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VANGELIS Interview 2016, English Version


About Synthesizer, Art and the Future

Vangelis Album "Albedo 0.39" von 1976

Vangelis Album „Albedo 0.39“ von 1976

Peter:
I am sure, everybody remembers their first synthesizer and we are, of course, curious to find out what your first Synthesizer was.

Vangelis:
It’s not difficult to answer this question, the first companies that they created synthesizers that period was CORG, ROLAND, YAMAHA, OBERHEIM, ARP, and of course the fashionable MINI MOOG. I would like also to mention, that before all these “new” instruments, there were two synthesizers, the AUDIOLINE and the CLAVIOLINE, both very advanced for their times. Can you believe that AUDIOLINE was built with a touch respond keyboard?

Peter:
I have been reading a lot of interviews with you, where you talked about your musical philosophy, which is very fascinating. As an artist, who utilizes music electronic as much as you do, how much are you following the technical development in this field? Was there ever a time, where you felt that you just had to have the latest equipment? How do you discover new synthesizers or technology and how do you determine that there is something new that you need for your music?

Vangelis:
At the synthesizer area, which became substantial since it was created, the part of marketing became more and more important but not necessary creative. Then its been a time that I found myself swimming in a middle of an incredibly amount of various types of synthesizers but frankly, with not much difference between them. And all had the same problem. A lack of playability and very poor expression. The strange thing is that those years, during the 80’s & the 90’s, all these various firms had the technology and the ability to create much better synthesizers but, as I mentioned before, the marketing it was oriented on other unnecessary things and devises in order to attract the buyers but not to help the artist, Nevertheless, I was trying to find a way to overcome those unnecessary difficulties and to obtain what do I needed to achieved at the time. We shouldn’t forget that the synthesizer issue it was a novelty that period therefore it was marketed as such.

vang-yamaha-cs80

In Vangelis Augen ein wahres Instrument, der Yamaha CS-80

Peter:
I would like to speak for a moment about the Yamaha CS80. This question probably comes up frequently because Vangelis without CS80 and vice versa is hard to imagine. No other musician before or after you was as much linked with the Yamaha CS80 as you are. This „love“ is still present today and even on your current project ROSETTA, you can be seen sitting at an CS80. Please share with us how this relationship came about and why this instrument has played such a big part for you over so many years.

Vangelis:
The CS80 was the first and the last serious approach and attempt to create a synthesizer with a musical and expressive approach. It was the first synthesizer that gave me the possibility to be able to express things that I couldn’t ever be able to express with any other synthesizer. When an instrument like a string instrument, or like a wooden instrument, or like a brass instrument gives the possibility of changing the sound as you play, like you do with a violin, this is what the CS80 does. This is the basic difference between the synthesizer and the acoustic instruments. At that time, the CS 80 it was not a successful synthesizer and very few people bought it, because in order to play the CS80 you have to really perform. Which means that, in order to play the CS80, you have to learn how to play it. Exactly what you have to do with a conventional instrument. And at the time, I don’t think that people had the knowledge or the patience to start learning how to play that instrument, when all the other synthesizers they been programmed already manufactured sounds. There is another reason, a silly one, it is a very heavy instrument for touring.

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    el-folie

    Thanks a lot for this interview, it´s like an extra christmas gift for me :)

    Vangelis, if you´re reading this, thanks a lot for all the music you gave us so far. It´s a pleasure seeing you sitting by the CS-80 still in 2016. I can only hope one day you will be able to release the old NEMO Studio tapes and maybe an official ‚Bitter Moon‘ soundtrack.

    As a human being with sensitive antennas I´m quite aware that your music is more than just music but like a translation of space, life and love in music as to be able to be perceived by human senses. Channeling those energies is quite a lonely and important task in a world where greed, power and money for most people is of overwhelming and higher importance.

    I really admire what you´re doing and sometimes I wish I could visit the old and long gone NEMO Studios in London just to experience the atmosphere where all the early works were received, where space energies and stardust became alive through your hands and became music.

    Thank you Mr. Vangelis and all the best wishes

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      tantris ••

      Stimmt, bei diesem Interview, das wahrscheinlich für den Literaturnobelpres 2017 nominiert wird, kann in der deutschen Übersetzung viel Tiefsinn verloren gehen.

      Beispiel „Is up to you to do it“ könnte man übersetzen mit „Machs doch einfach selber“ oder „Kannst Du so machen, dann ist es halt Kacke“.

      Das ändert natürlich einiges am Sinn dieser vielen tiefschürfenden Aussagen.

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