A Quote by Volker Bertelmann
I can't say that electronic gear is restrictive. I think it is a challenge to play with electronic gear, and I regularly [perform] concerts with guys who are processing sound.
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I'm trying to fly the flag for the days of electronic music where people who are making it are also building the gear because that was what was happening in the very early days of electronic music. And that spirit is one of the things that really appeals to me about electronic music so I'm putting this forward as a way to keep that.
Everybody has their own approach to songwriting. When you're an electronic musician, the whole writing process just depends. Some people have a very live way of writing electronic music, very improvisational. They set up a lot of gear and do live takes. I'm concerned with having a specific kind of sound. There's not one second that I haven't put thought into. I put almost as much time into my live shows as I do into writing music, but they're two completely different processes. Some people think the way I perform live is how I write songs, which isn't true at all.
My whole life I've always innovated the gear to match my pursuits. I've innovated the best climbing gear, the best slacklining gear, and definitely the most advanced BASE jumping gear.
In some ways it's hard to see electronic music as a genre because the word "electronic" just refers to how it's made. Hip-hop is electronic music. Most reggae is electronic. Pop is electronic. House music, techno, all these sorts of ostensibly disparate genres are sort of being created with the same equipment.
I always say this will be my last Metal Gear, but the games in the series that I've personally designed and produced-Metal Gear on MSX, MG2, MGS1, 2, 3, 4, Peace Walker and now MGSV-are what constitute a single Metal Gear Saga. With MGSV, I'm finally closing the loop on that saga.
Change gear, change gear, check mirror, murder a prostitute, change gear, change gear, murder. That's a lot of effort in a day.
I have limited interests. I really like all sorts of gear. Guitar gear. Recording gear. Stuff like that. I like music, you know.
The only thing left that shows I was a heart patient is I have a scar down the middle of my chest where they went in three times to do open heart surgery. I have a brand new heart inside, and all the mechanical and electronic gear and so forth is all gone.
Our daily life is filled with electronic pianos, ring tones, the disembodied voice giving you your bank balance over the telephone. Even silence can be electronic, courtesy of sound-canceling headphones.
I don't want to sound like a retrospective person stuck in the past, but the fact remains that, in my day, everything was in the hands of the driver - the gear changes, the delicate art of clutch control during race starts, managing engine revs during gear changes - everything.
With the violin, for example, one understands culturally that the sound comes from the instrument that can be seen. With electronic music, it is not the same at all. That's why it seemed so important to me, from the beginning of my career, to invent a grammar, a visual vocabulary adapted to electronic music.
The gear you can't afford is not the barrier keeping you from success. Gear has very little to do with photography.
The blue gear with the red dinosaur is special to me because that's the first gear I wore in NXT.
I used to play in rock bands. Then I went to the first school of electronic music in the world. It was in Paris headed by one of the most important people involved in electronic music.
With electronic music it's often a little more hidden - the relationship between gesture and sound - which makes it confounding for audiences. But the ingredients of electronic music are the same ingredients of nonelectronic music.
I think the whole obsession with old gear is completely overblown. You don't need old-fashioned gear to make a great-sounding record. You don't even need [analog] tape.
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