This article is written by Bernhard Lloyd for a German Synthi Magazine called SOUND CHECK. It was very hard to translate and to adapt because it's full of technical things. Please apologize if here and there are some mistakes. I'm too stupid for that. (Ilwa)


about the creation of "The Breathtaking Blue"

"The Breathtaking Blue" is the title of the new Alphaville Album. "Breathtaking" - that made out also the production. The band spend two years for their new work. And therefore a long breath is necessary. The band got it in their own Lunapark studio in Berlin. "The Breathtaking Blue" is produced by Alphaville in co-operation with Klaus Schulze. Bernhard Lloyd, the keyboarder, did the engineering. He picked up a pen for the readers of SOUND CHECK. here's his report about the history of the origin of "The Breathtaking Blue"
 The breathtaking Story
After the helpful experiences during the production of the first and the second Alphaville Album, we decided at the end of 1986 to furnish our own studio in order to produce our third album by ourselves. After half a year of constructions and handicrafts we had the very first occasion to test the studio as we produced two B-side tracks. We were allowed to approach our project optimistic through the results and the atmosphere during the work (daylight and much quietness), even if we changed many technical details while the production. But an old Chinese wise says: the construction of a studio will be never completely finished. Various things were the deciding factors to produce in our own studio. 

1.We are responsible for the realisation and financing of the Alphaville album, also since we have a so called "tape- overtaking- contract". With such a tape- overtaking- contract the artist/producer bears the duplicateable tape to the record company. In return for the assumption of the risk the artists get more percents from the proceeds than with a simple artist contract. Here the record company bears not only the risk of the production, she can also demand a decisive right to say (even if they're talking about the guitars solo after the second 
chorus). All in all we are one of the less 




"lucky" artists with the greatest possible scope in .the choice of our production conditions 
2. We are a studioband in the true sense of the word (but it doesn't bar making a livetour one day), that's why we need the atmosphere and the technical possibilities of a studio even for composing to realise our ideas. We don't want to go (even not for the official recording) in a rented studio, but working from the beginning in an atmosphere created by ourselves at our songs and sounds without a limit of time and pressure. 
3. The Demo- Syndrome: it happens in 9 from 10 cases that certain things from the demo (former recorded with poor methods in the technical sense) you can't reproduce in a professional studio. It's so that you can't repeat a very  individual sound 'cause the constellation of the effect -machines isn't beyond you or one of the musicians had a "unique" performance. However we lost hours and days with the absolutely statement :" that sounds not as good as on the demo"- the horrossaying of each producer. We wanted to come up against this so called "demo-syndrome" right from the start. So we went from the composing to the arrangement and then directly to the recording with the greatest possible care regarding to the recording methods. 

Immediately we mixed each single track to use the experiences we had during the production. Actually we planned to add the usual mix- session (lasting several weeks) at the end of the complete recording of all the songs in order to mix everything again with fresh ears and a bigger distance.

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