Les synthétiseurs (instruments de musique)

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Monsieur Vilak
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Enregistré le : lun. janv. 02, 2006 23:32 pm

Re: Les synthétiseurs (instruments de musique)

Message par Monsieur Vilak »

Jawol!

Bon je te met quand même l'IW que je viens de traduire :

Eurtyhmics, "Be Yourself Tonight", album enregistré entre novembre 84 et janvier 85.

Image

Pour écouter les pistes une par une :
youtube.com/playlist?list=OLAK5uy_mMhl34_3nZndIhFQ7Aozw13joTx-s4gSo

Dave Stewart, pour "International Musicien & Recording World", aout 1985.

1)WOULD I LIE TO YOU
Et le son de la moto ?

"C'est une moto sur une bande d'effets sonores qui sonnait vraiment chétive. Nous avons donc fait varier la vitesse de la bande et l'avons déformée sur le canal de gain (gain channel) pour qu'elle sonne plus explosive. Si vous l'aviez entendue à l'origine, elle ressemblait à une Honda 50."

Et le riff de guitare rock distordu ?

"C'est le Gretsch à travers le Rockman puis dans la table de mixage."

Y a-t-il un Hammond là-dedans quelque part.

"Ouais, c'est un vrai vieux Hammond - un qui tient avec des bouts d'allumettes et du ruban adhésif."

2) THERE MUST BE AN ANGEL
C'est quoi cette séquence, comment est-elle faite?

"C'est Annie qui maintient les accords et utilise un dual noise gate de chez Drawmer. Ce n'est pas vraiment un séquenceur - elle joue juste les accords et le Drawner les fait jouer dans le temps."

On dirait une chanteuse d'opéra tout au long du titre, mais à un moment donné, elle commence à chanter très bas.

"C'est parce que c'est un homme qui chante très haut, puis il descend de trois octaves. Parce qu'il a chanté sur ce disque, il est maintenant étiqueté "opéra". il a commencé une carrière un peu comme Klaus Nomi et a changé son nom en Angel Cross à cause du nom du titre."

On dirait qu'il y a une vraie harpe qui joue.

"Non, c'est un préset du DX7 et ce sont uniquement les notes noires. Mais parce que c'est si rapide, il (Michael Kaman) avait juste l'habitude de continuer à jouer la section et de mettre l'écho de répétition au moment exact où il le jouait. Nous avons triché."

3) LOVE YOU LIKE A BALL AND CHAIN
Quelle boîte à rythme joue le motif ?

"C'est une DMX, mais tout est passé à travers la gated reverb."

Qu'en est-il de la séquence de basse ?

"C'est en fait Dean qui joue de la basse mélangée à un SH09 déclenché par un CSQ1000."

Qu'en est-il du bruit de frappe/grattage ?

"C'est ma mère et environ quatre Français piétinant le gravier de la terrasse sur le toit de l'immeuble. Ils n'arrêtaient pas de sortir du temps et je n'arrêtais pas de dire que j'allais les pousser dans le vide s'ils ne faisaient pas mieux. Bien sûr, ma mère ne se plaindra jamais et une demi-heure plus tard, elle était rouge fluo, haletante. C'était comme courir sur place pendant une demi-heure.

4) SISTERS ARE DOING IT (FOR THEMSELVES)
Comment créer une chorale gospel ?

"En gros, vous avez juste quelques micros au centre du groupe et vous déplacez simplement les gens, plutôt que de déplacer les micros."

Qu'en est-il du son du shaker ?

"C'était la boîte à crayons des réceptionnistes, du matériel en plastoque. Je voulais un shaker mais dès que j'en ai utilisé un normal, tout ressemblait au shaker de la DMX. Alors j'ai pris ça, l'ai entouré de ruban adhésif et j'ai eu Adam l'ingénieur pour le jouer pendant que je passais ça dans un égaliseur."

Et le son de guitare rod solo (stange guitar sound) ?

"C'est une Fender Strat via une wah-wah, puis un octaver et via une pédale de distorsion."

5) CONDITIONED SOUL
Les cloches et les flutes indiennes au début ?

"C'est juste moi sur l'Emulator. C'était la nouvelle bank d'usine 'Wind Chimes & Indian Flutes."

Le son de la grosse caisse est très "clicky"- presque comme une boîte à rythmes.

"Ce n'en est pas - c'est Olle qui joue de la batterie. La caisse claire est amusante aussi - toute la piste de batterie est amusante. Nous l'avons probablement fait mieux que les autres grosses caisses. Nous avons utilisé six différentes grosses caisses sur l'album, parfois c'était du Simmons, parfois de la boîte à rythmes, et parfois son vrai kit installé dans cette grande cuisine en pierre."

Encore d'étranges bruits de grattage...

"C'est le shaker du DMX envoyé à un écho répété, puis vous transformez l'écho répété en feedback pour qu'il devienne plus fort."

6) ADRIAN
Beaucoup de bons sons de guitare sur celui-ci.

"Au début, c'est à nouveau la Gretsch à travers le Rockman, bien que le temps ne soit pas distordu. Ensuite, vous obtenez ce clic lorsque vous le frappez à cause de la compression. La basse de Dean qui sonne fretless mais ce n'est pas le cas - c'est juste la façon dont il la joue. Une fois le morceau va c'est le Robin Octave ajouté avec la Gretsch pour faire un son de 12 cordes."

Qu'en est-il des cordes qui traversent la stéréo ?

"C'était probablement moi qui m'appuyais sur le bouton de panoramique par erreur. En fait, je ne sais pas ce que c'était - probablement un auto-panner."

7) IT'S ALLRIGHT (BABY'S COMMING BACK)
Beaucoup plus de bons trucs de guitare.

"Bien. Il y a cette guitare soul très amortie au début, et une guitare accélérée pour le solo."

8) HERE COMES THAT SINKING FEELING
Qu'est-ce que toute cette parlotte au début et à la fin?

"Nous avions installé les micros dans cette cuisine en béton et qui est aussi une salle de pause où vont tous ces Français, mais ils nous ont laissé installer la batterie là-dedans. Ils continueraient à boire même si Olle tapait sur ses fûts. À un moment donné, nous avions encore les micros d'ambiance alors qu'ils parlaient encore et je leur ai dit de continuer à enregistrer pendant que je me mêlais à eux et j'ai posé une question vraiment bizarre parce qu'ils sont français et ne comprennent pas très bien l'anglais, ils se sont tous arrêtés et ont commencé à dire 'que, quelque part ?' "

9) BETTER TO HAVE LOST IN LOVE
S'agit-il de véritables cloches tubulaires dans le refrain ?

"Ouais, des vrais avec des cordes d'Emulator. Le gars qui jouait des cordes est un vrai arrangeur de cordes - il le fait pour les Pink Floyd et des pointures de ce niveau."

Est-ce la mélodie de Sweet Dreams qui arrive à la fin de ce morceau ?

"Ouais, c'est vrai. Je pensais faire ça juste pour l'effronterie, parce que beaucoup de gens pensaient que nous étions un feu de paille, un "one-hit wonder" avec cette chanson. Je savais que cet album allait être un méga album parce que les chansons sont si bonnes, donc à la fin, je voulais juste apporter ce clin d’œil comme rappel."

Et un petit add-lib que je n'ai pas traduit, extrait du même mag :

Dave Stewart's Top Ten Pieces of Equipment

1) Gretsch County Gent
"Very nice for feeding back."

2) Drawer Dual Expander/Compression
"Because you can always key something and gate it. You can play a Ukelele, trigger it from a hi hat by sending the hi hat to that, then it will only open up when the hi hat opens it up. And if it doesn't work you can always gate the gate on these things."

3) Snare drums
"Snare drums are fantastic because you hit them and they go 'whack' in all variations."

4) Walkmans
"I like any tape recorder like a Walkman because without them I'd never get half the ideas down."

5) SRC Friendship
"That solves all the problems of interfacing synths that can't be interfaced. You just stripe the whole tape with that all the way through and from then on you're laughing."

6) Voyetra
"At the beginning it kept overheating and breaking down, but that's because we had the prototype. All the sounds that are in it already don't sound anything like synths when you put them on tape."

7) Beyer M201 mike
"Because it's so good."

8) Telephones
"Telephones have really helped my music career, because I keep ringing people up that sing me things down them!"

9) The DMX
"Because it's so simple, quick, transportable and small."

10) Robin octave guitar
"It always adds that little bit of zing on things when they're seeming a bit dull."
Prend Goldorak, parles-en, rassemble les gens qui partagent cette passion et rend la plus vivante.
Au final, il y aura encore plus de Goldorak pour toi-même et pour le monde.

Merci Monsieur Huchez...

WIKIRAK
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Super Shogun
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Enregistré le : jeu. juil. 03, 2003 18:16 pm

Re: Les synthétiseurs (instruments de musique)

Message par Super Shogun »

Ça sent bon le truc fait de bric et de broc... :roll:

- Oh, sympa le bruit que tu fais quand tu manges! Attends, je le sample!
- Oh cool, t'as mis ta batterie à l'envers, ça sonne bien, attends j'enregistre!
- Oh madame Garcia, vous faites le ménage dans le studio? Attendez, je peux enregistrer le bruit que fait votre balai par terre? Ça fera un super hi-hat!
- Carai!
- Je comprends pas mais je le sample aussi!
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Enregistré le : jeu. juil. 03, 2003 18:16 pm

Re: Les synthétiseurs (instruments de musique)

Message par Super Shogun »

facebook.com/reel/811963316575043?s=yWDuG2&fs=e
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Re: Les synthétiseurs (instruments de musique)

Message par Super Shogun »

Hans Zimmer.

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Re: Les synthétiseurs (instruments de musique)

Message par Super Shogun »

Interview de Ralf Dorper, un des membres de Propaganda. J'ai pas le temps de la mettre en forme et encore moins de la traduire. Du brut donc.

--------------

1. How did you get into the music business? How was Propaganda created or rather how did you get to know Andreas Thein and when did you decide to make music together?

(1979) My first musical project was with the band SYPH, which I joined in their second phase. At that time we produced the very first SYPH single: "Viel Feind viel Ehr" which means something like "A lot of enemies a lot of honour". No printing office dared to produce the cover, because it was a very provocative theme about the "RAF". In the end this single had to be released with no picture on the cover at all - it was simply sold in a plain PVC cover. During the production of the very first LP SYPH has undergone a reformation of the band members. At this stage I left the band.

(1980) After I had left SYPH I produced my first single: "Eraserhead". Here I was influenced by a David Lynch Film of the same name. At this stage I got to know Juergen Engler and we decided to make a project just for fun and called it "Lemminge". We did this because a local newspaper intended to release a Christmas sampler. I was deeply rooted in the scene around the "Ratinger Hof". This scene had an inner and an outer circle of people and plenty of "New Wave" and "Punk" bands. At Christmas time the mentioned sampler was released. It contained our piece: "Leise rieselt der Schnee", "Lorelei" and "Im Himmel" have been additionally released on a single.

Following this single I joined the band "Krupps". Our very first project was called "Stahlwerksymphonie", which was semi experimental. After that project our music has become more structured and more dance like. We produced a hit: "Wahre Arbeit, wahrer Lohn", which means "Honest labour, honest payment" which became one of the best selling independent records and made us very popular. So we got attractive contracts offered by some major labels like WEA. I left the band while the next Krupps record "Volle Kraft voraus" was in production.

That was the time when I met Andreas.


2. Why did you choose the name Propaganda. This name is actually associated with a very gloomy time period of the German history or did you want to provoke?

This actually ran from the aspect, that the word "Propganda" have the same meaning in every language and because of this ideal to propagate a product internationally (theories from the advertising). During my independent time I have learned many things in this respect since I was personnaly responsible for various things like graphics, layout . Major labels have a specialist for everything. Not in the 'scene', here you are on your own. The thought was: it had to be something to be identified as German. We have always meant to do German music and wanted to be distinguished from English music.

3. Susanne joined you as the first female singer. How long did you knew her already? Was she singing in a band before?

It was absolute clear that we didn't want to make just instrumental music and that it had to be a female singer. We have prepared the songs in Cologne in that way, that they already could be used as demos. Using this tapes we went to a studio to record the vocals. I knew Susanne already frome the scene "Ratinger Hof", she is also from Düsseldorf. I didn't want somebody who was totally integrated in the scene and since Susanne wasn't deeply involved in the scene she was the ideal singer for me. Susanne was already performing with the girly band "Toppolinos" (New Wave music)



4. How did you decide to publish the Propaganda songs in England?

We introduced our demo to an independent label from England (Operation Twilight). They made a request concerning the "Eraserhead & Lemminge" singles because they wanted to publish them in England. That time we provided a demo tape from Propaganda to that label. Those times were quite different: it was easily possible to publish something by different labels in different countries. In the meantime the demo tape was revised in Essen. The only songs remained were: "Disziplin" and "Sünde". At this time Susanne was contacted. We introduced this tape in London not only to Operation Twilight but also to Chris Bohn (NME).

Chris Bohn supposed to contact Daniel Miller (Mute Records) because we would like to sign with Mute Records. Chris Bohn has praised my work quite often to NME and was the ideal contact person for us. In that time period I also got to know Michael Mertens, he advertised in a newspaper and wanted to sell a musical instrument. We met in his apartment and stayed in contact. Very soon Chris Bohn called us and told us not to sign with Operation Twilight because Paul Morley listened to the tape (1982). He wanted to found a company with Trevor Horn (the name ZTT didn't exist yet).

Paul Morley came to Düsseldorf, where he met Claudia in a studio. At that stage Claudia wasn't a member of the band. Paul Morley made clear, that he wanted us to sign with him. Unfortunately it took a long time till the contract was signed because the studio in England wasn't finished yet The whole thing sounded fantastic but everything was very vaguely because there was no progress at all for several months. We've been in a deep hole at that time. Only Andreas and I knew how well it could get, but the others didn't know Trevor Horn and so couldn't know what we could expect. We were not quite happy about that condition, but we really wanted to sign with Trevor. We tried a lot of different things and then we finally got the contract. We had to sign it without a chance to modify it.

The contract was based on English law and included plenty of clauses. To say it in plain English, it was crap. The contract guaranteed us ridiculous fees. We understood perfectly that we could hardly afford Trevor Horn as a producer. It was clearly our own naivety, but we really wanted Trevor as our producer. We didn't have a clue about all the clauses, the only thing that was absolutely clear to us was that we've been exploited. We have signed and had the moral backing but we didn't have any start appointment for a single or an LP. Plenty of time passed again without anything happening and because of this we also experienced finacial problems. Although we've been the first band which signed with ZTT, the label preferred "Art Of Noise" and we had to wait in the second row in the brand new studio. A whole year passed from the
very first contact till it really started. Because of the waiting period no real band feeling developed. Michael wasn't officially a member of the band yet, because only four of us, a kind of ABBA formation, has signed the contract.



5. Why did you engage Claudia as a co singer? Isn't one singer normally sufficient?

Claudia and Suzanne were friends. We noticed in the studio that Susanne had a better speaking voice. Susanne suggested to include Claudia in the band because of her singing voice, so we tested her and she joined the band.




6. Why wasn't "Disziplin" published? Did Throbbing Gristle have something against this?

To my knowledge they didn't have anything against our cover version. They actually couldn't really prevent us from publishing this version. Mabuse sounded more thrilling on the demo and the vocals have been better. Besides, Paul Morley wanted to put Claudia in the limelight. Since on "Disziplin"
only Susanne was singing the logical consequence was that "Mabuse" was
published as the first song. To my opinion "Disziplin" is an excellent cover
version, at least I like it more than
"Sorry for Laughing". At this stage Michael worked as a guest musician and
not as the 5th band member and it was still not clear whether it'll be a
short excursion into the pop music for him. He still had some opera
engagements.



7. Is there a studio version of the actual first single "Disziplin" and are
there any other unpublished songs from that time?

There are several different versions of "Disziplin". To be honest with you
I think the version which we introduced
at "The Tube" wasn't necessarily the best version. "Sünde" hasn't been
published aswell.



8. More than a year passed between the release of Mabuse and Duel. Why have
you been neglected like that?

The [Sarm] West and East studios weren't fully functional at the beginning
(East was just being constructed). Besides, at a certain point Trevor Horn
became overstrained with too much work. He couldn't properly plan the
projects anymore, and that's also why Mabuse already took almost one year.
The release was the third version of Mabuse, where we had to start from
scratch each time. Apart from that, Frankie definately still had priority
since they were extremely successful. Due to the mega success of Relax, a
decision had been made to push on ahead with FGTH, and both studios were
exclusively used for FGTH. At that time Trevor was very busy with remixes
for FGTH and he's been totally overloaded. They said, he wouldn't have time
for us, and so we had an experimental phase during which Steve Lipson was
supposed to pre-produce and Trevor Horn would finish the whole production
subsequently. In the end only Mabuse was done by Trevor Horn; on "A Secret
Wish" he only had a consulting role.
He had overestimated himself with that. Regarding marketing plans, ZTT were
only focussing on England all the time. Everything else wasn't approached
with any strategy. Although Europe, and especially Germany, had already
become very interested in us, the record company didn't really take
advantage of that.



9. What did you do in that year?

Pre-produce several titles in Duesseldorf. Demos for the album (with
Michael) and photo sessions. The problem arising here again, was that we
couldn't develop a band feeling. Claudia already lived in London, Andreas
was in Cologne and the remainder in Duesseldorf. The band feeling which
evolved during the Mabuse period got lost again. Our creativity was very
much dictated by the record company in that year; actually this was the
first break-up to become apparent.



10. How did you manage to get Anton Corbijn (U2 and Depeche Mode's
photographer of honour)? The man usually isn't shooting everybody - one
could say he's very selective. (At that time he still had rejected to do
Depeche Mode.)

He's been Morley's colleague at the editorial staff of NME, which they both
worked for. Mabuse was the first video clip in his career.



11. The promotional photos by Anton Corbijn and Peter Brown are very
aesthetic and provide a kind of heroic image of the band. Has this
been your intention, or is it the photographers interpretation of the name
Propaganda?

We had two sessions with Anton, the first took place in an empty flat in
Duesseldorf. At that time our first single Mabuse had not been released yet.
The idea of using old slides from the 20ies was ours, Anton realized this
idea photographically. We had seen all this pictures from the 20ies on an
exhibition and were excited about it - we knew we had to do something with
that. The whole thing was aimed at our image: typically German and a bit of
a link to Kraftwerk. The second photo session was done on a day in the
'Nordpark' in Duesseldorf. There were some fountains and horse statues. All
those pictures were also used for "A Secret Wish".
With Peter Brown, we had a session to do promotional photos for Duel, those
are typical british photos. They're the result of the photographer's
artistical expression. Peter comes from the style/glossy area, likewise John
Stoddard, who shot the session in Barcelona. John had done a lot for
magazines like 'Faith' and 'Blitz'.

12. Since you've been mentioning "A Secret Wish", what's the meaning of this
chain-corset anyway?

It's actually a tailor's fabrication dummy - that's it, there's no special
meaning.



13. Why was "The Devil's Advocate" renamed to "A Secret Wish"?

RD: That's been passed on to the press by Paul Morley and didn't have
anything to do with us. We had several titles for the album to choose from.
"The Devil's Advocate" has never been an option. The single titles had
already been fixed in 83, as well as the sequence of the themes. The concept
for all releases was already fixed in 83 from our side. There were lots of
meetings with ZTT where we offered our thoughts, which later got used by ZTT
for different productions. For the "Two Tribes" video our Duel-theme had
been applied. We he explained this conceptual idea to Paul Morley already in
Duesseldorf. Morley had used our idea for Frankie and then projected his own
thoughts on us. His handwriting gets apparent in the Duel clip, Claudia got
placed very much in front and our concept of an ABBA formation got scrapped.




14. I read you wrote the music and most of the lyrics of "A Secret Wish".
Exactly, what have you done on the album?

The lyrics completely, except for Edgar Allen Poe and the Joseph K.cover of
course. The music has been adopted from the demos to a large extend, we
already had the tracks in a state where they were about 75% finished.
Problem here was our 'low tech' equipment that we had available in Germany.
Then, in the studio, we had a 'state of the art' equipment, which we
couldn't operate. Thus we couldn't work with it and all the stuff had to be
transferred. MIDI didn't exist back then, so unfortunately we completely had
to play-in all the data into the new devices again. In the beginning we were
using Roland (Mabuse), later we also had PPG.



15. There's a lot of guest musicians on "A Secret Wish", what have those
people done?

That's hard to say, since it's all been mixed in the studio again and again
and you actually can't tell what's been done by whom. Stuart Copeland did
originally play the percussions on Dream Within A Dream. David Sylvian had
been contributing to one version of p:Machinery, however that was totally
different from the final version. There's a nice anecdote about that - Paul
Morley was really pissed that there was a sticker on the US release of "A
Secret Wish": 'feat. Steve Howe'. The Americans wanted to market our album
in a kind of 'progressive rock' direction. That was pretty sick.



16. Was the meaning of the 'p:' in p:Machinery?

Propaganda



17. According to an article, the reason why you started to quit was due to
tension during the release of "p:Machinery"
....... what exactly was that about ?

Oh no, I first quit during the production of 1234. More about that later.




18. What I heard was that your discrepancies began with the ZTT Showcase
gigs.You've never been live on stage ?!

The background is that we could just perform at a certain level and that
pissed me off, as it was purely a ZTT event, where we were just their
puppets. The Punch & Jody show was arranged with us, it was during the Duel
phase when certain tensions existed in our relationship with ZTT. ZTT did a
lot behind our back, Wishful Thinking ('85) was one of the things. We got
the impression that Claudia was really pushed by Paul and everything pointed
to a solo career. By the time of the live gigs on TV you could tell that
there were 2 groups of us already. Another sign was the duet of Claudia and
Glenn Gregory of Heaven 17.

We were on a promotional tour in Italy and Spain when we learned of the
remix album. Claudia knew it already, but kept it to herself. At this point,
it was clear that if it went on like this the band would split up. What Paul
Morley did with "Wishful thinking" was way too much, way more could have
been made out of this album. We didn't like the result one bit. Claudia
didn't care about the band's interests, more about herself. So our
relationship didn't get any better. During that time we stayed together in
hotels, the 3 of us, while Claudia mostly stayed alone in the hotel. At this
time the p:Machinery video clip had been made, but that was more like
fulfillment of the contract than anything else.



19. The p:Machinery video clip had been made by Zgbiniew Rigbinsky, what
else did he do ?

He got an Oscar for Best Short Film, he actually comes from short films. He
made one which was mostly made by computers, and that was pretty
extraordinary for that time. The "Art of Noise" video "Beatbox" was made by
him as well. Then we were told again by ZTT about people and activities, it
wasn't always like this.



20. Why had there been 2 Dr. Mabuse videos at all ?

The first video by Anton Corbijn was called uncommercial, at this point ZTT
and Paul Morley were fighting, and they wanted a normal video for commercial
reasons. So, a second clip was made, which we took to the edge of the
absurd. But with bad playback and our obvious dislike towards it, it became
useless.



21. Who was the producer of the 2nd Mabuse video?

I can't tell, since the video was actually just filmed. They built us a
stage in Duesseldorf for TV production, and then the cameras were running,
without editing, that's it.


22. In the 2nd clip is a 6th guy, who is it (black hair, playing drums)?

In case we performed live we hired a drummer named Weet, I can't recall his
full name. He was from the Koeln area and we also worked with him on live
gigs and experimented a little bit.


23. So there had been the thought of presenting your music live ?

My actual thought was that Propoganda would not go the normal way to promote
an album, therefore not live. Our music was pretty addicted to computers and
I defended these normal tours, either not live at all, or like Heaven 17, or
controlled within a framework, which is cool, like Kraftwerk. To cover
Synthi-stuff was horrible for me to consider. I hated solo-guitars.
It had been our thought that we didn't want anything like that, but ZTT had
a different opinion, the same way the rest of the band did later. The Heaven
17 style simply don't play well live, and that was what Paul Morley thought
too. But soon he became a "limping Egomaniac." At the ZTT Showcase event the
members of Simple Minds were there. That wasn't bad, since the guys had band
experience and they were able to reintegrate. We played half-playback due to
the expensive studio musicians. It's unbearable when a guitar player
imitates a synth' line. Propaganda, actually a "Pop Show Effect", turned
into a tacky live band. Controlled performances, like, i.e. Rammstein, would
actually have been our style, but was impossible. I think full-playback and
a good show would have been better than this half-hearted performance.
From that moment on, where our songs were successful, all our old principles
were pulled out again and our plans were blown off: Album - Live tour -
Album - Live Tour - etc. Back then the sound image was in the production,
then it could never be performed live or even half-live on stage. An
electronic concept was not viable for a normal band peformance.




24. When the ZTT Showcase in London took place, you weren't there. Did you
quit by that time already ? What did you do (the rumor that you were busy
with remix stuff for Wishful Thinking was a hoax)?

I didn't heard that, but it's not true. I went to see several live
performances, even while we were on tour, since I was at the promotional
events then.


25. Can you tell me something about the lawsuit against ZTT (reasons,
conclusions) ?

After it was clear to us that we were always getting screwed, we wanted to
renew our contract and in case that wouldn't work out, we wanted to switch
(after the release of p:machinery). At that time also Paul Morley was fired
and Claudia liked the thought of getting apart from ZTT. By that time the
4th single was planned (murder of love). Our lawyer, however, indicated that
we shouldn't do that. Sometimes you need to draw the line. So, we informed
ZTT that we didn't want to go on with them and that we were looking for
another record company. Claudia stayed with ZTT and soon after started ACT.
It became pretty clear that she used us just for her solo career. We were
referred to a lawyer with some experience in the music business (he worked
for John Lydon vs Malcolm McLaren). Our lawyer felt that the contract was
unfair and that we would never be able to earn any money; we were urged to
sign a publishing contract besides a production contract. So we had to prove
that this publishing contract wasn't valid. ZTT, however, brought an
injunction: we were under contract with them and therefore we were not
allowed to negotiate with other companies, our accounts were frozen.

In England the laws are quite different than they are in Germany. One lawyer
presents the evidence and another represents you in court. Which means when
you win a lawsuit, the opponents are just paying for the lawyer in court but
not the one who brought all the evidence. Our lawyer argued in court for
more than 1 year and so it became pretty expensive, regardless of the
ruling. The hearing of evidence was very difficult as there were a lot of
employees at the studio who didn't want to make a statement against Trevor,
and therefore we had to sue them to get all the evidence. After 15 months we
had a court date, 14 days were scheduled and it would cost DM 10,000 or
10,000 british pounds a day, I'm not sure about that. It was uncertain if we
have a chance at all since we were aliens in England and had no clue how to
handle the entire matter. We never got any invoices from ZTT, we had to sue
them for months to get them. The invoices were incredible: cab bills 10,000
british pounds, all employees could take a cab home afterproductions it
seemed.

The studio was rented as if it was empty space, all instruments needed to be
paid separately, at a price such that you could have bought them new twice.
The rent for the drum machine was 7,000 british pounds, new it was just
about 1/3 that. The service costs in our little cafeteria were in the area
of 5 figures and I wonder whom we fed, it seemed like maybe every other
studio. In total it was an amount exceeding one million german marks.
Shortly before the courtdate, ZTT contacted our lawyer. Within the last 48
hours before the courtdate, everything happened pretty fast, we settled with
ZTT just a few hours before the courtdate. Hours before, we agreed to cancel
the contract. So we were free and with the name Propaganda, but everything
published by ZTT was still their possession. Furthermore we had to cover the
costs of the production. So, we were free, but we didn't have any money. And
because of the production costs we had pretty bad credit. I got my first ZTT
check in '96 or '97. That was the first royalty check, which means we were
in the red until after about 1
million records were sold. Holly Johnson had the same court thing as us. He
got the necessary money from a record company. He got through that and the
judgement was in his favor.


Our name was still worth money, but the record companies weren't too fond of
us since we spent too much money on our productions. By that time we didn't
have a female singer, but Brian and Derek said that they would like to go
on. Susanne participated still and we wanted to produce a new album at
Derek's in Scotland for we already have made of demos there. Our lawyer told
us he wanted his money after the next production and that was really no help
since we had to pay another DM 100,000. We had to produce a second line-up
under time-constraints. We had been looking for a singer. It was important
to protect our reputation and to make it OUR project from here on in. It was
very important to us that Susanne got along with the new singer. She met
Betsi at a friend of hers. Susanne was the one who gave the OK and so Betsi
became our new singer. After that we recorded demos in London which were
finished in Duesseldorf. We were looking for a major label, but that wasn't
too easy. We still had debts and the next contract needed to be a damn good
deal. During that time we were 6 people.
Susanne was the one who quit first during the production, even though it was
pretty close to the end. We had 3 or 4 songs when we got the contract with
the record company, among other things there was "Vicious Circle" which is
from our "A Secret Wish" time.

For me it got to be boring way before that. We started to make the same old
mistakes again, i.e., the choice of the producer. The production got pretty
lame. By that time I was living in England and got to know the beginning of
Acid. The production became pretty weird, and here again the well known
problem and the singer was with the producer. It was like a deja vu, like a
bad movie. The album was recorded in Bath. First nothing happened, then all
of a sudden it went in strange directions, musically. The energy was
missing. After Susanne left, it was just a group of people who did
something. It wasn't what you'd expected from Propaganda. Everything got to
be without much style. During a car ride one day I decided to quit. It
wasn't what I expected it to be.


At the time the early Acid era started in England, which I took notice to by
listening to a pirate station called LWR. I hung out with Andreas a lot, who
had just finished the Rififi album. I really liked the music in those days,
the early Detroit stuff just became popular in the clubs. That was an
impulse for me that we could go back to the old instruments: bassline and
Roland TR 808; just little noises with little production effort and 23 days
in the studio. Everything seemed familiar to me and I really wanted to do
something. Andreas became as enthusiastic as I was and we did "Dr Acid and
Mr House" under Rififi, and Andreas' record company in Germany was pretty
interested and soon we had a top 20 hit in Germany. The whole thing was a
lot of fun, as the success was there right away and you didn't have to wait
for it for years. After that, I worked on something else, the idea of a solo
album with the idea of an electronic album. That was what I wanted to do
with
famous people. For that I was looking around for those people on the scene.
Also the RuckZuck had been a thought by that time and I wanted to make the
remixes with people from Birmingham/Sheffield and the surrounding area. As
it turned out, everything was just so time-consuming. Contacts to Daniel
Miller and Nitzer Ebbs ran without any problems.

The whole thing was to be a cover version with Nitzer Ebbs of "Wahre Arbeit
Wahrer Lohn" (True Work True Wages). I also wanted Juergen Engler on it,
since it was an old Krupps title. I didn't want to use the name Krupps
without Juergen. Everybody wanted cooperated: Nitzer Ebbs, BMC, Mute,
Geffen. The publication happened pretty quick: The Krupps feat, Nitzer Ebb -
Wahre Arbeit Wahrer Lohn (True Work True Wages). And there was also an
English version : Machineries Of Joy. Just like the saying: Representatives
of the EBM's meet your Granddaddies. The song was a real success, much to
our surprise, and from that point on,
it continued with the Krupps, which actually were non-existentant since
1984. Now the music was fun again and we reached the point of playing
everything entirely live, mixed with electronics.


26. If one thinks of Propaganda and the entrances/exits of its members, what
is the sequence of events?

Phase 1 (Gründung und Demo) Ralf Dörper / Andreas Thein / Susanne
Freitag
Phase 2 (ZTT demos) + Claudia Brücken
Phase 3 (Dr Mabuse) + Michael Mertens
Phase 4 (Duel 7 ASW / p:machinery) - Andreas Thein
Phase 5 (Litigation) - Claudia Brücken
Phase 6 (New Deals) + Derek Forbes + Brian McGee
Phase 7 (Virgin Deal) + Betsi Miller
Phase 8 (1234) - Ralf Dörper -Susanne Freitag



27. Was it something special for you, that "Machineries Of Joy" was released
on Mute in England?
How difficult was it to get a contract with Daniel Miller?
In a certain way the whole was intended and an honor
because it was "the" label for electronic music.
It was simple, because Nitzer Ebb already had a contract with Mute.
"Past Forward" (Sampler Krupps) has also been negotiated with Daniel Miller
at Mute.
Contacts already existed prior to this production. Through Mike Collins
(Manager of Wire and previously
of Propaganda [after ZTT]) it became a lot of easier, as he already
negotiated and made a contract with Mute.

28. How did it actually come to two different " Dr.Mabuse " Sleeves in
England?
Could you take influence in the designing of these Sleeves??
There were enough possibilities to take influence. Our ideas have been
realized, but also used in other productions.
The Zeppelin Sleeve was ours, the hand with the M as well, this idea arose
in association with the film Mabuse from Fritz Lang.
After the success of Art Of Noise and FGTH it hasn't been spoken too much
with each other, at p:Machinery the graphic gadgets of ZTT people started.
I didn't like that cover at all any more, it isn't expressive and had
nothing in common with our ideas.

29. At the end of the 'Polish' maxi version of p:Machinery, after the title
has actually passed,
a totally different (also brilliant) beat comes up - is this perhaps such a
depraved version?!
(Something similar happens at the end of the B-side of the Dr. Mabuse maxi).
Various versions generally existed, which were quite different. They were on
different tracks and with different beats.
There was also a version of p:Machinary from David Sylvain, which became
completely different.
We had a lot of time and room at these productions, since we haven't
published anything yet at that time and
had therefore sufficient freedom for experimenting.


30. I noticed that you could find p:machinary on plenty of different
samplers although
Duel and Mabuse have been more successful?
P:machinery was a smash hit in Spain, France, Canada and some other
countries. Because of that P:machinary was compiled
quite often and besides, this piece had a quite popular style. Particularly
the success in France made us very proud.
France had already that limitation to play foreign interprets on television
and radio. So if you reached the charts, you
could sell a lot of records. P:machinery has been sold about 500000 times
and was approximately one year in the charts.
P:machinery was simultaneous with Duel in the French Top10.


31. Why was "Femme Fatale" not on the album?
"Femme Fatale" was exclusively released as a Single. We intended to make
something exclusive for all singles.
To my opinion "Sorry for laughing" wasn't good enough for the album as well,
an album shouldn't contain too
many cover versions.
"Sorry for laughing" is originally from the band Joseph K. They published
their records on the label "Independent Postcard".
It was actually a guitar band around their major act Paul Haig. Besides,
they were the darlings of the music critics.

32. Did you try to cover other versions?
Not really, and whenever we did, we actually didn't record them.
Paul Morley had the idea to cover a title of the Carpenters, but it was
rejected.
We had a clear conscience with the other stuff, but an ironic covering of a
Carpenters title was out of the question.


33. I got hold of the Technocrats CD just recently (it was very tough to
obtain it). At the moment I'm listening
quite often to this CD. I think it's an excellent translation of the
'Kraftwerk' song.
What is the story of this production and what actually moved you to cover a
Kraftwerk song?
Isn't it tough to try to cover the "gods of electronic music"?
I actually quite agree, but I think there was some room with the early
pieces of Kraftwerk.
The idea to to cover this track came through the project covering electronic
music. It was at the time when Kraftwerk
published the album "The Mix". It is a pity that Kraftwerk are denying their
early pieces and so haven't included these
tracks on the album. What they actually have done is an artificial try to
combine their hits with some new sounds.
It appealed to me to create something own. There have been different
versions of my cover version "Ruckzuck",
which I really like even more than the released one at that time."Ruckzuck"
was mixed electronic and with original samples.
Many of the Kraftwerk songs were almost perfect, because of that I think
they shouldn't have been remixed, for example
I believe that Rammstein's is quite crappy. To my opinion Anthony Rother has
produced a brilliant version of
'Transeurope Express'. It is close to the original and with excellent new
beats.


34. Would you sell 4 seconds of Ruckzuck for 400000 German Marks or would
you have twinges?
Generally I wouldn't have any twinges. If you have a closer look at that
Kraftwerk deal you would recognize,
that it was only a part of the whole. Considering this 400000 German Marks
are almost not enough for the whole.
E.g. ZTT have sold our music to Japan for a car commercial. Unfortunately we
didn't receive any payments for that.
Actually we only got to know of the existence of these clips through
Japanese fans. In the 80's Duel was played quite
often at Wimbledon broadcasts.

35. Who has actually produced all the remixes? I know from Brain that he has
done one of these remixes, which one?
It was produced in Germany. I've made a title on a master tape, which was
passed on. For remixes I've chosen the following
interesting people, of whom I could imagine, that they could realize it
properly:

Sheffield mix: Richard Kirk von Cabaret Voltaire
Nottingham mix: Rythmatic
Düsseldorf mix: I with Jochen Schmit und Brain


36. What exactly have you contributed to "ST Melody - Qtopia"?
A little bit of composing and I have produced a mix (I just can't remember
the name). This was produced on the label "Solid Pleasure",
which was owned by Dieter Meier (Yellow).


37. The "Krupps" don't exist anymore, was that time actually successful?
Extremely successful, but we didn't make it to a golden LP. But as a German
band we had a broad audience and
had live gigs in the big concert halls, especially in Germany, Austria and
Switzerland. We even made a tour in Scandinavia,
Eastern Europe and the USA. Normally to achieve this you would need to
support a major gig, but we managed to accomplish
that on our own, which was quite an achievement.
In Germany all our LP's made it into the top 20, which isn't that easy if
you know the business; e.g. VIVA and their playlists.
Each major label has a share in VIVA and because of that it's easy for them
to buy some broadcast time, which wasn't the
case for our independent label (Rough Trade). At a certain stage we reached
the point not to become more successful.
After selling out a '1000 hall' you sell out a '3000 hall'. This can only
be accomplished if you have a hit on every new album,
a current example is the Scandinavian rock bank HIM, which sells out any
hall at the moment.
So at a certain stage we lost the desire and the bank broke up.


38. "The Toten Hosen" had a title, which was quite against Jürgen
Engler.What was the fuzz about?
I think, once they have been a support act of the 'Krupps'?
No, they have never been a support act, I think it was the song: "Jürgen
gibt 'ne Party". The 'Toten Hosen' had their roots
also around the 'Ratinger Hof'. Jürgen once had a punk band and that song is
actually taking a piss out of Jürgen and his
success with that band. The 'Toten Hosen' has been seen as losers in the
scene at that time. And because Jürgen was already
more successful at that time, I think it was just frustration and envy.


39. Can you make a living with music or do you need to have a second
profession?
Have you always been engaged with the bank, you just don't become an analyst
straight away?
More or less I have always been employed, besides the time I was studying.
In the prime time of the "Krupps" I worked in a way, that neither "Krupps"
nor "Propaganda" could have become
a full time job, but "Propaganda" actually could have become one.
Many musicians have to do something additionally, the trend is to have
several jobs.

40. Will you ever make music again or is it all over?
Not all over, but at the moment I just don't have enough time to realize a
project properly. You have to enjoy it and it must be
worked out professionally, otherwise it wouldn't meet my own demands. At the
moment I don't see a music theme which had
to be realized. Themes have to attract attention in order to have an optimum
effect.
I'm not interested in a band anymore either (no tours). It's not a real fun
to make the same program for years. Besides that I
have reached an age where it gets quite exhaustive and if you have done
these tours for a while you reach the point where
you just don't want to continue.

41. Which music do you like nowadays?
There isn't much I really enjoy nowadays, the magic has gone somehow.In the
90's there hasn't been any music
with a lasting effect. Currently I like Anthony Rother and tecno music from
Detroit. That tecno has always delighted
and inspired me. It has a certain affinity to Kraftwerk, what I find
extremely good. I am barely listening the current pop music.


42. How do you find the Y2K mix of Duel?
What shall I say, it's a mix.

43. Do you know the Propaganda video "No Return", how you like the Sound?
No, not yet.


44. New remixes (T-empo) have been published 1995 by p:Machinery on the
Seven-label, who has
actually the copyrights for the whole propaganda titles? How could this
happen, that remixes
have been made from one of these titles? How do you like these remixes?
These mixes are extremely bad (crap..). Interesting people like "808 State"
could have done better.
It's almost offending or disrespectful, if you consider which efforts we
have undertaken, to let such "No Names" do such a mix.
I just don't get it how ZTT could let such nobodies do this remix,
especially because they had "808 State" under contract.
The ideal agreement would be one like it "Kraftwerk" owns: total control
over their own songs and mixes only with a permission.
"Kraftwerk" controls everything, the product itself and its packaging,
nothing goes without an approval.


45. Did you like the Nicolosi remixes of p:Machinery from 1997??
Quite nice, in retrospect I even like only few of our own official remixes.
My idea of a good dance mix isn't what Horn and Lipson (rock producers) have
done, there would have been better people.
What is your general opinion about the different remixes and maxi versions
of your pieces?
A lot of could have been done better. Out of my experience I can say, that
people who specialize in remixing do generally
the best mixes. Remixes of musicians lack class usually, there are few
exceptions.


46. Wishful Thinking?
Could have done anybody, "fade out" and "fade in" on different tracks and a
mixer unit. For a short time you can make
something out of it, but it isn't something compelling. Only available stuff
was used, nothing new and nothing exciting.
These are just baubles, which was quite popular in the 80's, a brilliant mix
functions differently. The mixes just have
been 'thrown down', spontaneously, without making great thoughts.

47. Do you still have contacts to Michael, Claudia, Susanne and Andreas?
I fairly often meet Michael and Andreas, with Suzanne I've had a couple of
telephone calls and I have no more contact with Claudia.

48. Have you been asked to take part in the third line up?
Actually it wasn't really relevant, Propaganda has only a meaning to me in
the past musical context.
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Monsieur Vilak
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Enregistré le : lun. janv. 02, 2006 23:32 pm

Re: Les synthétiseurs (instruments de musique)

Message par Monsieur Vilak »

Merci!
Franchement à part le méga tube P-MAchinery, je n'ai jamais aimé ce groupe.
Prend Goldorak, parles-en, rassemble les gens qui partagent cette passion et rend la plus vivante.
Au final, il y aura encore plus de Goldorak pour toi-même et pour le monde.

Merci Monsieur Huchez...

WIKIRAK
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Super Shogun
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Enregistré le : jeu. juil. 03, 2003 18:16 pm

Re: Les synthétiseurs (instruments de musique)

Message par Super Shogun »

Tu sais, ils n'ont fait qu'un album. Deux en réalité, mais le second (de 1990) ne contient que Michael Mertens du groupe, les autres n'étaient plus là. Martin Gore s'est passionné pour Propaganda en 84/86. Pour moi, leur A Secret Wish fait partie de mes 10 disques à vie, et peut-être parmi les 5 premiers. Il y a une telle puissance et recherche mélodique et sonore... Dr. Mabuse dans sa version album, c'est plus de 10mn de bonheur noir. A partir de la 7e minute, je commence à baisser ma braguette... :roll:

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Enregistré le : lun. janv. 02, 2006 23:32 pm

Re: Les synthétiseurs (instruments de musique)

Message par Monsieur Vilak »

A ma première écoute, je vais te dire que ouais c'est pas mal à partir de la septième minute, c'est même beau, même si je n'y retrouve que des sons maintes fois entendus.

----------------

Un petit mot sur les prods de Trevor Horn:

[video][/video]
"Dr. Mabuse and tapeless sequencing "

After Steve Lipson introduced Trevor to his technique of tapeless sequencing, Horn decided to produce Propaganda's 'Dr. Mabuse' without using tapes. "We took a Linn, a Fairlight, a DMX, a DSX and a Roland M5, interconnected them and programmed the whole song in each machine. A special device called 'conductor' was used to help synchronize the instruments with each other. So we programmed everything, with the idea in mind, that the girls could sing over it, while we would lean back and just press some buttons - without using any tape. ...Of course on recording day the whole setup went berserk and we had to start all over again to record the whole thing with tape!" However, Horn and Lipson used this technique to copy multitracks, and split them over several measures. "I will never forget the day, when Steve came over and showed me how he copied multitracks. 'Wow', I thought, 'that's something we can use for 'Welcome To The Pleasuredome'!' In the end we worked three months on that song, which was supposed to be only a three minute track, and which we copied and stretched over and over. "



----------------


Le magazine "Musical Technology", en juillet 90, donne la liste du matos de l'album "1234" paru deux mois auparavant :

Atari ST/C-Lab Notator
Akai S1000
Fairlight Series III
Korg M1
Lexicon 480
Oberheim Matrix 12
Oberheim Xpander
PPG 2.3 with Waveterm A
Roland Super Jupiter
Roland D550
Studio Electronics MIDImoog
Synclavier
Yamaha TX816
Prend Goldorak, parles-en, rassemble les gens qui partagent cette passion et rend la plus vivante.
Au final, il y aura encore plus de Goldorak pour toi-même et pour le monde.

Merci Monsieur Huchez...

WIKIRAK
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Super Shogun
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Re: Les synthétiseurs (instruments de musique)

Message par Super Shogun »

C'est pas vraiment les sons qui comptent mais la mélodie, les harmonies et le rythme. Si c'est pour faire comme Dave Stewart lu plus haut qui samplait n'importe quoi autour de lui juste pour que ça sonne bizarre, ça n'a aucun intérêt.
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Enregistré le : lun. janv. 02, 2006 23:32 pm

Re: Les synthétiseurs (instruments de musique)

Message par Monsieur Vilak »

L''important pour l'un n'est pas l''important l'autre.

Pour moi, il fait d'abord que ce soit agréable à écouter, c'est après que je m'intéresse ou pas à la structure.
Mais je vais toujours noter quand un son m'est déjà fortement connu.
C'est un peu comme les '"orchestral hit" ou les "Pizzi-machine-chose" de Roland.
Prend Goldorak, parles-en, rassemble les gens qui partagent cette passion et rend la plus vivante.
Au final, il y aura encore plus de Goldorak pour toi-même et pour le monde.

Merci Monsieur Huchez...

WIKIRAK
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Super Shogun
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Re: Les synthétiseurs (instruments de musique)

Message par Super Shogun »

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Monsieur Vilak
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Enregistré le : lun. janv. 02, 2006 23:32 pm

Re: Les synthétiseurs (instruments de musique)

Message par Monsieur Vilak »

Marrant je connaissais pas.
Prend Goldorak, parles-en, rassemble les gens qui partagent cette passion et rend la plus vivante.
Au final, il y aura encore plus de Goldorak pour toi-même et pour le monde.

Merci Monsieur Huchez...

WIKIRAK
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Super Shogun
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Re: Les synthétiseurs (instruments de musique)

Message par Super Shogun »

L'ancêtre du Mellotron.

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Monsieur Vilak
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Enregistré le : lun. janv. 02, 2006 23:32 pm

Re: Les synthétiseurs (instruments de musique)

Message par Monsieur Vilak »

Excellent!
Merci!
Prend Goldorak, parles-en, rassemble les gens qui partagent cette passion et rend la plus vivante.
Au final, il y aura encore plus de Goldorak pour toi-même et pour le monde.

Merci Monsieur Huchez...

WIKIRAK
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Super Shogun
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Enregistré le : jeu. juil. 03, 2003 18:16 pm

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