a- you're recording too much feedback.

b- there's no feedback there.

a- no, there's too much air, like, all the air movement, flowing, past. i can hear it.

b- oh yeah?

a- oh, when… when… when you played it. there's like the hum, and the fuzz, and the air, and the…


a- i didn't really push it; actually, i was a bit lazy. i don't have what you have, to be able to push that into someone's face and go…

b- yeah, but i'm not trying.

a- yeah, yeah - “i'm not trying!” what are you doing? what? what!

b- i'm just doing it.

a- “i'm just holding it!”

b- yeah…

a- don't push it. what the… what the thing is, is that this machine doesn't record the person that's recording it going “oh, i give up.” it's always getting the other people, pushing the limits and pushing the boundaries, but it doesn't get the fact that the people that are recording it can't handle pushing it, and just give up, like they're just taking the easy path and they just record. record, record, record.

b- record, record, record.

a- and then they go, “oh well, well, got you, but i don't have myself.”

b- oh, is that what it's all about?

a- pretty much.

b- yeah?

a- that's what… you're not recording it for other people, you're recording it for yourself. you shouldn't record drunk people either.

b- no, because it's nice to share it.

a- what, with drunk people? it's like a prankster thing, that's the thing that shits me.

b- no, it's not. no it's not, man.

a- yes, it is. like, i don't see william turner, from your home-country, or…

b- bla, bla bla…

a- …recording drunk people. you know, like.

c- i bet you he probably did.

a- maybe. but if they had…

c- …you don't see it.

a- and you don't hear it because they didn't have recording devices.

b- yeah, but in the same way, they, they, err… speak the dialogue from this person, like they, they re-create the scene, and they write it down, and what's the difference between y… y… b… at least you have more say if you're actually in it and you're actually saying it.

a- yeah, but that's…

b- otherwise it's somebody just remembering what you say.

a- yeah, but that's… the beauty of… the beauty of, like, going through these different transitions, from, erm… writing to… you know, it goes through that process. like, this is really direct, like. if you're talking about drawing being direct, like recording is full on… raw… that's it – it's bloody.

b- yeah!

a- and it speaks no lies.

b- yeah!

a- yeah. no one can romanticise this – this is drunken conversation.

b- yeah but that's why it's so wonderful as well.

a- yeah, it is. it's great…

b- no, but it is! because it's immediate, like it…

a- but i want to live the good life. i want to be romantic.

b- yeah and that's… that's fine too, why can't you do that?

a- cos it get… it gets recorded. it's just a truthful sort of drunken, debaucherous night.

b- yeah but why does that stop it from being… i think that makes it more romantic.

zurück zum Elektromagnetischen Sommer 2005

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