the film. A revised version was performed twice at the 2010 Brighton Festival, where Eno was guest artistic director, before subsequent touring in the UK, Ireland and mainland Europe. Due to the heavily processed nature of the studio-based sound on the original tracks, an exact reproduction would have been impossible to reproduce in a live context, so Woojun Lee chose to apply a free interpretation of