Thursday, July 20, 2017

interview with guenter schlienz

Guenter Schlienz (Stuttgart, Germany) is known for his vast catalogue of tape & cdr releases on different great labels around the world – Sacred Phrases, SicSic, Goldtimers, Constellation Tatsu, etc. He is the man behind wonderful Cosmic Winnetou label, releasing all kinds of experimental/drone/ambient artists — maybe not as frequently as we'd like, but each time pleasing the taste of any tape music geek. Creating his minimalist compositions by means of d.i.y modular synths, tape loops and field recordings, Guenter achieves the serenity of classic ambient works, while keeping the vibe of 70s kosmische musik (think Cluster or Harmonia) and sometimes reaches the territories of academic minimalism, exploring the sound as ding an sich, inspiring the listener to invent its own narrative. Being part of Navel band since mid 90s, Guenter's place in music world has a long, but still almost unknown story which continues nowadays with further explorations of all kinds of ambient music.

Pied Paper: First of all, I'm curious about how it all started for you — ambient music, synth building, tape releases, etc. I know that you were involved in many other projects before, call you tell a bit about them too?

GS: phew, where did it all started… definitely many many moons ago. was active mid till end 90s in some heavy stoner psychedelic rock band. was the guy responsible for producing some "far out sounds" with his guitar and some delay pedal. so there already was this drone element in what i did. but far from recognizing it as this for myself. bit later during the same decade i did a session with a guy who did guitar and singing for another noise rock outfit. we just fiddled around with our guitars and with every pedal we could get our hands on. we recorded our very first session with some broken 4track and quite liked the results. after presenting the finished cdr people came back and reported "this is quite cool drone music". so yep, that's how we learned the name of this style. and after having the name we were able to dig deeper and learned names like Stars of the Lid, Flying Saucer Attack, Brian Eno etc pp. this guitar drone project of us is called Navel and we are still recording and doing live shows.

beginning of the 00's i quit doing this rock band stuff, so there was plenty time to do some other things. after getting introduced to all this amazing kraut and kosmische musik (during a navel live show in france by an english man, but that's another story) there was the idea to do some kind of electronic music solo. so i needed an instrument, and after bit of research i discovered that the schematics for some modular synthesizer would be something i could manage with the training in electronics i already had. so i started soldering, first quite simple filters, later more and more sophisticated modules.

the tapes, yep, fast forward to the end of last decade. stumbled over this tape scene thing by accident via the internet (god bless it). those days i was pretty frustrated and bored by the music all the labels and magazines i knew presented, so this occurred to me like a big relief. yes. so many people and projects and bands and labels are doing fantastic stuff, exactly the music i love, right at the moment, and sell it for very low money to people all around the world. yes! couldn't belief my eyes. that the favorite medium of all those labels and projects were cassettes don't really bothered me (of course i had this "ugh? on tape? strange…" moment like everybody else i guess), because i never really stopped using this media since my early childhood days.

I like to dramatize a bit some things some times, but this discovery of the tape label scene kind of saved my artistic live. it gave me so much energy and confirmation and countless hours of joy during listening sessions that i got the feeling that i have to give something back. hence i started my own tape label.

Pied Paper: Your music sounds almost academic sometimes, especially works as Organ Studies, Loop Studies and Furniture Sounds — which, as I understand is a homage to Eric Satie. But your name is strongly associated with "underground tape scene", as we call it. Did you ever thought about making your music open for the interpretations, to write it down on a paper maybe, letting the others perform it?

GS: huh, not sure if i my music sounds bit like academic music. for sure i'm quite interested in this genre, mean contemporary composers with "classical" musical education composing pieces for concert halls and operas and stuff. like their approach to their art through quite rigid concepts, their huge knowledge about musical structures and about music of many centuries and cultures. perhaps you see my enthusiasm for their rigidness shining through my stuff? that would be a compliment for sure, at least in my opinion. and of course, if there would be a small ensemble crazy enough to perform it, i would love to write a score for them (though not sure if i would like to conduct it). but i guess your name must be some lou reed or some other in the same league to be honored like this. actually i'm pretty sure that many of those academic contemporary composers would be happily release their stuff on tape if they would only know this special scene around it.

Pied Paper: It's clear that ambient music is a wide field for interpretation, same sound can be perceived in different ways depending on the artwork, liner notes, track titles, etc. Can you tell something about your own perception of your music? Does it have some stories within, or it's just abstract form which everyone can fill with its own meaning?

as you see in the answer of the last question i like some kind of concept around the music. and if this concept even gets its visual equal with the artwork i'm more than happy. so of course, there is a story in every piece. but hey, its music, its a form of art, so who am i to dictate what some listener and spectator wants to see in it? isn't it the very meaning of any art, that the consumer of it knits his very personal meaning to it?

actually i am not able to describe what i hear in my music anyway. for me the answer to this question would lead to some kind of poem, some painting, some huge novel, some dance or any other arty abstraction. in none of the mentioned techniques 'm very good at, so please, listen to the music.

Pied Paper: Imagine a situation when you someone asks you to create music with specific mood, theme, etc. — like for a movie scene or something — would it be easy for you? What you enjoy more - improvisation or composition?

already did this, i mean creating some music for a specific use (to earn some money), and hey, that is pretty hard work (and hard earned money)! to create some music without some customers needs to be satisfied, just the personal ones, isn't really easy to do as well, but much more gratifying for the soul. its an privilege to be able to do this, and i have a (pretty time consuming) bread and butter job to create the circumstances to fulfill it.

can't really separate those strategies during my performances, both live and during my recording sessions. its always a mixture of plan and being ready to include some coincidences respectively enlightenments. actually my believe is, gained through many observations and talks about such things, that nearly every work in which i am interested in is created this way.

Pied Paper: I know that you enjoy recording outdoor, do you have any specific set-up for this?

not really specific, the equipment just have to have some possibility to work battery driven. luckily my modulars fall into this category. just to improve the handling of such adventure i have build my modulars as small and compact as possible, and since a couple of months a work on some modules who will be included into some water proofed case.

Pied Paper: Probably you've noticed that releases of first wave of cassette drone/ambient in 2009-11 was mostly lo-fi and many of same artists still doing tapes nowadays came to much cleared and well-produced sound - is that natural growth or trying to be more "mainstream"?

yes, i'm aware of this development as well. i think it just was some other group of people with bit different background which had been running those labels you' mention. In those early days of the reemerging of this medium the leading actors had had mostly a background in the noise scene. hence the tape as favorite medium, hence the cheap and ugly aesthetics of the chosen instruments. these different (don't like to ad some other evaluative adjective) sounding tapes of lately are from people without this background, they just take over the torch and work with it out of their musical socialization. so in my opinion it is either "natural growth", this sounds like some kind of improvement who isn't any need for, nor a try to reach broader audiences. the good stuff of recently is produced by people who are just as true to their own style as their ancestors had been, and therefore it is as important and equal beautiful as the old stuff.

Pied Paper: As a label owner, can you tell how many demos you receive? Which kind of styles you receive most? I'm asking because it seems that ambient/psych/drone music isn't that popular anymore - I see tons of vaporwave/webpunk tapes at new-born labels, while such imprints as Stunned, Tranquility tapes, Goldtimers are long gone (or maybe it's just old man's talk, huh).

yes, and i'm very happy about it, i receive quite a lot of demos. always love to get some new sounds for my ears. mostly the artists are very good informed about the style of the music i usually release and about the aesthetics i'm interested in. perhaps you are right, there are less people out there which do their own style of ambient/psych/drone as perhaps eight years ago, but i'm not sure about that. and as i stated in the last paragraph i think those vaporwave labels and the like took the torch of the cassette celebration and run with it their own way. and this is a good thing. who needs the 16th or whatever version of the emeralds (insert here the name of your favorite release of those years)? isn't this exactly what have happened with pop and rock music and what makes this stuff sometimes unbearable to listen to?

Pied Paper: And what are your plans for the Cosmic Winnetou in the foreseeable future?

prepare my next batch right now which will be released in a couple of weeks. but after this 13th cosmic winnetou bundle of cassettes i will need a hiatus, unfortunately. i love to do the label work, but it is very time consuming. have lots of projects for this year, music and private stuff, so i have to pull the brakes to this project for this year. but really looking forward to restart the tape label with new ideas and energies end of this year.

Pied Paper: Do you ever think about future of music? Is it possible to invent something new, or we are doomed to retro-mania, returning to same tunes from different angles?

of course there will some day somebody release some music which haven't been heard before and will blow all of us completely into the void. don't know which day this will happen, but i'm pretty sure someday it will. just look around, not only the music is stuck into retro mode. clothing, hair style, performing arts, pictorial arts, industrial design, i think that in our days nearly every form of artefacts are done with quite old ideas, just a few new kind of tools here and there. the whole mood, you can call it "zeitgeist" if you like, is like "let's try to preserve what we have", not "perhaps this is a better idea for the future, let's work on it". in my opinion everything is linked together somehow, and we have this retro mania since the 90s, starting with this global change of the modus vivendi. but nothing is forever, so i'm sure this will change someday. these thoughts are just my 50cents about a very complex question. but yeah, i think about this, and love to exchange ideas about this kind of topic.

Pied Paper: Humans already sent some music with space probes - which titles would you choose for such mission? I know you won't choose Wagner, huh :)

really nice question, this is. indeed already thought about that, and i think the nasa did a quite good job with the "golden record" for the voyager mission. very good selection which shows how wonderfully diverse sounds humans are able to produce, and each and all of them aim at the listeners heart. but always wondered if it would be perhaps a good idea to send some field recordings of this strange planet into the void, and f so, which i would chose.

some people laughing, some people fighting, a mother singing her baby to sleep, the audience at a soccer game, a sundown at the shore of a calm sea with waves and cicades and everything? what else?

Pied Paper: Okay, that's it — you can send high fives here or add something if needed! Thank you!

hey, high five to you and many thanks for those questions! took my a while to type the answers, because you found some topics and ideas i love to share my thoughts on it. and of course many thanks for your support!

perhaps i would like to ad a big "thank you" to all the readers of those lines, time is precious and i'm happy that you waste it reading them. and a big "thank you" to all the people who listen to my music and perhaps even bought the cassettes and cds and vinyls with my music on it. to know that somebody out there cares about my music means a lot to me. hugs.

selected albums:

guenter's bandcamp

sterne uber der stadt

organ studies

tape studies


Posted by piedpaper at 7/20/2017 12:49:00 pm

Labels: cosmic winnetou, guenter schlienz, interviews, navel

Sunday, February 24, 2013

Kief with Günter Schlienz (Cosmic Winnetou)

Almost one year ago, I received a bunch of tapes in the mail from Goldtimers.  The batch was bursting with cosmic explorers and beautiful sounds.  Of all the tapes, there was one artist who I did not recognize.  Thus, I played that tape immediately - and then I listened to it throughout night.  Urban Tapes, from Günter Schlienz, turned out to be my favorite cassette of the batch.  His subsequent releases were incredible - the Sicsic tape sitting pretty in my Tasty Trichomes list.  Günter's awesome label, Cosmic Winnetou, has become a reference point for me.  When asked about labels, Cosmic Winnetou is one of the first things I recommend.  Günter was kind enough to share his time with me and answer a few questions.


So, there's enough kief for everybody.  And, it always feels right to do this together as friends.  Let's blaze on family style!!                 

The music of Günter Schlienz is something that I hold close to my heart.  peace and love to my friends at Humboldt Relief and Canni Corner :)  



1)  Your musical journey is rich with experience.  In the beginning, you received formal training as an electronics technician.  Additionally, you are a self-taught guitarist that played many shows in a psychedelic rock band.  From 1998 to the present, you have been making experimental music and building synthesizers.  Would you provide some insight on your evolution as an artist?  Do you still enjoy playing or listening to rock music?

Günter: First, i want to thank you for your ongoing support of my music and my tiny little label.  it really means a lot to me.  To start releasing music was like a dive into unknown waters, hoped that there would be somebody who will buy it, perhaps even somebody who will write me a letter about it.  That there are so many people interested in it, even devoting some profound articles about it, like the Honest Bag did, I'm still stunned.  So, big thanks to you, Michael, and to everybody else supporting it; and, thanks to everybody who bought or downloaded a tape from Cosmic Winnetou or one of my recordings!

Concerning your first question, I don't know if there's some kind of evolution.  I am always learning, always trying new kinds of music, tasting different genres and styles.  As a teenager, I learned to play the acoustic guitar because I wanted to sound like Bob Dylan; then, I bought an electric guitar because i wanted to scream like Neil Young on Weld.  A few years later, I was asked to join a psychedelic rock band.  In those times, i couldn't get enough of Spacemen 3.  So, I bought a few pedals and did D-E riffs for hours.  Later on, I moved into a flat together with a guy who owned tons of synthesizers and stuff, all built into his very small room.  On this room's floor, I learned quite a lot, not only what the strange letters (vco, adsr, lfo, etc...)  on those machines meant.  Also, he introduced me to some guys doing wonderful music with those machines.  Clearly, I remember he listened to Schulze's Timewind each and every Sunday morning.  This was the first taste of something really exciting - I recognized it immediately.  Furthermore, this guy knew about my formal training in electronics, so he forced me to solder something for his machines or to repair them.  However, it took a few years after those initial attempts before I really started to build my synthesizers.  It was quite difficult over 15 years ago to get some schematics and everything else needed to build synths, but this situation changed completely with the internet.  So, the last ten years or so have been devoted to kosmische synths nearly exclusively.  From time to time, I still listen to my old rock music records, and I'm still fanatic about everything Spacemen 3 did; but, i have to admit that at the moment I'm not into drum sounds and beats that much.  Also, i can rarely stand voices singing lyrics.  I don't know the reasons for this.  Perhaps it is a feeling that those elements nail the music to the floor in a way.  But, I am not fanatic about this - we will see what the future brings.  Perhaps the next stage of my musical interests will be African percussion ensembles and Bulgarian Acapella outfits.  There are so many fantastic things to discover.  It would be rude to myself to strictly limit my interests!

2)  Let's talk about your recent electronic releases.  For me, 2012 will be remembered as the year when I was introduced to your beautiful ambient music.  What are some of the inspirations that were involved in making the pieces of music that appeared on SicSic, Goldtimers, Gift, and your label?  Also, does your work with the Stuttgart Orchestra influence your music?  Lastly, what is the general process when you make music?

Günter:  Answering your last question first, I definitely need some kind of concept, some kind of backbone around the recordings to develop.  So, the hardest thing is to find this concept.  Everything else (do some patches, fiddle around with them and press record) is relatively easy to do.  In the past, I worked with roughly three different "themes".  The first theme is my "synthesizer field recordings".  I build my modular synths quite small and portable so that I'm able to record with them in every imaginable place, hotel rooms, beaches, meadows, whatever.  The environment has a strong influence to the produced sounds, so I'm often surprised by the music that comes out.  I think it is a good thing to be confronted with situations other than the bedroom for recording.  I think the Sardinian Tapes, which was released by net label, Earth Mantra, is the best example of this method thus far.

Since I'm able to repair and maintain electronic equipment, I often receive broken vintage gear as a gift.  I have pleasure in repairing it, and because of the work which I invest in it, sometimes I hold it very dear to my heart.  So, a few recordings of mine are inspired by the possibilities and limits of this gear - for example, see my Tape Studies release or Organ Studies, which will soon be released by Constellation Tatsu.  

The third theme is my ongoing interest in musical theory and books about music.  For the Through Music to the Self tape, I read the book of Peter Michael Hamel quite closely.  For the Furniture Sounds tape, I read a book about Erik Satie.  This does not mean that I followed these authors word by word.  They are more of a source for ideas and ways of seeing musical problems. 

I don't know if my bread and butter job at the Stuttgart Opera is influencing my music.  Being surrounded nearly every day by classical music and people who try to develop new ideas and concepts to present very old musical ideas must be doing something to me.  Though, I'm not quite able to put my finger on it.  Perhaps the previously described conceptual thinking I do is already part of this influence.  

3)  Your tape label, Cosmic Winnetou, was another revelation of 2012.  What is the meaning of the name?  Is there an aesthetic or general feeling that you are trying to transmit with each batch of tapes?  Do you have a process for selecting the artists with whom you would like to work?

Günter:  Thanks for the warm words about this project of mine.  The Cosmic Winnetou is actually me.  A friend of mine coined this phrase by describing my working methods.  He said something like that I would patch my modular for hours and hours to sit motionless in front of it and listen to it play itself like some cosmic winnetou.  I don't know how popular this character of Karl May's novels is outside of Germany, but around here everybody knows this goodhearted, strong and clever chief of the Apache tribe.  I found it quite amusing to imagine this guy as a kind of space traveler.  So, I didn't fight against this phrase and my buddy's ongoing use of it.  While starting the tape label, it was a quite conscious decision to present my very personal taste of ambient/kosmische/kraut/experimental/whatever, so I took some charming nickname of mine as the project title.  Okay, quite egocentric, but who cares?

With each batch of tapes, I try to provide a broad spectrum of the music I love.  The music of each batch should, in a way, be completing each other.  It should show different approaches in instrumentation and recording methods under the same "let's kidnap the listener's mind" umbrella.  Choosing the artists is lots of fun.  I just listen to lots of the music I love, and be happy as hell if I like someones music and the artist is willing to work together with me.

3a)  The artwork for Cosmic Winnetou tapes is superb.  The most recent batch contains vivid designs, while the artwork for the batch with Sylvia Monnier possesses mysterious beauty.   For the Sylvia Monnier tape, the artwork was created by the artist; however for the other tapes, it seems that there are many people involved in the artwork.  When you are involved in the artwork phase of the tape, what is the process?

Günter:  Thanks again for your compliment, but I think you have to give this to the different artists involved. I just set up the concept to give the cassettes of each batch the same "face" because of this feeling that, for me, they belong together in a way, completing each other musically.  So, for every new batch I try to persuade somebody new to do the artwork for the whole batch (it doesn't work this way all of the time.  Sylvia's own artwork was just perfect, so I decided that for this batch the compromise will be doing it in black and white).  Actually, I'm not a very visual guy.  So, after finding somebody who does some kind of graphical work with substance, I try to resume out of this process.  I confront the musicians with different works of the graphical artist, and they know exactly what to choose for their music.

4)  Do you have a favorite tape label of late?

Günter:  Oh dear, there are so many fantastic and mind blowing tape labels out there.  It is impossible to mention just one!  I have to bring up Sicsic.  Sicsic is quite eclectic, but with every new tape they do you feel the enthusiasm and love for the music they release.  Lately, I have been listening to lots of Sacred Phrases.  Steven blows me away with each batch of Constellation Tatsu.  The 8 tape batch from Goldtimers last year will be something for future historians to examine... Koppklys, Space Slave, Eiderdown, Gift, Draft, Sunk Series, Tranquility Tapes, Field Studies, Beard of Snails, Feathered Coyote, Fort Evil Fruit, Rotifer... uh, so many.  I'm sure that I forgot a few names.  It gives me the opportunity to say to the dear reader: go buy tapes!  If you buy a few, then buy a few more!  They will save your life!

These names mentioned above mean very much to me.  A few years ago, I was very frustrated.  Labels that were purportedly "alternative" and "independent" developed to be just new labels for boring music that some a&r people with an education thought the customer would buy.  Therefore, for many long years, I almost exclusively bought and listened to music made a few decades ago.  I discovered the tape label scene by chance, and since that moment I've felt kind of saved.  There are so many people who make and sell fantastic sounds, so many people who support them in any way possible.  Thank you all so very much!

5)  The mix that you made for Constellation Tatsu is wonderful.  Do you have any listening recommendations for the readers?

Günter:  I'm glad you like it!  But, I still think of myself as a beginner.  I'm still scratching the surface, so I'm not sure if I could recommend something to your readers that they don't know already.  Actually, wait a minute.  I have a feeling that everything Pete Kember did after he quit Spacemen 3 is a bit overlooked now - over ten years after their first release.  Look out for his "experimental audio research" releases.  They are wonderful!

6)  Could you give us a hint about what is next for you and Cosmic Winnetou?

Günter:  I'm preparing my next batch at the moment, but at this very early stage I can't tell names.  I'm Sorry!  I can't wait to send those tapes to people all around the planet.  That's so much fun to do, really.  


Thank you, Günter!

peace and love, friends :)

lundi 27 mai 2013

Günter Schlienz

Photo : Johannes Schebler

Günter Schlienz est un musicien allemand. Adepte de sons synthétiques, d'univers parallèles, de musiques intemporelles, il s'offre, en toute simplicité, dans de longues plages hypnotiques et envoûtantes.
Il nous emporte sur des voix étoilées et déroule un fil d'Ariane au plus profond de nous-même.
Des tableaux se composent au creux de nos oreilles. Il suffit de se laisser guider...
Moments partagés avec cet artiste singulier

Vers du Silence : Dans quel état d'esprit es-tu lorsque tu t'installes derrière tes claviers ? Y-a-t-il un moment, un lieu ou un espace important pour toi ?

Günter Schlienz : Le moment et le lieu sont très importants ! J'ai toujours à l'esprit - comme une forme de concept - de ne pas rester trop souvent au même endroit.
J'ai enregistré dans des chambres d'hôtel, dans des prés, à la plage, dans le jardin d'un ami, dans différents studios, différents endroits et, bien sûr, dans ma chambre.
Cette errance avec mon matériel et sa configuration a quelquechose à voir avec l'état dans lequel je me retrouve pour enregistrer. En étant dans un environnement inconnu, cela ouvre les sens et le résultat est très souvent une surprise pour moi : j'aime être étonné !
Et, évidemment, le moment où j'enregistre est également très important : j'aime jouer la nuit, dans le silence, dans la noirceur étoilée.

VdS : Ta musique met en évidence un lien fort avec la scène krautrock électronique des années 70 : te sens-tu proche de ce mouvement ?

Günter Schlienz : Bien sûr, je m'en sens proche !
Tu sais, j'ai commencé à faire cette musique ambiante/expérimentale vers la fin des années 90 sans connaître la kosmische music ou le kraut comme Cluster ou Klaus Schulze. J'étais influencé par des groupes comme Flying Saucer Attack ou Stars of the Lid.
Plus généralement, la musique allemande pour moi ressemblait à Die Toten Hosen (punk-rock allemand) d'un côté et, de l'autre, les chansons populaires. Mais certainement pas à la musique à laquelle je m'intéressais.
Durant cette période, je jouais dans un groupe, Navel. Lors d'un concert à Brest, en 2001 me semble-t-il, nous partagions l'affiche avec Tele:funken.
Nous utilisions des bandes, des générateurs de sons, des guitares comme le premier album de Cluster (même marque et même type de matériel !). Tom, un membre de Tele:funken fut surpris que nous ne connaissions pas les travaux de Roedelius et Moebius. A mon retour, j'ai immédiatement acheté "Cluster II" et "Musik von à Harmonia". Tout de même, cela me semblait étrange, nous utilisions les mêmes instruments et des méthodes de travail similaires, ce qui se retrouvait dans le traitement des sons. Comme une filiation, un environnement culturel et sonore qui, involontairement, nous revenait en héritage...

VdS : D'où te vient cette profondeur, ce sentiment abyssal que l'on peut ressentir dans ta création ?

Günter Schlienz : Je pense que c'est toujours très intéressant pour un artiste de savoir ce que les gens perçoivent en retour.
Je suis sensible au fait que quelqu'un aime ce que je fais mais je ne suis pas sûr de saisir ces notions de "profondeur" et de "sentiment abyssal". J'essaye juste de faire ma musique, celle qui touchera mon coeur et mon âme. En réalité, c'est le seul témoignage d'authenticité !

VdS : Quels sont les artistes avec qui tu as grandi, que ce soit historiquement ou spirituellement ?

Günter Schlienz : Bob Dylan, Jack Kerouac, Hans-Joachim Roedelius. Ils ont beaucoup de sens à mes yeux.
Le premier est apparu très tôt dans ma vie et il est la raison pour laquelle j'ai commencé à faire de la musique, de la guitare acoustique pour être exact.
Le deuxième est présent pour moi par les lectures et relectures de son oeuvre. C'est quelqu'un qui sait interpeller le lecteur sur l'existence : "I'm writing this book because we're all going to die" est un leitmotiv pour tout ce que je fais.
Enfin, le dernier me donne la force de croire en ma propre vision et de persévérer, même si personne ne s'en soucie.

VdS : Ta musique est réalisée sur un seul type de support, la cassette audio. Pourquoi ce choix ?

Günter Schlienz : J'aime les cassettes pour beaucoup de raisons. Elles ont un visage, les deux bobines sont les yeux, le côté inférieur de la cassette ressemble à une bouche souriante. J'aime leur taille, ni trop petite comme les cartes SD, ni trop grande comme les anciennes bandes. Tu peux facilement les stocker sans que cela ne prenne trop de place.
J'aime leur matière, les glisser dans le magnétophone. Les cassettes permettent d'enregistrer sur deux faces, entre 10 à 60 minutes chacune. Elles sont bon marché, facile à enregistrer et à réenregistrer.
J'aime les magnétophones, ce mélange de mécanique et d'électronique, facile à utiliser et à réparer.
Pour l'éditeur aussi c'est bon marché : que se soit pour enregistrer, pour l'envoi ou pour le stockage.
Et puis, la cassette est un objet réel, physique, avec son identité artistique et pas virtuel comme le sont les fichiers stockés sur un disque dur. Certains "délirent" sur l'impératif d'avoir un "son propre" mais ça ne me parle pas. La cassette est un excellent support pour enregistrer ma musique.
Bien sûr, j'aimerai aussi sortir ma musique sur vinyle. Mais malheureusement, c'est plus coûteux. Peut-être cela se fera un jour mais pour le moment, je n'ai rien de prévu.
Concernant le CD ou le CDr, ce n'est pas un format qui me convient.
Quoique je l'utilisais et, peut-être, je m'y remettrai dans l'avenir, mais il doit être dans un beau packaging pour former un bel objet.
Mais, je me rends compte que tout le monde n'a pas l'internet haut débit pour télécharger ou un magnétophone en état de marche : le fait de recevoir la musique sur CD, c'est très pratique ! Je connais quelques personnes dans ce cas en Pologne ou en Russie.
Malgré tout, c'est une chose vraiment agréable de pouvoir offrir un vrai format alternatif.