Podcast appearances and mentions of Robert Henke

Aus der alljährlichen Rubrik: "Menschen mit sehr wenigen Haaren aus Berlin, die was ziemlich bahnbrechendes veranstaltet haben", heute; Robert Henke. Künstler, Musiker, Tontechniker, Nerd, Instrumentenbauer, Mit-Gründer bei Ableton, Bändiger uralter Computer und Zuhörer abgelenkter Kunststudenten. Ein Mann mit vielen Facetten, ein Gespräch, das versucht, sie wenigstens partiell zu erfassen.

If the medium is the message then surely anyone closely involved with Ableton over the past couple of decades can justifiably claim to have changed the world of music in that time.Since our guest this week is a co-founder of the company, then his contribution should probably be described as world-changing. And not just electronic music, since all music today is to some extent running on tech. Ableton has done more than any other emergent piece of technology to enable vast, previously unprecedented numbers of people to make records.But is that a good thing? We find out in this conversation.Of course we also discuss Robert's contributions as an artist, in particular his new album as Monolake, entitled 'Studio'. We get into the process of making it, and the differences from his previous album projects. And we talk about the challenges and pressures of making music over time.We also get deep into his story, moving from Munich to Berlin in 1990 and gradually developing the projects which would... well, change the world.This is as good as I'm making it out to be, so make sure you get all the way through it!If you're into what we're doing here on the pod then you can support the show on Patreon! There are two tiers - "Solidarity" for $4 a month, which features the show without ads, regular bonus podcasts, and extra content. And "Musicality" which for a mere $10 a month gets you all the music we release on Hotflush and affiliate labels AND other music too, some of which never comes out anywhere else.You can also make a one-off donation to the podcast using a card, with Paypal, or your Ethereum wallet! Head over to scubaofficial.io/support.Plus there's also a private area for Patreon supporters in the Hotflush Discord Server... but anyone can join the conversation in the public channels.Listen to the music discussed on the show via the Not A Diving Podcast Spotify playlistFollow Scuba: twitter instagram bandcamp spotify apple music beatport Hosted on Acast. See acast.com/privacy for more information.

Today's electronic treat of an interview features DJ/composer and technologist Robert Henke AKA Monolake. He is a German computer music artist working in the fields of audiovisual installation, music and performance. Born in Munich, and now lives in Berlin.  Many of his works use multiple channels of audio or are specifically conceived for unique locations and their individual properties. For the past few years, he has been exploring the artistic usage of high power lasers in his installations and performances. As Monolake, Robert's minimal, dub-influenced techno helped establish the sound of the Chain Reaction label in Berlin. Most famously, he helped to develop Ableton Live, and designed the Atlantic Waves software for performing live with other producers in different countries simultaneously. Ladies and gentlemen, welcome to the futuristic technological and artistic world of Robert Henke. If you can, please support the Electronically Yours podcast via my Patreon: patreon.com/electronicallyours

were you the co-developer of ableton live? ah no but Mr Henke very much was. Think about that for a minute. It's easy to forget as he'll never bring it up without being prompted. He's not big on the dwelling and far more interested in his current obsessions. Special interests (SPINS) as they are called are the things driving the REAL artists of which Robert is most certainly one. I had one “job” interviewing him at this time. We were supposed to talk about the re-release of a classic monolake (Robert's musical moniker) LP “Hong Kong” on Field Records. There was a hint of that here. It loomed in the fog over the hills as we, the ramblers, became fascinated by objects more close at hand. His tremendous work with the commodore PET platform as a primitive yet potent synth and drum machine for example. His encounters with the art world (which he is not fond of) his dislike of the infernal machine reverb ! ha. (also not fond it seems) His connection to the tonal land of the PPG wave and the Synclavier (yes, he's fond) ah yes I loved reconnecting with him after all these years. He was always a brilliantly bright mind and continues to probe his passions to deliver wildly unique sound and light shows that stand apart from his peers. oh and dont forget he's the co-developer of ableton live!

As someone who enjoys the process of putting together mixes- specifically more conceptual ambient leaning mixes- I often think about how I would approach playing an event designed for sleep. I'm yet to play a set like this live, but I did tackle something similar in the Portals series by roughly mixing styles that aligned to specific sleep stages (eg, REM, deep etc). But in person, sleep is never as predictable as hypothetical sleep stages for a recorded mix, let alone the idea of a room full of people mirroring these stages at the same time. To approach an in-person set for sleep would be a daunting undertaking, but an extremely rewarding experience for both DJ and listener - the career highlight for an ambient DJ, maybe... They say the warm-up set is the hardest test for a DJ and I would tend to agree. But I'd love to see some of the world's best DJs execute 3.5 hours of music for a room full of people looking to do the exact opposite of dancing, or even listening for the entire duration… Sa Pa has executed this concept flawlessly.No stranger to the minutia and atmosphere needed to transport someone from a horizontal state into an elevated lucid dream, I can hardly think of anyone better to take control of such a situation than Berlin-based artist, Sa Pa. His latest release for Astral Industries (the undisputed label kings of lucid states no doubt) is the perfect example of transportive and psychedelic ambient music down to the finest grain of sound and texture. AI-33: Atmospheric Fragments by Sa Pa If Sa Pa's productions weren't enough to demonstrate his transportive power and worldbuilding tendencies, then his recent captures from his own Absurb Lustre events, or his mix for one of our 9128.live takeovers, may provide an additional glimpse of what to expect when he was given the reigns for an all-night sleep in event recently, in Leipzig.“For years I've kept a mental cache of what music would I'd love to play at a sleep in, but was never really sure if there'd be a chance, so small some dreams came true that night for me too - it was a pretty rare experience I'd say especially with everyone there really taking part in the concept”.It's not often we get the chance to host a set from an event that by its very nature, is designed to be experienced in person, but after several trials of this mix (on a plane, going to sleep, and waking up from sleep - and all states in between), the concept translates to an outstanding headphone session and the perfect concept for a defining moment in the isolatedmix series of sounds. “I think it was one of the deepest and most solitary DJing experiences I have ever been part of, and driving a three and half hour cloud through the pitch darkness was a beautifully liminal journey, caring for the dreams of those in the room, some 100-200 people or so”.A 3.5hr liminal state available in your own time and place, in the gentle hands and ears of Sa Pa, displaying the very essence of horizontal ambient music designed to immerse, weave and transport. Featuring tracks from, Luc Ferrari, Zenxen, Pinkcourtesyphone, cv313, Jason Lescalleet, Yann Novak, BJ Nilsen, Robert Henke, Rod Modell, Ryoji Ikeda, Steve Roach and Sa Pa, himself. Words from Sa Pa - ‘Diary of a Lonely DJ':There's something about gazing out of a train window or being 30-thousand feet high up in the troposphere, that evokes a feeling of what we try best to describe as liminality. With this in mind, Deutsche Bahn had me scuttling toward Leipzig from Berlin on a typically stark and windy day that could of been taken right out of a Wim Wenders classic; the treetops lining Urbanstraße on the way to Hauptbahnhoff looking as stripped and brittle as burnt skeletons in the snow.Some 8-to-10 degrees warmer in Saxony, I arrived at a city shrouded in mist, with the darkness of the early afternoon somehow made a touch warmer by that first Friday-feeling of the year. Onwards to Leipziger Baumwollspinnerei - a converted cotton mill where this evening's ‘Sleep In' would take place - the 14 tram would rumble past the pink and lilac glow of the city's opera house. Sleep Ins are no new thing, and to be in the arms of the proverbial morpheus with some 200 people in an industrial estate does have its abstract appeal, and I'd be lying if I said I wasn't a fan of the concept.At something like 6PM, it was encouraging to see so many people arrive dragging their mattresses with them, some eight-hours before the witching hour. Tuning in to the event, and finding a little respite backstage, I drifted in and out of consciousness, occasionally breaking REM sleep to acknowledge the sounds of “Simple Headphone Mind” and Zoviet France's remix of Panasonic, reverberating in the hall.With a medley of lullabies soundtracking the evening so far, preparing selections too deep even for my own Absurd Lustre event, provided a much needed boost of waking life before taking to the couch in the DJ booth. Over the course of the next three-and-a-half hours, in near pitch-darkness, I was able to draw from a rare cache of non-music and atmosphere, embraced at large by a small flotilla of sleeping souls, leaving port to navigate themselves through the inner landscapes of a technicolour head trip.With only the dimmed lights of my equipment and an exit sign illuminating the room, safe to say, it was a resolutely profound DJing experience and deep journey into the estranged fields of time and space. There were moments at the helm where I felt like a small craft adrift in a sea of voluminous black, while paradoxically part of a delicate collective sub-consciousness, sailing through a dream-like abyss. As if bridging a void between the physical world and something beyond the imagination, it was truly a strangely isolated place.Listen on Soundcloud the ASIP Podcast or the 9128.live iOS and Android appDownload MP3 astrangelyisolatedplace · isolatedmix 125 - Sa Pa (Sleep In) The start of the event, as attendees bring in mattresses ready for the night and Sa Pa' set. Sa Pa | Absurb Lustre | Soundcloud (Sa Pa) | Soundcloud (Absurb Lustre) | Instagram

Multi-disciplinary musician and software developer Robert Henke talks about his approach to work, making something unique in a saturated culture, and re-releasing Monolake's album: Hong-Kong.-Robert's Hidden Gem-Robert's WebsiteFollow Robert on Instagram-Website: http://whosflyingtheplane.co/​​​​​Other Links: https://linktr.ee/whosflyingtheplane​​​​ Hosted on Acast. See acast.com/privacy for more information.

Am 3. und 4. Februar findet in der Berliner Philharmonie "Strom", das Festival für elektronische Musik, statt. Olaf Zimmermann begrüßt in der ersten "elektro beats"-Stunde den Musiker und Kurator Stefan Goldmann als Studiogast. Gemeinsam stimmen sie mit zahlreichen Informationen und Musiken auf das Festival ein. Zu den spannenden Mitwirkenden des 2023er Jahrgangs zählen u.a. Marcel Dettmann, Hauschka & Kai Angermann, Nidia, Juan Atkins, Wolfgang Vogt aka GAS, upsammy, Robert Henke und Stefan Goldmann selbst, der das Festival eröffnen wird. Stunde 2 offeriert dann ausschließlich von Vinyl neue Musik von Gold Panda, Nicolas Bougaieff, Mount Kimbie, Plaid, Ryuichi Sakamoto, Dardust, Jeff Mills, Angelo Badalamenti, To Rococo Rot und Terence Fixmer.

Chapters00:00 - Introduction01:12 - Current Projects03:23 - Lumière - Working With Lasers06:49 - Building The Performance Software08:54 - The Beginnings Of Ableton11:37 - The Overlap Between Artist And Engineer17:12 - Working With Audio Loops20:49 - Making Software More Accessible27:16 - Developing A Unique Sound30:18 - Working Without Compression36:27 - 8-Bit: The CBM 8032 AV Performance Robert Henke BiogRobert Henke's work is not easy to describe in a single sentence, and that already says a lot about what fascinates him: complexity and detail, often emerging from seemingly simple processes. Henke is a software developer, fascinated by the inherent beauty and elegance of technical constructions, and co-founder of music software company Ableton where he still plays an active role in the development department. Henke is a Berlin based electronic music producer who blurs the boundaries between club and listening since the mid 1990s. Henke is a visual artist often working with lasers to create audiovisual performances and installations. And Henke is teaching and writing about computer based audiovisual art and in general is a very nice person happy to share his knowledge. https://www.roberthenke.com/Caro C BiogCaro C is an artist, engineer and teacher specialising in electronic music. Her self-produced fourth album "Electric Mountain" is out now. Described as a "one-woman electronic avalanche" (BBC), Caro started making music thanks to being laid up whilst living in a double decker bus and listening to the likes of Warp Records in the late 1990's. This "sonic enchantress" (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.URL: http://carocsound.com/Twitter: @carocsoundInst: @carocsoundFB: https://www.facebook.com/carocsound/

In dieser „elektro beats“-Ausgabe begrüßt Olaf Zimmermann als Studiogast den populären Schauspieler Wilfried Hochholdinger. Seit Jahren veröffentlicht er auch unter dem Namen "Hold" seine vorrangig elektronische Musik. Die neue Platte heißt "Imago Adultus". Deren Vorstellung steht auch im Fokus der ersten Stunde und natürlich wird auch die Frage der Bedeutung des unkonventionellen Titels in der Sendung geklärt. Stunde 2 präsentiert dann Musik von St. Raumen, Moderat, Laurie Anderson im Arca-Remix, Robert Henke, Daft Punk, HHnoi, Rachel Palmer, Skyence, Kraftwerk im Hot Chip-Remix und einen 45 Jahre alten Titel aus dem Klaus Schulze-Klassiker-Album "Body Love".

Das sooperRadio ist eine neue Sendung aus dem Umfeld des Veranstalterteams der Superbooth. Es geht um Elektronische Musik in und aus Berlin, den Synthesizer als Instrument und Spielgerät und dessen praktische Anwendung. ## Die Sendung zu 20 Jahre SuperBooth. Monolake aka Robert Henke, HerrSchneider und Andre Kaufmann sprechen über die Geschichte, die Visionen, Musik und ihre aktuelle Motivation. Wir schauen heute zurück zu den Ursprüngen der Idee einer Synthesizer Messe und tauschen uns über mögliche neue Impulse für dieses Format aus. Zusammen mit Marc Mesi aus Paris, kreierte SchneidersBuero aus Berlin einen Gemeinschaftsstand auf der Musikmesse Frankfurt 2002. Dort fanden sich zehn Synthesizer Hersteller ein, wie Big Briar (aka Moogmusic), Elektron, Doepfer, Vermona und zelebrierten eine kollektive Partystimmung. HerrSchneider bringt heute ein paar Geschichten von damals mit wie „Bob Moog und seine Sekretärin auf dem Dancefloor während Berliner Elektroniker ihre Live Konzerte vorspielten." # sooperRADIO Das sooperRadio ist eine neue Sendung aus dem Umfeld des Veranstalterteams der SuperBooth. Es geht um elektronische Musik in und aus Berlin, dem Synthesizer als Instrument und Spielgerät und dessen praktische Anwendung. Zu hören sein werden viele persönliche Gedanken rund um das Thema Elektronische Musik, ihre Wirkung, Klänge und das Musizieren in seiner großen Vielfalt. Ergänzt mit Anekdoten, Aspekten und Neuigkeiten über unseren Versuch, elektronische Musikinstrumente und deren Potenzial und Anwendungsbereiche mittels einer liebevoll organisierten Veranstaltung namens SuperBooth, einem breiten Publikum verständlich zu machen und auf möglichst praktische und persönliche Weise näherzubringen. Zur besseren Veranschaulichung haben wir einen Praxisteil in der Sendung. Dafür werden wir regelmäßig den erfahrenen Produktexperten aus SchneidersLaden, Thomas Kircher, im Studio begrüßen. Neben dem fachlichen Austausch zur Materie wird uns Thomas mehr oder weniger verständliche Anwendungsbeispiele live im Studio vorstellen und vertonen. Für jede sooperRadio Sendung laden wir Musikschaffende oder Hersteller:innen ins Studio ein, mit denen wir uns über die persönliche Arbeitsweise und die Leidenschaft zur Elektronischen Musik unterhalten. Die zwei Stunden werden moderiert von Mareen und André, die neben den Künstler:innen und dem Fachberater Thomas Kircher auch immer wieder Gastmoderator:innen willkommen heissen möchten. * https://www.sooperradio.com/

In this edition of Seeing Sound, Paul Hanford connects sound and movement, taking Berlin's U-Bahn to meet storied electronic musician Robert Henke, a forward-thinking founder of music production software, Ableton Live. Meanwhile, acclaimed dancer Kiani Del Valle unpacks her fluid approach to sonic space. Background music by OMMA @olga-maximova Read more: seeingsound.playtronica.com/

When did music first come into your life? Who was there and how did you feel? Where did that moment or period of time lead to?These are some of the questions answered by guests of the Lost And Sound podcast, hosted by Paul Hanford. The podcast features a far-flung list of guests yet hones in on innovation and creative process.Listeners will discover personal conversations with well and lesser-known artists from various genres of music, all of whom speak to their individual influences and creativity.In this episode of MetaPod, Paul talks about the evolution of the Lost And Sound podcast and its backdrop, the city of Berlin.Paul also explains his interest in the human, rather than technical, aspects of music and how those feed the identity of people and places. We also learn about when music first came into Paul’s life. Did we mention that Paul might be the only DJ that moved to Berlin to stop being a DJ?

In this episode, Craig Eley talks with Jean Allman, director of the Center for the Humanities at Washington University in St. Louis, about the "Life/Lines" project. Back in April, Jean wanted to add to the humanities conversations she was seeing in her feeds. So she launched “Life/Lines,” a project that gave participants a daily poetry prompt: 5 keywords that must be used, and 7 or 8 lines to use them. The response was remarkable—undergrads to professors emeritus, lifelong poets and those just starting out, people inside the university and well beyond it. Special thanks to Jean Allman, the J.H. Hexter Professor in the Humanities and director of the Humanities Center at Washington University in St. Louis. Thanks also to this episode’s poets: Mark Alford, Jeannette Cooperman, Gwyneth Henke, Robert Henke, and Jey Sushil. The show was produced by Craig Eley with help from Jade Isiri-Ramos. Music in this episode comes from Blue Dot Sessions.

Learn more about EIDUCatch Bernd's TEDx TalkSupport the show-------->Fabian Geyrhalter:Welcome to the show Bernd.Bernd Roggendorf:Thank you very much for inviting me.Fabian Geyrhalter:Well, it's really, really good to have you here. It's funny how you actually ended up on hitting the mark. Just to give my listeners a bit of background. I was invited to speak at Harvard Business School back in March of this year, which was really exciting and I very much looked forward to it. And this was just when COVID started to emerge in the Western world and I remember I was the only one at my gate at LAX Airport actually wearing a mask and people were just staring at me and they were laughing at me.And so during the flight over to Boston, I get a message from the CEO of your organization, Arne, who was also supposed to speak at the same event. And we decided we should meet up the next day, but that never happened since the event got rightfully canceled that very night because of COVID fears. So in a way, the one thing I get out of Harvard was this episode with you Bernd. So here you are. It all happened for a reason after all.So you co-founded Ableton, the tremendously popular and important software that helps millions of musicians, especially electronic music producers, unleash their creative potential. One of your other co-founders is Robert Henke of Monolake, who did a fantastic Depeche Mode remix a couple of years back. I feel required to mention this because a lot of my listeners know that I'm a total music nut and I'm a Depeche Mode vinyl collector who also toys in music as a hobby.So I would love to talk about the Ableton for the next half hour, but as hard as it is to believe you have been off to do more important things, which we will focus on today. You're you still changing the world of software, but now in a much different and tremendously meaningful way. Five years ago, you founded the education social enterprise, EIDU to improve education standards for 800 million children who live in $2 or less per day. How did this come about? How did you leave Ableton? Give us a little bit of that backstory.Bernd Roggendorf:Well, that's a funny story. It all started in 2010 I think, if I remember correctly or '09. Several things came together; one of global things were the financial crisis which somehow got me thinking a lot about the world but more personally, I was diagnosed with having a tumor in my spine. It all went well, but I was confronted with death and thought about that.And then on the other side, Ableton was already developing super well and it was so well set up. And I said it's my baby and in some point those babies you're at the position where you think that work it needs to grow on its own, and it needs to walk on its own. And I had the feeling with Ableton it's so well set up, I would be able to leave without destroying it.And so all these things together got me thinking was, I noticed there's something in me that I couldn't fulfill within Ableton or something else. And I'm not this guy that can do a lot of things together at the same time. So like if I do one thing, then I need to let go all the others. And so I had to say goodbye to Ableton which was super hard. I was crying, thinking about that. But at some point I realized that I have to do it because there was something I wanted to... I had this very naive idea of like the word is so unequal and so unfair, and I wanted to use my time and my money and my skills to help to get rid of these extreme inequalities.Fabian Geyrhalter:And so then you went on a pretty extreme trip yourself to witness how world is on the other side, right?Bernd Roggendorf:Mm-hmm (affirmative)Fabian Geyrhalter:Can you tell us a little bit about that? And you took your entire family with you, which must've been a crazy experience.Bernd Roggendorf:Absolutely. Well, it was like this. I was reading a lot after quitting Ableton, I didn't have any idea of what to do exactly. I felt like a teenager. I was very naively, "I want to help the world," but had no idea how. And so I read a lot of books and talked to a lot of smart people. But at some point I felt like this is all way too theoretical and way too second hand, I wanted to understand how poor people are really thinking and living and what do they need? And do they need any help from us? And if so, what kind of help do they need? And I will experience that firsthand.And so I talked to my wife and she fell in love directly, more than me even. I just sat there and was like, "Should we go?" "Yes, we need to go. Let's do that." "Okay. So let's do it." And then our children at that time was three and five. And we said, "Okay. Let's take this trip and let's take them on the trip. It will be like the greatest experience they will ever have in their life." And so we did and traveled around the world for eight months and tried to live as close as possible to very poor people.It started already with the most extreme part of the whole trip because for three months we went to Kibera, which is one of the biggest slams in Africa, in Nairobi. And we went there with a small organization called Manager Without Borders, it's a German organization. Very tiny, and they try to find companies around the world in low-income countries that need support. Companies here when they go to Ernst & Young or any other [inaudible 00:06:42] company, but tiny companies and of course, with no money at all. And they try to find on the other side managers, who are willing to support those companies.Fabian Geyrhalter:Amazing.Bernd Roggendorf:-organization and went for two months. We actually at the end stayed three months to help in a project in Kibera. It's funny because they thought, I'm coming from the music field so it was a company that focused on theater and dance and so on and stuff. Well, probably a band can help them. I'm a programmer. And I did my best. And I'm not sure if I really helped them. I probably didn't hurt them. When it comes to developing aid, you need to be careful to not even hurt because it's so tricky. And so I hope I didn't do that. I'm not sure if I really helped them and that's so unfair.I did it because I really wanted to help, but probably I learned and I gained much, much more than anybody I tried to help as well because I learned so much about how life is in the poor areas of the world and really their thinking and what is going wrong and all these things. And it was totally amazing experience for me and for my wife as well and for my kids. Of course, it's probably like completely changing. It was funny because at the beginning when we saw them, you couldn't see any difference. You couldn't see that they were actually in any way thinking, "Okay. This is crazy what we are doing here." It all looks the same. It's all people around the world. And yes, it's a lot more crowded and it's a bit more dirty and they all are black, but who cares, right?Fabian Geyrhalter:Yeah.Bernd Roggendorf:That's the funniest thing. For them, it was totally easy. And it was like an amazing experience. I learned so much.Fabian Geyrhalter:And so when did that idea of EIDU come about? Did that happen during the trip or did it happen at a much later stage?Bernd Roggendorf:Pretty much when I returned. So I returned from the trip and with all this experience. And mostly I was thinking, "It's just way too complicated." I was like naively thinking, "Okay. I want to help the world, fix the world." And then I realized it's so amazingly complicated to help something. Typically, what you experience, you try to do something at one corner of the problem space and then the next problem comes up and this, and this and this. It gets so complicated and you never find a good way of really entering this problem space, because it's so complicated.So I was thinking, "Okay. I need to start smaller." And I was thinking about, "Okay. I do something in Berlin, helping the people here that's what I know more." What I thought is, if I want to help really the poor, I need to live there. And that was just not an option from our family point of view, was that we wanted to go back to Berlin, not stay forever. And so it was pretty clear I cannot do this.And then my daughter came to school, she was then six. And pretty much from the first day she was using learning software and I watched over her shoulder because well, first I'm her father and second, I'm a software developer so I want to understand software and how it's working. So it was super interesting to see that and how she can interact with the software.And what I realized it was like the software's typically done, it's a lot of repetition and practicing of exercises or of principles you have learned already in the school. Was like, so you learnt how to addition and subtract two numbers and then you do that at home and practice that. Which is good and it's definitely helping, but this is not enough for countries in Africa. Because typically, the teachers are not able to provide this basic knowledge of how numbers work and like very basic things.But what I saw sometimes it was Lara, my daughter, she was able to grasp a new concept just by interacting with the software. Almost never it worked, but sometimes it worked. And when I saw that I thought, "Well, when it's sometimes working why shouldn't it work always." It's pretty much a question of good software, of great software. She was like, it's probably a super tricky problem but it's a solvable problem. And if that's the only thing that hinders us from educating the whole world, well then we should try it.And then the other part that brought me thinking, and that was experienced from my trip around the world, that pretty much everywhere we were; we were like at the most rural areas of the world and most isolated islands and still, if you took out your smartphone and hold it in the air you had a great signal. It's so extreme. It's like you go to the poorest areas and the people are constantly thinking about how do they get enough money to pay for the food for the next day but they all have a mobile phone in their pocket. Not yet a smartphone, but a mobile phone. It was pretty clear. And that's what all the numbers are showing. It's like smartphones will be everywhere, it's just a question of time. The prices are so low now and all the forecasts are saying it will grow within the next 10 years to almost every corner of the world.Fabian Geyrhalter:You basically bring learning to smartphones for schools around the world?Bernd Roggendorf:Exactly.Fabian Geyrhalter:And who creates the content?Bernd Roggendorf:Well, that was a long journey. So we started on our own. That's when I thought, "Okay, let's try it." I couldn't find a good software that worked out of the box, so I thought "Well, then we need to create this content ourselves." And we started with it and it worked quite okay. And it's just at some point I realized, to teach all the different subjects to all the different grades and then with the local specifics and with the few languages. The space of content that is required is so gigantic. I realized okay, I will never do that. I was like, "I need to get partners on board and need to do that together with others." And it's not so long ago.Pretty much just this year, we actually invested heavily in that to get partners on board. And now it's like we are constantly integrating big content providers who actually build most... We have some that are especially designed for African contexts. But we also work, for example, [Anton 00:15:08] is the leading software in Germany and we are just incorporating that content. We would talk to all big companies around the world that create these type of content and ask them to allow us to use their content. It's rather easy to sell because basically what we say is this market doesn't exist.Fabian Geyrhalter:Of course, yeah.Bernd Roggendorf:You have no way of reaching them and you have the content, it's ready. You don't have to do anything, just give it to us and we will help hundreds of millions of children. That's rather easy to-Fabian Geyrhalter:And so for them it's hopefully I assume not about monetizing but instead it is about basically giving back, right? For them it's a great part of the brand.Bernd Roggendorf:Absolutely. And that's how the whole company is built. It's like we do all this for helping the world, perhaps at some point we might be able to make a business out of that mostly to make it sustainable. Not even to think about making profit, but to make it so that we don't need to rely on external funding. And at some point, we might also create a business model or more money than that and we might also be able to pay back a bit to the content providers. But that's very, very far away and that's not part of why we are doing it.Fabian Geyrhalter:So you're running like a nonprofit but you legally are not a nonprofit entity, right?Bernd Roggendorf:Yes.Fabian Geyrhalter:Okay.Bernd Roggendorf:And I like to see us as a for-profit, not because I want to make profit. Honestly, I earned enough money with Abelton and I don't need any more. Currently, we are even changing the company to rather go be a nonprofit like Abelton itself. I'm not in the thing for money but there are so many people around in the ecosystem, being it funding people or employees who all need to make money somehow. And thinking about having this business mindset thinking, how can you create value that people actually would be willing to pay for it? It's so good that they are willing to pay. And even asking the poorest of, would you be willing to give us a dollar per child per year? Which pretty much everybody in the world could do. But if you do that for hundreds of millions of children, it's a lot of money. And you can create great products with that. I would never say we are nonprofit, I want to stick to it as well.Fabian Geyrhalter:Well, I like that. Some of the listeners heard the episode with Scott Harrison of Charity: Water, and he's got a very, very smart way of how to divide those two. Here's a nonprofit part and here's actually how we need to make money, because we need to feed our own people too, right?Bernd Roggendorf:Yeah.Fabian Geyrhalter:So I would encourage anyone who finds this conversation interesting to also go back to that episode. But let's talk about the big pivot that happened this year to becoming this platform that's a little bit like the Apple store, where everyone can kind of like plug in. Did that have to do with COVID? Was your company affected by all of that school closures, et cetera? I assume it was.Bernd Roggendorf:It was dramatically. Actually, the change came beforehand because what we did is last year we thought, "Well, can we actually ask the schools to pay for the service?" And we did that and we saw it's like we actually get 20% of the market to pay for it. In this amount, I think on average they paid €1.5. So roughly $1.70 per child per year, which would already finance quite a bit of what we are doing if you scale it up. But what we saw is that we only get 20% of the market to do that. And at least at that point what we were offering we couldn't convince bigger parts of the market basically, of the schools that were existing and we were inviting. And the funny thing is, just because we were getting to just the small part of the market, our costs went crazy because it was pretty much to acquire... If you anyway invite 100% of the schools to your meetings and show what they do and give them devices and explain them how we do it and all this, then pretty much your costs are already gone.Fabian Geyrhalter:Yeah, huge.Bernd Roggendorf:And so we said, "Okay." We calculated it through and we saw it doesn't work, which is not very rare because pretty much nobody finds a way of a business model with the very poor. It's really, really hard to do that. It was tried all over the world. I would say there are two main examples who made that work, and that's Coca-Cola. You can get Coca-Cola everywhere around the world. But that's almost the only brand that you really see around the world all over the place. And then what you see is all over the place is mobile. Every place in the world has mobile in there, you can buy phones and smartphones and mobile services.Fabian Geyrhalter:And are there any lessons you can take from those two companies and apply it to your company?Bernd Roggendorf:For sure we tried a lot, but what we saw is we cannot get it to... At least at that point I was always thinking, at some point we probably might have enough product value it provides so much value for the users that they need to continue and that they are willing to even give us a bit of money. But at that point we were just there.But on the other side, I was always thinking... And that's also a tricky thing of like, if you try to make it with a business then you typically have the business mechanics at work. Which means, you usually easier get the ones who have more money. When it comes to education, that's definitely it's the wrong thing. Who needs the biggest support? The poorest. The danger was way too big from my point of view that we will at the end would end up with something that we just cater for. Still within those poor, more the [inaudible 00:22:55] ones and more the better-educated ones. And so I thought, there will be enough companies and there will be enough tries in this direction but I want to try to find something that really can reach the very, very poor.And that's why I thought because what we also did in this testing, at some point we did give out phones for free. To explain that a bit, so what we have in mind is in the long run everybody will have a smartphone, that's our assumptions. So at the end, we only need to provide software which is free and we could scale that up for the whole world pretty much for no money. So the devices is the tricky part in the game.But right now they don't smart phones, so what we do we provide the teacher with just one smartphone. So we simulate what will happen in 10 years from now, basically. And once we do that we say, "Okay. We put our platform on it and then use it in your classrooms like you think makes sense." We give them some training what makes sense, but we saw different ways of using that that's why we... It's pretty much the teacher is in control in the classroom. They are the masters and you cannot do it besides them. If you do something besides the teacher, you typically end up dying very hard in terms of usage because the teachers are the ones who constantly push for. Well, it's like we are here to learn and to get the kids all over. And that's why I also I didn't want to think about a parent app, for example, that focus on parents which is also very common. Again, you will not reach the poor, the people in total need. So we said, "Okay. We bring one phone to the teacher, explain them shortly how to use that and then they are starting it right away."When we do that for free, then we have activation rates higher than 95%, so pretty much everybody. We get all the schools to participate. And through that we can reach so many children, even the poorest ones. And the funny thing is, as we just take one device and share that in the... So the app works like this; on the one side there's teacher content for the teacher to be a better teacher, so giving them teaching materials and explain them how to do better lessons and prepare for them better. And on the other side there's self-learning on it so for the children, for the students.You don't need to do anything, because at the beginning you just take photos of all the children which is basically setting up all the accounts for the children. And then we only show the picture of the first child, the teacher gives it to this child and then the child clicks on his picture and does exercises typically for 10 minutes. And then the picture of the next child appears and then this child gives the phone to the next child. And we teach that to three-year-olds and they learn it, after three days they know it by heart.So we have a system where the teacher can introduce this platform without doing anything basically, besides charging the phone in the night. They don't have to do anything. It's so easy for them to get into the system. I would say that's our main point is, we make it so easy to get started so that they actually try it. And then after some time they see, "Okay. This is actually helping my children." They actually learn those concepts better and they get more attentive. And actually what the schools are reporting, kids are coming earlier to school and leave the school later and parents are bringing their kids to our schools and things like that because it's very attractive for the children and the teachers see the value as well.Fabian Geyrhalter:It's amazing. I mean, I hope that some executives of T-Mobile are listening to this because what a great way for them that would be, to have a partnership to give away phones with your software on it. That seems like the next iteration of the TOMS model of a one-for-one model. If I actually spent $800 or some insanely silly amount of money on a new iPhone, that I would know that one phone ends up in a school in Nairobi that actually touches 40 kids. I'm sure you already went down that aisle, but it seems like a very obvious direction to go, right?Bernd Roggendorf:Yeah, and it's like we are always playing around with this idea. Should we ask for charity? Should we get the world to finance that? Perhaps at some point we will do it. I'm hoping that we can fund it through other channels because we see that we can grow this so fast. We have now the ability.What we do is we go to slums. And typically, that's an important thing which many people don't know. It's estimated that more than 50% of the poorest third in the world, the vast majority go to school but the majority of those schools are not public but private. And then you say, private school for the very poor, what is that? We have millions and millions of extremely low cost schools around the world. For many, many decades were not known at all, but in those statistics they were shown and all this. It's a recent trend that we get data about those schools.For example in Lagos, a city of Nigeria. We will start operating very soon in a couple of weeks and they have I think 1,200 public schools or so, something like this, and 18,000 private schools. So the vast, vast majority in the city is going to private school. These low cost schools it's really funny how they work, because they typically get fees from the parents around €5 to €10 per child, per month. So it's tiny amounts.If you think about it's like, if you have a class of 30 people with €5, well, it's €150. You need to make school with €150 euros per month, including everything; including the classroom, including the tables and the chairs and everything, books. So it ends up you don't have anything, besides chairs you don't have much in your classroom. Of course, you need to pay the teacher. So what can you pay with this amount of money? Pretty much teachers who are not educated themselves, who have very little pedagogical education themselves.And so the funny thing as it is that even they are... And they have much less money than the public schools but as they are so near to the customer. Because if they don't do well, the parents send their kids to the next school which is 100 meters from your school. So it's like extreme competition there. And so it's amazing how well they function.There's pretty good research, especially in India where we have the same situation, there are hundreds of millions who are really still very, very poor. Although we also see how the development of India but there's still a huge part of the population is very, very poor. And in those poor areas, it's like there's many, many, many private schools.We have pretty good data about their learning outcomes. They are not better, but they are pretty much the same as the public schools and they do that with like a 10th of the budget. It's very interesting to see these two markets. Because when you go to the public schools they all say, "Well, talk to the government." And then you talk to the government and they say, "Well, that sound's interesting. Let's do a pilot next year." And so it takes forever and forever. Which we will do.We said, let's start with the private schools because it's so much easier to talk to them. We can just invite 100 directors of those schools into a meeting, tell them what we do and if they like it they will start on the next day. And that's actually what we do exactly that. We go to the slums, we invite these privates school owners and tell them what we do and offer them, "Well, you get your first smartphone right away. Send us the teacher of the early grades and we will give them a short training and then you get your first phone. If you use that to heavy extent like we say, we want to see at least 10 hours per week of usage." The thing is, it's every day, you need to do it for several hours to do that, to get to that amount. And that's what we get, it's like we get 95% of those schools right away, but in the first week they have more than 10 hours of usage.Fabian Geyrhalter:So currently, so you must have a lot of "boots on the ground," in Nairobi and all over the place, who actually are working for your company to get the word out?Bernd Roggendorf:Mm-hmm (affirmative). Well, it's like we started heavily on the ground in Nairobi because that was our learning lab, to learn how to do all these things. And then came Corona, it's like we have to do it very differently. In the beginning of the year, we were right at the point where we tried everything out and we were preparing everything to massive scale and then from one day to the other everything was shut down. All the schools in Africa were closed. All our schools were from one day to the other, not existing anymore because it's private schools. We saw pictures now from our schools where in classrooms have chicken farms and stuff like that, but they have to make money somehow.Fabian Geyrhalter:Yeah.Bernd Roggendorf:So all our schools were gone, basically. And in Kenya, it's still like they will start beginning of next year, that's what they said so far. So once they open up, we will go back and start extending in Kenya as well. But thankfully it's like there's one country in Sub-Saharan Africa that had not closed the schools and that's Ivory Coast.And In Ivory Coast we just started because we found out very late in the process because it's French and we didn't have the software in French so we excluded those countries from [inaudible 00:36:31]. But at some point we said, "Okay. Let's look at all the countries, perhaps we find something where we can actually operate now during Corona." And then we found Ivory Coast and then within three weeks we translated everything into French.And then last week, we did the first test meetings. Well, we invited I think they were like 35 or so schools there. And they are all starting to use the app now. We just heard last week that Nigeria is opening up, I think in two weeks from now, so we will start doing sales meetings in Lagos very soon.And we do that and that's the funny thing is, we have learned a lot how to do these meetings and how to do them effectively and fast and all these things. But as we couldn't travel we said, "Okay. How can we do that? How can we do that remotely?" Actually what we did is, we hired people remotely, just through video calls and discuss the things. Then we did the training remotely of those things. Then we did tests town halls remotely. And now we are up to do pretty much everything completely remotely.The great thing is, as all this is digital we can monitor everything. Every click of every child, we know. We see on our data. And typically, although we don't rely on an internet connection, we provide internet connection to collect the data and to update the software. I think it's something like 80% of the data we get within the first 10 minutes. So we are almost real time, but we are not relying on real time.Fabian Geyrhalter:It's amazing, really amazing. What COVID took, COVID gave back from a business perspective, right, for you?Bernd Roggendorf:Yeah.Fabian Geyrhalter:I mean, there's a lot of pivots that happened then a lot of streamlining operations, et cetera, et cetera. Pre-COVID, how many schools has EIDU been in or how many kids has it affected?Bernd Roggendorf:It was all testing, we were testing.Fabian Geyrhalter:Okay.Bernd Roggendorf:I think we had 400 schools with roughly, what is that, roughly times 200.Fabian Geyrhalter:Okay.Bernd Roggendorf:60,000 or something like that. I'd say 80,000 children.Fabian Geyrhalter:Yeah. It's a good amount.Bernd Roggendorf:And it's not like that all these kids were active at the same time. But what we know is we can reach those kids because they are in the school. So when we start with just a phone, we just provide the first class and then if they use it heavily, then we provide the second phone and the third phone and over time we reach all those kids over time.Fabian Geyrhalter:Right. Let's shift the conversation a little bit over to the EIDU brand. I mean, obviously Ableton is very much a brand, it's a brand experience, musicians light up when you mention even the word because it just stands for so much in their lives. So when you think of a mission-driven organization like EIDU which almost classifies as a nonprofit brand usually gets all but forgotten about, yet it's super crucial because there are so many stakeholders. I mean, we talked about it. The content providers, teachers, the kids and then there are many different languages. I mean, there's just a lot of people involved that are exposed to the brand and then on top of it many different languages, like you just got French on board over the last couple of weeks. Many who will just judge the branding by its look alone because they don't speak the language, how did you go about branding with EIDU? Did you see it as an important factor from day one?Bernd Roggendorf:To be honest, not really. Well, it's like I know from Abelton experience how important it is, but probably my helping heart was just thinking, "Well, I just need to provide the right thing then it's working." We talked to some branding people and thought about these things. The tricky thing is, typically when you think about these branding aspects you directly think for yourself and people here and your future employees and funding people and all these things, what is the right branding?Besides we need to find funding and we need to find employees, our customers are thinking very, very differently and looking at the world very, very differently. So we always thought well, let's first see how we can really solve the problems. But that says, I think branding is super important for us. I think we are still very early in terms of really using what we think the brand is and how it's positioned to use that for all kinds of things in terms of marketing and how we talk to the world. But it's still early, but I'm sure it will be very important.Fabian Geyrhalter:Right. And it seems to, when I get the message from Anna, your CEO and I quickly checked out the company to see if they're legit, like who is EIDU? And I looked at the site which I think right now when we record this is down but it should be back up when this is airing, I was super impressed because it was very brand forward. I mean, the logo feels extremely likable, it's very colorful. It feels like there was thought being put into it and to me that was very surprising because 99.9% of mission-driven nonprofits don't care about branding, for exactly the same reasons that you just mentioned, right?Bernd Roggendorf:Yeah.Fabian Geyrhalter:But I do believe that it can actually be extremely important to convey a message and to get people to actually like the product and to associate themselves with it. I mean, just the two colors in the logo, they're so vibrant and it feels like there's something going on between color one and two. There is meaning in it. At some point when you actually went through that exercise, you did it in a meaningful way, I assume.Bernd Roggendorf:Yeah. And we got support from branding people and the design people. I think that, that's what I learned at Abelton was how important are these things, that you really should take the time. Not from this or it's too far from the aesthetic point of view. But I actually like beautiful things and we want to see beautiful things. It's nice to see beautiful things and make things look nice but the more important thing from my point of view is more the consistency with your thinking, why do you do all this? And what do you want to achieve with that? And all these things. If you do that consistently with the branding, then it helps to spread your message. Even if it's subconscious, you feel all these things, people notice them and it's important.Fabian Geyrhalter:Absolutely. The name EIDU, it is so close to edu which obviously stands for education and is synonymous with it's .edu the main extension for organizational entities around the world. What does the name stand for?Bernd Roggendorf:It's not an abbreviation, what everybody asks us for.Fabian Geyrhalter:Yeah, I thought so too.Bernd Roggendorf:No, it's actually like it's a synthetic word which we came up, because it has exactly this what you said. It has the education in it and on the other side when you speak it typically, it depends on where you are. But many people say EIDU and how we found ourselves. So and if you say, "I do," it's I do something.And that's pretty much what we think in terms of what we want to get the children to do. They need to get active because that's the biggest problem in low-income education is that kids are just passive, they are just like this old picture. It's like their head is open and stuff is pushed in there and they need to remember it and then it's closed. And they need to get active, they need to do it on their own. They need to learn the things on their own. They need to experience it and try the things out and take a very active role in their learning. And that's why EIDU makes us so much sense to us.Fabian Geyrhalter:That is such a fantastic story. I would have never in a million years guessed this and I'm a naming guy and that's hilarious. But the idea that EIDU actually is one of the first things that they would learn, right?Bernd Roggendorf:Mm-hmm (affirmative)Fabian Geyrhalter:It's the action that you want them to take, et cetera, et cetera. And did you test the word before in different languages to see if it's easy for them to say or did you just know that based on your travels?Bernd Roggendorf:No, not really. We tested it. And it's not super easy because especially the E-I is pronounced differently in different areas even in English speaking countries. It's not totally clear if it's EIDU or AIDU and so this wasn't perfect for us. There are other awkward names in the word. We thought the ones who are using us, are using us so heavily we can easily train them in pronouncing it correctly. So we were very sure the name will stick and the people will understand that's EIDU and will understand that and will use it. And in general, I think it's easy to pronounce in all kinds of languages. So it's working quite okay.Fabian Geyrhalter:And brand purpose became such a big buzz word, one that I myself am actually using quite a bit. But looking at Ableton and EIDU, both are actually very purpose driven companies. And I wonder, isn't any company purposeful in a way. If there's no purpose, what do you give to the world? I mean, even if it's just a simple product or enhancement. So to me, purpose and mission are quite different. How do you see the difference from what you did with Ableton, to what you're now doing with EIDU as it relates to brand purpose?Bernd Roggendorf:Well, it's two fold. The difference is first of all I think we started not like... I think Gerhard and me founded Ableton, right from the very beginning we wanted to create the best product in the world. So we were driven by great products. But I would say the difference in EIDU it was very clearly we need to help people, we need to help and we need to support them that was more, more focused on. I think Ableton was from the beginning at least more product-driven and I think we are a bit more user-driven, which is definitely not true anymore. Ableton is super user-driven and thinking about the customers, it's definitely. And the users, it's totally in central. But it was a bit different.Fabian Geyrhalter:What is one word that can describe your brand? I call it your brand DNA. So for Everlane for instance, it would be transparency for Harley-Davidson it would be freedom. What would be one word that sums up EIDU?Bernd Roggendorf:That's a tricky one.Fabian Geyrhalter:I know. I like putting people on the spot with that. Obviously-Bernd Roggendorf:I have one. It's potential.Fabian Geyrhalter:That's great.Bernd Roggendorf:And it's two-fold. It's the potential of every single child, which we need to unleash. And it's so huge, the potential, in every single child. There's so many possibilities that this kid could grow into, but on the other side it's also like it's such a huge potential when you look at the world. It can change everything, if we educate the poor.Fabian Geyrhalter:Absolutely. As we come to a close, I would encourage everyone to listen to Bernd's Ted talk, I will add the link to the podcast notes. Where else would you like people to go? How can they follow you? How can they get involved? What can they do to help your noble and really amazing mission?Bernd Roggendorf:Well, go to the website and contact us first, like writing us an email or send us any message. But go to the website, you will find the ways to contact us. But get in contact, please.Fabian Geyrhalter:Perfect, very good. Well, Bernd, I really appreciate your time. This was a really, really great conversation, I'm sure everyone enjoyed it. Thank you for spending the whole hour with us.Bernd Roggendorf:It was great. It was so much fun. Thank you very much.

Studio talk with Electric Indigo, Jamaica Suk, Robert Henke and Speedy J. In this podcast varying guests from the field of electronic music chat about gear, music production, art, studio techniques, and everything else that occupies their minds. Just a bunch of knob twiddlers who are knowledgeable in their niche sharing insights and stories among each other and with an audience. Live every Wednesday 9pm CET. https://www.patreon.com/stoor https://www.twitch.tv/stoorlab

Episode 3: Engineering The Sonic Zone. We're off to the ears today with Anna Tskhovrebov, an experimental musician among other things such as audio engineer at Ableton, live visuals programmer, and avid bird-listener. Anna graduated from Stanford in 2018 with a B.S. in Mechanical Engineering, and an M.A. in Music, Science, and Technology. She moved continents to Berlin, to work alongside Robert Henke on designing the graphics for his retro-futuristic audiovisual show, CBM 8032 AV, before settling in to program instruments and effects at music software company Ableton. Anna also composes her own music under the name viewfinder, sampling unexpected and haunting sounds from our everyday environments, and putting them in conversation with each other in funky, IDM-inspired soundscapes.viewfinder SoundcloudCBM 8032 AV Videos:CBM 8032 AV Doc (FACT Magazine)In Process Instagram: @inprocess__showRecorded in Berlin on 08.02.20

I had a chat with Robert Henke, dare I say it a true electronic music pioneer. Composer, artist, software developer and co-creator of Ableton Live. Founding member of Monolake, who were making techno music in Berlin back when I was most likely bopping to Kula Shaker in the indie disco, not that there’s anything wrong with that of course. But we spoke in person before lockdown, and listening back I feel an extra wistfulness in his wonderful descriptions of clubbing as a space to both lose and find yourself. Enjoy! And also, from today, Lost and Sound goes weekly. In this strange, tough year the word lost has taken on a new unexpected meaning. But music gets me through and I honestly feel inspiration is flourishing more than ever, wether being forced to be creative about how we approach what we do or just hearing a piece of music in a new way. Sometimes talking about it is a pretty good antidote too. Let’s see how it goes. Lost and Sound, every Wednesday!

Richie Hawtin has been at the forefront of electronic music for the last 30 years. His relentless spirit of innovation has led him to pioneer new ways to connect with his audience whilst on stage. Embracing the unknown and rejecting the status quo is what drives him to create powerful new ideas and live performance experiences.

Richie Hawtin has been at the forefront of electronic music for the last 30 years. His relentless spirit of innovation has led him to pioneer new ways to connect with his audience whilst on stage. Embracing the unknown and rejecting the status quo is what drives him to create powerful new ideas and live performance experiences.

Die Themen: Der Türeci-Shot, wie Trump das weiße Haus hinterlassen wird, demonstrieren gegen Coronamaßnahmen, Depressionen während dem Lockdown light, One More Thing von Apple, die Hyperloop-Testfahrt und Details über Phil Collings

Tarik Barri is een visueel muzikant. Na de opleiding Muziek en Technologie werkte hij samen met de Duitse elektronische artiest Robert Henke, beter bekend als Monolake. Ondertussen programmeerde hij eigen software waarmee hij beelden kon creëren in combinatie met geluid. Hij maakte verschillende videoclips, onder meer voor Atoms for Peace, het soloproject van Thom Yorke. De voorman van Radiohead vroeg hem vervolgens mee op tournee voor de live visuals van de optredens. Zo werd hij de derde man op het podium, naast Yorke en Radiohead-producer Nigel Godrich. Pieter van der Wielen spreekt met Tarik Barri.

Ben Eshmade talks to Robert Henke about his audiovisual project Lumiere with interviews from July 2014 and February 2017.From the Archive sees us dig into our extensive contemporary and classical music and cinema podcast archive as we rediscover interviews and discussions with artists, with our long-standing producer and presenter, Ben Eshmade. Subscribe to Nothing Concrete on Acast, Spotify, iTunes or wherever you find your podcast. Show your support for the Barbican by making a donation and help inspire more people to discover and love the arts. https://www.barbican.org.uk/donate See acast.com/privacy for privacy and opt-out information.

Panelists: Earl Evans (hosting), Paul Hagstrom, Jack Nutting, and Carrington Vanston Topic: Things we (came to/no longer) hate Things we used to hate, but maybe no longer do. Or maybe still do. Or maybe didn't used to hate, but now do. Topic/Feedback links: RetroMacCast interviews Rocky Bergen about papercraft creations Mimic Spartan Retro Computing News: Mini vMac for Nintendo 3DS MacRumors write-up of 3DS Mini vMac ComputerLand and the BC88 Al Alcorn explains early color graphics Retrofair 2020 Mar Hicks: Scapegoating COBOL Why I Still Use A 34-Year-Old IBM Model M Keyboard Tweeting from the Teletype Volkseigener Betrieb (VEB) Robotron PC 1715 on parade, East Berlin, 1987. 10 pfennig 1987 stamp featuring the Robotron PC 1715 Primary Optics, Robert Henke’s Commodore CBM 8032 Based Audio-Visual Art Robert Henke Loop 2015 Keynote: Failure = Success Upcoming shows VCF Southeast 8.0. July 10-12. Atlanta, GA. KansasFest. July 24-25. Online. WozFest SWEET 16. Sat Jul 25. Online. VCF West. August 1-2. Mountain View, CA (Computer History Museum). VCF East. October 10-12, 2020 (rescheduled). InfoAge. Wall, NJ. Vintage Computer-related Commercials: Computerland commercial Retro Computing Gift Idea: Floppy Disk iron-on patches Auction Picks: Carrington: PS/2 Googly Eyed Duck Mouse TRS-80 Model I Briefcase Earl: Pi 1541 Paul: TRS-80 Model 16B Bunch of Apple II era manuals of no particular rarity Black Hole Colorforms Power Mac power button replacement Atari Lynx kit case Feedback/Discussion: @rcrpodcast on Twitter Vintage Computer Forum RCR Podcast on Facebook Throwback Network Throwback Network on Facebook Intro / Closing Song: Back to Oz by John X - link Show audio files hosted by CyberEars Listen/Download:

Durée : 00:59:51Date : jeudi 13 février 2020Il redonne vie à des inconnus, êtres humains ni entrés dans le Panthéon, n'ayant peut-être même aucune sepulture mais dont le souvenir de leur passage sur terre a été inscrit sur les carnets de voyage d'un individu ayant vécu la seconde guerre mondiale et les trente glorieuses. Dans une verve electro instrumentale où la ligne rythmique et percussive se taille une place de choix, l'invité de cet épisode a taillé des compositions à la mesure de ces hommes et femmes rencontrées par son arrière grand-père. Quatre morceaux, autant de fantômes, Ghosts fait planer un certain spiritisme sans s'accoler des clichés des ténèbres où d'une bande originale d'un film d'horreur. Il redonne vie à des inconnus, êtres humains ni entrés dans le Panthéon, n'ayant peut-être même aucune sépulture mais dont le souvenir de leur passage sur terre a été inscrit sur les carnets de voyage d'un individu ayant vécu la seconde guerre mondiale et les trente glorieuses. Dans une verve electro instrumentale où la ligne rythmique et percussive se taille une place de choix, Mokado a taillé des compositions à la mesure de ces hommes et femmes rencontrées par son arrière grand-père. Quatre morceaux, autant de fantômes, Ghosts fait planer un certain spiritisme sans s'accoler des clichés des ténèbres ou d'une bande originale d'un film d'horreur.Également dans cette émission- Le FAME Festival revient à la Gaïté Lyrique- La performance de Robert Henke. L'allemand a accompli un show visuel et sonore, produisant une courte pièce via des ordinateurs des débuts 80, des micro-processeurs à la puissance "inférieure aux machines à laver modernes". Exploit ou affichage ?///La playlist de l'émission :> Mokado - Mona (Extrait de l'EP Ghosts / Le Hameau Records / 2020)> Mokado - Pelagios (Extrait de l'EP Ghosts / Le Hameau Records / 2020)> Aurora - Queendom (Decca Records / 2018)> Barbara Carlotti - Quatorze Ans (Extrait de l'Album L'Amour, L'Argent, Le Vent / Atmosphériques / 2012)> Blue Box - Loop (2013)> Weval - Someday (Extrait de l'Album The Weight / Kompakt / 2019)> Mokado - Altaïr (Extrait de l'EP Ghosts / Le Hameau Records / 2020)> Robert Henke - CBM 8032 (Extrait du Festival CTM Berlin 2020)> Mokado - Afe (Extrait de l'EP Ghosts / Le Hameau Records / 2020)Mokado sera au Pop-Up du Label ce mercredi 26 février pour la release party de ce projet

Tempo Reale Festival 2019, BORDERSCAPE, Z 29 novembre 2019, Palazzina Reale di SMN The Last Minute Concert The last minute concert nasce dalla cancellazione del concerto di Robert Henke per motivi logistici dell’artista, la criticità è stata trasformata in un’occasione di incontro con musicisti elettronici del territorio. https://temporeale.it/festival/thelastminuteconcert/

For William Shakespeare, the Globe theater itself represented a place that brought together a mix of classes. People from high society, all the way down the poorest of the poor observed Shakespeare’s plays, but how much of the bard’s work acknowledged the poor and what was the reality of charitable giving going on around William Shakespeare as he was penning some of his famous scenes about beggars? That’s the question we’ll be asking today as we chat with our guest, Robert Henke. Rob is a professor Professor of Drama and Comparative Literature at UC Berkeley, and the author of several works on Shakespeare and theater. He joins us today to discuss one book in particular, Poverty and Charity in Early Modern Theater and Performance. 

Schallwandler mit Robert Henke

Robert Henke is one of the most significant figures in electronic music. Along with Gerhard Behles, Henke developed Ableton Live, the DAW that allows musicians to store and trigger samples during shows. He's also made abstract computer music and dance-derived techno as Monolake. Here, Henke discusses the at-times improbable story of how Live came to be. We begin by hearing about what Berlin was like when Henke first moved there and the beginnings of Monolake, setting the scene for the software's creation.

The first episode of AIR welcomes Robert Henke, also known as Monolake, to talk about confidence and growth as an artist. Robert is a co-founder of Ableton, an electronic music artist, and a visual artists whose recent efforts are laser-based AV projects like his Fragile Territories installations (2012-2017) and his Lumière shows (2013-2017). Photo by Maya Roisin-Slater AIR intro tune by Gene on Earth Featured music: Monolake - Atlas (2009)

What can be said about Robert Henke that hasn't already been said a thousand times? A tireless inventor, music producer, visual artist and programmer, Robert has been at the front of so much - and for me he's been a constant inspiration. He's also become a good friend over the years, and I can believe it's taken me this long to interview him for the podcast. But I always want to be careful about his time; luckily, he's at a good point for a chat, and you get to listen in! In this talk, we go over Robert's ideas about music gear, collaboration (he's worked with some amazing people...), balancing different types of work, and choosing areas to explore. He also reveals himself to be an "obsessed pragmatic": he's has a love for detail, but he has to fight his inner voices to make sure that he produces work. Who can't understand that? So please enjoy this talk, and if you get a chance, give a listen to the latest Monolake release: VLSI. It's a great combo of analog, digital and hybrid, and makes for some inspirational listening.

Especially if one views the “commedia dell’arte” in its relationship to Italian scripted comedy of the day, Shakespeare thoroughly absorbed the Italian system of masks. Despite the fact that Italian professional actors, who scandalously had women actually play female roles, abruptly stopped visiting England in 1578, a professional interest in the Arte emerges in London theater of the early and mid 1590s, as Shakespeare explicitly deploys versions of Pantalone, the Dottore, the Capitano, and the Zanni in plays such as The Taming of the Shrew, Love’s Labour’s Lost, and the Merchant of Venice. Shakespeare’s interest in foolish old men, loquacious pedants, braggart soldiers, and plot-controlling servants seems to have waned in his mature comedies, but resurfaces in his tragedies, in figures such as Polonius, and in the character system of Othello. One of the more persuasive “sources” for The Tempest is the Arte subgenre of “magical pastoral”: a set of Italian scenarios representing a magician on an island populated by spirits and shepherds who causes a group of travelers to shipwreck.

By now it's clear that Shakespeare drew inspiration from a variety of sources. Robert Henke, a professor of drama and comparative literature at Washington University in St. Louis, studies the Bard in the European context and particularly his Italian sources and influences. He reveals the fingerprints of the famous Italian theater troupe, the Commedia dell'Arte, in Shakespeare's comedies and discusses the Italian plays and novellas at the heart of Romeo and Juliet and The Taming of the Shrew.

The featured artist is Robert Henke who releases albums as Monolake. Robert Henke is a German computer music composer and professor of sound design at the Berlin University of the Arts. He is a co-developer of Ableton Live music software and founding member of the electronic music project Monolake. He works and lives in Berlin.

Live from the Hacklab at CTM, a true innovator of electronic music explains his work method. For more, visit Resident Advisor: http://www.residentadvisor.net/podcast-episode.aspx?exchange=185

Live from the Hacklab at CTM, a true innovator of electronic music explains his work method.

Live from the Hacklab at CTM, a true innovator of electronic music explains his work method.

Continuamos escuchando varios cortes extraídos del recopilatorio escala 2.3, un proyecto conjunto de escala netlabel y Sismógrafo donde se recogen en tres volúmenes a gran parte de los artistas más interesantes de la escena ambient drone. Hoy les toca el turno a Offthesky & Radere, Sustainer, Hakobune y Juanjo Palacios. Además en el programa de hoy os proponemos el 2º trabajo del dúo En publicado en el sello Student of Decay y lo nuevo del gran Robert Henke a.k.a Monolake titulado Ghost. Con Stephen Christopher Stamper en Runningonair Music y el techno dub de Skyscaper cuadramos nuestra entrega semanal. Playlist: Offthesky & Radere - Minor Abridge; Sustainer - Unidad; Hakobune - Shimotsuki; Juanjo Palacios - Tendal; En - Already gone; Monolake - Hitting the Surface; Stephen Christopher Stamper - Growing; Skyscaper - Atmospheric Stratification. Escuchar audio

First mix of the NMLK Podcast series. PLAYLIST: // Alva Noto - Anthem Berlin (For The Kingdom Of Elgaland-vargaland) // Robert Henke - [diagonal] // Pascal Mollin - Hey // Nic Fanciulli, Andy Chatterley - Talla-Hause // Mirco Violi - Marinero (Nima Gorji rmx) // Aki Bergen - Alma De Dios (Loko rmx) // Pizeta - Klezmer feat. Reagadelica // Mario Ochoa - Collapse // Antislash - Pastis Anis // [a]pendics.shuffle - Disturbing Idle (Melchior Productions Ltd. rmx) // Cevin Fisher - The Freaks Come Out 2009 (Idiotproof rmx) // Ryoji Ikeda - 5'55 // Andre Walter, Chris Hope - Dark Laughing // The Seekers - Thin Cows // Perc - Work Softer (Matador rmx) // Carlo Lio - Sour Diesel // Ilpo Vãisãnen - 2'34" // Spektre, Matt Cooper - Cuernos Cubanos // The Junkies - Ritmo // Shakarchi, Straneus - Ezborvan // Jesper Dahlback, Alexi Delano, Tony Rohr - Curly Wurly // The Seekers - Waves Dealer // SQL - Distorted Reality // Mitaka, The Little - Yellow Story // Yves Deruyter - Calling Earth (Tube & Berger rmx) // Ambivalent - R U OK (A Cappella) // Citizen Kain, Phuture Traxx - Cameleon (Pfirter rmx) // Alva noto - Untitled 1 // Spektre - Typhon // Tommy Four Seven - Surma (Speedy J Dub Tool) // Ryoji Ikeda - 1'11 // Ortin Cam - Carnage (The Advent & Industrialyzer rmx) // Alva Noto - Anthem Berlin (For The Kingdom Of Elgaland-vargaland)

Robert Henke, born 1969, is a composer, sound designer, software developer, installation artist and performer. His music has roots in academic sound research as well as in club culture, and the result is a body of work that is sophisticated yet accessible. Robert Henke releases music under his own name and as Monolake; his performances and interactive installations have been shown at places like the Tate Modern in London, the Centre Pompidou in Paris, MUDAM in Luxembourg, and the Art Gallery of New South Wales, Sydney. Robert is one of the authors of the Ableton Live music software, and teaches as professor for sound design at the University of Arts in Berlin. Remixing Depeche Mode 'Darkest Star': Robert: "I have no fixed scheme. I am looking for an idea, something unique which guides me thru what ever comes next. In the case of Darkest Star it was the lyric". It still sounds like a Depeche Mode track! Robert: "Yes. And it makes me incredibly happy to hear this. It might not be the best Depeche Mode track ever, but at least it has some of the color...and as I said earlier in this interview, color is quite important to me. I think much more in colors then in song structures" Did you ever get any feedback on the remix from the band at all? Robert: "No. unfortunately not." Source: remixing Depeche Mode - interview published on the Monolake site. Artist: Depeche Mode / Monolake RMX Track: Darkest Star Visit the Monolake website here Buy music by Monolake on iTunes Store here copy;2010 Jukebox - spacemusic.nl [ad#post-ad]

Live duel-site performance of Atlantic Waves by Robert Henke (aka Monolake) in collaboration with Torsten "T++" Pröfrock

After a quick side trip we are back to a straight forward, ambient mix. I got the idea for this mix from my online friend, Brian and his an excellent podcast, The Quiet Sounds. At the beginning of the year he did a mix of sleep music and said this about it..."many of these tracks have a lullaby, 'breathing' quality...". The idea of "breathing" music caught my attention. I would come back to the concept again and again as I listened to music this year. So I finally decided to put together my own mix of "breathing" music. Most of the tracks have a common feel...in & out, back & forth, ebb & flow...a wash of sound that fades then the wash returns. Most of the cuts are fairly new, though I was happy to squeeze in some old Cluster & Eno. Like Brian's original mixes, this one works pretty well for sleeping as well. Enjoy T R A C K L I S T 00:00 - 05:30    Alp - tropen 05:30 - 10:30    Robert Henke - layer #3 10:30 - 14:00    Stars of the Lid - another ballad for heavy lids 14:00 - 18:30    Scott Solter - wave & sepia wire 18:30 - 22:30    Cluster & Eno - old land 22:30 - 27:30    Steve Roach - slow rapture 27:30 - 31:30    Jeff Pearce - life in the dusk air 31:30 - 34:20    Alio Die & Luciano Daini - la rocca's view 34:20 - 43:30    Marsen Jules - eilet en delta 43:30 - 48:00    Cluster & Eno - fur luise 48:00 - 50:40    Andrew Deutsch - loops over land 50:40 - 58:40    William Basinski - el camino real 58:40 - 03:26    Stars of the Lid - the evil that never arrived