The cozy talk from the rehearsal room
‘In June 2025, Raumwelle / LautFunk achieved a total of 2,635 streams, generating $3.70 in revenue.’
For us, transparency is part of making music. For this reason, there is also an open view of the streaming revenues of Raumwelle for June 2025. What worked, which platforms were crucial – and what lessons can be learned from them?
Continue reading "Music revenue June 2025 - A look behind the numbers of space wave"
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00:00 - 0:00:02
Recording is ongoing.
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0:00:02 – 0:00:06
In the future, just always press recording when it starts here, right?
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Yes, but that is politically incorrect.
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I can't help but think that you are suddenly persona non grata.
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Then we throw away another three hours.
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Where, by the way, last time nuclear power, Helmut Kohl, the fiber optic expansion.
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And then, at some point, justification.
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I think we spent half an hour discussing justification.
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While he, as I shall say, studied religious scholars did not say a peep.
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I'm not sitting in the hot coals, folks.
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Otherwise, I'd be exmanticulated, folks.
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Post hum.
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Post hum.
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Post hum, yes.
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You can also sing on something.
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I'm not going to sacrifice the funniest 15 months of my life, folks.
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Fuck the master's thesis.
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The rehearsal podcast.
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At the cozy talk in the rehearsal room.
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0:01:19 – 0:01:22
with our moderators.
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Mr. Raumwelle.
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Tobi.
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And Mr. Emergency Stream.
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Have fun.
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0:01:33 – 0:01:54
Yes, and so welcome to another episode of rehearsal podcast.
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0:01:56 – 0:01:58
Yeah, how are you?
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Juti.
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Is the recording already underway?
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The recording is ongoing.
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How's the level?
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It's well leveled.
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It's almost sprawling.
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Except on the Rhine, right?
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Yeah, so a few more inches, and then he's upstairs.
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Then the shore is there.
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Exactly, when the listeners listen to the program, then it has already sprawled or how was it?
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Yes, when the audience listens to the program, it depends a bit.
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If we publish it now as a thousand, then nothing has happened yet.
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If we then publish it regularly, the level is probably in Düsseldorf.
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You know, I'm gonna do something for the level.
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Oh, yeah.
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Fuck you, ey.
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Was it too close to the micro? Excuse me.
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I kept it extra far away.
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Yeah, that was too close.
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I kept it extra far away.
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I'm glad my limiter ate it.
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So Thomas is now plus 0.7.
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Beautiful red flag.
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Where's the rest?
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That's a 0.3.
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It's a Flensburg.
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Cheers.
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Now my ears are sounding. Fuck you.
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That wasn't intentional.
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Want to do a little janitorial?
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Gladly.
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We had reactions to broadcasts.
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For one thing, the, oh God, I hate cryptic names, S475E thanks for the episode about depression and art.
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Especially towards the end, where it became philosophical.
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And then to the Myth show, oh Myth show, one wrote, especially at the end, really well.
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Yes, of course we are happy if we inform well, entertain well and whatever or how you like it.
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What is the name of Shakespeare? As you like it.
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Exactly.
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What was the name of the good people? I was so quick to click away again.
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I also don't want his name to be mentioned.
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No, that's an art name on some platform.
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Also pseudonymous.
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Where is the consequence?
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There.
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I hate this interface on Spotify.
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Well, there it is.
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Digital Kane.
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Thank you very much for your kind words.
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Yes, janitorial.
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Very nice, once swept through. Now it shines again. Thank you very much.
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What else do we have? Is there any news from you?
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I see absolutely nothing.
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So nothing we do in any episodes that are still on my hard drive.
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So there's some AI news.
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On the one hand, there is the news that the Spotify owner, CEO, I believe the CEO, has leaned a bit far out of the window on Ex,
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I've been on Twitter and I've had a lot of shitstorms for what I've written.
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He meant, yes, yes, so here modern music production, that would not be so expensive.
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This is now associated with very little effort and then you have to talk about it,
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how long or short-term durability of such things.
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You mean, you mean, he says you have to talk about whether you should pay the artists at all?
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Yes, for example, exactly.
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Don't do it anymore.
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You have to have a minimum of 1000 streams in order to get to the area where you could get money.
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Yes, so the platform is really on the descending branch.
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You can still throw money at podcasts, but that won't take long.
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That's right.
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Why don't we get money from Spotify?
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Because you don't have 2,000 plates on Spotify.
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Probably just below.
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No, you have to make Spotify exclusive.
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I just wanted to say yes.
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Seriously?
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Sure.
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If you use other streaming platforms, you won't get anything from Spotify.
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Exactly.
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So in any case, you're not in the exclusive program and I don't think the people who regularly public podcasts pay at all.
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These are mafia methods.
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Nope, that's the market. Apple does the same.
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Everyone does that.
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They all use Apple's database.
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Pop because their advertising is on it and good.
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Yes, the point is, and I think that's actually a bit of an escalation.
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I've already felt a few podcasts that I've listened to all the years of jubilee, they did a follow-up at some point.
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So, we are now published entirely exclusively on this platform and this platform.
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And, of course, every time in another.
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That is, you end up throwing 30 euros for 10 podcasts with 3 euros each through the area, which are now on this exclusive platform.
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You could just do all this shit from Patreon, you could concede to people, or some kind of support thing.
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Or you could say, well, I think it's so good now, I'll throw it with money.
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No, instead, people go behind the paywall and then wonder why it doesn't work.
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Exactly.
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What was the name of this streamer with this streaming platform that no longer exists?
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With the two-year contract for 500 million or so?
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Yeah, I know how it was.
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What was the name of the streaming platform?
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That's the point.
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That's where everyone who flew out of Twitch went.
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And because they were totally tight Nazis, the whole other platform missed it quite a bit.
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Boah, that was 500 million contracts.
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Somehow, yes, or even more.
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The net went completely steep and everyone said, yes, that was now a,
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So they all said it's going to be a precedent now, but you weren't sure in which direction.
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You don't mean Kik, do you? Kik.com?
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Kik was, was, Kik also made such contracts.
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Was it or is it owned by Amazon?
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Kik with or without C?
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No, with K.
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I only know Kik from the measurement...
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Twitch is in Amazon's hands.
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Yeah, I just wanted to ask.
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Kik I know, so the K, IK I know only from the Messenger, where some pedos dig up any children.
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So and this Kik streaming thing belongs to an online gaming chain.
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So here game, casino, online casino.
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The American influencer was called Bruce "Drop 'Em Off".
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Yeah, right?
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I mean, I would have done it with 500 million tons, I'm sorry.
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Because the exact amount was not named.
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I'm just looking at Wikipedia.
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On 16 June 2023, it was announced that the former e-sportsman
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XQC has signed a non-exclusive 2-year contract worth $100 million with the Kik platform.
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I would do it for $100 million, too.
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But the platform still exists, doesn't it?
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Yes, it does exist, but it is not relevant.
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No, no, that was a completely different story.
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I don't think that was 2019, I mean.
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This is a platform that hasn't existed in a long time.
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What was that guy's name?
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I can't figure it out. I didn't google it.
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But I have the case you just mentioned.
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I have other things.
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I would have to have either the name of the platform or the guy.
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But tell me.
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This is an e-athlete who has signed a non-exclusive 2-year contract worth $100 million.
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That's $50 million a year.
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He is a former e-sportsman.
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What does he do on the platform?
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Does he stream every day as he plays?
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Casino gambling.
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A bit of labyrinth.
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Other people at least still ride around honestly on the pawn.
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Definitely.
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Hot tube streams.
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Or photograph the sun.
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I got it. ninja.
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That was the guy who...
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And the platform was Microsoft's mixer.
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Does anyone else have that in their head?
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No, no.
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Mixer?
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I don't think it was 500 million either.
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It was something double-digit, but it was enough.
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I think $50 million is pretty bad now.
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Some football players would have to bite their asses.
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Because they don't get that much, do they?
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You have to do something and wear out your body, don't you?
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Football is still a sport somewhere.
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Energy drinks, drinking and gambling casino all night.
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I only know that people like MontanaBlack also got offers from Ankiq.
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And they were neat.
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0:12:29 – 0:12:36
So I see here on Wikipedia just on August 1, 2019 Ninja announced,
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Switch from Amazon's Twitch to Microsoft's comparatively less popular livestream platform Mixer
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and stream exclusively there.
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At weddings, he had about 250,000 paying subscribers on Twitch.
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After just one week, it reaches over a million subscribers on the platform
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That's four times the number on Twitch.
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However, a free trial month is also possible,
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This means that only a few subscribers are likely to have paid.
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In June 2020, Microsoft closed Mixer again.
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Ninja returned to Twitch.
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So I'm just reading Kik's Wikipedia article again.
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Is interesting, affiliate program, similar to Twitch and YouTube, Kik offers an affiliate program.
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To be included as a streamer in this program,
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You have to stream more than five hours and have at least 75 followers.
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Once the affiliate status is reached, viewers will be given the opportunity to
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Channels of streamers for 4.99$ subscribe per month or pay for a gift subscription to other viewers.
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The streamer gets a part of the profit.
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According to their own statements, streamers keep at Kik 95% their generated revenue
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and only 5% Go to the platform. Still.
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In comparison, the share is split between the competition Twitch 70/30 or 50/50 and YouTube 70/30.
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70/30 for whom? For YouTube?
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No, for the streamer.
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I think so for the streamer.
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So 30% for the streamer and 70% for YouTube?
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No, 70% for the streamer and 30% for YouTube.
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With Twitch, it's the other way around.
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And now they have more fucking deals.
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They used to have 50/50 and now they have 30/70.
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Twitch is really bad. It's a monopoly that works like Spotify.
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You have to be on Spotify to get the only algorithm I say works.
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Now away from YouTube, you need to be recommended.
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And you've got some fucking services. But you can stop that.
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Twitch is the same. Twitch can pull some shit off with people,
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It is still the platform of all platforms.
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I'm arguing with Instagram right now because they're constantly blocking new accounts.
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But you must necessarily be represented on this platform.
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You kind of typed the band name wrong.
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I probably used the same address I used.
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For safety's sake, he wanted to claim something so it wouldn't snatch into a crawler.
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And then he probably thought I was a crawler and hasn't taken anything from my devices since.
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It's great. poop. It's a bad trap.
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Yeah, I thought too, so I thought back then, that's a smart idea,
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But it was probably the beginning of the end. I have to look now.
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So I have to be honest.
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I wouldn't take this platform either, even if only the name is lost now.
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In the Wikipedia article, you can read it.
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0:15:52 – 0:15:56
I don't want to go further, otherwise we'll be totally off topic.
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0:15:56 – 0:16:03
It's just that Kick.com is heavily criticized,
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0:16:03 – 0:16:09
It is believed that they are trying to lure people into gambling.
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0:16:09 – 0:16:11
No.
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0:16:11 – 0:16:13
No. How do we get there?
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0:16:13 – 0:16:22
It's just because it might be owned by a casino operator. The casino operator on the Internet.
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0:16:22 – 0:16:29
Yeah, maybe. It's possible. It could be. Maybe you could guess that's the case.
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0:16:29 – 0:16:34
Without it, I don't want to say that now. The change in appearance is their sense of purpose. It doesn't matter.
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0:16:34 – 0:16:44
What I found interesting about news, there is a DAW, a digital audio workstation,
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0:16:44 – 0:16:49
It works online and is called Wavetool.
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0:16:49 – 0:16:51
Yes, yes.
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0:16:51 – 0:17:00
It now has an AI wizard somehow connected to ChatGPT and Google Gemini.
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0:17:00 – 0:17:09
And you can now also import songs from Suno, from the Suno AI with such a small trick.
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0:17:09 – 0:17:15
Normally you get complete pieces of music from the Suno AI.
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0:17:15 – 0:17:20
So snippets. They only make one or two minutes long snippets.
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0:17:20 – 0:17:27
But this wave tool, this online DAW, now has an AI wizard,
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0:17:27 – 0:17:34
With the help of which you can disassemble this track of Suno AI once into the components.
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0:17:34 – 0:17:37
Yeah, then you can do it.
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0:17:37 – 0:17:39
That's right. Exactly.
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0:17:39 – 0:17:44
Then you load the snippets in live and then you build them.
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0:17:44 – 0:17:49
Exactly. What's special is that the thing is language-based.
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0:17:49 – 0:17:53
So that's also for, let's say, for DAW beginners maybe quite good,
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0:17:53 – 0:17:59
because you can use the ChatGPT Prompt and you can also use it in German.
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0:17:59 – 0:18:03
So enter things there.
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0:18:03 – 0:18:11
For example, if you say so, where was an example? Wait a minute.
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0:18:11 – 0:18:18
I want to have a 60s hit where the main lyrics are "I shit then bands".
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0:18:18 – 0:18:23
Ne, for example "Write me a baseline in E minor in 110 BPM"
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0:18:23 – 0:18:29
or "Change the drumbeat in halftime" or "Copy the drum notes to 16 bars".
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0:18:29 – 0:18:34
You can just type it all in German and then the DAW will do it for you.
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0:18:34 – 0:18:38
I find this an interesting development.
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0:18:38 – 0:18:43
I could also imagine that this is for people, for example,
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0:18:43 – 0:18:53
They can't see, maybe it's a good thing, or people who don't have arms.
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0:18:53 – 0:18:57
It can also help to make music.
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0:18:57 – 0:18:58
But honestly.
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0:18:58 – 0:19:01
On the other hand, yes.
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0:19:01 – 0:19:03
Do you do that on the other hand?
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0:19:03 – 0:19:09
On the other hand, I'm still waiting for an AI to make me the tax return.
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0:19:09 – 0:19:14
Yeah, and I'm still waiting for the AI to seduce me backstage, well.
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0:19:14 – 0:19:18
No, but that's exactly what I was about to say. Look, look.
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0:19:18 – 0:19:23
Doesn't it surprise you with such news, if there is a news next to it, where the Spotify CEO,
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0:19:23 – 0:19:30
which is quite a sausage, you can say openly, then say "Yes good, it is no effort at all".
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0:19:30 – 0:19:32
You know? That depends on each other.
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0:19:32 – 0:19:36
Yeah, that's what I thought when I saw these two news stories side by side...
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|
|
0:19:36 – 0:19:39
They're actually on the Gear News page.
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0:19:39 – 0:19:42
Beautiful, great colleagues. It's actually on top of each other, the news.
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|
0:19:42 – 0:19:49
And then there is, listen, listen, another news, which I just want to antagonize very briefly.
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|
0:19:49 – 0:19:56
Music Lawyer AI provides clarity in music contracts for free.
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|
0:19:56 – 0:20:01
Yes, it's also a nice word game with Music Lawyer.
|
|
|
0:20:01 – 0:20:11
The free tool Music Lawyer is designed to help you with misunderstandings in recording and royalty contracts and identify problems.
|
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|
0:20:11 – 0:20:21
Daddy Kev, whose real name is Kevin Moo, founder of Low End Theory, has launched a new AI-driven website.
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|
0:20:21 – 0:20:26
"The artist helps to decipher statements from record companies and distributors."
|
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|
0:20:26 – 0:20:31
Does this AI also design court cases that never existed?
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|
0:20:31 – 0:20:46
Yes, so it's always a question of what kind of material you fed the machine learning algorithms with.
|
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|
0:20:46 – 0:20:53
I mean, it's been two years now, so insane developments have happened since then.
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0:20:53 – 0:21:01
I think we can even say that if we don't have Peter von Dorsum on the line here.
|
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0:21:01 – 0:21:03
Wait, I wasn't done yet.
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0:21:03 – 0:21:04
I'm not done yet.
|
|
|
0:21:04 – 0:21:13
So, and then there's another website called SpotStats.
|
|
|
0:21:13 – 0:21:17
This is not AI based, is currently in the beta phase.
|
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|
0:21:17 – 0:21:23
Allows artists to perform a separate audit of their Spotify for Artists data.
|
|
|
0:21:23 – 0:21:31
It estimates daily, monthly, and annual streaming revenue using Python-based statistics modules provided as an API.
|
|
|
0:21:31 – 0:21:38
This is, so to speak, a publicly available streaming prediction app.
|
|
|
0:21:38 – 0:21:43
So, let's go.
|
|
|
0:21:44 – 0:21:50
Sasha?
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|
0:21:50 – 0:21:57
I have done such a GBT at ChatGBT and have thrown in the manuals of the programs I use.
|
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0:21:57 – 0:21:59
Yes, you said, as an expert system, so to speak.
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|
0:21:59 – 0:22:01
And that's wonderful.
|
|
|
0:22:01 – 0:22:06
So, I ask what I need to do in QBase now to do this and that.
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|
0:22:06 – 0:22:10
And then he gives me a detailed guide and then I can do that.
|
|
|
0:22:10 – 0:22:15
So, with the possibilities that these programs provide, you can't know everything.
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0:22:15 – 0:22:19
I mean, it's a good approach.
|
|
|
0:22:19 – 0:22:30
So, I think in a way probably also the interactively better, as now somehow a constantly expanding Ableton guide such as that of Loupop pull in, even if that has of course also its appeal.
|
|
|
0:22:30 – 0:22:38
But I just wanted to go back to what I wanted, the point was not only that AI can't fuck you backstage,
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0:22:38 – 0:22:43
I still have it on my open iTunes.
|
|
|
0:22:43 – 0:22:44
Not yet.
|
|
|
0:22:44 – 0:22:45
Yeah, come on.
|
|
|
0:22:45 – 0:22:54
I've dropped here on my open iTunes, just a few hours ago, the latest single from Porter Robinson.
|
|
|
0:22:54 – 0:23:03
Porter Robinson, who has been known for a while as an EDM correfé, may be so exaggerated now, but he is already such an ideal of a generation.
|
|
|
0:23:03 – 0:23:14
I mean, he's written Sad Machine, he's written Shelter with Madden, he's a co-writer with Clarity, if anyone else knows that, like I said, you know him.
|
|
|
0:23:14 – 0:23:27
And he's doing an album right now, I think he's coming next month, and he's having a run right now where you think, so if the last album was already personal, then this is really just doing nude.
|
|
|
0:23:27 – 0:23:31
So this is a soul-strip tease, it gets worse with each single.
|
|
|
0:23:31 – 0:23:33
But people totally relate to it.
|
|
|
0:23:33 – 0:23:39
The YouTube comments are, I don't know, that's such a single Hornest festival.
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|
0:23:39 – 0:23:46
I don't know if that's good for society as a whole, but I think that's something musicians can still offer.
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|
0:23:46 – 0:23:52
And I also believe that it is, in my opinion, one of the few cases where it is still worthwhile to make music.
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|
0:23:52 – 0:23:57
Because, of course, as musicians, we are just being overrun by the music machine.
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|
0:23:57 – 0:24:06
We will be no different from the barpianists, who were eventually destroyed by the big orchestras and then by the record player.
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|
0:24:06 – 0:24:13
And you actually only had the barpianist if you could fill the barpianist first, secondly express song wishes.
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|
0:24:13 – 0:24:19
And because you stopped it, so you could just project something on the people.
|
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|
0:24:19 – 0:24:27
And I just had this last weekend, I was at an EP release show from an old buddy with his new Shoegaze project.
|
|
|
0:24:27 – 0:24:33
And that was, I say, for Shoegaze they stared too much into the audience.
|
|
|
0:24:33 – 0:24:36
And it was now a little less slowdive than it would like to be.
|
|
|
0:24:36 – 0:24:39
But they were vibes, you know?
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|
0:24:39 – 0:24:47
That's music I'd listen to on Platini, but it kindled live in this tight, musty galley.
|
|
|
0:24:47 – 0:24:50
With, it was literally a hollowed out ship.
|
|
|
0:24:50 – 0:24:56
But just like I said, it was audience, the people were latently drunk in part.
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|
|
0:24:56 – 0:25:04
The light was great, the sound was okay and this vibe, that doesn't throw you AI.
|
|
|
0:25:04 – 0:25:14
And I also think we have, I work where I have a studio infrastructure.
|
|
|
0:25:14 – 0:25:20
And in the past it was always the case that we almost had to lead the people a bit and did a bit of producer jobs in a hurry.
|
|
|
0:25:20 – 0:25:23
Or, of course, you just tried to be there assistively, etc.
|
|
|
0:25:23 – 0:25:29
It was like that, yes, I was proactive.
|
|
|
0:25:29 – 0:25:30
Now is the point.
|
|
|
0:25:30 – 0:25:33
I think the job we're doing today could be done by AI.
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|
|
0:25:33 – 0:25:35
But we provide the infrastructure.
|
|
|
0:25:35 – 0:25:39
We are people we can ask.
|
|
|
0:25:39 – 0:25:49
And what we're seeing right now, we have quite a high booking potential, where people just, well, we just need our sound booth, we need a bit of what's right here.
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|
|
0:25:49 – 0:25:52
Most of them just put on their laptop.
|
|
|
0:25:52 – 0:26:04
But you realize how that, you know, the urge to make music doesn't come from one anymore, so I don't know, it's got a bit of the capitalist, it's lost a bit.
|
|
|
0:26:04 – 0:26:09
So according to the motto, yes, you could do that with AI or.
|
|
|
0:26:09 – 0:26:17
So no one dreams of great success in this sense, unless he is super naive.
|
|
|
0:26:17 – 0:26:19
So you already have that on your bill.
|
|
|
0:26:19 – 0:26:24
But much bigger, I think, is such a bit of an urge to express oneself musically.
|
|
|
0:26:24 – 0:26:30
And I've done it over and over again in the last ten years where I've been working, I've done it differently.
|
|
|
0:26:30 – 0:26:33
I've missed that a bit for the last 10 years.
|
|
|
0:26:33 – 0:26:43
And since last year, this has come back to be relatively blatant, you know, that people understand music again as an expression, as yes, as an outlet, you know.
|
|
|
0:26:43 – 0:26:47
And I don't think you'll ever be able to replace that with AI.
|
|
|
0:26:47 – 0:26:51
And that doesn't matter if she's going to fuck you backstage at some point.
|
|
|
0:26:51 – 0:27:00
But the expression, that's going to be you, so even if it's not clear that it's a machine, you need something to project that to or.
|
|
|
0:27:00 – 0:27:09
You can't tell me that you can only project something else on art projects like Hatsune Miku, anything other than your own lust.
|
|
|
0:27:09 – 0:27:10
But that was it.
|
|
|
0:27:10 – 0:27:19
So there is a vote in our house and yard forum on why you make music.
|
|
|
0:27:19 – 0:27:23
I can't find it right now.
|
|
|
0:27:23 – 0:27:25
In the sequencer forum.
|
|
|
0:27:25 – 0:27:27
And what's the situation right now?
|
|
|
0:27:27 – 0:27:40
As I voted, the points that you make music to express yourself in order to reach people were the most.
|
|
|
0:27:40 – 0:27:45
And making money and so on was pretty far behind.
|
|
|
0:27:45 – 0:27:49
I can't find it fast now.
|
|
|
0:27:49 – 0:27:54
I have them, but for some reason I haven't voted yet and I can't read the results.
|
|
|
0:27:54 – 0:27:57
Let's send the link.
|
|
|
0:27:57 – 0:28:02
It's in here.
|
|
|
0:28:02 – 0:28:11
So there is because I want to say something, because I have something to say and express.
|
|
|
0:28:11 – 0:28:15
Then there are people to connect or divide.
|
|
|
0:28:15 – 0:28:19
So there are several times, it is possible to vote several times.
|
|
|
0:28:19 – 0:28:24
It was an absolute favorite with 88 votes.
|
|
|
0:28:24 – 0:28:28
I don't know how many overall participants now, but it's down there, survey participants.
|
|
|
0:28:28 – 0:28:36
119, a survey of 119 participants in the Sequencer Forum.
|
|
|
0:28:36 – 0:28:39
88 said that.
|
|
|
0:28:39 – 0:28:44
Among other things, from song to music.
|
|
|
0:28:44 – 0:28:51
This follows with 66 voices out of curiosity and research purposes.
|
|
|
0:28:51 – 0:29:00
47 out of selfishness and self-satisfaction.
|
|
|
0:29:00 – 0:29:04
Yes, and then come here because I want to say or express something.
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|
|
0:29:04 – 0:29:06
That's right.
|
|
|
0:29:06 – 0:29:09
Yeah, and then the stuff to get famous.
|
|
|
0:29:09 – 0:29:14
And then there are four votes, three percent.
|
|
|
0:29:14 – 0:29:16
Yes, actually, to become famous.
|
|
|
0:29:16 – 0:29:20
But also to unite or divide people.
|
|
|
0:29:20 – 0:29:23
Only four votes.
|
|
|
0:29:23 – 0:29:25
To get recognition.
|
|
|
0:29:25 – 0:29:29
That's also among the songs.
|
|
|
0:29:29 – 0:29:33
Would people openly admit it?
|
|
|
0:29:33 – 0:29:35
Yeah, watch out.
|
|
|
0:29:35 – 0:29:38
Which I found interesting in the context.
|
|
|
0:29:38 – 0:29:42
There is no option because I want to make people happy.
|
|
|
0:29:42 – 0:29:44
Only 18 people clicked on it.
|
|
|
0:29:44 – 0:29:46
Yeah, that's right.
|
|
|
0:29:46 – 0:29:51
But you're back to music pretty quickly, aren't you?
|
|
|
0:29:51 – 0:29:55
I mean, the beauty is also because I can't do anything else.
|
|
|
0:29:55 – 0:29:59
Yeah, or to make money, eight people.
|
|
|
0:29:59 – 0:30:02
Yes, yes.
|
|
|
0:30:02 – 0:30:07
But in order to get recognition, at least 19.
|
|
|
0:30:07 – 0:30:11
I also think love of music is really good.
|
|
|
0:30:11 – 0:30:13
I think so too.
|
|
|
0:30:13 – 0:30:15
By the way, I did not specify.
|
|
|
0:30:15 – 0:30:18
I didn't mention it either, because I thought it was a matter of course.
|
|
|
0:30:18 – 0:30:19
But it doesn't matter.
|
|
|
0:30:19 – 0:30:23
I don't even really know.
|
|
|
0:30:23 – 0:30:29
I have moments like that where I want, I don't say a few weeks now,
|
|
|
0:30:29 – 0:30:32
I can't wait a few weeks and leave everything alone.
|
|
|
0:30:32 – 0:30:38
But I have moments when I'm really just piano.
|
|
|
0:30:38 – 0:30:49
It's not about love for music, it's more of an expression.
|
|
|
0:30:49 – 0:30:51
What I can stop.
|
|
|
0:30:51 – 0:30:54
I think if I could play tennis better, I can't play tennis at all,
|
|
|
0:30:54 – 0:30:59
But if I could play tennis better, maybe I'd go play tennis.
|
|
|
0:30:59 – 0:31:02
Or if the weather were better, maybe I'd go cycling.
|
|
|
0:31:02 – 0:31:04
But I know where you're headed.
|
|
|
0:31:04 – 0:31:10
There are times or so, I just play like that.
|
|
|
0:31:10 – 0:31:13
I'll lay carpets, as they say.
|
|
|
0:31:13 – 0:31:19
And there is nothing productive about it, but I just enjoy the joy.
|
|
|
0:31:19 – 0:31:24
There was a nice interview with Rick Bitto, I think.
|
|
|
0:31:24 – 0:31:28
The guy's pretty awkward, but if the guy has people there and lets them talk out,
|
|
|
0:31:28 – 0:31:30
I think that's pretty cool.
|
|
|
0:31:30 – 0:31:36
Devin Townsend, the great metal and meanwhile also ambient musician,
|
|
|
0:31:36 – 0:31:43
Tells how he practices or keeps himself musically fit.
|
|
|
0:31:43 – 0:31:48
He said I've got some effects here, a looper,
|
|
|
0:31:48 – 0:31:52
I have a coffee maker and I have a TV.
|
|
|
0:31:52 – 0:31:58
So a screen where almost these 10 hours of train travel videos from Norway are running,
|
|
|
0:31:58 – 0:32:00
from Norwegian Slow TV.
|
|
|
0:32:00 – 0:32:03
Then I sit there doing my ambient loops,
|
|
|
0:32:03 – 0:32:06
With the guitar, drink coffee, watch trains.
|
|
|
0:32:06 – 0:32:13
And then I have two stereo channels that go into my studio, there's a pitch shifter.
|
|
|
0:32:13 – 0:32:17
When I go in at night, I turn the pitch shifter on what I'm working on right now
|
|
|
0:32:17 – 0:32:22
And then there's a cloud of keyboards, a cloud of surfaces.
|
|
|
0:32:22 – 0:32:25
And then I work with it.
|
|
|
0:32:25 – 0:32:29
I think since the pandemic, this has run through all albums.
|
|
|
0:32:29 – 0:32:33
They're full of cloud sounds like that.
|
|
|
0:32:33 – 0:32:36
It's funny because I've been doing it for a few years now.
|
|
|
0:32:36 – 0:32:40
Just like Nordlandsbahn, 10 hours of video, off on the screen.
|
|
|
0:32:40 – 0:32:44
It used to be more like Ableton Loops, now it's like village to loft stuff.
|
|
|
0:32:44 – 0:32:49
The village is great anyway. I have a Rose-Sounds, Love-Rose is my name.
|
|
|
0:32:49 – 0:32:52
He gets more and more controllers, since sometimes the filter, a bit of the zähre in.
|
|
|
0:32:52 – 0:32:56
That's just changing the area a little bit.
|
|
|
0:32:56 – 0:32:59
I could spend hours on it. I don't even have to look at trains.
|
|
|
0:32:59 – 0:33:01
I can do that with a black screen.
|
|
|
0:33:01 – 0:33:08
Or here the LED strip at the table on fireplace.
|
|
|
0:33:08 – 0:33:10
I don't mean that selfishly either.
|
|
|
0:33:10 – 0:33:15
I think it's good to have such a moment.
|
|
|
0:33:15 – 0:33:27
What you are describing is basically such a meditative moment to haunt yourself.
|
|
|
0:33:27 – 0:33:33
Perform such a meditation for yourself.
|
|
|
0:33:33 – 0:33:36
This can be done in different ways.
|
|
|
0:33:36 – 0:33:40
You can get yourself a mantra, you can say, repeat the same things over and over again.
|
|
|
0:33:40 – 0:33:43
Some do it with "Um, pack me around" or something.
|
|
|
0:33:43 – 0:33:52
Others then say here the name of their favorite god current or religious figure.
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0:33:52 – 0:33:59
Still others hum a melody somehow.
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0:33:59 – 0:34:04
And yes, I believe that you can also achieve this state when making music.
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0:34:04 – 0:34:06
I found out about myself.
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0:34:06 – 0:34:18
When I throw on a synthesizer, put on headphones and just play long sounds and just listen to the sounds.
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0:34:18 – 0:34:21
From time to time, a controller is rotated.
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0:34:21 – 0:34:24
Depending on what's flying in my direction.
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0:34:24 – 0:34:27
And that's yes, that's meditative.
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0:34:27 – 0:34:37
I'm not the kind of guy who can watch Space Night by the way to name the Bavarian counterpart.
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0:34:37 – 0:34:40
I have to try out how it is.
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0:34:40 – 0:34:44
Definitely interesting from experience.
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0:34:44 – 0:34:46
I'm sure he's got something.
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0:34:46 – 0:34:48
But I found something else.
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0:34:48 – 0:34:51
I have a picture like that, just to finish it.
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0:34:51 – 0:34:54
I have such a picture, I just posted in Slack.
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0:34:54 – 0:35:02
This is in a religious context.
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0:35:02 – 0:35:05
I like to send that around.
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0:35:05 – 0:35:10
by Speck Personics. A plugin from Omnisphere.
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0:35:10 – 0:35:16
The revival called Holy Spirit.
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0:35:16 – 0:35:18
This is not an extension.
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0:35:18 – 0:35:20
I just wrote about it.
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0:35:20 – 0:35:24
He just wrote what he made himself.
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0:35:24 – 0:35:26
Ah, okay.
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0:35:26 – 0:35:27
That's what I'm sending.
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0:35:27 – 0:35:29
It looks like it's printed.
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0:35:29 – 0:35:30
Yeah, that's the joke.
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0:35:30 – 0:35:33
I also put a little effort into it.
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0:35:33 – 0:35:36
I like to send that around.
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0:35:36 – 0:35:38
To the people who...
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0:35:38 – 0:35:42
I don't want to say that I have such a complete background.
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0:35:42 – 0:35:48
But the creept there again and again a bit pure in certain circles.
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0:35:48 – 0:35:51
Where I inevitably sometimes have overlaps.
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0:35:51 – 0:35:59
Where people say it was really such a sacred atmosphere right now.
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0:35:59 – 0:36:01
Then you felt God.
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0:36:01 – 0:36:03
That's the old standing joke.
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0:36:03 – 0:36:08
You think you felt God, it was just a very good modulation.
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0:36:08 – 0:36:13
Speck Personics actually advertizes this a bit.
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0:36:13 – 0:36:23
Such a part of their omnisphere advertising program is, or at least was at that time,
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0:36:23 – 0:36:29
So as part of the 2er upgrade, so a bit to rush on the church musicians.
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0:36:29 – 0:36:32
To these mega-church musicians, where just really easy, yes,
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0:36:32 – 0:36:36
It is almost always confused with God's work.
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0:36:36 – 0:36:39
That stupid thing is just...
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0:36:39 – 0:36:41
This is a story that is way too funny.
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0:36:41 – 0:36:46
The stupid thing is that the churches have started building mainstage presets.
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0:36:46 – 0:36:49
So there were some sound designers sitting down and saying,
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0:36:49 – 0:36:51
we are much faster and much better,
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0:36:51 – 0:36:54
If we just go with the possibilities that Mainstage now offers,
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0:36:54 – 0:36:57
Because we all use it when we just make soundpacks.
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0:36:57 – 0:37:01
That this is basically where you can read about temple cleansing in the Bible,
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0:37:01 – 0:37:05
where the Lord has thrown the merchants out of the temple.
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0:37:05 – 0:37:08
It doesn't matter in those circles, does it?
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0:37:08 – 0:37:12
But Omnisphere is actually pretty out in these areas.
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0:37:12 – 0:37:15
People just buy mainstage presets.
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0:37:15 – 0:37:19
But the picture still dates back to the time when this was a bit less the case.
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0:37:19 – 0:37:22
But I find it, yeah, and...
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0:37:22 – 0:37:28
But then you realize it's also a...
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0:37:28 – 0:37:33
Yeah, so, you know, such a keyboard cloud, that has an effect, too.
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0:37:33 – 0:37:35
So that's a good thing, isn't it?
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0:37:35 – 0:37:39
And that is necessarily more falsely declared.
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0:37:39 – 0:37:45
You can also feel God peeling potatoes, I just wanted to say.
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0:37:45 – 0:37:47
Yeah, no shit.
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0:37:47 – 0:37:49
And you smear yourself in the finger.
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0:37:49 – 0:37:55
Yeah, but that's the point.
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0:37:55 – 0:37:58
The best way, I always say, the best way,
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0:37:58 – 0:38:01
to find out if this was really God,
|
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|
0:38:01 – 0:38:04
It's easy to let the sounds run at home in preparation.
|
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|
0:38:04 – 0:38:10
I already had a few people who would have liked to rip my head off for this tip.
|
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|
0:38:10 – 0:38:15
But I think that's such an important step in faith, or something.
|
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|
0:38:15 – 0:38:18
The distinction between right and wrong, or so it says in the Bible.
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|
0:38:18 – 0:38:21
Case closed.
|
|
|
0:38:21 – 0:38:24
What did you want to talk about?
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|
|
0:38:24 – 0:38:27
I have another news.
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|
|
0:38:27 – 0:38:34
Zplane has a new plugin called Peel.
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|
0:38:34 – 0:38:40
And the thing decrypts in real time, so not that it somehow rendermut,
|
|
|
0:38:40 – 0:38:46
in real time the music into different components, into different instruments.
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|
0:38:46 – 0:38:49
It separates singers from female singers and so on.
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|
0:38:49 – 0:38:52
So what's inside Logic,
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|
0:38:52 – 0:39:01
You can now also get a plugin called Zplane Peel Stamps in your favorite store.
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|
0:39:01 – 0:39:04
And that has the unbelievable price of 39 euros.
|
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|
0:39:04 – 0:39:08
Wow, okay.
|
|
|
0:39:08 – 0:39:19
And this is designed for any DAW that can VST, Audio Unit and ASX.
|
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|
0:39:19 – 0:39:21
Stereo recordings, exactly.
|
|
|
0:39:21 – 0:39:29
Only some do not have the multi-out, i.e. no multi-out.
|
|
|
0:39:29 – 0:39:31
With Cubase, for example, this is not yet inside.
|
|
|
0:39:31 – 0:39:38
At what is that, Reason, Studio Logic and Studio One.
|
|
|
0:39:38 – 0:39:48
I think that's particularly well received by Remix fans.
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|
0:39:48 – 0:39:51
Sure, if you only get material where everything's thrown together
|
|
|
0:39:51 – 0:39:54
And then you can separate certain things, great.
|
|
|
0:39:54 – 0:39:59
Of course, the legal question always resonates with such stories.
|
|
|
0:39:59 – 0:40:06
Can you patent-protect a hookline?
|
|
|
0:40:06 – 0:40:15
Or a three-way sequence of, I don't know, a lead sound?
|
|
|
0:40:15 – 0:40:21
I'm just thinking about Döb, Dö, Dö, Döb.
|
|
|
0:40:21 – 0:40:22
Knause.
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|
|
0:40:22 – 0:40:23
power plant.
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|
0:40:23 – 0:40:25
Horny politics, please.
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|
|
0:40:25 – 0:40:27
That's right, Kraftwerk.
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|
0:40:27 – 0:40:29
No, seriously.
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|
0:40:29 – 0:40:31
That's right, Dö, Dö, Dö.
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|
|
0:40:31 – 0:40:38
Yes, I don't want to get in there now, but there you could just music rights, you can there sometimes.
|
|
|
0:40:38 – 0:40:45
Did I ever tell Roger Waters it's an Android lottery weaver?
|
|
|
0:40:45 – 0:40:48
The Phantom of the Opera theme?
|
|
|
0:40:48 – 0:40:50
Did he?
|
|
|
0:40:50 – 0:40:51
Did he say?
|
|
|
0:40:51 – 0:40:55
He just said you wouldn't get that guy small, would you?
|
|
|
0:40:55 – 0:40:59
Even if that was one of our tone sequences, fuck it, you can't do that anymore.
|
|
|
0:40:59 – 0:41:01
This is now eternally linked to it.
|
|
|
0:41:01 – 0:41:07
I mean, Trent Tressner says the same thing, doesn't he?
|
|
|
0:41:07 – 0:41:12
Johnny Cash has covered "Hört" and since then it feels like it's officially a Johnny Cash song.
|
|
|
0:41:12 – 0:41:20
Since they use classical music in advertising, this has really messed up one or the other masterpiece.
|
|
|
0:41:20 – 0:41:24
I'm just saying, oh, how seductive are chocolate crossis.
|
|
|
0:41:24 – 0:41:27
The Good German March.
|
|
|
0:41:27 – 0:41:31
And you, Ellis, the fabulous satiety.
|
|
|
0:41:32 – 0:41:37
*sings*
|
|
|
0:41:37 – 0:41:43
Although I actually find the march here by Grandpa Hoppenstetter much, much not better.
|
|
|
0:41:43 – 0:41:45
Yeah, that was him.
|
|
|
0:41:45 – 0:41:51
Yes, Z-Plane. Okay, interesting.
|
|
|
0:41:51 – 0:42:00
I was back last week due to some, no idea, annual concert, open house day, call it whatever you want,
|
|
|
0:42:00 – 0:42:06
in the old drum school, where I learned drums 20 years ago.
|
|
|
0:42:06 – 0:42:14
And they use there, so that they played there and knocked and have everything, that's such a small internal story,
|
|
|
0:42:14 – 0:42:17
Keep friends, acquaintances and relatives and everything that used to be there.
|
|
|
0:42:17 – 0:42:22
And they use there, so one of those there, from the teachers, showed me an app,
|
|
|
0:42:22 – 0:42:27
this is really, you can thread out traces, everything, so really put in stamps.
|
|
|
0:42:27 – 0:42:33
Or earlier you needed play-along books, you need, it was an expensive market, you need play-alongs, you need books etc.
|
|
|
0:42:33 – 0:42:36
Today you take this app forward, I forgot what it's called,
|
|
|
0:42:36 – 0:42:39
but take this app forward, just control the individual instruments out,
|
|
|
0:42:39 – 0:42:43
have a drumless track, you can upspeed it, you can downspeed it, you can change the key,
|
|
|
0:42:43 – 0:42:47
You've got the lyrics straight, that's totally crazy what's going on.
|
|
|
0:42:47 – 0:42:54
And that said, we've been using this since January and yes, that has, the way we teach has changed that.
|
|
|
0:42:54 – 0:42:56
Sure.
|
|
|
0:42:56 – 0:43:03
Yes, and if that happened half a year ago now, then I think in a year we will see completely different things.
|
|
|
0:43:03 – 0:43:10
Phil Collins in "The Yet Tonight" can now practice the drum solo to match the music.
|
|
|
0:43:10 – 0:43:21
But we are also back to the point, because, we are back to the point from before,
|
|
|
0:43:21 – 0:43:27
I asked him later, do you have the impression, do you notice a change in the way,
|
|
|
0:43:27 – 0:43:34
Compared to my teacher, who I was 8 and now not the child who is hitting the Melles or something.
|
|
|
0:43:34 – 0:43:40
We had such a good moment when such a child just really rhythmically threshed on such a marimba phone
|
|
|
0:43:40 – 0:43:44
and the teacher then so, well, I still play something on the vibraphone or
|
|
|
0:43:44 – 0:43:48
and I'm like that, okay, I can also sit on the drums over there or
|
|
|
0:43:48 – 0:43:56
it was such a moment or something, just that again so interplay vibes or that was not a high art now, that was just, yes, interplays.
|
|
|
0:43:56 – 0:44:03
And I asked him later, so you have the impression that it has changed, so it turned out that way in the discussion or
|
|
|
0:44:03 – 0:44:07
And he meant it didn't necessarily change, but it split up.
|
|
|
0:44:07 – 0:44:16
You have a lot of parents, he said, where they almost take their child out as soon as it comes to upper school.
|
|
|
0:44:16 – 0:44:24
So according to the motto, yes, the child must now focus on the sport, the child must now focus on school, the child must now focus on activity XY or
|
|
|
0:44:24 – 0:44:33
and he may not have been a particularly good gifted drummer, but that was just a balance or, but the people then it is no longer worth it or.
|
|
|
0:44:33 – 0:44:43
And he said to the others, no, so yes, these are just like before, you accompany them until they are part 19, 18, 18, 19, 20 and
|
|
|
0:44:43 – 0:44:50
They will never be professional drummers, but that gives them something or and that leads them somewhere or.
|
|
|
0:44:50 – 0:44:57
And he meant, that's just like that, that's just where he has the feeling, that separates always sharper on or.
|
|
|
0:44:57 – 0:45:07
And yes, and I think what I find exciting and that's what I wanted to say before, in terms of now, as I said, this studio, what I told,
|
|
|
0:45:07 – 0:45:16
that in the time when everyone is actually saying, yes, if it doesn't work out, I'm going to be a TikTok star, then I'm going to be a YouTube star.
|
|
|
0:45:16 – 0:45:25
YouTube star no longer, this is an era that has passed and all YouTube stars are now kind of pooping on the axes right now, but then I'm just going to be TikTok star or
|
|
|
0:45:25 – 0:45:35
Among the, I say, more realistic kids, that kind of mentality gets caught up by, yeah, I just want to do that or, shit, no matter what comes out of it,
|
|
|
0:45:35 – 0:45:40
I just want to do this now or thank you for here sound booth and screen and master keyboard.
|
|
|
0:45:40 – 0:45:53
That's more, I have, I have to look after apprentices in my teenage job, just belongs to my tasks among other things.
|
|
|
0:45:53 – 0:45:59
And I have to say that, I also notice that with our young apprentices.
|
|
|
0:45:59 – 0:46:06
So they say, hey, I have a Raspberry Pi here, I want to deal with it now, I'm on it, just like that.
|
|
|
0:46:06 – 0:46:21
And I have initiated this now, that this in our training year, that this now also for all subsequent apprentices who start with us in the company, that they can then do this if they want.
|
|
|
0:46:21 – 0:46:27
When I say something like that, something happens.
|
|
|
0:46:27 – 0:46:44
You also have on Twitch or so many young people who do some funny craft projects during the livestream and then code around and print out some stuff in the 3D printer.
|
|
|
0:46:44 – 0:46:55
Yeah, yeah, yeah. So something happened there. I don't know, maybe it's because of the Corona period that there's a certain generation, because they could just go out.
|
|
|
0:46:55 – 0:46:57
To everyone. Yes, that's right.
|
|
|
0:46:57 – 0:47:07
Maybe it meant that they were more likely to have dealt with such things and found out how horny that is, instead of just hanging out on YouTube or on Instagram or TikTok or.
|
|
|
0:47:07 – 0:47:15
I think there's another factor. I think it has another factor and I don't know if I'm excited about it, but.
|
|
|
0:47:15 – 0:47:22
So there are these co-working spaces or that is the, I say, business-wise stand-out variant of it.
|
|
|
0:47:22 – 0:47:31
But I always say that peak friendship is when you can coexist in the same room, do your own thing, and still communicate wordlessly with each other.
|
|
|
0:47:31 – 0:47:32
Or is it?
|
|
|
0:47:32 – 0:47:34
It's a man's thing. Women can't do that.
|
|
|
0:47:34 – 0:47:36
Yeah, they'd stop talking, wouldn't they?
|
|
|
0:47:36 – 0:47:46
I don't know, but what you're doing. I have the impression that we have seen a lot in the pandemic.
|
|
|
0:47:46 – 0:48:01
Partly so out of necessity or because you were not allowed to go out, partly also because it is, I say, very, very practical for certain movements if you somehow state people in some self-discovery or other crisis with an echo chamber from which they can no longer get out.
|
|
|
0:48:01 – 0:48:04
Suitable for radicalization of any kind.
|
|
|
0:48:04 – 0:48:12
But I also believe that it has to do with the fact that you, like yours, are compelled to make your everyday life social.
|
|
|
0:48:12 – 0:48:22
It's not just bad, is it? We can now look over it with the trained psychological eye and say, hey, that has its bad sides.
|
|
|
0:48:22 – 0:48:27
Or we can do like the boomers according to the motto, yes, the kids are only online.
|
|
|
0:48:27 – 0:48:31
But the kids who are only online, they are not dependent on their device in the hand.
|
|
|
0:48:31 – 0:48:34
It depends on what's behind it, doesn't it?
|
|
|
0:48:34 – 0:48:46
Funnily enough, I had this conversation with a 90-year-old senior woman the other day and so after the question, how do the friendships crystallize in the digital space?
|
|
|
0:48:46 – 0:48:55
And I said, friendships, these are the random encounters or regular encounters that leave the setting.
|
|
|
0:48:55 – 0:48:59
Some of them are acquaintances, but that's where the friendships develop.
|
|
|
0:48:59 – 0:49:08
It's analog too, isn't it? You have schoolmates and as soon as you invite them to your home, you change the setting.
|
|
|
0:49:08 – 0:49:10
And you're going proactive.
|
|
|
0:49:10 – 0:49:14
And then you realize that people are totally different and then you don't have the guts to meet with them anymore.
|
|
|
0:49:14 – 0:49:19
Or you realize they're totally cool because you thought before, what kind of idiot is that?
|
|
|
0:49:19 – 0:49:20
Exactly.
|
|
|
0:49:20 – 0:49:22
I've seen both, haven't I?
|
|
|
0:49:22 – 0:49:26
Yeah, I guess you'll see that over and over again.
|
|
|
0:49:26 – 0:49:29
I started at work and said, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey
|
|
|
0:49:29 – 0:49:33
And then it turned out that was the biggest asshole running around.
|
|
|
0:49:33 – 0:49:36
Sorry for the harsh word, but it was so.
|
|
|
0:49:36 – 0:49:38
Yes, but it doesn't always have to be that way.
|
|
|
0:49:38 – 0:49:51
But it can also be that you find someone sympathetic and then you meet with him and realize that you have nothing more to discuss with him than the things at work.
|
|
|
0:49:51 – 0:50:03
Yes, and it can also be that you just meet someone and then you realize that more than bed is not, because communication is not a level, because there is not so much overlap.
|
|
|
0:50:03 – 0:50:06
At least you have a community of interests.
|
|
|
0:50:06 – 0:50:08
That wasn't bad either.
|
|
|
0:50:08 – 0:50:17
Yes, now the question is whether you can reduce bed to community of interest.
|
|
|
0:50:17 – 0:50:19
On the other hand, pawns and liffels.
|
|
|
0:50:19 – 0:50:23
There are actually people who can do that.
|
|
|
0:50:23 – 0:50:25
Yes, there are people who can.
|
|
|
0:50:25 – 0:50:30
Yes, and then they complain about the fact that there is still a person hanging on to the things.
|
|
|
0:50:30 – 0:50:31
I know.
|
|
|
0:50:31 – 0:50:35
That's the annoying component in this case.
|
|
|
0:50:35 – 0:50:41
Yes, but the point is, there is no "no strings attached", there is only more or less ignorance.
|
|
|
0:50:41 – 0:50:50
We do not want to talk about extremes, but we are talking about, as you have already started, I think quite well.
|
|
|
0:50:50 – 0:50:55
It's about what are we talking about here?
|
|
|
0:50:55 – 0:51:00
I think we had a discussion originally.
|
|
|
0:51:00 – 0:51:15
We have about the young people who are now learning in your former drum school and are now dividing through the track.
|
|
|
0:51:15 – 0:51:17
How was that?
|
|
|
0:51:17 – 0:51:20
About the separation of traces.
|
|
|
0:51:20 – 0:51:21
Yes, Stems.
|
|
|
0:51:21 – 0:51:24
It's just making a different kind of music.
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0:51:24 – 0:51:31
I had to settle for Play-Aloons, of which there were only a handful, of which the school had exactly that and that.
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0:51:31 – 0:51:37
Or I couldn't just come up with a song and say, here, get rid of the drums, slow it down 20 BPM, we're playing it now.
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|
|
0:51:37 – 0:51:44
So much has happened and I think we are back in the good old days of Tapedex.
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|
|
0:51:44 – 0:51:46
It's easier to get started, isn't it?
|
|
|
0:51:46 – 0:51:51
Yes, and above all, we are back in the good old days of Tapedex in the 80s, because you could also slow it down.
|
|
|
0:51:51 – 0:51:55
Turntables were limited at some point, but the Tapedex you could Slovenian.
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|
|
0:51:55 – 0:52:02
And then you listened to your favorite songs, transferred them to the gorge feeling and then, yes.
|
|
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0:52:02 – 0:52:11
So, you see, I feel like we are now, so I don't want to do it philosophically, there are people who say that every 20 years such a cycle is closed again,
|
|
|
0:52:11 – 0:52:17
I feel like we're back in the '80s or '90s.
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|
|
0:52:17 – 0:52:20
Yeah, and most importantly, that's what got you killed.
|
|
|
0:52:20 – 0:52:23
A huge amount of material to practice.
|
|
|
0:52:23 – 0:52:29
Yes, they're better, so of course you have better tools now, but you're back to where you are, yes.
|
|
|
0:52:29 – 0:52:31
Let me put it differently.
|
|
|
0:52:31 – 0:52:35
I don't think the cycle was so bad.
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0:52:35 – 0:52:43
I believe that technology, but also people, whatever, move in cycles.
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0:52:43 – 0:52:53
And what we see is, yes, we may have come back in the 80s as far as music makers are concerned.
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|
|
0:52:53 – 0:52:57
That people are so much more appreciative of handmade music.
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|
0:52:57 – 0:53:00
No, I was referring to learning.
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0:53:00 – 0:53:02
That's what I meant.
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0:53:02 – 0:53:03
Okay.
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|
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0:53:03 – 0:53:16
But you're connecting the whole thing to the modern possibilities we have now, which may make learning really easier.
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0:53:16 – 0:53:24
I got my daughter a few months ago, she started practicing a little piano playing at school.
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|
0:53:24 – 0:53:34
And here at home I got her this, what is the name of this stupid app, which you have been constantly promoted on YouTube.
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0:53:34 – 0:53:36
Which of the five?
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|
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0:53:36 – 0:53:39
This piano learning app.
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|
0:53:39 – 0:53:41
Yeah, I know.
|
|
|
0:53:41 – 0:53:44
That was such a really penetrating advertisement that you...
|
|
|
0:53:44 – 0:53:45
Yeah, she was everywhere.
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|
|
0:53:45 – 0:53:47
I have YouTube Premium, I'm out.
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|
|
0:53:47 – 0:53:53
Yeah, I meanwhile, but you've had it for a while, you've got it pushed in all the time.
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|
0:53:53 – 0:53:54
It doesn't matter.
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|
|
0:53:54 – 0:54:05
It's just a piano learning app that can monitor your game via microphone so to speak and then give you tips on what you should do differently and so on.
|
|
|
0:54:05 – 0:54:13
And that's where I put my then eight-year-old and she had a lot of fun with it.
|
|
|
0:54:13 – 0:54:22
She had quick successes, which motivated her to continue accordingly.
|
|
|
0:54:22 – 0:54:26
I don't think the development is so bad.
|
|
|
0:54:26 – 0:54:31
I mean, you have to keep in mind when you send your child to music school, how expensive that is.
|
|
|
0:54:31 – 0:54:32
That's right.
|
|
|
0:54:32 – 0:54:43
So group lessons, I don't know, but somehow 1 to 1 lessons is much more effective, if you really want to tear something in the trial lessons.
|
|
|
0:54:43 – 0:54:47
My parents used to do this to my sister and to me.
|
|
|
0:54:47 – 0:54:49
Yes, group lessons don't do that much.
|
|
|
0:54:49 – 0:54:53
Group lessons do not help at all, but the one-to-one lessons, but that really costs a lot.
|
|
|
0:54:53 – 0:54:56
Yes, of course.
|
|
|
0:54:56 – 0:54:59
Above all, this is not such a self-feeding machine.
|
|
|
0:54:59 – 0:55:07
You have musicians who inevitably have to teach in order to earn their buns and they then train people who inevitably have to teach and so on.
|
|
|
0:55:07 – 0:55:10
I'm just missing the semester concert.
|
|
|
0:55:10 – 0:55:24
A colleague of mine, who used to be with me in school, there were two classes above me, he is now a music teacher in music school.
|
|
|
0:55:24 – 0:55:35
And I'm pretty cool at the time because he's always been pretty musical and he just did his training and now he's a music teacher in music school.
|
|
|
0:55:35 – 0:55:38
Yeah, hefty.
|
|
|
0:55:38 – 0:55:48
He finances his entire projects and keeps his life, because Brotlos is a trade.
|
|
|
0:55:48 – 0:55:56
We have a database administrator who is externally employed.
|
|
|
0:55:56 – 0:56:00
He is funding his dance school.
|
|
|
0:56:00 – 0:56:01
No, seriously.
|
|
|
0:56:01 – 0:56:10
He has a dance school for flamenco. A flamenco dance school, which he finances with his day job.
|
|
|
0:56:10 – 0:56:12
It's special interest, isn't it?
|
|
|
0:56:12 – 0:56:13
Cross-financing.
|
|
|
0:56:13 – 0:56:14
Yes, yes.
|
|
|
0:56:14 – 0:56:15
Yes, yes.
|
|
|
0:56:15 – 0:56:16
He is a Cuban fan.
|
|
|
0:56:16 – 0:56:21
And so he also finances his Cuban travels.
|
|
|
0:56:21 – 0:56:26
Well, Cuba is so phallic, it doesn't cost that much.
|
|
|
0:56:26 – 0:56:30
Well, well, he's trying, isn't he?
|
|
|
0:56:30 – 0:56:33
Do you know the Yorcoconuts?
|
|
|
0:56:33 – 0:56:40
That's here, isn't that a techno act?
|
|
|
0:56:40 – 0:56:59
This is a project that turns techno songs or funk power plants into, I don't know what they call, into salsa, into lambada and some Latin American music.
|
|
|
0:56:59 – 0:57:04
And I think it's best to find showroom dummies from Kraftwerk here.
|
|
|
0:57:04 – 0:57:09
This is so beautiful, so with zylophone and marimba and vibraphone.
|
|
|
0:57:09 – 0:57:15
And that's where you just have to think about, like you said, the flamenco school.
|
|
|
0:57:15 – 0:57:20
I'm just imagining highway in the flamenco version.
|
|
|
0:57:20 – 0:57:21
You, they actually did.
|
|
|
0:57:21 – 0:57:25
And I know, or Trans-Europa Express or Tour de France.
|
|
|
0:57:25 – 0:57:26
Yes, yes.
|
|
|
0:57:26 – 0:57:27
I'm sure it's cool.
|
|
|
0:57:27 – 0:57:32
Yes, but as I said, I personally like showroom dummies best.
|
|
|
0:57:32 – 0:57:34
But showroom is a good point.
|
|
|
0:57:34 – 0:57:36
I'll use the superconductor.
|
|
|
0:57:36 – 0:57:42
I just imagine I see a model and I'm a model and I look good.
|
|
|
0:57:42 – 0:57:46
Yeah, I mean, she's a model and she looks good.
|
|
|
0:57:46 – 0:57:51
She's a model and she looks good, right?
|
|
|
0:57:51 – 0:57:54
So with mariachi trumpets and so on.
|
|
|
0:57:54 – 0:57:57
At speed 200.
|
|
|
0:57:57 – 0:57:58
You're horny.
|
|
|
0:57:58 – 0:58:04
Okay, you have a showroom, Tobias.
|
|
|
0:58:04 – 0:58:05
Exactly, thank you.
|
|
|
0:58:05 – 0:58:08
I was just thinking about what I wanted to say.
|
|
|
0:58:08 – 0:58:13
I think we just need to provide space.
|
|
|
0:58:13 – 0:58:16
You know, just like that or just providing opportunities.
|
|
|
0:58:16 – 0:58:17
Yes, yes.
|
|
|
0:58:17 – 0:58:21
'Cause every time you're like that, I got last night, there's 100,000 video essays,
|
|
|
0:58:21 – 0:58:23
It was on his later playlist.
|
|
|
0:58:23 – 0:58:27
Yesterday I encountered one that I watched fantastically directly
|
|
|
0:58:27 – 0:58:31
The guitarist of Limp Bizkit.
|
|
|
0:58:31 – 0:58:33
But let that be completely on the side.
|
|
|
0:58:33 – 0:58:37
I found it crass again, just like all these other docus
|
|
|
0:58:37 – 0:58:42
It's a situation where people simply meet.
|
|
|
0:58:42 – 0:58:47
You had Fred Durst, you had bandmates, you had Wes Borland
|
|
|
0:58:47 – 0:58:49
And that somehow harmonized and worked.
|
|
|
0:58:49 – 0:58:54
And they weren't all musically trained now, as I'm supposed to say.
|
|
|
0:58:54 – 0:59:00
They weren't all so band-like now,
|
|
|
0:59:00 – 0:59:01
You need to harmonize now.
|
|
|
0:59:01 – 0:59:04
But they just had a room where it could get a little noisy.
|
|
|
0:59:04 – 0:59:07
One of them has a drum kit and then they brought the rest.
|
|
|
0:59:07 – 0:59:08
You know?
|
|
|
0:59:08 – 0:59:15
And I think, especially when I look at youth, but also related to adults,
|
|
|
0:59:15 – 0:59:16
You have to create situations.
|
|
|
0:59:16 – 0:59:21
Right now I'm with those where I was on the weekend,
|
|
|
0:59:21 – 0:59:28
So now not at the gig with the band, this is also a typical case of,
|
|
|
0:59:28 – 0:59:32
Yes, we had room left, we were neatly drunk
|
|
|
0:59:32 – 0:59:37
I bought the synthesizer from home.
|
|
|
0:59:37 – 0:59:40
And now we are a band.
|
|
|
0:59:40 – 0:59:43
And now we play the next winter tour music festival weeks.
|
|
|
0:59:43 – 0:59:50
And I also believe right now, that I know from the Corona period in various situations,
|
|
|
0:59:50 – 0:59:55
Of course, these were all rather end-scenes, mid-20s at most.
|
|
|
0:59:55 – 0:59:59
So it's kind of a very specific, adolescent phase where you need it.
|
|
|
0:59:59 – 1:00:02
Maybe even before, maybe even in the teenage years.
|
|
|
1:00:02 – 1:00:08
I think some of us have never had this point, will never reach it
|
|
|
1:00:08 – 1:00:10
Or wasted it on something.
|
|
|
1:00:10 – 1:00:13
which was then either very temporary, but you could take a lot of it with you
|
|
|
1:00:13 – 1:00:17
Or maybe it was just bullshit, according to the motto "wasted time".
|
|
|
1:00:17 – 1:00:20
I don't know what to think about these various projects at the time.
|
|
|
1:00:20 – 1:00:27
But what I think is, that does a lot more to you.
|
|
|
1:00:27 – 1:00:30
My drum teacher also meant, so your left foot,
|
|
|
1:00:30 – 1:00:34
We worked on it for four years and it was never good.
|
|
|
1:00:34 – 1:00:41
Yes, but it's been 15 years, I needed it.
|
|
|
1:00:41 – 1:00:47
So I think that's, I'd say, almost much, much more important,
|
|
|
1:00:47 – 1:00:50
It's like creating artifical situations.
|
|
|
1:00:50 – 1:00:55
I believe what we as adults, especially in dealing with the future music youth,
|
|
|
1:00:55 – 1:00:59
I'm talking about myself now, but I'm also talking a little bit about society.
|
|
|
1:00:59 – 1:01:03
We just have to make spaces possible and in these spaces,
|
|
|
1:01:03 – 1:01:09
Then it happens again, or north of the middle, or there have been some,
|
|
|
1:01:09 – 1:01:12
we have to invite a microbug, just remember,
|
|
|
1:01:12 – 1:01:16
But north of the center, some three people come together and say,
|
|
|
1:01:16 – 1:01:21
Yeah, we're playing tonight, let's play together tonight, here's a chordsheet.
|
|
|
1:01:21 – 1:01:27
And just because we have to push this almost into life support and maloche,
|
|
|
1:01:27 – 1:01:33
This does not mean that it does not benefit us as adults in any way.
|
|
|
1:01:33 – 1:01:38
I can still remember times when I met a schoolmate,
|
|
|
1:01:38 – 1:01:45
Then he spent the weekend with me from Saturday to Sunday to Monday.
|
|
|
1:01:45 – 1:01:49
I still had, I come from a time when you still had such Saturday school.
|
|
|
1:01:49 – 1:01:55
And then he brought his keyboard and then we sat down,
|
|
|
1:01:55 – 1:01:59
had such a simple mixer at that time, such a simple summer,
|
|
|
1:01:59 – 1:02:06
A quarter-should-killing machine and then we took things in there.
|
|
|
1:02:06 – 1:02:11
We experimented, we chased sounds through an equalizer,
|
|
|
1:02:11 – 1:02:17
which we then set totally wild and have so crafted and tried things
|
|
|
1:02:17 – 1:02:26
And so the first songs, what you did back then, so with 15, 16 developed there so.
|
|
|
1:02:26 – 1:02:33
And that was a great time because super creative and even though you had so little stuff
|
|
|
1:02:33 – 1:02:37
And so few possibilities, you've gotten a lot out of it.
|
|
|
1:02:37 – 1:02:41
And I see this, for example, here in Dortmund, where I now live.
|
|
|
1:02:41 – 1:02:45
Everywhere there are opportunities where young people can meet,
|
|
|
1:02:45 – 1:02:49
Raise something musically together.
|
|
|
1:02:49 – 1:02:55
Spaces where there is a drum computer, a recording zetup.
|
|
|
1:02:55 – 1:03:01
In the city where I lived before, and in the city where I lived before, there was no such thing.
|
|
|
1:03:01 – 1:03:09
because the leading people who manage such a city have simply said,
|
|
|
1:03:09 – 1:03:15
Youth work, red pen, cultural work, red pen.
|
|
|
1:03:15 – 1:03:19
And here in Dortmund you can see that just in the Nordstadt,
|
|
|
1:03:19 – 1:03:22
She has such a fucking reputation.
|
|
|
1:03:22 – 1:03:26
Indefinitely many such possibilities are offered,
|
|
|
1:03:26 – 1:03:31
where young people can experiment and live out.
|
|
|
1:03:31 – 1:03:33
Misery is creative, isn't it?
|
|
|
1:03:33 – 1:03:34
Of course.
|
|
|
1:03:34 – 1:03:37
That's why so much comes from Scandinavia.
|
|
|
1:03:37 – 1:03:43
Scandinavia has this incredible, so this is really a music promotion.
|
|
|
1:03:43 – 1:03:46
That's not just a "Yes, there's a place here and there's a place here,"
|
|
|
1:03:46 – 1:03:49
It's such a natural thing, isn't it?
|
|
|
1:03:49 – 1:03:51
And because it is a matter of course,
|
|
|
1:03:51 – 1:03:56
You don't have a teenager who hasn't been in a band at some point in his life.
|
|
|
1:03:56 – 1:04:00
And not because Mom said you have to make something out of your practiced guitars,
|
|
|
1:04:00 – 1:04:02
Or you have to do this and every one of them.
|
|
|
1:04:02 – 1:04:06
I have the feeling that Germany is still suffering very badly from the times,
|
|
|
1:04:06 – 1:04:08
because you still got the flute in your hand.
|
|
|
1:04:08 – 1:04:13
And then with ten years and joking music lessons three years or four,
|
|
|
1:04:13 – 1:04:16
I don't know how old you are, with ten in a German shoe system,
|
|
|
1:04:16 – 1:04:19
But you haven't had a goat on it, have you?
|
|
|
1:04:19 – 1:04:22
And the Scandinavians were just like that, yes, that just exists here, right?
|
|
|
1:04:22 – 1:04:26
We show you the whole spectrum, but we don't force you to do anything, do we?
|
|
|
1:04:26 – 1:04:27
And that's where it develops.
|
|
|
1:04:27 – 1:04:30
The rooms are there and above all, and that was, I think, the other point still,
|
|
|
1:04:30 – 1:04:32
That is not the main thing,
|
|
|
1:04:32 – 1:04:36
but you make music by the way, as you play football by the way,
|
|
|
1:04:36 – 1:04:38
Just like you do, by the way, I don't know, martial arts,
|
|
|
1:04:38 – 1:04:42
or what crafts or streams on Twitch or, I don't know, poop,
|
|
|
1:04:42 – 1:04:45
No, that's less, but...
|
|
|
1:04:45 – 1:04:50
Doesn't apply in general, not just to music,
|
|
|
1:04:50 – 1:04:55
Doesn't that apply to a lot of things, to a community?
|
|
|
1:04:55 – 1:04:59
There shouldn't be much more community space,
|
|
|
1:04:59 – 1:05:04
which could perhaps even be used more in the quarters,
|
|
|
1:05:04 – 1:05:09
Because I see it here in Hamburg, for example, I don't see it.
|
|
|
1:05:09 – 1:05:15
So if I'm looking for opportunities, so if you look around here,
|
|
|
1:05:15 – 1:05:18
There really isn't much where you can go.
|
|
|
1:05:18 – 1:05:22
Take Hamburg-Barnberg, for example.
|
|
|
1:05:22 – 1:05:24
Where should I go?
|
|
|
1:05:24 – 1:05:26
Where can I go, maybe,
|
|
|
1:05:26 – 1:05:31
as in Munich as the Florian user with his troupe,
|
|
|
1:05:31 – 1:05:35
meet every two months, every three months
|
|
|
1:05:35 – 1:05:39
and to stream such an Amien concert live on YouTube,
|
|
|
1:05:39 – 1:05:43
I don't see that here in Hamburg, that this is somehow becoming a reality.
|
|
|
1:05:43 – 1:05:46
Instead, you have to stop there, yeah,
|
|
|
1:05:46 – 1:05:50
There have been a few attempts in the forum to somehow bring this into being.
|
|
|
1:05:50 – 1:05:53
And then there were those stories.
|
|
|
1:05:53 – 1:05:57
Somebody rented rooms from his company.
|
|
|
1:05:57 – 1:05:59
And then they met,
|
|
|
1:05:59 – 1:06:02
Which is a bit strange again.
|
|
|
1:06:02 – 1:06:04
Yes, because you also have costs.
|
|
|
1:06:04 – 1:06:06
Yes, that was added.
|
|
|
1:06:06 – 1:06:12
It's always important and I think it's so regional.
|
|
|
1:06:12 – 1:06:15
In some cities, let's say,
|
|
|
1:06:15 – 1:06:19
There are many more things that need to happen in some regions.
|
|
|
1:06:19 – 1:06:24
And in Hamburg, for example, I see that there is what the promotion somehow
|
|
|
1:06:24 – 1:06:29
of not only music projects, so in general, what the promotion of projects,
|
|
|
1:06:29 – 1:06:34
Where people do something together that is treated really stepmotherly.
|
|
|
1:06:34 – 1:06:39
So I have here, I just watched in my YouTube Cloudtrap.
|
|
|
1:06:39 – 1:06:41
I have here unironically four docus,
|
|
|
1:06:41 – 1:06:43
For example, "A lot of third places",
|
|
|
1:06:43 – 1:06:48
the loss of third rooms that do not belong in any way,
|
|
|
1:06:48 – 1:06:52
This is a problem for society as a whole.
|
|
|
1:06:52 – 1:06:55
The fresh meat market, for example, is so online,
|
|
|
1:06:55 – 1:07:00
There are only 10 percent of people who can find themselves theoretically.
|
|
|
1:07:00 – 1:07:04
So so accidental, you know, accidental meeting,
|
|
|
1:07:04 – 1:07:09
In the meantime, it has become almost such a book trophy,
|
|
|
1:07:09 – 1:07:12
It no longer has a real equivalent.
|
|
|
1:07:12 – 1:07:15
So I don't want, I don't want to know,
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1:07:15 – 1:07:19
The next generation, or in other words,
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1:07:19 – 1:07:21
I don't know how many percent of the next generation
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1:07:21 – 1:07:24
Just fall out in these things
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1:07:24 – 1:07:28
or then have to resort either to payment services or to a terrible dating market,
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1:07:28 – 1:07:31
Because that just doesn't happen anymore.
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1:07:31 – 1:07:33
And that includes everything.
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1:07:33 – 1:07:35
It's not just about musicians, it's about artists.
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1:07:35 – 1:07:38
This generally affects people's communication with each other.
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1:07:38 – 1:07:42
It doesn't matter if you're a photographer now who wants to make an exhibition
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1:07:42 – 1:07:48
or if you are a sculptor or if you are the garden club in general,
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1:07:48 – 1:07:52
It's kind of, well, the garden club is a bad example.
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1:07:52 – 1:07:56
But they have opportunities.
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1:07:56 – 1:08:00
No, so maybe with you, with us he is completely hacked especially for new construction areas.
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1:08:00 – 1:08:02
Exactly, there is.
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1:08:02 – 1:08:03
Really?
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1:08:03 – 1:08:04
Well, of course.
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1:08:04 – 1:08:07
Just because you still have a bit of space with you in the federal state
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1:08:07 – 1:08:11
Schleswig-Holstein and Lower Saxony.
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1:08:11 – 1:08:14
So here's where you actually have a space problem,
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1:08:14 – 1:08:17
Here the allotments are going in right now, white tongue.
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1:08:17 – 1:08:20
And then you won't find anything new,
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1:08:20 – 1:08:28
because the wasteland is halted, yes, now the workers have to go for the account of Christoph Blocher.
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1:08:28 – 1:08:30
That's really a problem.
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1:08:30 – 1:08:33
And on the other hand, you have some idiots moving into town
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1:08:33 – 1:08:37
and then just cover everything with quiet noise complaints.
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1:08:37 – 1:08:40
It all depends on each other, doesn't it?
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1:08:40 – 1:08:43
Like you told me about the East and techno the next time, right?
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1:08:43 – 1:08:45
They were rooms, weren't they?
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1:08:45 – 1:08:48
Somehow here bunker, PA in, Strobuskop in, any direction.
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1:08:48 – 1:08:54
Yes, or all the open air festivals, they took place at former military bases.
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1:08:54 – 1:08:57
Yes, Solomons and Scherne still take place on the former.
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1:08:57 – 1:08:58
That's right.
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1:08:58 – 1:09:00
Yes, as long as you don't need it, yes.
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1:09:00 – 1:09:04
Yes, and forest peace takes place in the field.
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1:09:04 – 1:09:06
Yeah, Wacken, too.
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1:09:06 – 1:09:11
But at some point this has become so deadly commercialized and now it is actually only a consumer product.
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1:09:11 – 1:09:13
It's no longer a third place.
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1:09:13 – 1:09:14
That's right.
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1:09:14 – 1:09:20
What I saw the other day was an old acquaintance from this very studio where I talked about it,
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1:09:20 – 1:09:30
I don't know, it describes itself as a collective, I claim it's a left-wing activist group.
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1:09:30 – 1:09:34
This may be a bit disrespectful, but they did it in a very interesting way.
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1:09:34 – 1:09:40
Combine neighborhood culture, neighborhood politics, art, and drug abuse.
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1:09:40 – 1:09:46
And I actually met them once, like the one just here in front of such a corner pub, the last ones that still exist,
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1:09:46 – 1:09:54
here in the absolute Siffviertel, where I just had to go through, just DJ Pullt in front of the hut,
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1:09:54 – 1:09:56
uffs, uffs, uffs, uffs, street corner drive insane, right?
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1:09:56 – 1:09:58
It was art, it was culture.
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1:09:58 – 1:10:02
A few people went home, probably fell over each other, drunk.
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1:10:02 – 1:10:06
But it's like a freakout, isn't it?
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1:10:06 – 1:10:12
And the way you actually imagine a city, now in a pop-cultural sense.
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1:10:12 – 1:10:21
I know what negative side effects such a thing can have, but that was, as I said, organically fresh in such a way, wasn't it?
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1:10:21 – 1:10:26
And especially with so much AstroTurf, where it's just about, yes, just put the youth in here somewhere.
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1:10:26 – 1:10:28
It doesn't always have to be so extreme.
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1:10:28 – 1:10:29
No, but...
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1:10:29 – 1:10:41
But what I miss when I was there with my music project colleague, when we had our live concerts,
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1:10:41 – 1:10:46
I did our jam live concerts in Hamburg, I really had problems.
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1:10:46 – 1:10:48
And that was in the tens.
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1:10:48 – 1:10:49
Exactly.
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1:10:49 – 1:10:57
I had trouble finding places where we could play.
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1:10:57 – 1:11:07
I tigered from Pontus to Pilate and we ended up in such places.
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1:11:07 – 1:11:14
We played in a Catholic monastery, once in Hamburg and then once in Leipzig.
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1:11:14 – 1:11:22
And then we went to Radio FSK and once we even landed on St. Pauli in some cinema.
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1:11:22 – 1:11:38
Yes, but I decided at the beginning of the zeros, I am now doing an amateur radio license and was then also very active in the club.
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1:11:38 – 1:11:51
And they had an outside office above the city administration, in which, yes, there is also the city hall below and so on.
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1:11:51 – 1:11:57
There the offices had still had and there was before the club in it, because this was also a relatively high building.
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1:11:57 – 1:12:03
She was able to put the antennas on the roof so that the amateur radio club could do what it did.
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1:12:03 – 1:12:17
Yes, then they needed the rooms for themselves, because there were also musicians who met, so playing clubs, bla bla, everything possible.
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1:12:17 – 1:12:22
And then the real problems had been to find the amateur radio club new premises.
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1:12:22 – 1:12:32
Where did they end up? At the evangelical church, at the parish for the boatmen.
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1:12:32 – 1:12:44
They still had a lot of space there and they were grateful that some of them would come there and fill the place with life outside the shippers there.
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1:12:44 – 1:12:53
And they could live out there, build up a thick mast, then fattened antennas on it, so that they can pursue their hobby there.
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1:12:53 – 1:13:03
To substantiate the whole thing that we are talking about now with figures, data, facts, with ZDF, when I scold Hamburg like that,
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1:13:03 – 1:13:17
statista.de or de.statista.com, i.e. the official statistics page of the government, if you look for a bit, you will find a statistic,
|
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|
1:13:17 – 1:13:32
Vacancy of office space in Hamburg for 2023. Yes, what do you think, how many square meters were there empty at offices in the Hanseatic city?
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|
1:13:32 – 1:13:43
I don't know, really not. Either far too many or far too little. 657,000 square meters were empty.
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|
1:13:43 – 1:13:48
No one can pay, right? Exactly, that's what it is. The city can also pay for itself.
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|
1:13:48 – 1:13:54
I mean, the evangelical church has dreams, but no more people, right? Exactly.
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|
1:13:54 – 1:14:02
But she still has a factor of charity, doesn't she? Because here, here around the corner, has just got something with the most important culture hub,
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|
1:14:02 – 1:14:09
quasi, not in the quarter, but a bit so in the corner, so in this district, because closed.
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|
1:14:09 – 1:14:15
It is now relatively good, because another cultural house is reopening. But while at that time the whole scene thought, horny,
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|
1:14:15 – 1:14:21
Finally, we have new infrastructure that is really well aligned. Ten band rooms, two stages, etc.
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|
1:14:21 – 1:14:30
So that's where you got Willig Space. Now the other is finally relieved. By the ass. The other is coming.
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|
1:14:30 – 1:14:38
And why? Because the city has turned over the cultural budget, despite several popular initiatives won, by the way.
|
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|
1:14:38 – 1:14:45
But it was found that the theater with the ballet director, who just has a huge problem because he has thrown at a critic feces,
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|
1:14:45 – 1:14:53
The theatre, which already plays in front of half-full rooms, needs more money. So you're subsidizing a bit of high culture,
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|
1:14:53 – 1:15:00
Or so that the luxury building does not completely rot, right? And youth culture, which is then smoked.
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|
1:15:00 – 1:15:06
Young people are tolerated under the bridge, where they pierce each other. Not the young people, the others.
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|
1:15:06 – 1:15:15
That culminates. And now no one's helped. I think the new building just barely catches a bit,
|
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|
1:15:15 – 1:15:21
Because, at least by the way, two other premises have also imploded.
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|
1:15:21 – 1:15:27
I mean, the vast majority of bands are rehearsing somehow 30 kilometers further in the Aglo anyway.
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|
|
1:15:27 – 1:15:36
So in the first factory area, which is not yet dedicated to a new housing development. But that's exactly the point.
|
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|
1:15:36 – 1:15:46
Either you need someone who somehow, no idea, patronage or such a generosity writes on the flag and has rooms,
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|
1:15:46 – 1:15:53
Or you're going down. And of course the rooms are empty because nobody wants to pay for it. Or can't pay for it.
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|
1:15:53 – 1:16:02
Or you could say as a landlord, come, before the next ten years is vacant, I rent it out.
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|
1:16:02 – 1:16:07
I don't know, 24 months for half a price to the city.
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|
1:16:07 – 1:16:13
Yeah, and then they rock it down and you have to rehabilitate the luxury.
|
|
|
1:16:13 – 1:16:19
Yes, another example, a nice fat bunker. A really fat bunker.
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|
|
1:16:19 – 1:16:25
I just wanted to call him. I just wanted to name this bunker. We're talking about the same thing, aren't we?
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|
1:16:25 – 1:16:34
No, I'm talking about a bunker in date. There was a huge bunker, standing on a new market. Such a huge thing.
|
|
|
1:16:34 – 1:16:44
And yes, not Neumarkt, a bit off. And this thing was more or less used as a junk warehouse or just like that...
|
|
|
1:16:44 – 1:16:53
You have had the ideas that you can just put band rooms in there, rehearsal rooms, because wall so thick, that doesn't bother them.
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|
|
1:16:53 – 1:17:00
Yeah, you don't blow at all. The little piece of land that was on it was so valuable that you'd rather have the thing torn down.
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|
|
1:17:00 – 1:17:07
And I mean, like 50, 60-year-old concrete, it's fucking hard. Blue concrete, it's fucking hard.
|
|
|
1:17:07 – 1:17:14
I think that's already the subject. In Hamburg you also have the thick, fat Flak Bunker on the Heiligen Greifsfeld.
|
|
|
1:17:14 – 1:17:17
That's when I was about to go upstairs. Is he still there?
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|
|
1:17:17 – 1:17:19
Exactly, either you do...
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|
|
1:17:19 – 1:17:21
That's where you put luxury apartments.
|
|
|
1:17:21 – 1:17:23
Either you flatten things out...
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|
|
1:17:23 – 1:17:26
Looks flat ugly. It looks even uglier than before.
|
|
|
1:17:26 – 1:17:31
Either you flatten things out or they build luxury apartments in there.
|
|
|
1:17:31 – 1:17:40
And I saw in Dortmund, not in Dortmund, in Herl, they cut windows with chains and the doors and so on.
|
|
|
1:17:40 – 1:17:47
They converted the bunker into luxury apartments. Not the bunker, but the bunker.
|
|
|
1:17:47 – 1:17:51
I mean, fantastic, if you have three-meter-thick walls.
|
|
|
1:17:51 – 1:17:53
Yes, if there's war, you're safe.
|
|
|
1:17:53 – 1:17:56
Yeah, but not when all the holes are in the windows and all that.
|
|
|
1:17:56 – 1:17:58
It doesn't matter.
|
|
|
1:17:58 – 1:18:02
It's just a modern drone war that knows exactly where to go, right?
|
|
|
1:18:02 – 1:18:06
It's not just flying bombs down and then dig up in Cologne 50 years later.
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|
|
1:18:06 – 1:18:08
Yeah, but anyway.
|
|
|
1:18:08 – 1:18:12
This room, where people can do something, is becoming less and less.
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|
|
1:18:12 – 1:18:16
Yeah, and you know, the people themselves don't have any...
|
|
|
1:18:16 – 1:18:20
I mean, this is something where the U.S. is ahead of us with its cardboard houses.
|
|
|
1:18:20 – 1:18:25
Most people have a single-family cardboard house and ideally have a basement.
|
|
|
1:18:25 – 1:18:28
Or someone has a basement and then there can be his high school colleague.
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|
|
1:18:28 – 1:18:30
Or a garage.
|
|
|
1:18:30 – 1:18:33
Yes, a garage. That's when they meet in the garage.
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|
|
1:18:33 – 1:18:35
Or they meet at school.
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|
|
1:18:35 – 1:18:43
Be careful, I have a place with garages about 150 meters next to me.
|
|
|
1:18:43 – 1:18:48
And there's someone who's always practicing drums here.
|
|
|
1:18:48 – 1:18:51
But now not so full cymbal and stuff buzz to it,
|
|
|
1:18:52 – 1:18:57
But stop, that's what you do when you make marching music,
|
|
|
1:18:57 – 1:19:00
If you have a flute or something like that...
|
|
|
1:19:00 – 1:19:04
There's the snaredrum and the feathers under it.
|
|
|
1:19:04 – 1:19:08
This puts people in such a sack.
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|
|
1:19:08 – 1:19:13
Yeah, I mean, that makes you an hour and an hour and a half every Saturday.
|
|
|
1:19:13 – 1:19:17
And then it doesn't matter so much, you disturb the windows.
|
|
|
1:19:17 – 1:19:20
But other people talk about it.
|
|
|
1:19:20 – 1:19:24
Yes, because you also know, at least so intuitively a bit,
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|
|
1:19:24 – 1:19:26
What that means to him.
|
|
|
1:19:26 – 1:19:31
And not somehow according to the motto, yes, that's not in my backyard.
|
|
|
1:19:31 – 1:19:35
Yes, but I find it much worse when I stop on Saturdays, afternoons
|
|
|
1:19:35 – 1:19:39
these four-hour-long sound reinforcements with some kind of Cloudrap,
|
|
|
1:19:39 – 1:19:42
where one song really sounds like the other track,
|
|
|
1:19:42 – 1:19:45
It is forced here.
|
|
|
1:19:45 – 1:19:51
Yeah, that's a lot worse than hearing the man when he...
|
|
|
1:19:51 – 1:19:54
power.
|
|
|
1:19:54 – 1:19:57
Yeah, well, you're from techno time, too.
|
|
|
1:19:57 – 1:20:00
But that's exactly what I mean, isn't it?
|
|
|
1:20:00 – 1:20:04
You don't somehow have such a factory site or at least the basement
|
|
|
1:20:04 – 1:20:08
Yours, I'll tell you, mates with the best-earning parents,
|
|
|
1:20:08 – 1:20:11
where you can still expand the basement in case of need,
|
|
|
1:20:11 – 1:20:14
Next to the heat pump, you can place your drum set.
|
|
|
1:20:14 – 1:20:16
You can't even do it, can you?
|
|
|
1:20:16 – 1:20:19
You actually have the problem, Dieter Meier, Boris Blank, right?
|
|
|
1:20:19 – 1:20:24
The beginning of Yellow, I got it from the reflector podcast.
|
|
|
1:20:24 – 1:20:28
Very good episode, but where Dieter Meier got to know Boris Blank
|
|
|
1:20:28 – 1:20:33
And they said, well, I have lyrics here, I have music here, right?
|
|
|
1:20:33 – 1:20:36
Boris Blank produced in the kitchen, didn't he?
|
|
|
1:20:36 – 1:20:40
And then Dieter Meier comes by, screams so loudly into the microphone,
|
|
|
1:20:40 – 1:20:46
Blank was dismissed on Monday without notice and almost needed a new place to stay.
|
|
|
1:20:46 – 1:20:50
Then something was convenient for Meier, because he had in the Red Factory,
|
|
|
1:20:50 – 1:20:53
which at that time had already been converted into an autonomous centre,
|
|
|
1:20:53 – 1:20:55
He had a studio.
|
|
|
1:20:55 – 1:20:58
It was perfect because it was yellow, wasn't it?
|
|
|
1:20:58 – 1:21:01
But Boris Blank needed a new rental apartment now, didn't he?
|
|
|
1:21:01 – 1:21:04
And I think that's even harder, dude,
|
|
|
1:21:04 – 1:21:07
If you don't like your "Not in my backyard"
|
|
|
1:21:07 – 1:21:11
or you have another field where you put your cardboard hut,
|
|
|
1:21:11 – 1:21:14
like in the USA, where you then stop to build up the drums in the living room
|
|
|
1:21:14 – 1:21:17
or even somehow, I don't know, two Volkers and a microphone,
|
|
|
1:21:17 – 1:21:23
where you can practically live out your musical affliction of youth,
|
|
|
1:21:23 – 1:21:26
You have a fucking apartment here, don't you?
|
|
|
1:21:26 – 1:21:29
I already have very tolerant neighbors, but I had better ones before, didn't I?
|
|
|
1:21:29 – 1:21:31
But I need headphones here too, don't I?
|
|
|
1:21:31 – 1:21:33
And I really don't make annoying sound,
|
|
|
1:21:33 – 1:21:36
but if I imagined myself here, I would have been here in my rental apartment
|
|
|
1:21:36 – 1:21:40
the sound booth with which we are milling through the youth scene,
|
|
|
1:21:40 – 1:21:42
Because we still have it, don't we?
|
|
|
1:21:42 – 1:21:44
Say, here's a good shot, here's a basement,
|
|
|
1:21:44 – 1:21:47
here you can come by, here is even someone else,
|
|
|
1:21:47 – 1:21:51
This will show you how to select the input on the interface.
|
|
|
1:21:51 – 1:21:52
You don't have that, do you?
|
|
|
1:21:52 – 1:21:58
And when mum and dad are sued out of the 20 years of existing rent,
|
|
|
1:21:58 – 1:22:00
Because somehow the child cries out, you know?
|
|
|
1:22:00 – 1:22:02
That's a dilemma that follows next, isn't it?
|
|
|
1:22:02 – 1:22:04
And then people wonder, yeah, why are they squatting in the corner
|
|
|
1:22:04 – 1:22:05
Looking at the computer?
|
|
|
1:22:05 – 1:22:07
I had it in my old,
|
|
|
1:22:07 – 1:22:10
My wife and I had this in our old apartment.
|
|
|
1:22:10 – 1:22:16
Standing one day, the little one was barely a year old,
|
|
|
1:22:16 – 1:22:18
She was at our door.
|
|
|
1:22:18 – 1:22:22
Can't you make sure the child doesn't scream like that?
|
|
|
1:22:22 – 1:22:26
I'm like, "Hello, it's an infant, there's no controller on it.
|
|
|
1:22:26 – 1:22:30
What am I supposed to do? That's just a crying child, that's the way it is.
|
|
|
1:22:33 – 1:22:38
Strangely enough, the neighbor above me, who goes with animal-hoping zack,
|
|
|
1:22:38 – 1:22:42
The child of hers, which is just screaming all day, that doesn't bother me.
|
|
|
1:22:42 – 1:22:44
But as soon as I hear her voice,
|
|
|
1:22:44 – 1:22:50
My neck hair turns out to be like a hangover,
|
|
|
1:22:50 – 1:22:52
He goes into combat mode every moment.
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|
1:22:52 – 1:22:55
These are the frequencies.
|
|
|
1:23:01 – 1:23:04
Guys. Third Places, I know what it's called.
|
|
|
1:23:04 – 1:23:08
What do we do with our other topic?
|
|
|
1:23:08 – 1:23:11
That's what we do the days. Are we going to pick this up?
|
|
|
1:23:11 – 1:23:13
That's what we do the days.
|
|
|
1:23:13 – 1:23:15
That is the question.
|
|
|
1:23:15 – 1:23:19
Now the time is up, our recording time is up,
|
|
|
1:23:19 – 1:23:22
The Tobi must leave now, has an important date.
|
|
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1:23:22 – 1:23:25
I said I'd come when I came.
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1:23:25 – 1:23:29
You know us.
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1:23:29 – 1:23:33
If we go on, we'll talk for another two hours.
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1:23:33 – 1:23:40
2 pivipauses in between and then until tomorrow morning, until 8 o'clock.
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1:23:40 – 1:23:45
And then we're going to be political again, throwing back the 80's. % Away from the podcast.
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1:23:45 – 1:23:47
Had a good time though.
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1:23:47 – 1:23:50
I figured that out, that was 63.4 %.
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1:23:50 – 1:23:56
But that was solved with the program.
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1:23:56 – 1:23:58
You're a mathematician from there.
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1:23:58 – 1:24:00
You did that in your head, didn't you?
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1:24:00 – 1:24:01
No.
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1:24:01 – 1:24:03
83 % possible.
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1:24:03 – 1:24:07
I turned the minutes and hours into decimal places
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1:24:07 – 1:24:10
And then I saw that it was actually 63.
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1:24:10 – 1:24:14
But you know what? It was worth it.
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1:24:14 – 1:24:19
The talk was good, but he'll never hear it.
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1:24:19 – 1:24:21
No one's gonna hear it.
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1:24:21 – 1:24:26
Especially since reality has overtaken us.
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1:24:26 – 1:24:28
In this respect, unfortunately.
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1:24:28 – 1:24:30
That's cruel.
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1:24:30 – 1:24:32
Cruelly overtaken.
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1:24:32 – 1:24:34
That's right, it was two days before.
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1:24:34 – 1:24:36
That's right.
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1:24:36 – 1:24:47
I'd say just turn it back on next time.
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1:24:47 – 1:24:56
If you want to hear us talk about another topic in our cozy rehearsal room.
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1:24:56 – 1:24:59
In my case live from Baustan.
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1:24:59 – 1:25:04
With Tobi from Switzerland.
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1:25:04 – 1:25:09
And with the Sascha from the Ruhrpott.
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1:25:09 – 1:25:12
And if you want to hear Sasha say.
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1:25:13 – 1:25:17
The rehearsal room podcast, my cozy talk from the rehearsal room.
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1:25:17 – 1:25:20
Now I got you on the wrong foot.
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1:25:20 – 1:25:24
I would have thought you were in such a hurry, that's for Tobi today.
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1:25:24 – 1:25:26
But no.
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1:25:26 – 1:25:28
He complained last time.
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1:25:28 – 1:25:31
Does he have that?
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1:25:31 – 1:25:33
But the Tobi can do it so well.
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1:25:33 – 1:25:36
The Tobi can do it so well, because Tobi is different.
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1:25:36 – 1:25:38
He gave me names. Names of animals.
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1:25:41 – 1:25:43
Off broadcast by the way.
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1:25:43 – 1:25:46
I could steer this out.
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1:25:46 – 1:25:50
What? No. That stays in it. Nothing is cut here.
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1:25:50 – 1:25:52
That's what stayed in it.
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1:25:52 – 1:25:54
It'll be a frankster.
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1:25:54 – 1:26:00
By the way, nice episode you did there.
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1:26:00 – 1:26:04
I could have said so much.
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1:26:04 – 1:26:07
Now we are already advertising the adversary format.
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1:26:07 – 1:26:08
Oh, he's not out yet.
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1:26:08 – 1:26:11
It's coming on Friday, I think. That's what he said.
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1:26:11 – 1:26:13
How was the interview?
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1:26:13 – 1:26:15
Have you been accepted?
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1:26:15 – 1:26:24
I went totally naughty and wrote a comment,
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1:26:24 – 1:26:27
We need expertise on this issue.
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1:26:27 – 1:26:33
And then the Frankster wrote a WhatsApp,
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1:26:33 – 1:26:35
Suppose when do you have time?
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1:26:35 – 1:26:37
When do you have time?
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1:26:37 – 1:26:41
Yes, then we agreed briefly and then we made the recording on Monday.
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1:26:41 – 1:26:47
www.isolierstation.de if you are bored.
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1:26:47 – 1:26:51
Listen to me. It's fun. You're in a good mood.
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1:26:51 – 1:26:52
But it's really...
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1:26:52 – 1:26:57
It's something else. It has nothing to do with music, but in that sense it's good.
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1:26:57 – 1:26:58
Bye bye.
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1:26:58 – 1:26:59
See you then.
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1:26:59 – 1:27:00
See you then.
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1:27:00 – 1:27:01
It's tawaric.
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1:27:01 – 1:27:03
[Music]
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1:27:03 – 1:27:05
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1:27:07 – 1:27:09
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1:27:09 – 1:27:11
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Spontaneous round, which runs completely informally into the three major themes of (among others music-making) society; The how, the why and the where. From money-dropping Twitch streamers, cunning CEOs, soul-stripping pop stars, split-up songs, teens you just let go of, and Cologne the Rhine on the aerial bomb.
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