>> From the Library of Congress in Washington, D.C.
[ Silence ]
>> Good evening, ladies and gentlemen.
Thanks for coming.   Thanks for being so patient.
We finally got it here.
Welcome to this pre-concert discussion.
My name Norman Middleton one of the concert producers here
at the Library and it's my pleasure to present to you tonight's artist,
Tyondai Braxton and [inaudible] orchestra artistic director,
Ronen Givony.   Would you please welcome them.
[Clapping]   >> Thank you.
>> And let me start -- Ronen I'm going to start with you.
Wordless Music, what does that mean in terms of what you do
and how did you come with that concept for your concert series?
>> Wordless Music orchestra is basically the house fan the Wordless
Music series which in September will be five years old.
And we have mainly done concerts in New York, but also select cities
such as San Francisco, Minneapolis, Boston, Berlin, Washington.
And the idea is basically when you have
on one hand classical music concerts which from the first note
to the end is essentially one fix style of just classical music.
And then you have rock concerts which also from the first know
that the opening band is pretty consistent style.
And the idea behind the series was just kind of mix
and match styles an genre that might not necessarily go next
to each other ordinarily.
So if you have a rock bank, if you have a DJ,
or electronic music art instead of having another rock band open
for them or another kind of laptop electronic music guy;
to have a string quartet, to have a solo [inaudible],
to have an orchestra performance such as tonight.
>> And what does the title mean?
We all know songs without words, so we listen to all that kind of stuff,
but how does that fear into what you do?
How did you get that title?
>> You know originally the title worthless music was meant
to imply kind of a neutral space between classical music per say
and chose an instrumental rock, instrumental jazz.
At the beginning we only book performers who you know
who played literally, completely worthless music
and since then we have kind of learned to chill out a little bit.
And to invite pop groups, and punk rock groups
and the idea is basically anyone making kind
of interesting progressive music to put them
into a context slightly different than they're used to
and their audience is used to.
>> And I liked that you won the 2008 [inaudible] voice best
of New York City award for best modernity smoothie concert
series [laughing].
Now I'm assuming that the boys would be sort of you know tough and cheek,
but it brings up an important point for what you
and Tyondai do [inaudible].
We you're designing a concert series --
and you can jump in on this too Tyondai --
are you necessarily trying
to unsmote your audiences or are do you care?
Or does it matter to you?
>> Well it's funny when Wordless Music won
that award I got the same email from maybe 15 of my friends
which just goes to show you how well they know me.
And they said you know they got this wrong the fact
that they had the word moderately snooty just kind
of disqualifies that, but I mean the idea is basically
that you know there are all sorts of interesting artists
around today whether it's someone like Diork [assumed spelling],
or David Burns [assumed spelling], or Radiohead,
or you know Tin di ho [Phonetic].   There background is very much --
you know you can tell that they've listened to 20 century jazz,
20 century improvise music, exterminable rock music.
But they also very much have a background
in modern composition whether it's like people
like Debbie Seed [assumed spelling], and Scraventre [assumed spelling],
and Bartuck [assumed spelling].
And so you know if there was kind of an unspoken subtitle to all
of these concerts you know the idea is if you
like Diork's music you might like Messene.
If you like Tyondai's music you might like John Adams
or Olivia Greece [assumed spelling].
And you know the whole thing is basically a recommendation service.
The idea to expose people to music
that they might not otherwise hear whether it's in a rock club
or more formal concert hall.
>> And this one brings up with the Tyondai I'm going
to let you start with this one.
When you designed your concerts or even
when you compose your music do you think about what critics will think
of your music in a sense that because of the type of music
that you do that some critics -- especially classical music critics,
might think that what you do is contrived or that you're trying
to be overly hearken cool in what you do?
>> That's -- I mean that's -- no I think any composer that's working
on music that they're really invested in, really inspired
by are too kind of the fact that they're excited about composing
to think about what the critics are going to think
because there's nothing that you're ever going
to do no matter what you do that someone's going to like
or going to hate, you know.
So you have to kind of no one would put that amount of effort
in to doing something that was contrived.
You know what I mean?   >> Um-hum.
>> So at the time though I'll say I do consider my audience
when I'm writing you know.
Just as -- as an audience member myself I aspire to be
when I compose this music.
I want to be sitting in the audience and enjoy it as well.
So in that sense I consider as far as the effects that I would
like to have them experience, but I don't think about it in terms
of you know critical acclaim or not
because that's not up to me you know.
>> And one of the things that as I researched both of your careers,
one of the things that jumped out at me was
that you guys do both classical and what's considered rock and roll.
And as I kept reading about you guys the person I kept thinking
about was France Zappa and in the sense that he did the same thing.
He went through one genre to the other,
but you guys seem to combine the two.
And do you that on purpose?
How do you decide what percentage of one you do with the other;
you with programming and you composition?
>> I think that it's a different time from when Zappa was around.
I think that a lot of that information as far as genre
and style have been assimilated into culture in away
where the lines are little more blurred.
So you can be more subtle in you composition.
For instance, with central market I love a lot
of large symphonic classical music.
I also love a lot of different kinds of electronic music.
And it wasn't a contrive, like that word I wasn't going
to contrive things like you know one, two and to smash it together.
It was more of just like the journey of going
through all the different types of music that I've enjoyed
over the years and what I'm thinking about now.
The result of that journey is what I'm making now.
You know it's more about that were as --
I mean I can't speak for Frank Zappa, but just in the way
that you used him as an example of just taking one and two
and combining it together.
I don't really feel like I'm doing that so much as it just being
like a natural combination of my interest.
I doubt he would say he was doing that as well,
maybe I'm sure he just had a kind of a different style.
>> Yes. And I think that he was -- he didn't seem to combine the two.
>> Yeah.
>> He kept them separately as far as I can tell.
>> Right. Well he, you know I think he brought a lot of complexity
of composition into rock music.
I think there was some kind of cross over.
Maybe there was a little bit more of a gap between the two.
So I can relate to him in that way.
It's funny though I will say that you know they're having a lot
of comparisons between this last record I did and Frank Zappa.
And the irony is when I was younger I really didn't
like Frank Zappa's music at all.   [Laughing]
>> Well I thought that he was too funny.
And I thought that his sense of humor was too obvious
and that there was to -- there lines that he was drawing were to --
it just felt too obvious to me,
but as I kind of gotten older there's work of his that aren't
as popular and you start to see where a lot of his genius
so even now I kind of have a weird thing with Zappa.
I respect him, I respect his world, but I can't totally relate to him
on some ways and his comparisons between us
for his last record makes me what to investigate more to see what
about him I'm not interested,
if I'm actually apart doing what I'm not interested in some ways.
>> And what Ronen what are you as far
as your programming how did you do a concert series ad Le Poisson Rouge
[assumed spelling].
Now how does that series different from the Wordless Music series.
>> Well Le Poisson Rouge you know is full time nightclub that's open
seven nights a week.
They do two concerts every night and we can --
we often you know a string quartet program early
and then a DJ set or something late.
It's sometimes by design it's sometimes by accident.
I mean I would say that in terms of just kind of proportioning it,
you know any concert that you see the format is pretty much set.
There's a first half and a second half, an intermission,
one or two different openers.
And I would say that you know I hope you'll find
with the case tonight you try to make some kind of a case
or argument even though it may not seem that way.
Such that you know you have the first piece
and then you have the second piece, and the third piece.
And by the end of the night you know ideally the conclusion is some kind
of synthesis of what has come before or it's kind of lend to.
And tonight we try to make it kind of liberal
where at first you'll see two people on stage, then 10 people,
then 20 odd people and then the full ensemble at the end.
You know, but every show is different, every artist is different
and I would say that, you know I mean maybe to go
to what you were saying earlier.
We had some more conversation with John Schaffer from WNYC
after the show at Lincoln Center on Monday night
and you know I think it's worth mentioning.
You know I think Frank Zappa would really love to be alive in a time
like this right now because a lot of the fights that he had to have
and a lot of the struggles for recognition that he had
to have its just sort of taken for granted today.
I think that a lot fewer people spend time wondering you whether
someone like Seguro [assumed spelling] is classical musical music
or whether it's rock music.
Whether an album like central market, you know if it's neatly
into one of these little boxes.
I think that that's one of the great things about living in 2011 is
that you know in the same way
that an iPod can be playing John Coltrane [assumed spelling]
and then they can go to Show pen [assumed spelling]
or Dubois [assumed spelling],
you know the iPod makes no distinctions between it.
It doesn't say one is better or different.
It just that one comes before the other in this order.
And I think you know just speak
for Ty [assumed spelling] I think that's maybe how a lot
of our musicians approach things.   It's not that that Dubois is up here
and Valance Mungos [assumed spelling] is down here,
it's that they're all different parts of this conversation
and that we all have something to learn from each of these people.
>> It's been neutralize in a lot of ways.
The genre wars as far as any kind of hierarchy or you know any kind
of distinction between what can mess and what can't.
I think -- yeah Ron's right I feel
like that's war is kind of over at this point.
>> Is it? Well the reason I said
that because I'm sitting here thinking are talking
about that outside your career spears do you think
that there's still a big [inaudible] between rock and roll and classical
in the mainstream is -- ?
For instance are [inaudible] is like they consider can [inaudible].
Are they doing concerts where the two genres are meshed?
Or as you go around the country and around the world do you see venues
and concert series being combined with the genres
or keeping them separate as far as straight ahead classical music
and [inaudible] rock and roll?
>> I think there were always be a kind of an institutional element
in some of things in the sense that there's a specific --
classical music is a specific cultural you know.
Electronic music is a specific and you know the guardians
of that will always want to preserve what the foundation of that is
for each respective kind of thing, but at the same time I feel
like the time that we're living in in now there's a slit
between the preservation of what those genres are or whatever
that means and this new hybrid approach at least.
You know I feel like it's less of a big deal.
It's less sacred to be able to kind of move between the two,
which isn't to say that there's not going to be a you know people hold
on to the original and promote the original idea
of -- or the original genre.   Whatever you're talking about.
>> Now tonight we're going to be hearing music
from your most recent -- I wanted to say album.
You're most recent recording.   >> That's fine.
>> Central Market.
And the timing is a salute I guess to the opening scene
with Stravinsky Petrushka [assumed spelling].
I hope I had that right.
In -- go ahead what we're you about to say?
>> I was going to say in the press release
for that record there's a lot of Stravinsky [inaudible] I mentioned
to the person that I was talking to,
so I've kind of like kind of went crazy.
So she was like oh Stravinsky.
It's like an easy thing, but he was one of the people
for sure that I was referencing.
In particular I did honing on Petrushka as far as the seen
that was created at the fair, but I just wanted to say that just
because a lot of people had been like, oh cool.
It's Stravinsky 2011.
I'm like, it's not, it's not like that [laughing].
>> No, but I do remember hearing [inaudible] Stravinsky [inaudible]
as I listened to Central Market.
I said, I wonder if Ronen recognized that.
[Laughing] And then she remembered you talking about your relationship
to [inaudible] you also liked the song of the Nightingale.
Now how did that come into play with what you were doing here?
>> I didn't quote any part of the actual piece, but I did hone
in on -- I really appreciated that.
The song of the Nightingale was composed by Stravinsky right after,
The Right of Spring, and so you know at that point
in his career he was already a superstar.
And here he kind of after the Right of spring we mastered his language.
So by the time he got around to doing the song of the Nightingale,
he was really comfortable and fluid in the way that he works.
So it really a very economic way of composing and very fluid.
So I really appreciated a sense of timing and the tools
that he was losing, which is just kind
of did everything right in that piece.
So I was trying to kind of if anything take a lot
from his decision making compositionally as oppose
to taking you know like a riff
or something [inaudible] can't call it riff I guess.
I'm out of a phrase.
>> And you're talking about the Orchestral Suite [inaudible]?
>> Yeah, yeah the Orchestral Suite, yes.
>> Now one of the things that was interesting when I reading
about Central Market was the association with your music
and your compositional processes in terms
of your music being very expansive in the since that it --
you use your music -- it's been used by a dancer in choreograph
and you've also used your music in visual art spaces.
Did you -- when you're writing a piece
of music do you consider these issues
or did it just -- or got that way?
>> I think I really enjoy composing narrative based music.
Not necessarily applied to one thing or another.
I was excited of a prospect of having a ballad company,
you know choreograph something that music and I'm also interested
in seeing what other visual artist would do with something like that.
So, but I didn't -- it wasn't specific.
I feel like just the nature of the music --
it's colorful and it has a sense of -- has a narrative sense to it,
but without being expletive I think.
>> Did you have to adapt to any of your music to these other projects?
>> No. The one thing that I did have to do as far
as adaptability is concerned is re-score a lot of the music
for tonight's performance.
It's still sounds you know the same, but you know I would have to,
you know -- when you're in the studio recording
and you have an idea it's as easy as just turning
on a new you know control in unapproachable
and that's the new track.
So you're just like, oh and you're just
like throw you know whatever on it.
And you know I -- and then suddenly you have to come pair downed
and realize what forces you're working with.
So I did have to reconfigure some of the ideas,
but that was most reconfiguring I had to do.
>> Yeah, yeah.
Now Ronen, what do you think of the arts management
and [inaudible] living at this age use to be what you do?
Do you see any kinds of trends are things becoming more
and more cyber oriented?
What do you see from your perspective?
>> You know I can mainly speak for New York since that's where I live
and I present concerts here and that's where I got my start.
I mean for me you know one of the most exciting things
about being a musician and a concert producer these days is just how
little it really takes for a musician to get noticed.
You know during the 20th century there were you know countless people
who were kind of tolling away in isolation for many years
and weather there music ever got heard by a concert going public
or by a record buying public was sometimes a little random.
But you know now today can make tracks in his bedroom and upload
to a MySpace page or Facebook page and within a week,
literally a week find themselves talked about in [inaudible]
and Rolling Stones and selling albums, you know very large venues.
It can be a good thing and it could be also a kind of a bad thing
and then people find themselves
with a gigantic audience maybe before they're ready for it.
But you know I would say that today the Internet has been very good
and very bad for music.
It's great just in that any human being who has kind
of self-educating, self-motivating impulse can really learn
about medieval music, renaissance music,
modern music from their house.
And you know with just a credit card and a couple of mouse clicks.
The you know the downside to this I think is
that we have really gained a tremendous amount in terms
of quantity and you know you can never really listen
to all the music that's out there, but you know you'd be lying
if you said that it wasn't heard to get people to sit
and actually focus for an entire record.
You know the art of listening to a 45 minute record from start
to finish, I don't want to say it's endangered,
but you can rapidly see how many people have to deal with it.
You know, but I really envy kind of young people
who you know are 15 today and are really first learning about music.
When I was 15, which is only 15 years ago [laughs],
but it seems like younger.
You know you couldn't hear an album unless your friend loaned you a CD
and people don't have that anymore.
You can really learn about anything you just have
to be a bit of a self-starter.
And I think that music has only benefited from that.
>> And what are your thoughts about this?
>> I was going to say that as the one great thing about the Internet
that has really changed the game from when I was a kid
and growing up, you know playing in punk bands and stuff is
that you had kind of a monopoly within the industry of sorts.
And you have this false since of choice
between these different groups and it was kind
of very major labeled controlled, so they gave you like a false
since of choice, like oh you can pick up Chemicals Brothers
or you can pick up Mariah Carey.
And it's like, oh wow I love all different kinds of music
from Mariah Carey and Chemical Brothers it's so different.
And it's all released on the same record
and it's all controlled by the same people.
So you have like, I don't know maybe in the 90s even 30 huge bands
and so you have to kind of pick and weigh between these fans
if you didn't about underground music
or weren't interest enough to go searching.
Now days with the Internet that has really crippled that since
of false variety and there's no such thing
as that major label dominance doesn't exist anymore.
So it allows where it does allow for quantity to rise up and you have
to kind of weigh through a lot of people just uploading stuff online.
It's still levels the playing field in a way that's really cool in a way
that I think is healthier for just culturally speaking.
And I feel you get a better since of what's going on in the world
with this way of working as opposed to this false since of
or this kind of dictated motrove.
This person represents this and that's why this person is the leader
of the generation and then you know it's just like this kind
of false information that can't really happen anymore.
You know you look at bands like Radio Head and you know.
Who else is?
Like Nervonna [assumed spelling] or something
and those kinds are bands are done.
Like I mean that kind of a model for bands is done.
I don't feel that it will ever be another band that's as huge
as Radio Head, you know was in the 90s because there's only few kind
of people select from and it's cool.
So it just has -- it has like a lot of musicians working hard
and if you're going to tour and if you're kind
of promote yourself you can kind of rise up a little bit from the top
as far as people that are just kind of doing it.
Putting the music online and just kind of stay at home.
You can -- if you're willing to work hard you can get your music out.
>> And so, but how do you separate, you know the [inaudible]?
I mean you can't just sort of go through...
>> Well it's, but you know isn't that what we did anyway
like with all the dumpster diving you know record collectors
who you'd have to drive out of town to go to that one record store
that had that rare release.
You know then you'd be that guy who's
like oh I have this rare release and you --
you know so in a way if you're a real music lover you kind
of have to do that anyway.
You have to kind like weed through the stuff.
You know I feel like that hasn't really changed.
I feel like it's just the stuff that you have to weigh
through now is more visible maybe.
Maybe more of an obstruction because it's more of it,
but I think that's a small price to pay for kind
of evening the odds a little bit.
>> When you -- know earlier in your career you were a little bit more --
it was interesting because you Heart school [inaudible].
But then you started out as a classical musician.
No?   >> No, I wouldn't say that.
>> Well, but you were at the heart school, so...
>> I was at the Heart school, but I wouldn't say --
if you ask me back then, I guess you're going
through the classical music road I would have definitely disagreed
with you.   I went to Heart school I want
to understand the fundamentals you know music theories.
So if I wanted to be able to express an idea
to a musician I can do it quickly,
but not because I necessarily subscribed to you know I going
to this school so I am this kind of a person.
You know what I mean?
I was there for the information to be able to kind of use myself.
>> So that's the way you presented yourself?
And that's the way you were accepted when you were at school?
>> Yeah, I can tell you this, I was very cautious going to that school
because you know there's a lot of things that are scary
about going to conservatory.
Whether it be music or art or anything because you know
if you're going to into an undergrad program you're
around 17 something like that.   And you don't want to be -- at least
for me I was really scarred about being brainwashed.
I was really scared of falling into you know like,
oh I have to be this certain person to appreciate this kind of music
and I just wanted the information.
You know I didn't want the sensibility necessarily
that goes along with it.
So yeah I was very cautious about that kind of thing.
>> And did your teachers did they lead you along?
Did they allow you to follow your own path?
>> Yeah, they did.   They did. It's more
so the environment, it's a collective thing.
It's not just the teachers, it's the students the way the whole thing
is connected.
So I was working on a lot of electronic music in that environment
and that's what I wanted to do, and that's what I was interested in.
But could also say that maybe self-consciously was also a little
bit more of a reaction to be able to like feel
like I had my own world to exist in.
And not feel like I was you know just like kind of a drone
that just liked came in and was like, yes, Sir Major Thurston.
You know it's -- I was worried about that at the time.
>> Yeah, now did your father have any influence on your career?
How did that happen?
>> Yeah, I mean he's you know I can definitely say he's definitely my
primary influence especially growing up.
You know your parents form your world for you and if one
of your parents this really enthusiastic composer who's showing
a way of living that is incredibly exciting.
And that you know if your own blood is showing you
that you can create this whole world for nothing and all you have
to do is be excited about it.
And just follow it that was incredibly influential.
I would say the second I realized that I really wanted to do music,
the one thing I took away from him the most more
than any particular musical idea was that I had to find my own way.
I had to be separate from him in certain ways
so I can find my own path.
Otherwise I would just be kind of just a product.
I would just be like son of guy, you know
and that was the last thing I wanted
because I really didn't realize I loved music.
So I want to respect the fact that I loved it and kind
of find my own way, but you know he's an incredible influence on me.
I love his music and it's kind of hard to calculate all the things
that he did for me just as far as my you know to stay motivated.
You know be all to see someone that's doing this thing and just
like a free train it's continuing in him.
>> Did he ever coach you in your compositions?
How did he [inaudible]?
>> When I was really young I took clarinet lessons from him
and I also -- and you know I took clarinet and then I turned 13 or 14
and I you know I heard like [inaudible] and I got a guitar
and I was like [inaudible] get it away from me.
And so then there is that teenage rebellion gap.
But then in college when I was in school
with composition I really started feeling
like I was grasping fundamentals a little bit more.
To balance off that I took --
you know he teaches classes at Wesleyan University
which is just an hour away or two hours away from the Heart School
of Music which is where I went.
So I would go to his composition systems class
and that was incredible.
That was like one of the most you know --
I lived with the guy for my whole life and so you obviously
that philosophy is imbedded in one way or another, but to actually go
to a formal thing and really see how he teaches and how he you know goes
about his way of showing his students he was really amazing.
But besides that you know unfortunately we've never
played together.
We've never -- it's never really gotten beyond that.
>> You all know who were talking about?
Anthony Braxton is Tyondai's father.
So just so everybody knows that [laughing].
I think at this point we're going to open up for a couple
of questions [inaudible].
>> What sort of influence are [inaudible]?
>> James Joyce, no I'm not a musician I should say.
I was a literature major in school and still can't read music,
can't play an instrument.
So about five years ago began doing this Worthless Music concerts
and you know its nice way to earn a paycheck,
just hanging with your friends and encouraging to do musical projects.
>> Then how did you get into?
>> The extremely condensed and at least foreign version is --
I was working for a couple years at Lincoln Center in New York.
And I was working as a grant writer.
I had never [inaudible] concert in my life and I spent
about half the week seeing classical music uptown
at Carnegie Hall in Lincoln Center.
And I would spend the other half of the week at clubs
in Brooklyn in the lower east side.
At the time I was especially interested
in what is called badly dis-genre of post rock.
Which is basically rock instrumentation,
rock kind of personnel, but not pop based songs.
Long kind of instrumental suites and while I was
at Lincoln Center I asked one day a colleague of my I said,
you know what is this thing called chamber music that we're working
to preserve and she said well you know its music made by small groups
of people in a fairly intimate space.
And I asked her you know I said, okay well last night I went
to the Mercury lounge which is a club with room for 200 people
on Housin Street [assumed spelling] in the lower east side.
And I said they had a violin, viola, a cello, a laptop, and a drum kit.
I said is that chamber music
and she said no I don't really think it is and I said, how come.
She said well you know at Carnegie Hall
when you see the Emerson string quartet play it's considered rude
to lean over your neighbor and say,
wow this is a really cool concert whereas that's okay
at the Mercury Lounge.
And I said, that's really the whole distinction between the two?
[Laughing] And that was the point
when she kicked me out of her office.
So I knew that we were maybe on to something and that was really seed
into this idea of just putting two seemly dissimilar things next
to each and what you find is that they have maybe more in common
as a result than you've might of guessed.
>> Yes, please.   >> [Inaudible] album, record,
you know the terminology is way beyond that.
I don't know 10 year olds these days whose only music accessing is
downloading iTunes.
I don't know if they relate to any of those words at all,
but I'm curious in terms of how you put a CD together?
I assume you still give consideration to the sequencing
and the total experience that you want the listener to have.
But how are you adapting as the creator to the changing --
slightly different [inaudible] the question
that you asked a bit earlier?
>> I think I do still look at what a whole record or album,
whatever you want to call it is in the frame work of that
because I'm still interested in you know the even flow of a large work.
I'll admit in this -- with this record I just did it still split
up into tracks that you could probably just play you know one.
You can isolate something that you like as for the feeling
like you have to listen to the whole thing.
So I try to find a way of reconciling those two things.
But you know people say, you know the LP is dead, the album is dead,
and you know here we are in the iPod generation, the shuffle generation
and its all two minute songs.
And if it doesn't connect from the first 30 seconds it's over.
Maybe there is some -- maybe that's kind of where we're in some places,
but I still believe in a record you know, I still believe in record.
You got to believe in the record.   >> Yes, sir.
>> I receive things [inaudible] from guitar center
like some odd years ago and I've been a fan of the old band.
And in the article you said, you like the idea
of taking digital things and giving it a more organic feel.
Do you feel like doing that with an orchestra or classical idea as kind
of branch that out even more?
>> Yeah. You know there's nothing more musical than imperfection.
And when you hear something perfect it doesn't sound musical.
At least to me.
Maybe that's wrong, maybe I'm cutting myself by saying that,
but the things that excite me are the things that are organic.
So I try to take things that are synthetic like electronics
and like some cases samples or something.
And dirtying them up in a way that makes it feel more real you know.
And the orchestra is an -- you know I guess ironically the orchestra is
an extension of that when really the orchestra is more of a root
of that kind of philosophy.
It is those instruments are completely imperfect you know the
buzz of the strings and the violin the --
you know if you're [inaudible]
around the trumpets [trumpet sound] you know something weird.
So I guess electronic music is kind of mimicking --
I try to mimic that through electronic music a little bit
so it feels a little bit more --
it has a little more substance I feel like when you...
>> Feels more real.
>> Yeah, when you have the potential to do something wrong...
>> Yeah.
>> And you have a larger palate you're playing with as oppose
to if you just have the potential to do something right.
>> But how do you separate being more organic?
That implies to your live performance as supposed
to recordings where you go back and fix it.
So when you're talking about organic are you talking
about using special event or [inaudible] you're not talking
about adding long notes
or [inaudible] purposely out of tune or are you?
>> I think it depends on the project.
Technically yes I would say I am.
I would say for this particular project though it was more
of an environmental thing where I wanted to record all the sounds
in a way that felt more real.
For instance, you can take a keyboard and plug directly
into an interface for computer and it just plays.
So there will be no environment you can add reamer or something later
and has a synthetic thing.
Where is for this every single thing that we recorded for,
for Central Market the strings or the synthesizers.
We either ran it through an amp or ran it
through a giant PA in this gallery.
So it would all kind of mess together in this kind
of imperfect room and would -- the refractions would sound kind
of weird in certain cases.
So we kept that, but as far as keeping wrong notes.
I didn't do that with this because I really wanted the pieces
to be perfect in that [inaudible] gramophone kind of way.
You know I really wanted to kind of reference that world of having
like these perfect sounding orchestra pieces,
but with the variable that would be strange would be the environment.
So that was kind of my way if that makes sense.
I don't know where I just went just now, but...
>> Yes, sir.
>> I was wondering what your favorite instrument [inaudible]?
>> Huh. Well I played guitar the longest, but guitar you know
if you've been playing an instrument long enough it gets boring.
I still playing guitar.   I like playing keyboard.
Maybe I'd say voice because you can actually you know everyone virtuosic
with their voice if you have an idea.
Especially with these new iPhone Apps you know we have
that like voice recorder thing.
So you can often find me like a crazy person walking
down the street singing into my phone.
[Random singing] and you know I use kind of composition that way,
so I think maybe that's my favorite because I'm good at that.
Just kind of anyone else is good at that.
>> Well I think on that note the people have [inaudible] get Tyondai
and Ronen backstage so they can ready to do the concert.
So would please give them another hand?[Clapping]