Interviews

“… all the great recordings were made with what people had available to them at the time, and Picasso already knew: when I haven’t got any blue, I use red…”

“… the stigma of a performance, especially from on-stage or even from the educational theatre side, has this theme that I can’t relate to…”

“… I put a lot of focus into the sound design, atmospheric composition, and structure, […] it is the one formula that I use to make my sound audible…”

“My compositions are bound by the parameters of where they were created. And so to prevent my creativity from stagnating, I need to change those parameters every now and then…”

“…I find it very useful to invite people to the studio, to listen ‘through their ears’… even without saying a word, you can tell if a piece works or not just by listening together with someone…”

“… I don’t feel too bothered about complexity, context, relevance, or reinventing the wheel in music…”

“… my whole aim is to try and work as quickly as I can before my critical brain can catch up and force me to overanalyze…”

“… I find that ideas need time to mature, or perhaps it’s my perception and experiencing the ideas that need time…”

“Some ideas slip away, like beautiful shooting stars. Others, by dint of playing them, begin to structure themselves. But there are no rules…”

“… we like to try to make acoustic instruments sound like they are electronic and electronic instruments sound like they are acoustic…”

I catch up with Uwe Zahn and chat about his sound design, advanced synthesis, and favorite software.