Podcasts about hansa studio

An album with more fun emphasis points in the title than fun songs! More seriously, Achtung Baby was a big reset moment for U2 in the midst of their global domination and did signal some stylistic shifts for the band. Matt and Tim talk how Achtung Baby is and isn't different from prior U2 affair, the respect we have for a band that just shoots their shot, and the importance of Berlin and Hansa Studio, where the album was recorded and a place of regular artist reinvention. Matt offers two other albums recorded at Hansa, both of which are markers of change and/or development for their respective artists: Nick Cave and the Bad Seeds and The Psychedelic Furs.

Eine Band, die nicht weiß, wer sie ist und was sie will. Berlin statt New York oder London. Das Angebot des David Young. Basic Tracks im Hansa Studio. Der große Saal. Die Overdub Session im Tritonus Tonstudio. Die Magnetschwebebahn am Potsdamer Platz. Kurt Dahlke im Studio ist wie zwei Ärzte auf Tour. Fürs Pfeifen kein Autotune, aber fürs Auto ein Mikrofon: David Young als Produzent. Sozialreportage statt Liebeslied. Bertold Brecht, Kurt Weill und der erste deutsche Song. Schichttortenaufnahmen: Atari, Notator, gesampelter Metallschrott. Alle Türen offen, aber kein Plan in Sicht. Die Playlist zum Podcast: https://umg.lnk.to/NarzissenUndKakteen_Playlist

在“成长小说”全国巡演的间隙，海朋森在一个疲惫的星期一下午，和主持人方舟坐下喝了杯咖啡。他们2020年的专辑《成长小说》，是一部远远超出“概念专辑”范畴的作品，从音乐、文本、视觉到表演，从很多个维度都可以进行阅读；而这一期节目，正试图层层剥开这张专辑背后的一个个灵感和线索。 2018年，吉他手季一楠和主唱陈思江赴英国留学，海朋森进入松散的休整期。2019年，他们在柏林的传奇录音棚 Hansa Studio 完成了新专辑《成长小说》的录制，但后期缩混工作的计划，被新冠疫情的到来打乱了。2020年3月，二人从英国回国，海朋森乐队正式重聚，工作也得以继续。《成长小说》于7月上线之前，乐队发布了《春风》和《我们的歌谣》两支风格极其强烈的自制音乐录影带。这一次，除了音乐和诗歌，海朋森的创作触角伸向了影像、舞蹈和装置，它们合力构建了《成长小说》的整体感。 而没变的，是那唱腔中强烈的冲突感，硬朗的节奏和干裂的吉他失真互相拉扯，搭配着文学性强烈的歌词，还有鲜明的、流动的、让人不安的意象。这期节目，希望可以成为《成长小说》的一种注脚。 Show Notes: 03:07 两年来大家都在忙什么？ 10:36 《成长小说》：塑造整体感 19:36 唱片封面上的人是谁？ 28:43 《我们的歌谣》：探索肢体表达 45:00 语言变换、舞台讲演与言之有物 54:25 如何用摇滚乐的方式，表达对历史的理解？ 01:01:36 体验极端不同的音乐制作 节目中出现的曲目： 《乐园》/《春风》/《我们的歌谣》（手机录音，2018.5 北京愚公移山）/《从出生到现在》/《我们的歌谣》/《撞进白昼》/《历史》/《历史》（手机录音，2020.10 北京乐空间）/《找到了》/《每天的行军》 延展阅读： 对话海朋森 ｜“成长”在叙述中更加清晰（by 進化耳朵） *撰稿/采访/录音/剪辑/包装：方舟 *题图设计：YOFAK *场地支持：Mplus Coffice *《周末变奏》WX听友群 敲门群主：aharddaysnight

Hi there!I'm so happy to welcome you back to the show.If you’re new here I’m happy to welcome you to the show, Music Travel Guide is my way of inspiring you to discover Berlin Music Scene.For the second season every fortnight I host music lovers, artists and musicians who brings their inspirational stories and experiences.Today is the turn of Thilo Schmied.Thilo is owner and organiser of BERLIN MUSIC TOURS and his experiences in the past 30 years brought him to know much about the music scene and also the musical history of Berlin.In today's episode he will guide you on a journey discovering David's Bowie life in Berlin.Berlin is one of the world’s most famous locations for music, which drew David Bowie to the city during the ’70s.Few months ago I sat down with Thilo (right next to Hansa Studio) and he shared lots of interesting stories and fascinating anectodes about Bowie's life in town, its favorite places, the mark he left in Berlin.Also at the end of our chat, I asked Thilo the differences between Berlin Music Scene before and after the fall of the wall.02:39 1976-1978 Bowie's magical time in Berlin08:12 Places and special Venues with a very strong David Bowie signature in Berlin26:30 Berlin Music Scene: before and after the fall of the wallMusic Travel Guide is an opportunity to speak with you about the topic I share: let’s talk about this on Instagram!Make sure to follow the official page on IG ▶ https://bit.ly/39lxFxq so that we can talk together.Facebook Official Fan Page: https://bit.ly/30EmXyaSubscribe on iTunes: https://apple.co/3jzLb5mThank you so much for listening and I’ll see you in 15 days, Thursday September 17th in the next episode of Music Travel Guide.

Thilo Schmied guides Hansa Studio on Youtube https://youtu.be/wG8H0YwRB3U Hansa Studio Official site https://hansastudios.de/ https://www.musictours-berlin.de/de/hansa-studio-tour (from officical site menu) Hansa Studio tour (by BERLIN MUSIC TOUR) http://musictours-berlin.com/

SAILOR & I on: - Facebook: www.facebook.com/sailorandi - SoundCloud: @sailorandi HOW I MET THE BASS on: - Facebook: www.facebook.com/howimetthebass - Twitter: www.twitter.com/howimetthebass - Mixcloud: www.mixcloud.com/HowIMetTheBass 3 QUESTIONS to SAILOR & I: Q: Give us an insight of your classics selection please. A: It was very difficult to decide what songs to pick for the this mix. I still feel there was so many songs that weren't able to be featured as the mix would be a week long, or so. What I did was basically to think of songs I wanted to hear that I didn't have on my laptop or that I haven't heard in a long time. So I went online and bought the first 20 songs I could think of that I loved. I thought about the mix as a story, how to start the story and then how it would end, then the selection made sense to me and I knew how to put the tracks together. Q: Singer, songwriter, producer live-act – what would describe you and your music best and how did you met the Bass? A: Musician. I grew up in a family where no one listened to music. But once, I heard an orchestra performing on television I instantly new that this is what I’m going to do for the rest of my life. I was lucky to have parents that supported my passion, even though they weren’t able to share that passion with me, I could see that they understood the impact music had on me and the were fascinated with what music did to me . When I was about 11-12 years old I already hade a huge drum kit, bass guitar, electric guitar and different amplifiers in my boy room. These gears became an important place for me and my friends to discover and develop our passion for music. We played everything from Punk to Heavy Metal, Beatles, Led Zeppelin, Pink Floyd, Rage Against The Machine, you name it. This is what we did for a few years. Later on I started to play jazz and Afro-American music. Let’s say you want to learn the basics of Be-bop, then there is a lot of hours in front of you in terms of practicing scales, studying music theory, etcetera. Just to be able to be even close to practice this kind of music with other musicians. So I decided to spend the next 4-5 years dedicating my time playing Jazz standards, fusion and experimental music. Once I was out of College I was so fed up with all of this. In a school environment, where everyone is competing to be the better, faster, strongest musician playing a certain instrument, then it’s very easy to lose perspective on what you’re actually doing and why. Many of my friends ended up losing their passion for music and stopped playing. For me, I just lost the love for playing Jazz music. I still love the style, but I felt it was too infected and too much pressure to be a good guitarist, too many hours practicing scales, too few hours having fun playing with other musicians. [...] [due to text limit here on SoundCloud - please read the full answer on our Facebook page] Q: Which future projects are on the way? A: I have been working on two different albums last year, the follow up to my debut album “The Invention of Loneliness” and one neo-classical album for guitar and Chello, that I’m going to record in Hansa Studio in Berlin next month. Besides the production work for my albums I have a few collaborations in the making. I can’t tell so much about it at the moment but it will be official the coming weeks.

Here's episode 6 of Breathing In Fumes! On this episode I have a lot less of me and plenty of Depeche Mode! I've ripped the audio of their section from the new Hansa Studio documentary as well as DJ Shadows Tribute DJ mix from his KCRW radio show and much more! You can listen to this episode below as well as read the full track list. Here’s the full track list of for this mix: Breathing In Fumes 006 Audio: Hansa Studios: By the Wall 1976-90 Warpaint - World In My Eyes Interview: Skavlan Talkshow, 2017 Heroes (Live) Highline Sessions Version Cover Me (Live) Paris, France RTL2 Radio Audio: DJ Shadow - Find, Share, Rewind: Tribute Mix : KCRW FM To contact me, drop me an email at: glen@depeche-mode.com Amazon Echo: "Alexa, play Breathing In Fumes Podcast" Facebook: www.facebook.com/breatheinfumes/ Twitter: twitter.com/breatheinfumes Instagram: @breatheinfumes www.breatheinfumes.wordpress.com Home: www.depeche-mode.com Podcast also available on: iTunes Google Play YouTube Pocket Cast Podomatic iHeartRadio Podcasts Thanks, enjoy!

Vad är en inspelningsstudio för slags rum egentligen? Vilka ideal driver studioteknikerna, klangregissörerna? Vi träffar Michael Ilbert på legendariska Hansa Studio i Berlin. Hansa Studio (The Hall by The Wall) är en studio vid Köthener Strasse 38 i Berlin. Nuvarande ägare är familjen kring Hansa Records men det finns ett flertal hyresgäster i huset; bl a den svenske musikproducenten Michael Ilbert som hyr mixstudion med utsikt över historiens kvarter.Byggnaden stod klar 1913. Från början tillhörde den arbetarskrået i Berlin. Under andra världskriget bombades Hansa av de allierade men stod mirakulöst kvar och kunde repareras. När Berlin sedan blev en delad stad och Berlinmuren restes kom byggnaden att hamna bara några meter från muren, på västsidan.1972 köpte bröderna Peter och Thomas Meisel från Meisel Music Publishers byggnaden och gjorde om den till musikstudio.Hansa Studio fick sitt namn dels från den stora salen, Studio 2 eller Der Meistersaal, i vilken en del av inspelningarna gjordes, dels från dess läge vid Berlinmuren. Der Meistersaal (mästarsalen) heter så eftersom det var där gesäller inom byggnadsarbetarskrået som klarat sina mästarprov fick ta emot sina mästarbrev. Idag används den stora salen för fester och dans och i det gamla mixerrummet står idag en bardisk.Här har allt från tyska schlagerkungar som Roland Kaiser till experimenterande Einstürsenden Neubauten, tysk kraut, Brian Eno och David Bowie, spelat in.Michael Ilbert berättar historien hur han hamnade här, resan går från Göteborgs alternativscen till Hansa och grammyutmärkelser för mixar av Taylor Swift och Katy Perry.Ilbert omger sig med snygg teknik, snygga knappar, och vrider stolt på en volymratt med det rätt knattret. Jag är inte tekniskt kunnig i så sätt att jag förstår vad som försiggår, utan jag går på en känsla och vet ungefär hur jag ska nå fram till ett resultat. Men be mig inte förklara det, säger han.Det är ett yrke som i princip innebär att du får säga upp din bekantskapskrets. Du har inget socialt liv. Egentligen har du inte tid med familj heller. Du måste helt enkelt säga upp mycket av vanligt liv eftersom en arbetsdag kan vara från nio på morgon till du går hem vid tolv, sju dagar i veckan.Idag är han mycket efterfrågad, har arbetat med Thåström och Laleh, såväl som Kent och Adele, och har tilldelats en amerikansk grammy för sina insatser tillsammans med Max Martin. Att vinna är ju som Olympiska spelen i musik!.En del tror väl jag är helt schizofren, men om Martin frågar om vi ska jobba ihop så säger jag ju inte nej, det är fantastiskt, det är en ynnest att få vara på den nivån. Det är utmaningar som den som hjälper mig att gå vidare.Vi ska vara behjälpliga konstnärerna, musikerna, men det handlar inte om oss, menar Ilbert, även om det aldrig kan skada att vi tekniker också är konstnärer.  Produktion Mikael Strömberg, GiG.