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00:00 - 0:00:22
The rehearsal podcast. At the cozy talk in the rehearsal room. With our moderators Mr. Raumwelle,
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0:00:22 – 0:00:44
Tobi and Mr. Emergency Strom. Have fun.
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Welcome to the rehearsal podcast. Actually, that would be your part, Sascha. You always do
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The announcement. We are now dynamic. So welcome to the Oberpodcast.
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Changing roles, okay. I brought us a guest. Imagine, Tobi,
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Sasha. Hello there. Who do we have there? Robert, hello. Hello, I greet you. Robert from Berlin,
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Tobi from Switzerland and Sascha from Dortmund. Exactly. And the Thomas here from the good little
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Hamburg. Smaller than Berlin anyway. Robert, I google, of course, when I interview guests
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Invite me a little bit, make me a little bit smart before I start with my questions
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enter into such conversations and you are one of our guests, with whom I am insanely much
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I found it. So let's start with the Wikipedia entry. The Wikipedia entry
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Robert Henke: "This article is about the musician Monolake for the California
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See also Mono Lake.
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Yeah, that's nice.
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That's what I like.
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I don't listen to people who Google themselves.
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I used to do this and I haven't done it in a long time.
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I have no idea what's in there.
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But I don't think this first introductory sentence is bad.
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The Wikipedia entry, unfortunately, is not complete.
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And that's why I looked at it,
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But I thought to myself, Robert, he probably has his own website.
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And lo and behold, I have found what you are looking for in your organic underside.
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Or how do you say? organic? Or what does that mean in English?
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organic.
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And I don't know, should I read aloud or do you just want to tell me?
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I think I'm putting in keywords like that.
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So it starts with a description that your work covers a very wide spectrum.
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Mm-hmm.
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You are a musician, you have also held chairs,
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have, among other things, taught at an art university in Berlin as a professor,
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But you were also at Stanford University, you were in Paris and in Lille.
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Le Fresnoir?
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Le Fresnoir, yes, exactly. But it is no longer essential.
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Let's start over. How do you become a musician and how do you get from there to a professorship in Paris?
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Well, where do we start now?
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I am, I come from a classic non-artist household.
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So the whole family consisted of Siemens engineers
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and photographers and so on.
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So everything is very technical, very uncreative.
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So the photographer's side was also uncreative.
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And I'm quite early, I realized that I'm interested in art.
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So I went to museums and looked at modern art and I'm fascinated
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stood in front of pictures with bright colors and abstract patterns.
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And I discovered electronic music for myself when I was somehow still relatively small
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I've been there and I've realized there's something that interests me.
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And based on this fact that no one in my family was interested in art
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and that it really could not be an acceptable career for the son, I
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I'm going to be a sound engineer and I'm studying computer science and doing something with sound and
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Computers have created a way for me to do this. And then I am
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moved to Berlin, 1990, from Munich, where I originally came from. And that, of course, has
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Turned everything upside down. You are, I can tell you, a year older than me. We
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Don't tell me how old I am. But you did the techno wave in the 90s,
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Let me tell you, co-design.
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Yes, but that was still relatively familiar and small at the time. There was a very important
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Label in Berlin called Basic Channel and for this label there was a record shop that
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and then later a record cutter studio called "Updates and Mastering" and that was all very,
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Very family and very small. If you are interested in this culture,
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You've inevitably met all the actors at some point. And then actively part of this culture
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To become one, this has actually happened very automatically, because I have with my friend Gerhard
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Beeles made music together and also studied computer science together.
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And someday someone said, hey, those pieces he's doing there, that's it
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interesting. Play this to Marc and Moritz, the two creators of Basic
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Channel. And then we did that. Then we are very unexpected to our first release
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It's our first 12-inch maxi single with two of us.
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Well, that's how it went.
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Just for the timetable, when was that? 91, 92, 93?
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95, 95. That was later. So I'm always a little slow,
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I always follow the trend.
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So that means you're also first …
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I don't think so.
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You didn't come to Berlin until the wall was gone.
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Exactly, four months later. But since Berlin is slow …
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Yes, still so full of the spirit of optimism, isn't it?
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Absolutely. So an incomprehensible happiness retroactively, in this time, to be allowed to be in this city,
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where everything has completely redefined itself and that at 20 or how old I was then,
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19 something like that. Seeing this is such a gift in retrospect.
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I'm just imagining that Munich is a bit more conservative.
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It was the end of the 80s, the beginning of the 90s and then to Berlin.
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I think it must have been a culture shock. But you'll have computer science someday …
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I didn't have that much money and I took a job during the semester break
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in the video production in Berlin and they then have a huge order relatively quickly
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Rebuilding studios for a TV station. And they offered me an extremely good salary,
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If I take part in this remodeling. And then I decided, well, then I'll just sit
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Take a semester and keep doing it. And then I continued to do that. The problem was halt
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Only that I was no longer in sync with Gerhard. And, of course, a complete
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I would have lost a year if I had continued. And then I decided, well,
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You can also do something else. And I got there in this production with the Chief Throne Master
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He spoke more often, and he said, "Boy, just study the throne." Make a throne master,
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This is also his area of interest, which is also solid. And then I did that and
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I studied Thronmeister at the Filmhochschule in Babelsberg and also finished it.
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Which once and for all kept me from German television and filmmaking.
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Why only?
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Yes, you only have to watch an exclusive German production, then you know why.
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It was a rhetorical question.
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Question. Well, that's how it was. And then it went on, so to speak, step by step?
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Life is never so linear. I finished my studies and was asked,
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whether I would like to make sound for a theater production and then there are two seasons
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I became a member of the Berliner Ensemble, where I worked as a guest tone master. And as this
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When I was done, I was asked if I didn't want to work at Dub, Date and Mastering.
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This is this vinyl, mastering and cutting studio from Basic Channel. Then I did this
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And then Gerhard, along with another Native Instruments colleague named Bernd,
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Roggendorf decided that it would be better to start your own company than for Stefan
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Schmid to work. So nothing against Stefan, hello Stefan, if you hear that. But it was
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Just this idea of, well, we could do something of our own. And so is Ableton.
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I was founded and then I ended up at Ableton and I always did it that way,
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Art was the most important thing to me.
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So I've always seen everything I've done as art is the first
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The other is the second.
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Can I ask a stupid question about this?
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How did you come up with the name Ableton?
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We hired an agency.
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Oh, it's that simple.
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Yes, what you do as a start-up. I think it was also some famous agency, it was really such a corifée.
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Everyone in Berlin is squatting on each other, isn't it?
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I don't think they were from Berlin. Maybe they were from Switzerland, but I'm not putting my hand in the fire.
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Anyway they stopped us … So at the very beginning we just tried to name
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who find something with sound or wave or in some form quasi with sound and
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Music is associated.
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And we've found that everything you can think of was already forgiven in 1999.
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With a URL.
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Good old German patent law.
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Internet, yes.
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Internet, exactly.
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And then we decided, we have to find fantasy names, so Twingo
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Or something like that.
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"Bindlocks, I'll Oat" by Coldplay, where you first saw the name
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The name was never on Google and then they named the album that way.
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Exactly.
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Well, and one of the names that somehow stood on the whiteboard was Ableton.
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And we wiped out the others bit by bit, and Ableton was left.
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I thought that there would be a fascinating story like "Able to make music" or something like that.
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Or "Able to make live music" or something crazy and so banal.
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But this is often so with very groundbreaking things that they are ultimately terribly banal.
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I'll tell you Fanta and Miranda.
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Miranda is a goddess, I think.
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So, wait a minute.
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The Fanta goddess must meet me again in the dream.
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I see we have a very funny episode here today.
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How did you come up with the idea when we were already talking about Ableton,
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How did you come up with the idea of the product live?
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If that was the case, it is the result of, out of, out of, out of, out of the concerts, out of the touring,
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When you were on the road with Monolake? Or how did that come about? Is this such a compress from the tools,
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What have you used so far? That's, depending on how deep you want to get in,
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Quite a complicated question. The simple answer is indeed, we have a specific
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We had the way we thought about music and this kind of music production that was with the
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There were no commercial programs in existence at the time. This idea of with the
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Playing computers as an instrument was simply not intended as a paradigm. The paradigm of
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It was the 90s, the computer is for recording, so you kind of have to be a musician to use it.
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What can make sense. And our idea was much more inspired by drum computers and
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from the studio as an instrument, where machines do something and if we like it,
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What the machines do, then we pick it up and then it's snipped together. And
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And so live was very, very influenced by this idea of using the computer as a musical instrument.
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Not as a drone machine.
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Can it be said that this is also the case with the … When did Able Live come into being?
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January 2001 was the first version of it.
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Okay, that means that the techno scene itself has had a strong influence,
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because this flow, it was actually exactly about taking machines and thus
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Making music.
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That kind of brought you to life in a way, yes, with Ableton Live.
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More or less.
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I would put it the other way around.
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We did something that we found interesting ourselves, because the bottom line is that you can only succeed.
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It's when you do what you know and believe in. And we knew,
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That what interests us there is potentially of interest to a few like-minded people.
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So it was already clear at the beginning that with what we do there, that we have the nerve of a few
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could meet people. What we didn't realize, however, was how large the potential customer base would be.
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could. So we were extremely surprised and we were also surprised by it,
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in which different markets and environments live as an interesting offer
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was perceived. So we didn't have
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Film music in the head,
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We didn't have backing tracks for bands.
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in the head and so on.
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That once one
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Go and put your light on it.
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triggers. Or something like that, yes.
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So there are just a lot of
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Things We Were Very Surprised By
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And then, of course, that
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have helped shape the product. Of course, that's definitely the case. There is always feedback between
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What you do yourself and what people out there do with the product. Then
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Just look at that and think, aha, interesting. And what feedback you get through forums and
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Emails and things like that. But the basic idea was really that we just did something,
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We ourselves were convinced that, as I said, it was an interesting solution to problems for a special group of people.
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So you said earlier, it's always about art as a priority.
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Does this also play into the fact that you first think in the artistic aspect and only later in, I say, market economy?
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This has already broken the neck of some startups over the years,
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that at some point they only had to develop and develop further,
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While the art aspect and feedback moved further and further away.
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I don't know, you can separate that a bit, the art from the software development,
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But of course it is already the case that most people, who were then and who are now at Ableton
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are engaged and engaged in the development of the product that these are people,
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who do this out of conviction and also use the product and there of course with an attitude
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I want this and that to be built in now because I miss that,
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if I work with it myself." And with that you always have a good starting point,
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because you don't abstract yourself into the needs of any target group
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You have to think in, but you can just say very concretely, so this, which annoys as much as
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it is and this here, I would like to be able to do that and I can't do that yet and then out of it
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further developing the product simply always has a greater chance of becoming good,
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It's like forcing yourself to do something.
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Is this easier in Berlin, where the whole microcosm is already sitting on site?
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Oh, that doesn't really have much to do with Berlin anymore, because, so maybe I'm
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Every three weeks in the office. So we have some people sitting around the globe.
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There is no need to be present. Berlin, of course, was interesting.
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Beginning, of course. So that was favorable in many ways. But now this is
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Actually no longer an issue. That was the ISD at the time, wasn't it? There had to be
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Take a completely different approach. If I listen to you like that, where I'm going to give you a praise, an elegy
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I want to say praise is that I find it absolutely fantastic and great,
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Ableton Live is one of the very, very few programs on the computer market.
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Especially in the music market, which has remained true to itself in terms of design. So I realize,
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If I, I use Live since version 6, if I open my 12s today, it still sees
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It works the same way and still works the same way as the 6-series version. And I'm good at it
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I have now seen older versions with colleagues, who have then partly
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Started with the 3rd version. It is stringent and perseveres and that also supports
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I think the point is that it's just a tool, a music tool.
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Yes, of course, you can see it a bit differently from the inside. I find the original design
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Of course, it was great back then and that was also the result of the fact that ultimately people
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They have made products that haven't necessarily made a thousand other products before. So
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This is similar to making music, and certain types of prior knowledge are also a hindrance.
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So there's this beautiful term in the art of unlearning that you can do certain things that you want to do.
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Once you have learned to play an instrument, for example, first you have to consciously train yourself,
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If you want to develop something new, because otherwise you always play the same harmonies.
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And the person who created the original interface design along with Gerhard and me and a few others
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has developed people, but from the very authoritative, content-related ideas, such as the
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He was a visual artist, Thorsten Slama. and a visual artist
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0:22:34 – 0:22:40
Now we have an interface for a music software. This, of course, immediately leads to complete
|
|
0:22:40 – 0:22:48
other results, because you simply have a completely different dialogue than now we say with a
|
|
0:22:48 – 0:22:56
People who have learned the time of their life or the time of their life Interface Design and
|
|
0:22:56 – 0:23:02
Of course, I know exactly how to do it right. So we have the question, what is right to
|
|
0:23:02 – 0:23:11
We found it for ourselves. And that turned out to be very style-forming in retrospect.
|
|
0:23:11 – 0:23:18
Yes, it runs through all products, through the plugins, it runs through.
|
|
0:23:18 – 0:23:25
Yes, although, of course, if you now approach the matter critically, you also say,
|
|
0:23:25 – 0:23:33
that we have now, so we are now at version 12, also reached limits,
|
|
0:23:33 – 0:23:43
where we simply encounter difficulties with the interaction model we have introduced,
|
|
0:23:43 – 0:23:49
Where we have to rethink things at some point. Because you can't always have more functions
|
|
0:23:49 – 0:23:55
add, without having to change even very basic concepts at some point,
|
|
0:23:55 – 0:24:02
Otherwise, it will become confusing at some point. And that's a problem,
|
|
0:24:02 – 0:24:07
Which we now have. There will have to be changes someday,
|
|
0:24:07 – 0:24:11
They are a bit more radical, but what they look like is not yet clear.
|
|
0:24:11 – 0:24:21
If you're traveling with Monolake, you did last month, in December, you did.
|
|
0:24:21 – 0:24:31
It's a new album, and it's called a studio. Is it composed live?
|
|
0:24:31 – 0:24:39
Yes, of course. So I'm sitting here in the studio now and in front of my nose is the laptop and left
|
|
0:24:39 – 0:24:47
From the laptop is a large screen, on which live is open. And that's been since it
|
|
0:24:47 – 0:24:53
There is software. And yes, that's the center.
|
|
0:24:53 – 0:25:02
Do you still use all the functions that are now in live?
|
|
0:25:02 – 0:25:10
No. That's … So I'm glad I tested all the features. But …
|
|
0:25:10 – 0:25:20
So now from a technical point of view. But there are things for my
|
|
0:25:20 – 0:25:25
Your own work is not so relevant. Which I also like because it's just now
|
|
0:25:25 – 0:25:31
It simply became a large, complex product, which for many different user layers
|
|
0:25:31 – 0:25:41
something offers and it is clear that someone who records the vocals, for example others
|
|
0:25:41 – 0:25:50
needs or someone to record a band and so on as I do for electronic music
|
|
0:25:50 – 0:25:57
The first step is always to play with sound. That is, I use it differently
|
|
0:25:57 – 0:26:02
Maybe someone else would use it. And that's the beauty of such a
|
|
0:26:02 – 0:26:10
complex and at the same time still open software such as Live, that if you have five people
|
|
0:26:10 – 0:26:14
If you look over your shoulder, five people will do five different things with it.
|
|
0:26:14 – 0:26:20
The beauty of this complexity, which lies dormant under the surface,
|
|
0:26:20 – 0:26:25
Or at least that's how I feel, that's how I feel more and more.
|
|
0:26:25 – 0:26:31
discover from the software and so determine, oh, that goes with it and oh, that goes with it
|
|
0:26:31 – 0:26:37
Just with it. Do I use it more now? So I'm actually with this product
|
|
0:26:37 – 0:26:39
Then again and again on such a small journey of discovery. This is actually
|
|
0:26:39 – 0:26:46
What makes such an instrument so special is that you can almost grow with it yourself.
|
|
0:26:46 – 0:26:53
You can and can't get in the way. We once had the noun there a few episodes ago,
|
|
0:26:53 – 0:27:02
A … came here, so to speak. Wasn't he in Berlin too? It's not anymore, is it?
|
|
0:27:02 – 0:27:09
Wasn't that the result somehow outside in nature somewhere? Dresden?
|
|
0:27:09 – 0:27:15
I know. That may be, yes. He just said that he uses Ableton Live only,
|
|
0:27:15 – 0:27:25
He otherwise makes music with his electron devices and he only records with Ableton Live and then
|
|
0:27:25 – 0:27:32
he does all his video editing and his video effect control he does completely with
|
|
0:27:32 – 0:27:33
Live.
|
|
0:27:33 – 0:27:38
I also found it fascinating to hear how you use it.
|
|
0:27:38 – 0:27:41
That's what this prisoner can and does really do.
|
|
0:27:41 – 0:27:46
I find that shocking because that would be the last thing I would recommend to anyone.
|
|
0:27:46 – 0:27:51
He has such a plugin for it, I forgot what that means, but he has a plugin for it,
|
|
0:27:51 – 0:27:56
This is the case in the third-party market, he somehow got it,
|
|
0:27:56 – 0:27:59
This makes it easier to integrate into live.
|
|
0:27:59 – 0:28:05
And then he can use it to create video effects, which he then applies to the image material,
|
|
0:28:05 – 0:28:10
What he brings to live, changes.
|
|
0:28:10 – 0:28:16
I've seen people do things with Max4Live, because video footage is still relatively harmless against it.
|
|
0:28:16 – 0:28:24
That's true, of course. So thanks to Max4Live, of course we opened a gate to hell,
|
|
0:28:24 – 0:28:29
If you will. Hell is the most exciting place anyway.
|
|
0:28:29 – 0:28:37
And of course, with Max4Live, pretty much anything you can do is possible.
|
|
0:28:37 – 0:28:40
I could imagine.
|
|
0:28:40 – 0:28:46
Want to talk a little bit about Monolake?
|
|
0:28:46 – 0:28:49
Definitely! I just made a new album and that's great.
|
|
0:28:49 – 0:28:54
We have to do this now, as is always the case in such broadcasts,
|
|
0:28:54 – 0:28:59
Now the cover is held in the camera.
|
|
0:28:59 – 0:29:06
We then just tell you, you can listen to it on YouTube and
|
|
0:29:06 – 0:29:10
Buy, of course. We can't say that, we'll get into trouble.
|
|
0:29:10 – 0:29:11
Greetings to Endervision.
|
|
0:29:11 – 0:29:20
Yeah, so we're not advertising here, that's completely neutral. We simply say that the
|
|
0:29:20 – 0:29:27
Monolake from Berlin has made a really quite beguiling new album, which we
|
|
0:29:27 – 0:29:28
Do not recommend a case.
|
|
0:29:28 – 0:29:34
And you don't know him either, do you? Isn't that kind of advertising for you?
|
|
0:29:34 – 0:29:38
That's … to me, so who knows each other?
|
|
0:29:38 – 0:29:39
I fell for it.
|
|
0:29:39 – 0:29:42
Now we can become philosophical.
|
|
0:29:42 – 0:29:44
So I listened to the album and I …
|
|
0:29:44 – 0:29:45
I'm sorry.
|
|
0:29:45 – 0:29:51
I apologize in advance.
|
|
0:29:51 – 0:29:54
Oh, my God.
|
|
0:29:54 – 0:29:57
I knew it was going to be a fun show.
|
|
0:29:57 – 0:30:00
Now I've lost the thread.
|
|
0:30:00 – 0:30:01
What did I want to say?
|
|
0:30:01 – 0:30:02
You listened to the album.
|
|
0:30:02 – 0:30:10
I listened to it and what I noticed was that these are relatively complex arrangements.
|
|
0:30:10 – 0:30:13
Can this still be brought to the stage?
|
|
0:30:13 – 0:30:15
No, I don't want that.
|
|
0:30:15 – 0:30:21
That's why it's called video. Okay, now I understand.
|
|
0:30:21 – 0:30:32
No, of course. So this is the result of complete non-real-time editing and layering
|
|
0:30:32 – 0:30:40
and musical sculpture. Of course you can put it on the stage somehow,
|
|
0:30:40 – 0:30:48
by preparing a lot, but I don't care at all. So I have that too,
|
|
0:30:48 – 0:30:54
What you can find extremely stupid for marketing reasons, me explicitly against it
|
|
0:30:54 – 0:31:01
decided to play it live in some form now, because I'm interested
|
|
0:31:01 – 0:31:02
It's not.
|
|
0:31:02 – 0:31:03
Did you ever do that?
|
|
0:31:03 – 0:31:06
So you come out of this classic "I produce what and then I bring it to the
|
|
0:31:06 – 0:31:07
The stage?
|
|
0:31:07 – 0:31:08
Well, of course.
|
|
0:31:08 – 0:31:13
I mean, this is also extremely important for commercial exploitation.
|
|
0:31:13 – 0:31:21
Only the nice thing is, I've been doing this for 25 years now, this is my tenth album or something, I don't know.
|
|
0:31:21 – 0:31:29
And I have the luxury of being able to do the projects, artistically, that interest me.
|
|
0:31:29 – 0:31:39
And that people just come and think, okay, he's not playing his new hits here now, but he's doing something completely different.
|
|
0:31:39 – 0:31:44
Exactly, and this freedom, I appreciate very much.
|
|
0:31:44 – 0:31:47
Well, it's not like I don't want to play the album.
|
|
0:31:47 – 0:31:53
It's just that you also need a certain pragmatism, even as an artist,
|
|
0:31:53 – 0:31:57
Because the time you have is limited.
|
|
0:31:57 – 0:32:06
And when I do a project that I personally think makes sense,
|
|
0:32:06 – 0:32:15
So a project that stands out a bit in relation to most of what you experience at festivals and so,
|
|
0:32:15 – 0:32:18
Then I put in a lot, a lot of work.
|
|
0:32:18 – 0:32:23
And I would also be interested in doing something in a festival context,
|
|
0:32:23 – 0:32:27
It's very different from what you can see at home.
|
|
0:32:27 – 0:32:31
That is, I would be interested in multi-channel sound,
|
|
0:32:31 – 0:32:33
I would be interested in a visual component.
|
|
0:32:33 – 0:32:41
And if I want to do all this now and then I take music that was explicitly not created live
|
|
0:32:41 – 0:32:47
and which explicitly works in a completely different way, even without image and everything,
|
|
0:32:47 – 0:32:52
And then put something over it, I find that somehow uninteresting.
|
|
0:32:52 – 0:32:57
Then I prefer to use my time to say, now I'm doing something completely new.
|
|
0:32:57 – 0:33:00
This is a concertante work.
|
|
0:33:00 – 0:33:04
And that, in turn, only makes sense if you experience it in concert.
|
|
0:33:04 – 0:33:08
I'm not interested in making a record.
|
|
0:33:08 – 0:33:10
For me, these are just two different things.
|
|
0:33:10 – 0:33:17
Yeah, now I've ripped you off, haven't I?
|
|
0:33:17 – 0:33:18
Now it's quiet.
|
|
0:33:18 – 0:33:23
No, I think you can just leave thoughts in the room without commenting,
|
|
0:33:23 – 0:33:27
Because I just found this very nice, the execution.
|
|
0:33:27 – 0:33:29
You can think about it.
|
|
0:33:29 – 0:33:36
You could now develop the idea in three other directions, but I'll leave the Thomas, who had, I think, another question.
|
|
0:33:36 – 0:33:48
I would have come back to the topic of what you yourself, I hope you wrote the text yourself, which is on your side here.
|
|
0:33:48 – 0:33:50
I don't know if you wrote this.
|
|
0:33:50 – 0:33:54
I write all this. So really every single letter on my side is mine.
|
|
0:33:54 – 0:33:56
It's excellent.
|
|
0:33:56 – 0:34:04
I'm an artistic toolmaker, I'm a toolmaking artist.
|
|
0:34:04 – 0:34:18
This is in itself a self-reference, as I do with computers, i.e. with certain computer names,
|
|
0:34:18 – 0:34:29
Names, such as "Gnu" or other IT terms, can be found here.
|
|
0:34:29 – 0:34:33
Sometimes it's a funny word that comes to mind, so to speak.
|
|
0:34:33 – 0:34:39
referencing. That sounds a bit like this, such a self-referencing,
|
|
0:34:39 – 0:34:45
But you're, I think, that's just that, much better than what's on the Wikipedia page,
|
|
0:34:45 – 0:34:49
That's what describes you, isn't it?
|
|
0:34:49 – 0:34:52
At least that's the attempt.
|
|
0:34:52 – 0:34:56
I find it extremely difficult to talk about art.
|
|
0:34:56 – 0:34:59
So of course I can talk about technology without end,
|
|
0:34:59 – 0:35:03
Technology can be objectified.
|
|
0:35:03 – 0:35:07
And in art you can objectify nothing,
|
|
0:35:07 – 0:35:09
Only in the artisanal aspect.
|
|
0:35:09 – 0:35:11
But the artisanal aspect is not the art.
|
|
0:35:11 – 0:35:13
No, it's technology.
|
|
0:35:13 – 0:35:21
Exactly. And the question of what I do and why I do this and what I want to do with it and so on,
|
|
0:35:21 – 0:35:28
I would like to answer them without being pretentious. 'Cause I'm there a little
|
|
0:35:28 – 0:35:35
Allergic to all these AI-generated texts that always tell you how amazing this is.
|
|
0:35:35 – 0:35:40
Everything is. And I try to throw that back to the things that really interest me.
|
|
0:35:40 – 0:35:46
And there are these two aspects that make me instruments and the manufacture of instruments
|
|
0:35:46 – 0:35:55
I'm interested in the fact that I'm really excited about the craftsmanship in there and
|
|
0:35:55 – 0:36:02
At the same time, however, this craftsmanship aspect inspires me. Inspired by the
|
|
0:36:02 – 0:36:09
Craft out to something I can't put into words anymore. A great instrument,
|
|
0:36:09 – 0:36:20
Whether it's an organ or a piano or just a beautifully carved flute or a drum.
|
|
0:36:20 – 0:36:24
First of all, this is a technical object, if you look at it quite abstractly.
|
|
0:36:24 – 0:36:33
Someone with a technical mind built something and then you take this object and then sounds come out
|
|
0:36:33 – 0:36:35
Suddenly you are in a different sphere.
|
|
0:36:35 – 0:36:40
Suddenly, it is irrelevant that air is now flowing through pipes through valves.
|
|
0:36:40 – 0:36:44
Suddenly it's only interesting that this is now a Cmoll7 chord
|
|
0:36:44 – 0:36:48
That sounds amazing on bass.
|
|
0:36:48 – 0:36:50
And that's the one.
|
|
0:36:50 – 0:36:57
And the other thing, of course, is that as an artist, I work with technology.
|
|
0:36:57 – 0:37:01
and also have the knowledge to understand the interrelationships of technology
|
|
0:37:01 – 0:37:04
Come to a position where I can say,
|
|
0:37:04 – 0:37:06
Oh, that would be nice now,
|
|
0:37:06 – 0:37:10
If the instrument could do this or that.
|
|
0:37:10 – 0:37:15
And there I am in this somewhat double-edged situation,
|
|
0:37:15 – 0:37:16
That I can do that.
|
|
0:37:16 – 0:37:18
Sometimes I would rather,
|
|
0:37:18 – 0:37:20
I have no idea about technology at all.
|
|
0:37:20 – 0:37:23
and could sit in the studio as an art director,
|
|
0:37:23 – 0:37:25
on the sofa and say,
|
|
0:37:25 – 0:37:30
I think we need something like 80s baseline down here.
|
|
0:37:30 – 0:37:31
Why don't you do it?
|
|
0:37:31 – 0:37:36
And instead, I think this bass sound sounds interesting.
|
|
0:37:36 – 0:37:39
I'll see if I can build an instrument that does that.
|
|
0:37:39 – 0:37:45
But I spend a lot of time building instruments.
|
|
0:37:45 – 0:37:49
For myself, for me all alone, but also, of course, at Ableton.
|
|
0:37:49 – 0:37:53
But at the end of the day, that doesn't bother me, because I also see it as part of my art.
|
|
0:37:53 – 0:38:07
A few years ago you had an installation in which you had five Commodore CBM 8032 computers,
|
|
0:38:07 – 0:38:15
These are very old 8-bit computers with a green monitor, very little RAM, have used.
|
|
0:38:15 – 0:38:20
Were they just for visualization or did they also control the sound generators?
|
|
0:38:20 – 0:38:24
No, no, no, no, no, no, no. So where do we start?
|
|
0:38:24 – 0:38:32
CBM 8032 AV is a concert project with which I toure around the world, i.e. in Europe.
|
|
0:38:32 – 0:38:33
Still?
|
|
0:38:33 – 0:38:34
Still, yes.
|
|
0:38:34 – 0:38:35
Oh, well, okay.
|
|
0:38:35 – 0:38:46
And that's five computers. One works as a sequencer, controlling the other four.
|
|
0:38:46 – 0:38:50
One makes graphics and three makes sound.
|
|
0:38:50 – 0:38:51
Okay.
|
|
0:38:51 – 0:38:59
And yes, the whole thing is a relatively complex project, which took several years to realize.
|
|
0:38:59 – 0:39:07
And what I think is by far the best thing I've ever done in my career.
|
|
0:39:07 – 0:39:08
Wow.
|
|
0:39:08 – 0:39:15
So the videos I watched were very exciting and I would love to see them live.
|
|
0:39:15 – 0:39:17
So when you say you're going to be …
|
|
0:39:17 – 0:39:19
Älpfilharmonie, yes, Älpfilharmonie am …
|
|
0:39:19 – 0:39:22
I don't know, someday, soon.
|
|
0:39:22 – 0:39:24
Yes, horny, I'll write down right away.
|
|
0:39:24 – 0:39:28
In February I am in the Älpfilharmonie, on the 7th.
|
|
0:39:28 – 0:39:29
You're horny.
|
|
0:39:29 – 0:39:30
Yes, yes.
|
|
0:39:30 – 0:39:31
It's notated.
|
|
0:39:31 – 0:39:34
I remember watching TV reports about it.
|
|
0:39:34 – 0:39:36
That was already on TV.
|
|
0:39:36 – 0:39:38
Yeah, that was on Arte.
|
|
0:39:38 – 0:39:41
I don't have a …, I don't watch TV.
|
|
0:39:41 – 0:39:42
Neither do I.
|
|
0:39:42 – 0:39:44
We have a library, hello?
|
|
0:39:44 – 0:39:46
I don't watch the media.
|
|
0:39:46 – 0:39:48
But so far, we're all about fees.
|
|
0:39:48 – 0:39:50
I'm sorry.
|
|
0:39:50 – 0:39:52
Yes, we all have to.
|
|
0:39:52 – 0:39:54
Except for the Swiss.
|
|
0:39:54 – 0:39:56
We also have round of fees.
|
|
0:39:56 – 0:39:58
You're arguing about how much
|
|
0:39:58 – 0:40:00
they want to lower and have two competing
|
|
0:40:00 – 0:40:02
votes and a Federal Council,
|
|
0:40:02 – 0:40:04
He torpedoes everything.
|
|
0:40:04 – 0:40:06
This is on a level
|
|
0:40:06 – 0:40:08
The European Mind Cannot Understand That
|
|
0:40:08 – 0:40:10
The European Mind Cannot Understand That
|
|
0:40:10 – 0:40:12
As I would say on Reddit.
|
|
0:40:12 – 0:40:19
CBM 2032 AV, when was that?
|
|
0:40:19 – 0:40:22
8032, February 7th.
|
|
0:40:22 – 0:40:23
7 February.
|
|
0:40:23 – 0:40:25
We have to do this now with such a radiophonic voice.
|
|
0:40:25 – 0:40:35
Yes, and on February 7, 2025, we will be showing CBM 8032 AV at the Elbphilharmonie in Hamburg.
|
|
0:40:35 – 0:40:38
Great, let's do it, let's get there.
|
|
0:40:38 – 0:40:44
I think that was even a TV report back then on the "TRACKS" show on ART.
|
|
0:40:44 – 0:40:45
It can be, yes.
|
|
0:40:45 – 0:40:49
I think that's the first time I've seen this and I found it extremely fascinating.
|
|
0:40:49 – 0:40:50
Me too.
|
|
0:40:50 – 0:40:57
Boah, to program these old computers alone, you certainly don't have them
|
|
0:40:57 – 0:40:58
programmed in BASIC.
|
|
0:40:58 – 0:40:59
No, assembler.
|
|
0:40:59 – 0:41:02
I program it all in Assembler.
|
|
0:41:02 – 0:41:03
And that's …, of course.
|
|
0:41:03 – 0:41:05
Oh, assembler, nice.
|
|
0:41:05 – 0:41:07
That's really hardcore.
|
|
0:41:07 – 0:41:11
There is no multiplication, I have to pack everything in three registers and so on.
|
|
0:41:11 – 0:41:17
So for the people who now only understand station, that's the way
|
|
0:41:17 – 0:41:22
How to program computers in the 1950s. That's the only way fast enough.
|
|
0:41:22 – 0:41:29
Get it and be efficient enough to do complex things with these very, very simple computers.
|
|
0:41:29 – 0:41:33
This is a way of thinking that you have to acquire if you want to do this,
|
|
0:41:33 – 0:41:41
He has something very meditative. And what I find exciting about it is to now have some sound
|
|
0:41:41 – 0:41:47
to create, so for example, I want a snare, then I have to think, how can I
|
|
0:41:47 – 0:41:53
with these extremely limited resources, create a sound that works like a snare. This
|
|
0:41:53 – 0:42:00
In other words, I have to think in, what is a snare on a very abstract level? I have to
|
|
0:42:00 – 0:42:06
Thinking in, how can I make this abstract model of a snare with a few lines
|
|
0:42:06 – 0:42:13
Realize program code. And when it's done, then I have a snare and this
|
|
0:42:13 – 0:42:18
A snare is the result of a week of work. And this will make this
|
|
0:42:18 – 0:42:25
a sound, that half second or what that is, extremely valuable. And that leads to,
|
|
0:42:25 – 0:42:28
that of course you work with this sound quite differently and exhibit it quite differently and
|
|
0:42:28 – 0:42:34
Exposed as if you just opened up an archive and there from 50,000 snare samples
|
|
0:42:34 – 0:42:35
Choosing one.
|
|
0:42:35 – 0:42:43
So that changes the, the difficult process of creation, changes one's own attitude.
|
|
0:42:43 – 0:42:44
Exactly.
|
|
0:42:44 – 0:42:52
Above all, you have to think about everything else, about storage management.
|
|
0:42:52 – 0:42:55
Network and everything.
|
|
0:42:55 – 0:42:56
That's right.
|
|
0:42:56 – 0:43:03
I'm interested in that technically. How did you solve that, that you have a control there?
|
|
0:43:03 – 0:43:07
From one computer to the other, could you sequence them?
|
|
0:43:07 – 0:43:16
These machines have a parallel output at the back called Userport, which then also later
|
|
0:43:16 – 0:43:23
The Commodore C64 came out three years later.
|
|
0:43:23 – 0:43:30
And above this userboard, these computers are all connected in parallel. We have anyway
|
|
0:43:30 – 0:43:34
Lots of hardware built around it. We have a kind of our own
|
|
0:43:34 – 0:43:39
Network hardware developed. An audio real-time network hardware,
|
|
0:43:39 – 0:43:45
It's basically a bit of a midi-like thing, but it's a bit easier.
|
|
0:43:45 – 0:43:54
And the interesting thing about it is that on the one hand this is of course really Stone Age and on the other hand
|
|
0:43:54 – 0:43:59
But if it is because the protocol is so simple, the timing is incredibly good.
|
|
0:43:59 – 0:44:06
So this is all much tighter and much more to the point than it was later with MIDI.
|
|
0:44:06 – 0:44:13
Well, if you're programming with assembler, then you know how many clock cycles your CPU is doing.
|
|
0:44:13 – 0:44:15
I have … on my background
|
|
0:44:15 – 0:44:16
Or consumed.
|
|
0:44:16 – 0:44:20
That's really …, so I can partially memorize it.
|
|
0:44:20 – 0:44:23
So "Add with Carry" needs two cycles,
|
|
0:44:23 – 0:44:28
"Storage access" indirectly takes four cycles and one cycle more.
|
|
0:44:28 – 0:44:33
In the case of page rebooking, indirect addressing, absolute, takes five cycles.
|
|
0:44:33 – 0:44:37
Sure, that's what … is all about.
|
|
0:44:37 – 0:44:40
counting cycles with paper and pencil to calculate,
|
|
0:44:40 – 0:44:45
Calculate how long it will take to finish a waveform.
|
|
0:44:45 – 0:44:51
You didn't program in the C64 Demoscene earlier, did you?
|
|
0:44:51 – 0:44:56
No, I had at school – there is, of course, a historical reference – I had at the
|
|
0:44:56 – 0:45:03
School a pretty good physics teacher and he has the predecessor model of the computer,
|
|
0:45:03 – 0:45:05
which I use … Den PET?
|
|
0:45:05 – 0:45:11
No, in between. There is a PET and then there was the CBM 4016, exactly, the 4000 series.
|
|
0:45:11 – 0:45:15
And of that we had two pieces in a basement standing at school.
|
|
0:45:15 – 0:45:21
And I often programmed graphics with the boxes until late at night,
|
|
0:45:21 – 0:45:25
Because I was so fascinated by this green screen and what you can do with it.
|
|
0:45:25 – 0:45:26
Madness, yes.
|
|
0:45:26 – 0:45:32
And in 2016 I somehow had this spontaneous inspiration of,
|
|
0:45:32 – 0:45:38
Oh, I could actually see if I can't find such an old computer on eBay and do something nice with it.
|
|
0:45:38 – 0:45:41
And that was the beginning of the project.
|
|
0:45:41 – 0:45:44
Yes, madness.
|
|
0:45:44 – 0:45:51
So, as is often the case, you don't start with anything new and say this is going to be the best thing I've ever done.
|
|
0:45:51 – 0:45:56
But I thought to myself, now look at what's going on.
|
|
0:45:56 – 0:46:03
And then I realized relatively quickly, I have to do assembler, so that something works at all.
|
|
0:46:03 – 0:46:11
And I had such an aha-experience where I wrote a routine that made such a screen-scrolling,
|
|
0:46:11 – 0:46:14
where I scrolled a part of the screen and didn't scroll another part,
|
|
0:46:14 – 0:46:19
and in between randomly painted any graphic symbols and then scrolled again.
|
|
0:46:19 – 0:46:28
And the whole thing just immediately had something very contemporary in a strange way.
|
|
0:46:28 – 0:46:34
And that fascinated me that I could achieve an aesthetic that in some form
|
|
0:46:34 – 0:46:39
It really is the 21st century.
|
|
0:46:39 – 0:46:43
And then I realized that I wanted to do something with it.
|
|
0:46:43 – 0:46:45
The sound was very similar.
|
|
0:46:45 – 0:46:51
Start the idea that I use the computer only as a control unit for any modular
|
|
0:46:51 – 0:46:52
Synthesizer.
|
|
0:46:52 – 0:46:58
And the more I dealt with it, the more I realized, no, that which
|
|
0:46:58 – 0:47:02
This project needs, is actually, that I also the sound generation in the computer itself
|
|
0:47:02 – 0:47:03
Do it.
|
|
0:47:03 – 0:47:04
And well.
|
|
0:47:04 – 0:47:11
To put that in a nutshell again, these Commodore calculators, this series, this
|
|
0:47:11 – 0:47:17
8000 series, which have, as far as I know, no sound chip, the somehow FM synthesis or otherwise
|
|
0:47:17 – 0:47:22
offer something. This thing can only beep. It only has a small piezo speaker.
|
|
0:47:22 – 0:47:28
He can beep. You really can't do much with that. But there's such a thing inside
|
|
0:47:28 – 0:47:38
very well documented connectors for expansion boards. And it is relatively obvious,
|
|
0:47:38 – 0:47:45
then simply install an 8-bit digital-to-analog converter there. This was done at the end of the 1970s.
|
|
0:47:45 – 0:47:50
made. So there's nothing, all I'm doing is nothing new. What is new is
|
|
0:47:50 – 0:47:55
stop linking these five computers to a one-hour stage performance
|
|
0:47:55 – 0:48:00
long green graphics and abstract sounds. So new is the art with it, but the technical
|
|
0:48:00 – 0:48:05
The background is not really new. I like your modesty. You have here
|
|
0:48:05 – 0:48:10
Virtually reverse engineering. Remind me a little bit of Rolf Wörmann,
|
|
0:48:10 – 0:48:16
who told us in the interview how he programmed the Microwave 1 plugin,
|
|
0:48:16 – 0:48:24
where he really went down to electronic component communication,
|
|
0:48:24 – 0:48:31
to reprogram it in the computer. He's just as much advertising and enthusiasm.
|
|
0:48:31 – 0:48:39
I've been there. While there were no more plans. And no one knew how they programmed the CPU.
|
|
0:48:39 – 0:48:51
Yeah, and I see that in you too. And that, yeah, horny. Well, you, I think you know, if you're very busy with things,
|
|
0:48:51 – 0:48:59
At some point, the point comes where you realize, firstly, how incredibly little you know and
|
|
0:48:59 – 0:49:01
Second, how incredibly much others know.
|
|
0:49:01 – 0:49:09
In other words, I have also found all the papers and articles that have already been published.
|
|
0:49:09 – 0:49:14
It was written in the mid-1970s on the subject of electronic sound propagation.
|
|
0:49:14 – 0:49:19
I mean, the people who built the Fairlight in the late '70s, of course, they did.
|
|
0:49:19 – 0:49:21
Read the 1975 papers.
|
|
0:49:21 – 0:49:25
They read the Hall Chamberlain, who wrote the standard work like this, Mitte
|
|
0:49:25 – 0:49:28
of the 70s, on the subject of electronic sound synthesis with computers.
|
|
0:49:28 – 0:49:36
And there is everything in it that I have now discovered for myself. And then you read this,
|
|
0:49:36 – 0:49:44
75, that is, five and fifty years later, that is, about 50 years later, you then read,
|
|
0:49:44 – 0:49:51
50 years ago, everything I've come up with was made by someone with a lot more precision.
|
|
0:49:51 – 0:49:58
It has a mathematical background. There is a certain modesty
|
|
0:49:58 – 0:50:02
Not because other people have done different things.
|
|
0:50:02 – 0:50:11
Is this a recognition of age? I'll be 30 in four days and I've got you
|
|
0:50:11 – 0:50:18
Get to know with this YouTube video where you introduce the monodeck, this stage controller,
|
|
0:50:18 – 0:50:23
Totally futuristic part. You kind of think this guy's thinking 50 years in the future,
|
|
0:50:23 – 0:50:29
isn't it? And now we are somehow 20 years further and suddenly the man works in the
|
|
0:50:29 – 0:50:34
The past with the past and also discovers the love for such things. So you can tell
|
|
0:50:34 – 0:50:39
Now out of your stories, this fascination, but also this, I don't know,
|
|
0:50:39 – 0:50:43
Awesome is perhaps the wrong term, but still this amazement.
|
|
0:50:43 – 0:50:45
respect. Yes, the amazement, exactly.
|
|
0:50:45 – 0:50:52
Yes, so the amazement is quite obvious. So if I let my gaze wander here and
|
|
0:50:52 – 0:51:00
Look at the technology that stands here, the level of intelligence that exists in this little
|
|
0:51:00 – 0:51:07
Zimmerchen went up here. So when I think about how many of the most brilliant minds,
|
|
0:51:07 – 0:51:15
who have thus produced computer programming and electronics, perpetuated themselves in these
|
|
0:51:15 – 0:51:21
12 square meters here. I find it all unbelievable. And when I think of schematics
|
|
0:51:21 – 0:51:27
Look at these old machines and see with what minimal means there is maximum
|
|
0:51:27 – 0:51:34
Successes have been achieved. It has something to do with age. So, because you suddenly realize,
|
|
0:51:34 – 0:51:40
Okay, they were in their early 20s when they did that, and I'm more than twice as old now.
|
|
0:51:40 – 0:51:46
And I'm just able to understand what they did. But the idea,
|
|
0:51:46 – 0:51:50
that they did it themselves 50 years ago or 40 years ago,
|
|
0:51:50 – 0:51:54
At the time when they were almost fresh out of school.
|
|
0:51:54 – 0:51:56
It doesn't stop there that you have respect.
|
|
0:51:56 – 0:51:58
Yeah, but they had nothing else.
|
|
0:51:58 – 0:52:01
Of course, they had no distraction.
|
|
0:52:01 – 0:52:03
So you can think about it again.
|
|
0:52:03 – 0:52:07
Stormed, there was no X.
|
|
0:52:07 – 0:52:11
This may give an interesting arc,
|
|
0:52:11 – 0:52:14
Because you mentioned that I also taught at Stanford.
|
|
0:52:14 – 0:52:21
I have this comparison between students here in Berlin and students at Stanford.
|
|
0:52:21 – 0:52:24
The problem with Berlin is clear.
|
|
0:52:24 – 0:52:34
If you run here in your early twenties, you're so bombarded with people, with parties, with drugs,
|
|
0:52:34 – 0:52:41
living out your sexual preferences, with culture in every way imaginable.
|
|
0:52:41 – 0:52:44
Then there's the ….
|
|
0:52:44 – 0:52:46
Finding leisure and time?
|
|
0:52:46 – 0:52:47
The focus.
|
|
0:52:47 – 0:52:53
To have the focus on saying yes, I'm studying my stuff now and I'm reading my texts and
|
|
0:52:53 – 0:52:57
I do my studies and what do I know is extremely difficult.
|
|
0:52:57 – 0:53:04
While Stanford is in Palo Alto, you've got the university.
|
|
0:53:04 – 0:53:09
Otherwise, you have to stop at least 30 minutes in the car or 45 minutes by train to San Francisco
|
|
0:53:09 – 0:53:18
drive in. This means, however, that you first have the university campus as a basic condition and there your
|
|
0:53:18 – 0:53:26
other students and the library and the computer room and that's it.
|
|
0:53:26 – 0:53:32
at Stanford all extraordinarily focused and my students in Berlin in case of doubt rather
|
|
0:53:32 – 0:53:39
Extremely unfocused. This does not mean, of course, that it is not also from Berlin students
|
|
0:53:39 – 0:53:45
There are those who have become great. But the number of people I've met,
|
|
0:53:45 – 0:53:52
It's been almost twelve years since I was twelve years old.
|
|
0:53:52 – 0:54:00
Stanford, that's another number. So there are people out there who have made a lot of progress.
|
|
0:54:00 – 0:54:07
are. But if you were to go back now, I think it would be different at Stanford now.
|
|
0:54:07 – 0:54:13
Because everyone's looking at these weird little rectangular glass panes.
|
|
0:54:13 – 0:54:19
Surely, yes. I also plan to go back again. I really miss it.
|
|
0:54:19 – 0:54:25
This is one of the problems of people like me. I am interested in too many things.
|
|
0:54:25 – 0:54:34
I have always enjoyed teaching very, very much. The problem is only,
|
|
0:54:34 – 0:54:40
If you teach art, then you have to deal with the students and then you have to
|
|
0:54:40 – 0:54:44
You look at their projects and then you have to think. You can't go to a lecture
|
|
0:54:44 – 0:54:51
Go in and rattle down the script and then go home. That doesn't work. And I
|
|
0:54:51 – 0:54:56
During my professorship at the UdK here in Berlin, I simply noticed that I either
|
|
0:54:56 – 0:55:02
really get into it, then I deal with the topics of the students but also on the day
|
|
0:55:02 – 0:55:08
The day before my lectures and two days after. Or I don't get into it,
|
|
0:55:08 – 0:55:14
But then why do I do the job? And that's why I stopped it again.
|
|
0:55:14 – 0:55:20
So I did this for four years and then decided that I was either really
|
|
0:55:20 – 0:55:26
have a university career and then it is my life's content to be at university and to be a
|
|
0:55:26 – 0:55:31
To introduce new generation of people to art, or I don't. But everything
|
|
0:55:31 – 0:55:39
In between, I found something half-baked. I mean, that's also an investment,
|
|
0:55:39 – 0:55:43
Especially if you can afford not to do it. That is still the point. So
|
|
0:55:43 – 0:55:48
Sometimes I get the feeling that people end up in college because they have to.
|
|
0:55:48 – 0:55:55
And not because it's their calling and because they want to do it. That's what you have in all
|
|
0:55:55 – 0:56:03
Whether that's a doctor, an IT technician or the bread vendor.
|
|
0:56:03 – 0:56:09
That's what you said at the beginning, Robert. You are successful when you do something.
|
|
0:56:09 – 0:56:15
How did you put it? I don't know anymore, but with love or with heart blood.
|
|
0:56:15 – 0:56:19
With heart blood, exactly. But I can really understand the aspect of being
|
|
0:56:19 – 0:56:25
You have to get involved in the projects of the students, because art is something very subjective. It is
|
|
0:56:25 – 0:56:33
not quantifiable like something technical or something, but that's feeling and sensory impressions
|
|
0:56:33 – 0:56:40
And that can be very subjective. One finds it beautiful, the other finds it grossly ugly.
|
|
0:56:40 – 0:56:47
Yes, and above all, of course, art as a personal expression. So the only thing,
|
|
0:56:47 – 0:56:54
What distinguishes man-made art from machine-made art
|
|
0:56:54 – 0:57:00
One of the things that we all have in common is personal expression.
|
|
0:57:00 – 0:57:08
Because everything else in any quality can make the machine. The machine can also
|
|
0:57:08 – 0:57:13
Monoelectric, no problem. And they'll sound the same as someone saying,
|
|
0:57:13 – 0:57:16
These are monoelectrics. Yeah, if I train them with it?
|
|
0:57:16 – 0:57:24
Yeah, that's right. So that's going to happen. The question is, why do I work as an artist?
|
|
0:57:24 – 0:57:29
As an artist, is it still art? And the only relevant answer to that,
|
|
0:57:29 – 0:57:38
From my point of view, it is because I personally feel a need to express myself. And this
|
|
0:57:38 – 0:57:45
That is, the only quality criterion I can apply to it is that I am
|
|
0:57:45 – 0:57:47
Personally satisfied with the result?
|
|
0:57:47 – 0:57:54
I feel like the result represents what I am as an artist.
|
|
0:57:54 – 0:57:55
Have to say?
|
|
0:57:55 – 0:57:58
This is the only quality criterion.
|
|
0:57:58 – 0:58:04
And that again means that when I talk to students about art,
|
|
0:58:04 – 0:58:06
Of course, I can talk about techniques.
|
|
0:58:06 – 0:58:13
I can talk about philosophical issues. But ultimately, the core issue is
|
|
0:58:13 – 0:58:21
Always, why are you doing what you're doing right now? What does that do to you? Do it with you,
|
|
0:58:21 – 0:58:24
What do you want to do? Do you feel like you're doing the right thing? Do you have the feeling,
|
|
0:58:24 – 0:58:34
Are you making a statement with what you are doing that is relevant to yourself? And with
|
|
0:58:34 – 0:58:42
Of course, such questions are always very close to the personalities and also
|
|
0:58:42 – 0:58:53
Of course, all the drama, life, complexities that make up a girl. And you can stop
|
|
0:58:53 – 0:58:58
Don't talk in a 10-minute conversation. So, yeah, nice work, so that's a bit
|
|
0:58:58 – 0:59:05
Too green here and I would rather have it in D major. But otherwise it's quite good. Next one.
|
|
0:59:05 – 0:59:12
That doesn't work. But I also believe that there is a second component,
|
|
0:59:12 – 0:59:16
You said yes, after all, you do it as an expression of yourself. But I believe
|
|
0:59:16 – 0:59:20
Also, that just in the whole AI discussion something that I have the impression, I work
|
|
0:59:20 – 0:59:25
with young people, professionally is such a partial aspect and I have the impression that
|
|
0:59:25 – 0:59:31
They are confronted with machine art, i.e. with technically generated ones. But for them it is
|
|
0:59:31 – 0:59:35
It's probably even more important than it is for my generation.
|
|
0:59:35 – 0:59:39
that there is a person behind it, on the one hand they can project something,
|
|
0:59:39 – 0:59:43
But there is also an expression. Because a machine thinks nothing of it,
|
|
0:59:43 – 0:59:46
She has no derivation, she just makes out of the food you throw in, she does something,
|
|
0:59:46 – 0:59:51
That's great for functional music, but that's not art. And that also makes you desolate.
|
|
0:59:51 – 0:59:55
Someday as a listener. Absolutely. If you want to think about it,
|
|
0:59:55 – 1:00:05
Where this comes from. Yes, what you mean, that with feeling and all that, that's expression. And this
|
|
1:00:05 – 1:00:11
It comes from the emotional level. There's a soul behind it. That's exactly the point. And
|
|
1:00:11 – 1:00:17
I was sure. And what I also find very important is in machine-generated art,
|
|
1:00:17 – 1:00:21
There is no evolution. I can't evolve.
|
|
1:00:21 – 1:00:24
At least not without people.
|
|
1:00:24 – 1:00:32
I'm sorry to fall for the word. Although I can optimize the prompts more and more,
|
|
1:00:32 – 1:00:36
At the end of the day, the machine does not evolve.
|
|
1:00:36 – 1:00:41
There is no external impulse. Art comes from life. I think
|
|
1:00:41 – 1:00:45
Sven Regen once said that art is there for man to reconcile with his existence.
|
|
1:00:45 – 1:00:49
Of course, that's a phrase, probably not from him, but that's exactly the point.
|
|
1:00:49 – 1:00:56
Why should I watch a machine as it has existing elements that it can't do anything with?
|
|
1:00:56 – 1:00:59
Arranged in series and links?
|
|
1:00:59 – 1:01:03
Yes, exactly, just recombined, while I could have a human next to it,
|
|
1:01:03 – 1:01:08
He's kind of throwing his own shitty life on the paper, if I put it that way.
|
|
1:01:08 – 1:01:13
Yes, but the moment man interacts with this machine,
|
|
1:01:13 – 1:01:15
It will be exciting again.
|
|
1:01:15 – 1:01:17
Of course we have immediately. Exactly.
|
|
1:01:17 – 1:01:23
That's exactly why I'm not necessarily worried about art either.
|
|
1:01:23 – 1:01:28
Art is the last place …
|
|
1:01:28 – 1:01:32
The machine can take over.
|
|
1:01:32 – 1:01:36
Exactly. So where she can attack the core.
|
|
1:01:36 – 1:01:39
For everything else, I worry a lot more.
|
|
1:01:41 – 1:01:45
Because it's about the right to exist, so to speak.
|
|
1:01:45 – 1:01:50
Exactly. The machine can write better texts than the average copywriter.
|
|
1:01:50 – 1:01:57
The machine can compose better, stupid advertising music for an automobile advertisement.
|
|
1:01:57 – 1:02:03
The machine can probably make better diagnoses than an average doctor.
|
|
1:02:03 – 1:02:06
Well, that's all foreseeable.
|
|
1:02:06 – 1:02:09
But she can't express it.
|
|
1:02:09 – 1:02:13
Yeah, so I'm indecisive, but I'm not a …, of course.
|
|
1:02:13 – 1:02:17
Here I speak again as a very uninformed amateur.
|
|
1:02:17 – 1:02:19
We're all here.
|
|
1:02:19 – 1:02:21
Yes, of course, but it's also important.
|
|
1:02:21 – 1:02:27
I already find it in this strange lateral thinker-Trump world
|
|
1:02:27 – 1:02:31
I think it is extremely important that you develop a feeling for it,
|
|
1:02:31 – 1:02:35
On which topics you can have a well-founded opinion
|
|
1:02:35 – 1:02:43
and on which topics a basic technical, historical, social knowledge is missing,
|
|
1:02:43 – 1:02:51
To really make a meaningful statement.
|
|
1:02:51 – 1:02:54
You have to know the basis on which you are making the statement.
|
|
1:02:54 – 1:03:02
Exactly. And the more socially relevant or the hotter a topic is discussed,
|
|
1:03:02 – 1:03:08
I think it's all the more important to make it clear where the limits are.
|
|
1:03:08 – 1:03:09
What you know.
|
|
1:03:09 – 1:03:15
Of course, we immediately have this topic of all this hostility to science.
|
|
1:03:15 – 1:03:21
So the people who believe that an aluminum hat helps against G5 radiation.
|
|
1:03:21 – 1:03:25
Therefore, if there is an earth now, it works quite well.
|
|
1:03:25 – 1:03:26
Yeah, sure.
|
|
1:03:26 – 1:03:29
But I don't always want to walk around with an earth.
|
|
1:03:29 – 1:03:32
No, so you're walking on earth.
|
|
1:03:32 – 1:03:33
Yes, yes.
|
|
1:03:33 – 1:03:40
But of course this helps extremely, so since we also talk about music, so
|
|
1:03:40 – 1:03:47
Rose quartz crystals, amplifiers that make immense an improvement in sound quality.
|
|
1:03:47 – 1:03:50
But we take the smoky quartz, then the whole sound gets a bit too dark.
|
|
1:03:50 – 1:03:54
No, you have to take rose quartz, you can also buy it from me, such a small
|
|
1:03:54 – 1:04:03
It costs almost 8000 euros, but really the sound improvement is dramatic.
|
|
1:04:03 – 1:04:07
Does it allow the electrons to rotate even further?
|
|
1:04:07 – 1:04:09
Yes, yes.
|
|
1:04:09 – 1:04:11
Are the electrons flowing faster?
|
|
1:04:11 – 1:04:16
Yes, no, that's all, it's related to the microdynamics in the waveguides.
|
|
1:04:16 – 1:04:20
Free energy, people, free energy for the polyboot.
|
|
1:04:20 – 1:04:21
Yeah, I knew.
|
|
1:04:21 – 1:04:23
Yeah, right, the free energy, yeah, sure.
|
|
1:04:23 – 1:04:27
This brings me to my last question, Robert.
|
|
1:04:27 – 1:04:31
Is this the next thing you're going to do? Rose quartz seller?
|
|
1:04:31 – 1:04:33
Or where was that?
|
|
1:04:33 – 1:04:42
You, me, 50% The audiofiele Ethernet cable market comes from me.
|
|
1:04:42 – 1:04:45
Audiofiele Ethernet cable?
|
|
1:04:45 – 1:04:53
My wealth, i.e. my yacht on Lake Garda, is financed by audiophile Ethernet cables.
|
|
1:04:53 – 1:05:01
So I would pack the rose quartz in an evacuated tube, because then
|
|
1:05:01 – 1:05:07
the resonance is even higher and you could probably beat it again 2-3K
|
|
1:05:07 – 1:05:08
at the price.
|
|
1:05:08 – 1:05:09
But not in every tube, huh?
|
|
1:05:09 – 1:05:15
No, that's the problem, I still have to bring an innovation every year,
|
|
1:05:15 – 1:05:19
So that I can sell something to the customers I've already sold.
|
|
1:05:19 – 1:05:25
I believe in the Technical University of Dortmund, all heads are exploding.
|
|
1:05:25 – 1:05:29
That's not too bad, because I have a replacement here.
|
|
1:05:29 – 1:05:33
[Laughter]
|
|
1:05:33 – 1:05:43
So I'm happy to sink knee-deep into esotericism because it's always funny.
|
|
1:05:43 – 1:05:47
But where does it take you next?
|
|
1:05:47 – 1:05:52
Yes, 7.2. I have noted, let's go.
|
|
1:05:52 – 1:05:56
You can see, I still get tickets, they are usually sold out in the Elphi.
|
|
1:05:56 – 1:05:59
Six months ago, maybe I'm lucky.
|
|
1:05:59 – 1:06:03
So I'm kind of going in for emergency smuggling, aren't I?
|
|
1:06:03 – 1:06:05
I'll write to you.
|
|
1:06:05 – 1:06:07
I'll smuggle you in.
|
|
1:06:07 – 1:06:11
Yeah, go on.
|
|
1:06:11 – 1:06:21
Well, I'm a little bit more involved with Ableton than I'd like in terms of time.
|
|
1:06:21 – 1:06:28
And that won't change in the foreseeable future either, because too many interesting things are happening,
|
|
1:06:28 – 1:06:36
where I have such a mixture of sense of responsibility and fun and that just takes time.
|
|
1:06:36 – 1:06:42
I have the hope that I will actually get a big, new, concertante work done.
|
|
1:06:42 – 1:06:48
I originally wanted to do this this autumn, but autumn is almost over and I haven't even started yet.
|
|
1:06:48 – 1:06:50
That means it's more likely next year.
|
|
1:06:50 – 1:06:58
And I would really like to make a record again, because I still have so many ideas.
|
|
1:06:58 – 1:07:04
So there is no lack of ideas.
|
|
1:07:04 – 1:07:13
When Robert is not on the road for Ableton or working on one of his numerous projects,
|
|
1:07:13 – 1:07:18
What does he do to relax? Feet up, TV on?
|
|
1:07:18 – 1:07:20
I haven't had a TV in 30 years.
|
|
1:07:20 – 1:07:23
Very good, neither do I.
|
|
1:07:23 – 1:07:33
I'm doing something weird. There's such bound paper with such weird glyphs on it.
|
|
1:07:33 – 1:07:40
And this can be felt from the top left to the bottom right in parts.
|
|
1:07:40 – 1:07:42
I still remember it dark.
|
|
1:07:42 – 1:07:47
And it's called a book. And I have a lot of different ones.
|
|
1:07:47 – 1:07:52
And I also have a dealer around the corner who can supply me with something like that.
|
|
1:07:52 – 1:07:58
I heard there should be a little more in Berlin, as antiquarian as well.
|
|
1:07:58 – 1:08:05
No, so I, actually, when I'm not busy with computers,
|
|
1:08:05 – 1:08:10
I'm very happy that I don't look at the screen, but actually on paper.
|
|
1:08:10 – 1:08:15
And that's my relaxation.
|
|
1:08:15 – 1:08:17
Do you have the same problem as me?
|
|
1:08:17 – 1:08:21
If I take a book, I can't read the Glüphen anymore.
|
|
1:08:21 – 1:08:23
I have two glasses.
|
|
1:08:23 – 1:08:29
So I have normal glasses for anything more distant than half a meter.
|
|
1:08:29 – 1:08:31
I have laser glasses.
|
|
1:08:31 – 1:08:33
And then, yes, it is.
|
|
1:08:33 – 1:08:37
I use Franellinsen.
|
|
1:08:37 – 1:08:42
That's something I miss a bit about the design of many synthesizers.
|
|
1:08:42 – 1:08:47
I have the feeling that with some devices, so controllers, this also affects
|
|
1:08:47 – 1:08:48
The displays are getting smaller.
|
|
1:08:48 – 1:08:52
They already have less than stamp size.
|
|
1:08:52 – 1:08:53
I know, I know.
|
|
1:08:53 – 1:08:54
That's the problem.
|
|
1:08:54 – 1:09:01
The stuff is developed from the beginning of 20 years and for them this is no problem if a
|
|
1:09:01 – 1:09:03
Letter is somehow 1.2 millimeters high.
|
|
1:09:03 – 1:09:05
We'll get to our age first.
|
|
1:09:05 – 1:09:06
Yes, exactly.
|
|
1:09:06 – 1:09:07
That's how it is.
|
|
1:09:07 – 1:09:08
That's how it is.
|
|
1:09:08 – 1:09:11
That would also be a product for you.
|
|
1:09:11 – 1:09:15
So Fresnel lenses with such a stand.
|
|
1:09:15 – 1:09:16
Fresnel lenses.
|
|
1:09:16 – 1:09:20
On a stand that you can put on the display.
|
|
1:09:20 – 1:09:21
You mean Brazil-like?
|
|
1:09:21 – 1:09:22
Yes, so exactly, Brazil-like.
|
|
1:09:22 – 1:09:23
Yeah, yeah, of course.
|
|
1:09:23 – 1:09:25
I spoke in Rosenquartz.
|
|
1:09:25 – 1:09:26
Yes, yes.
|
|
1:09:26 – 1:09:30
If you can also grind a rock crystal, you can also use it as a magnifying glass.
|
|
1:09:30 – 1:09:35
Yes, so that would be more for the Swiss, who would then develop such a precision lens.
|
|
1:09:35 – 1:09:36
Yeah?
|
|
1:09:36 – 1:09:38
Tobi, do it.
|
|
1:09:38 – 1:09:43
I can't speak for it. I'm sitting here in Basel. This is the unloved German.
|
|
1:09:43 – 1:09:48
Enclave of Switzerland. In Klein-Hüningen or where? Not quite, other side of the Rhine. So there,
|
|
1:09:48 – 1:09:54
where you tie the bike to the fence and then the fence is in France the next day.
|
|
1:09:54 – 1:10:02
Klein-Hüningen would be Germany. I like Basel.
|
|
1:10:02 – 1:10:08
Yeah, it's a nice spot. You were there for a while, sorry.
|
|
1:10:08 – 1:10:10
I'm not saying anything anymore.
|
|
1:10:10 – 1:10:16
I wanted to say now that we are actually already quite well over it with the hour.
|
|
1:10:16 – 1:10:18
14 minutes.
|
|
1:10:18 – 1:10:24
I don't know what your schedule looks like. I have the feeling that we could somehow touch on 10 other topics now.
|
|
1:10:24 – 1:10:36
Maybe we still have a small dessert Bezerr theme, maybe we will find another one.
|
|
1:10:36 – 1:10:38
Yeah, if you're already anteasing like that, I'm sure you've got something in the back of your mind.
|
|
1:10:38 – 1:10:40
No, no, I didn't.
|
|
1:10:40 – 1:10:51
But I still have all these kinetic audio-visual performances that I find on your website.
|
|
1:10:51 – 1:10:55
By the way, I come a bit out of the lighting area.
|
|
1:10:55 – 1:10:57
This is, of course, completely daring club shit.
|
|
1:10:57 – 1:11:00
Or any people who call you in the pouring rain,
|
|
1:11:00 – 1:11:04
to drive with two LED pars from one corner of the city to the other.
|
|
1:11:04 – 1:11:05
[Laughter]
|
|
1:11:05 – 1:11:07
And Tobi only has one bike, by the way.
|
|
1:11:07 – 1:11:08
[Laughter]
|
|
1:11:08 – 1:11:11
Yes, you, in Basel is also car-free. You can't get through this anymore.
|
|
1:11:11 – 1:11:13
Now back to the question.
|
|
1:11:13 – 1:11:14
Visuals.
|
|
1:11:14 – 1:11:17
Kinetic installations. objects.
|
|
1:11:17 – 1:11:28
Well, I owe the kinetics to Christopher Bauder, with whom I worked for a few projects.
|
|
1:11:28 – 1:11:34
But what I did alone without Christopher and will do again,
|
|
1:11:34 – 1:11:39
At some point, I decided to work with lasers.
|
|
1:11:39 – 1:11:46
At a time when it wasn't as mainstream as it has become.
|
|
1:11:46 – 1:11:51
And I also plan to do it again.
|
|
1:11:51 – 1:11:57
So actually this audio-visual project, which I have in mind for this autumn and next year.
|
|
1:11:57 – 1:12:00
It's about lasers again.
|
|
1:12:00 – 1:12:03
I read that you are also a freelancer at Ableton.
|
|
1:12:03 – 1:12:07
So say, you actually have time and then you just have such lasers in a day.
|
|
1:12:07 – 1:12:08
I should do something with lasers.
|
|
1:12:08 – 1:12:11
Yes, so the problem with Ableton is …
|
|
1:12:11 – 1:12:13
Or where did the idea come from?
|
|
1:12:13 – 1:12:20
Oh, the idea. Someday, 20 years ago or so,
|
|
1:12:20 – 1:12:25
A concert was held in a small gallery in Brooklyn.
|
|
1:12:25 – 1:12:28
And then they asked me much, much later,
|
|
1:12:28 – 1:12:33
whether I would not want to make an installation for a group setup.
|
|
1:12:33 – 1:12:37
And I spontaneously had the idea that I was doing something with a laser.
|
|
1:12:37 – 1:12:40
That's maybe 15 years ago now.
|
|
1:12:40 – 1:12:48
And I'm someone who, if I have such an idea, then I get the material and then I try it out.
|
|
1:12:48 – 1:12:54
So I somehow bought a laser from Thomann for what I thought was a very, very large amount of money,
|
|
1:12:54 – 1:12:58
I turned it on and was immediately completely disappointed, because I thought,
|
|
1:12:58 – 1:13:02
I don't know what I want, but this looks like shit.
|
|
1:13:02 – 1:13:09
And then I returned it and researched it for a long time,
|
|
1:13:09 – 1:13:13
To find out what it is, what I need and what I want.
|
|
1:13:13 – 1:13:18
And at the end of a long research, I ended up with a company in Berlin.
|
|
1:13:18 – 1:13:25
And there I had the nice chance to work with really good lasers.
|
|
1:13:25 – 1:13:29
And that's how my first large laser installation developed.
|
|
1:13:29 – 1:13:33
And it wasn't until later that I found out that the company I was dealing with,
|
|
1:13:33 – 1:13:41
Which I still have to deal with, that this is basically the world market leader for precision show lasers.
|
|
1:13:41 – 1:13:43
So it doesn't get any better.
|
|
1:13:43 – 1:13:47
And they squat in Berlin and support me.
|
|
1:13:47 – 1:13:56
And that's how I got back to doing things with lasers with great naivety.
|
|
1:13:56 – 1:13:59
And yes, I haven't let go of the fascination.
|
|
1:13:59 – 1:14:03
The naiveté also saves art a bit, doesn't it?
|
|
1:14:03 – 1:14:04
Of course.
|
|
1:14:04 – 1:14:10
I know it as a drummer, because I'm at the point of keyboards, technique and so, I'm in the matter, I know what I'm doing.
|
|
1:14:10 – 1:14:14
As a drummer, I don't even know how to tune this thing.
|
|
1:14:14 – 1:14:17
But I go and play. And you have a completely different approach to it.
|
|
1:14:17 – 1:14:18
Absolutely.
|
|
1:14:18 – 1:14:21
Is this a bit similar to you and the lasers? Or was it then?
|
|
1:14:21 – 1:14:24
So I think you've got to know what you're doing by now.
|
|
1:14:24 – 1:14:30
That was it definitely because, of course, I turned to a mixture of naivety.
|
|
1:14:30 – 1:14:34
But I still have a technical understanding.
|
|
1:14:34 – 1:14:36
Of course, that helped a lot.
|
|
1:14:36 – 1:14:41
By now, I wouldn't do much of what I did at the very beginning.
|
|
1:14:41 – 1:14:45
And that's a pity, but I can't make this innocence anymore.
|
|
1:14:45 – 1:14:48
That means I have to find another way.
|
|
1:14:48 – 1:14:54
So I've been working with certain disorders that just arise,
|
|
1:14:54 – 1:15:00
The lasers do things they can't do.
|
|
1:15:00 – 1:15:03
Laser Krafik are mechanically moving mirrors.
|
|
1:15:03 – 1:15:07
And these mirrors are extremely small and extremely precise,
|
|
1:15:07 – 1:15:15
But there is a limit to the speed and if you override it, the laser will break if it is a cheap laser.
|
|
1:15:15 – 1:15:21
Or the motion grinds in potentially interesting ways if it's a good laser.
|
|
1:15:21 – 1:15:30
And with this grinding of these movements you get something that suddenly almost has a calligraphic quality.
|
|
1:15:30 – 1:15:33
And I worked a lot with that in my first installation.
|
|
1:15:33 – 1:15:37
and later I had the ambition to optimize the movements
|
|
1:15:37 – 1:15:39
And to get it all under control.
|
|
1:15:39 – 1:15:46
And so I almost eliminated this imponderability of the medium
|
|
1:15:46 – 1:15:52
In retrospect, this also removes a quality from the work.
|
|
1:15:52 – 1:15:56
And now you just have to go ahead and see how you can get out of the current state.
|
|
1:15:56 – 1:15:59
Then, through even more learning, a new quality is created again.
|
|
1:15:59 – 1:16:06
Now that I'm talking about it, I realize there's an analogy.
|
|
1:16:06 – 1:16:12
And if you have prepared very, very little and you play, then the concert improvises,
|
|
1:16:12 – 1:16:17
then it has that magic of the moment where you're extremely focused,
|
|
1:16:17 – 1:16:22
Because everything you do is new to you.
|
|
1:16:22 – 1:16:28
and will experience at the moment, together with the audience, how it arises.
|
|
1:16:28 – 1:16:36
And then you repeat that. And at the second performance you already know what was great and you have a crazy expectation of yourself.
|
|
1:16:36 – 1:16:39
And it always goes wrong.
|
|
1:16:39 – 1:16:48
And then you have to rehearse quite, very much until you get back to bringing back a new kind of magic.
|
|
1:16:48 – 1:16:52
And that is, I think, very typical.
|
|
1:16:52 – 1:16:55
And replace the lasers with drones?
|
|
1:16:55 – 1:16:57
Oh, no.
|
|
1:16:57 – 1:16:59
Or through hologram technology?
|
|
1:16:59 – 1:17:02
Then I would have to learn a new technique again.
|
|
1:17:02 – 1:17:04
But there you would have that experience again.
|
|
1:17:04 – 1:17:08
Yes, but I'm really reluctant to learn new things.
|
|
1:17:08 – 1:17:13
I want things to be the way they always were.
|
|
1:17:13 – 1:17:16
As an artist.
|
|
1:17:16 – 1:17:22
I have to speculate deeply about change.
|
|
1:17:22 – 1:17:24
Very good. Okay.
|
|
1:17:24 – 1:17:26
That's a final word, isn't it?
|
|
1:17:26 – 1:17:28
It's beautiful.
|
|
1:17:28 – 1:17:30
I'll say rose quartz.
|
|
1:17:30 – 1:17:32
Exactly.
|
|
1:17:32 – 1:17:36
Yeah, that's a...
|
|
1:17:36 – 1:17:38
At a certain level, you need two.
|
|
1:17:38 – 1:17:40
Two lasers or two rose quartz?
|
|
1:17:40 – 1:17:42
Two rose quartz.
|
|
1:17:42 – 1:17:44
You need it in general, don't you?
|
|
1:17:44 – 1:17:46
Because stereo, left, right.
|
|
1:17:46 – 1:17:48
I can see.
|
|
1:17:48 – 1:17:50
I'm glad this is competent.
|
|
1:17:50 – 1:17:53
Discussion partners are at the start.
|
|
1:17:53 – 1:17:58
Have we already told you how laser swords are built?
|
|
1:17:58 – 1:18:00
Yeah, that's what the hobbits do.
|
|
1:18:00 – 1:18:02
That's what the hobbits do.
|
|
1:18:02 – 1:18:08
But I see, I think the level is somehow going to take ….
|
|
1:18:08 – 1:18:10
We can no longer draw attention.
|
|
1:18:10 – 1:18:12
We now run the risk that the level will be very ….
|
|
1:18:12 – 1:18:18
So that we are actually ruining this very intellectual discourse somehow to the last meters.
|
|
1:18:18 – 1:18:20
It's always like this.
|
|
1:18:20 – 1:18:24
We are in the rehearsal room, you can also make a gag.
|
|
1:18:24 – 1:18:28
But let me just ask.
|
|
1:18:28 – 1:18:30
Anyone else have any questions for Robert?
|
|
1:18:30 – 1:18:32
Now is the opportunity.
|
|
1:18:32 – 1:18:34
That's where he's gone.
|
|
1:18:34 – 1:18:36
No, all I'd ask now,
|
|
1:18:36 – 1:18:38
It would be the … again.
|
|
1:18:38 – 1:18:40
Destroy the moment.
|
|
1:18:40 – 1:18:42
…open a huge drawer.
|
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1:18:42 – 1:18:44
Would you like to give something to our listeners?
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1:18:44 – 1:18:54
That's a question. Dear listeners,
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1:18:54 – 1:18:57
I can't think of anything at my best.
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1:18:57 – 1:19:03
That's good. This is how the best expenses stop, in absolute helplessness.
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1:19:03 – 1:19:10
Yeah, that's right. It is also arrogant to explain to the listeners what they want to give them.
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1:19:10 – 1:19:16
So we always give to the listeners, love you, make more music, switch off now.
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1:19:16 – 1:19:24
Yeah, making more music, all right. Love each other and do something beautiful.
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1:19:24 – 1:19:30
In that sense, Robert.
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1:19:30 – 1:19:31
It was a pleasure for me.
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1:19:31 – 1:19:37
It was a pleasure, a great honor and it was a lot of fun.
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1:19:37 – 1:19:39
We would love to invite you again.
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1:19:39 – 1:19:44
Yeah, we'll do that when there's something new to introduce.
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1:19:44 – 1:19:52
So, for example, when this great new laser thing is finished or the next album or something.
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1:19:52 – 1:19:57
Would that be when the new laser thing is done, that's called Lumière 4?
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1:19:57 – 1:20:00
I'm not saying anything about that.
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1:20:00 – 1:20:00
Oh, yeah.
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1:20:00 – 1:20:01
I don't know yet.
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1:20:01 – 1:20:03
No, I don't really know yet.
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1:20:03 – 1:20:03
Okay.
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1:20:03 – 1:20:07
So either it will be a sequel to Lumière, then of course it would be Lumière 4,
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1:20:07 – 1:20:14
or it turns out when working on it that it goes in a completely different direction and
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1:20:14 – 1:20:19
then of course it needs a new, totally pretentious title, so La création du monde
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1:20:19 – 1:20:29
Or something like that. In this sense, turn on again the next time you
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1:20:29 – 1:20:35
Do you want to hear Sasha say? The rehearsal podcast, during the cozy talk from the rehearsal room. Bye-bye,
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1:20:35 – 1:20:43
People. Thank you, Robert. Goodbye, guys. Yeah, thank you too and I'm going to do this again.
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1:20:43 – 1:20:51
Micro dismantle and wish all involved a nice evening. Thank you. Thank you, thank you. Bye bye.
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1:20:51 – 1:20:53
Bye bye.
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1:20:53 – 1:20:55
Do it well.
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1:20:55 – 1:21:04
Supporters receive early access to the resting of the podcast episodes before the actual publication.
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1:21:04 – 1:21:11
Other exclusive content such as preliminary or follow-up talks or a kind of diary.
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1:21:11 – 1:21:16
All information on how to become a supporter can be found in the show notes.
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1:21:16 – 1:21:19
[Music]
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1:21:19 – 1:21:22
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1:21:22 – 1:21:28
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1:21:28 – 1:21:34
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1:21:34 – 1:21:40
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1:21:40 – 1:21:47
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1:21:47 – 1:21:54
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1:21:54 – 1:21:59
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1:21:59 – 1:22:02
[Music]
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English