Brian Eno über die Plattenindustrie

[fanwander]

Hab ich bei Loopersdelight gelesen, ursprünglich wohl bei http://www.guardian.co.uk/ erschienen - hab es dort aber beim ersten Suchen nicht gefunden. Achja: whale blubber ist Waltran (also Öl aus Walfett gemacht).

"I think records were just a little bubble through time and those who
made a living from them for a while were lucky. There is no reason
why anyone should have made so much money from selling records
except that everything was right for this period of time. I always
knew it would run out sooner or later. It couldn't last, and now it's
running out. I don't particularly care that it is and like the way
things are going. The record age was just a blip. It was a bit like if
you had a source of whale blubber in the 1840s and it could be used
as fuel. Before gas came along, if you traded in whale blubber, you
were the richest man on Earth. Then gas came along and you'd be
stuck with your whale blubber. Sorry mate - history's moving along.
Recorded music equals whale blubber. Eventually, something else will
replace it."

(Brian Eno 2010-01-17 The Guardian)

 

[jane doe]

http://www.guardian.co.uk/music/2010/ja ... aul-morley

 

[Anonymous]

On the synthesiser: 1

"One of the important things about the synthesiser was that it came without any baggage. A piano comes with a whole history of music. There are all sorts of cultural conventions built into traditional instruments that tell you where and when that instrument comes from. When you play an instrument that does not have any such historical background you are designing sound basically. You're designing a new instrument. That's what a synthesiser is essentially. It's a constantly unfinished instrument. You finish it when you tweak it, and play around with it, and decide how to use it. You can combine a number of cultural references into one new thing."

On the synthesiser: 2

"Instruments sound interesting not because of their sound but because of the relationship a player has with them. Instrumentalists build a rapport with their instruments which is what you like and respond to. If you were sitting down now to design an instrument you would not dream of coming up with something as ridiculous as an acoustic guitar. It's a strange instrument, it's very limited and it doesn't sound good. You would come up with something much better. But what we like about acoustic guitars is players who have had long relationships with them and know how to do something beautiful with them. You don't have that with synthesisers yet. They are a very new instrument. They are constantly renewing so people do not have time to build long relationships with them. So you tend to hear more of the technology and less of the rapport. It can sound less human. However ! That is changing. And there is a prediction that I made a few years ago that I'm very pleased to see is coming true – synthesisers that have inconsistency built into them. I have always wanted them to be less consistent. I like it that one note can be louder than the note next to it."