Author: FlorianReiterer

  • The Ear That Hears Souls: My Journey to Mother Earth Radio

    An Unlikely Revelation: My Childhood Ear

    As a child, I didn’t know I possessed a unique gift, only that melodies moved me differently. I remember my primary school report card, where my art teacher wrote: “In the musical domain, his sensitivity in the emotional sphere is striking.” This seemingly simple observation was, in hindsight, the first glimpse into a world where sound transcended mere auditory perception. It was the earliest sign of my ability to grasp the raw emotions embedded within music, to hear the unspoken stories woven into each note. This revelation paved the way for a lifelong journey, deeply connected to the profound human element within sound.

    The Soul in the Signal: A Unique Perception

    To truly “hear” the soul in an audio signal means perceiving the human truth within every vibration. Imagine listening to a speaker and instantly knowing if they’ve slept poorly or are preoccupied, simply from the subtle tremor in their voice. Or witnessing a drummer, utterly absorbed, pour their entire being into a single crash cymbal strike – a moment so intense it feels like their last act on Earth. This isn’t just about perfect pitch or technical analysis; it’s about discerning the passion, the vulnerability, and the complete human existence poured into each sound. This unique sensitivity transcends mere auditory reception, making music a gateway to understanding our shared humanity.

    The Frustration of Unshared Worlds

    This deep perception, however, often came with a quiet frustration. How do you explain the profound emotional weight of perfectly captured music to someone who doesn’t hear the difference, or simply isn’t interested? In a world where music often becomes background noise, conveying the intricate nuances and raw emotions embedded in each high-resolution note felt like trying to describe color to someone who only sees in black and white. It was disheartening to witness the disconnect, highlighting the challenge of bridging the gap between those who merely hear and those who truly listen, seeking the soul within the sound. This yearning to share authentic sound and the deep human connection it fosters became a quiet quest.

    Mother Earth Radio: My Answer to the Unheard

    From this persistent yearning, Mother Earth Radio was born. It became my personal answer to the “unheard”—a sanctuary for those who crave music in its purest, most authentic form. This platform isn’t just a collection of songs; it’s a dedicated space where every note and texture is cherished. Here, my deep passion for high-resolution audio and my decades of experience in audio engineering converge, creating a unique, independent radio experience. Mother Earth Radio is my testament to the human connection in music, bridging the gap for those who seek a deeper, more authentic sound.

    The Validation of a Global Audience

    Broadcasting the soulful melodies of Mother Earth Radio brought an unexpected, overwhelming joy. Messages poured in from listeners across continents, affirming that my pursuit wasn’t solitary. This global audience resonated deeply with the unique sound and emotional depth of the music, proving that there are indeed hearts that beat faster when they hear music as I do. Their gratitude for the high-resolution audio experiences and the emotional connection felt reaffirmed that music, in its purest form, transcends all barriers, uniting souls in a shared appreciation for authentic sound. This validation underscored the importance of creating spaces like Mother Earth Radio, where genuine music experiences are celebrated worldwide.

    Beyond the Noise: My Definition of Music

    In a world saturated with sound, my definition of music transcends mere noise. For me, music isn’t just a series of notes; it’s the very language of the soul, an unfiltered symphony of raw emotion, genuine storytelling, and resonant human experience. Much of what passes as “music” today simply doesn’t meet this profound standard. Mother Earth Radio stands as my answer to this reality—a beacon for those seeking true musical encounters where high-resolution audio meets deep sound sensitivity, and where the emotional connection to music is not a fleeting moment but a lasting imprint. This is where I’ve found my definition of music: beyond the noise, in its truest, most authentic soul.

  • VR & Hi-Res Audio: This is how you really hear

    The forgotten feeling: what VR glasses tell us about good sound

    Imagine you’re watching a video. Not on the TV, but as if you were in the middle of it. Everything around you is an image and it feels like you can walk through the scene. I’m talking about VR goggles, and to be honest, until recently this was more of a gimmick for me. The images were often blurred, pixelated – you could sense the potential, but it didn’t really blow you away. But then Meta Quest 3 came into play. And with it came a resolution that simply left me speechless. Suddenly the image was so incredibly sharp, so detailed, that I really felt like I was part of this other world.

    VR & Hi Res Audio
    Photo by Alessia Lorenzi

    But the real kicker came when I took my own videos from my hard drive and created them with a special program called Owl3D for these glasses. I put them on and the moment the video started, I thought: “This is amazing! I’ll never look at a normal screen again!” The image was so lifelike, so tangible. And although it was already breathtaking, I instinctively felt: “If only the resolution was just a little bit better!” It’s hard to imagine how incredible it would look if it were absolutely perfectly sharp – simply stunning. It’s already great, you can see everything, it looks great, but that last little bit more pixels, that would be it!

    Why we talk about VR when it comes to good sound

    It is precisely this feeling, this intuitive understanding of “resolution” and what would constitute an even sharper image, that is the key to a realization that many of us have unfortunately lost in the field of audio. Because it’s exactly the same in the world of sound! The only difference is that hardly anyone today knows what “good” sounds like.

    We are surrounded by music. It’s playing on the radio, streaming on our smartphones, coming out of small Bluetooth speakers. And yes, it all sounds okay somehow. It’s as if we’ve been looking at the world through these slightly pixelated VR glasses for years. We no longer know what we’re missing. We have become accustomed to a lower sound resolution, to highly compressed formats in which countless nuances, tiny details and the natural spatiality are simply no longer there.

    Streaming with low resolution
    Photo by cottonbro studio

    As with VR glasses, where you lack a little resolution to really feel the fine texture of a tree bark in the virtual forest or see the sparkle in the eyes of an avatar, we lack the sound pixels in the sound. We hear the song, yes. But do we also hear the subtle vibration of a guitar string, the delicate reverberation of a voice in the recording room, the exact position of each individual instrument on the virtual stage? Can we hear the “air” in the room where the drums were recorded? Quite often, unfortunately not.

    Rediscovering the lost dimension of music

    Hi-Res Audio or excellent vinyl playback are like those razor-sharp VR glasses that suddenly show you what is visually possible. They add the lost pixels of sound. Suddenly, a whole new dimension of music is revealed:

    • Spatiality: The band is no longer a flat carpet of sound in front of you, but spreads out in the room. You can clearly locate individual instruments, feel their exact position and their reverberation, as if you were sitting in the middle of a concert hall.
    • Subtlety and detail: You suddenly hear the sound of the singer’s breathing, the soft creaking of a chair in the studio, the plucking of the strings of an acoustic guitar – all these tiny details that make the listening experience incredibly vivid and real.
    • Dynamics: The music really “breathes”. Quiet passages are really whisper-quiet, loud explosions are powerful and clear without being unpleasant or overdriven. The entire emotional range of the recording is palpable.
    • Emotion: With all these additional sound pixels and details, the music becomes more emotional, more gripping, more real. You are no longer just a listener consuming a recording, but immersed in the experience and almost become part of it.

    Many of us listen to music today as if we were looking at a world-famous painting through a tiny, blurry cell phone camera. You get the idea that you recognize it. But then you suddenly find yourself standing in front of the original in the museum. The colors, the texture of the brushstrokes, the sheer size – it’s a completely different emotional experience, isn’t it? You didn’t know what you were missing until you saw the real thing.

    It’s the same with the sound. For a generation that grew up with compressed MP3 files and streaming in average quality, the full, unadulterated sound – as it was recorded back then, with a stable power supply and via analog mixing consoles directly to tape – may be a completely new sensation. It’s not just “better”, it’s fundamentally more. It is a deep immersion, a rediscovery of the music we love and the experience of emotions that were previously hidden.

    Take the plunge: recalibrate your ears

    Maybe it’s time to put on the “VR glasses” for your ears. Find a really good hi-res source, be it a streaming service that offers lossless playback, a well-recorded vinyl or a high-quality FLAC file. Listen to your favorite music – and let yourself be surprised. You might very well realize afterwards: “I never want to listen with less sound resolution again!”

  • Nerd-torial: The dithering dilemma

    Nerd-torial: The dithering dilemma – Why our ear sometimes beats theory

    Welcome back, dear audio nerds! In the last Nerd-torial, we introduced you to our high-precision vinyl recording process, from 32-bit integer recording with the RME ADI-2 Pro FS to the internal 64-bit float processing in Sound Forge Pro 15. We learned why this extreme computing accuracy is crucial to preserve the “aura” of our records without loss.

    But at the end of every mastering process is a tricky decision: reducing the bit depth for export. And this is where dithering comes into play – a technique that seems contradictory at first glance, but is essential for sound quality. And as we found out at Mother Earth Radio, it sometimes works differently than theory predicts.

    Dithering: The small noise that makes big differences

    Remember: our audio data is processed internally with an incredible 64-bit floating point. This is a dynamic range that is far beyond anything the human ear or even the best studio technology can capture. If we now reduce this data to 24 bits (the standard for Hi-Res FLAC) for export, quantization errors occur mathematically. These errors are not harmless rounding differences; they manifest themselves as unmusical, harsh distortions that can sound like digital “chirping” or “tearing off”, especially in quiet passages.

    Dithering is the solution: we add a tiny, random noise to the signal. This noise is so small that it is barely audible. But it has a magical effect: it randomizes the quantization errors and converts them into a much more pleasant, analogue-sounding noise. The result: a clearer, more detailed and more natural sound, even if we reduce the bit depth.

    The dithering duel: POWR 1 (standard) vs. POWR 3 (noise shaping)

    There are different methods of dithering. At Mother Earth Radio, we had the choice between POWR 1 (a standard dithering without pronounced noise shaping) and POWR 3 (with noise shaping).

    Conventional theory often states that noise shaping (as in POWR 3) is advantageous. Why? It shifts the energy of the dithering noise from the frequency ranges where our hearing is most sensitive (the mids) to the higher, less sensitive frequencies. The overall noise level tends to be even higher – but it is concentrated where we should perceive it least. For classical music in particular, with its extremely quiet passages, this has often been advertised as the superior method for keeping the finest details in the mid-range free of noise.

    The practical shock: John Mayer and the acoustic guitar

    Naturally, we wanted to put this theory to the test ourselves. Our initial tests with dense, complex pieces (such as the John Mayer Trio) showed little audible difference between the dithering methods. The music was so “full” that it effectively masked the dithering noise.

    John Mayer Trio on stage
    John Mayer acoustic set

    But then came the litmus test: a solo acoustic recording of John Mayer – just his voice and a guitar. Here, with this transparent, intimate material, a clear difference suddenly became apparent , in favor of the standard dithering (POWR 1)!

    What we heard was an undesirable “sharpness” in the high guitar registers and with concise vocals when noise shaping (POWR 3) was applied. The original sounded much closer to the master WAV file with POWR 1. The theory that noise can be “hidden” in the high frequencies reached its limits here.

    Why our ear sometimes beats theory: The hi-res factor

    This observation raises important questions and confirms our skepticism about sweeping statements in the audio world:

    1. Human hearing is more complex: the assumption that “nothing is heard” above 20 kHz or that “you can do whatever you want with it” is too simplistic. Even if we do not perceive frequencies above 20 kHz as pitch, they can subtly influence the timbre, the sense of space, the precision of transients and the overall “naturalness” of the sound image. A concentration of noise in these regions may well manifest itself as an unpleasant harshness or sharpness in the perceived spectrum.
    2. Noise shaping and hi-res audio: Many noise shaping algorithms were developed and optimized in an era when 44.1 kHz and 48 kHz were the norm. At our extremely high sample rates of 192 kHz (and above in processing), where a much wider frequency range beyond 20 kHz exists, the effects of shifted noise can have a different, and possibly negative, impact. It seems that the algorithms in these regions sometimes produce artifacts that our “whole person” does perceive.

    The Mother Earth Radio Dithering conclusion

    Based on our extensive listening tests and in-depth research, we have opted for standard dithering (without aggressive noise shaping) at Mother Earth Radio. It may not theoretically offer “that last bit of midrange noise immunity”, but it delivers a more consistent, natural and, above all, unobtrusive sonic result for the full range of our vinyl material – from dense rock recordings to delicate acoustic music.

    It shows once again: while theory gives us a valuable guideline, in the end it is the trained ear of the sound engineer that makes the final decision. At Mother Earth Radio, we trust our ears to bring the “aura of music” to you as authentically as possible.

  • Mother Earth Radio: Vinyl recording workflow 64 bit float explained

    Nerd-torial: The Mother Earth Radio Vinyl Recording Workflow – Why we do (almost) everything right

    Welcome, dear audio nerds and sound aesthetes! At Mother Earth Radio, we value sound quality that breathes the spirit of music and touches the soul. But to achieve this, it takes more than just good records and a record player. It takes a sophisticated, technical workflow that gets the most out of every vinyl groove.

    In this nerd-torial, we take you on a deep dive into our vinyl recording and editing process. We explain why we made certain decisions and why our current workflow is very close to the ideal – even if we can’t do everything “perfectly”.

    Step 1: The supreme discipline – vinyl recording with the RME ADI-2 Pro FS

    It all starts with the analog source: our beloved records. At the heart of this step is the RME ADI-2 Pro FS. This high-end AD/DA converter is known for its precise and transparent conversion.

    Vinyl recording with the RME

    We record in 768 kHz and 32-bit integer. “Wait a minute”, one or two nerds may now interject, “why not 32-bit floating point?” That’s a perfectly valid question! The RME ADI-2 Pro FS converts internally with 32-bit integer. This means that it offers a fixed dynamic range of a gigantic 190 dB. This is far more than even the most dynamic record can ever deliver and also far beyond what our ears can perceive.

    The point is: when recording vinyl, where we can control the analog level via the preamplifier, the risk of digital clipping is virtually eliminated with the ADI-2 Pro FS – provided that we level out cleanly. We use the extremely high resolution of the converter to precisely capture every detail of the vinyl. The discussion about 32-bit float in recording is often more relevant in uncontrollable live environments where unexpected level peaks can occur. For our carefully controlled vinyl process, 32-bit integer is absolutely tops at this point.

    Step 2: The magic of post-processing – Sound Forge Pro 15 and 64 Bit Float

    Vinyl recording with Sound Forge Pro

    After recording in 768 kHz and 32-bit integer, the raw file ends up in our digital processing lab: Magix Sound Forge Pro 15. And here comes the real highlight that makes our workflow so powerful!

    As soon as the file is loaded into Sound Forge, it is converted into the 64-bit floating point format for internal processing. And this is where the aforementioned advantage of floating point comes into its own!

    What does 64-bit float mean? Imagine your audio data is no longer on a fixed ladder (as with Integer), but on a ladder that dynamically adjusts its rung spacing. The internal 64-bit float processing offers a virtually infinite dynamic range. This is where the “non-clipping” takes place. No matter how loud or quiet a signal gets internally, or how many calculations are performed – there is no more digital clipping.

    This is crucial for our processing steps:

    • DC Offset Removal: The removal of unwanted DC components in the signal.
    • Declicking: The sensitive removal of crackling and pops, which can unfortunately be part of the vinyl experience.
    • Resampling (multiple times): We go through several resampling processes from 768 kHz up to 192 kHz. Each of these steps requires complex recalculations of the audio data.
    • Pitch shifting: Another operation that requires immense computing power and precision.

    All these operations take place in the 64-bit float environment. The result: minimal rounding errors, maximum precision and absolutely no digital clipping during the entire processing chain. The integrity of the audio signal is preserved to the maximum.

    Step 3: Finishing – volume according to EBU R128 and dithering

    Once all the processing steps in the high-precision 64-bit float domain have been completed, it is time for the final refinement and export.

    1. Volume normalization to EBU R128 (-23 dBFS): We adjust the overall volume of the audio to the EBU R128 standard, more precisely to -23 LUFS (Loudness Units Full Scale). This standard is crucial for consistent playback across different platforms and ensures a pleasant listening experience. Thanks to floating point processing, we can make this adjustment precisely without losing information or clipping, even if the original level was significantly higher.
    2. POWR dithering to 24 bit: The last step before export is dithering. Here we reduce the internal 64-bit float precision to our target format of 24-bit integer. Now the layman might ask: “Won’t everything you did before with float be ‘perdu’ again?” The clear answer: No, absolutely not!Imagine you have created a perfect work of art in a huge studio (64-bit float). All colors, brushstrokes and details have been applied with the utmost care and precision. At the end, this masterpiece is placed in a perfectly fitting, high-quality frame (24-bit). The quality of the previous work is retained and is visible in the final result. Dithering is a mathematical process that deliberately adds a low, barely audible noise to mask quantization errors when scaling down the bit depth, thus ensuring the best possible quality in the reduced format. The POWR (Psychoacoustically Optimized Wordlength Reduction) dithering that we use is particularly optimized for human hearing.
    3. Encoding as FLAC: Finally, the file is encoded as FLAC (Free Lossless Audio Codec). FLAC is a lossless compression format. This means that the audio quality we have carefully worked out up to this point is fully preserved, while the file size is reduced.

    Why is this workflow “ultimate” (or at least damn close to it)?

    Mother Earth Radio’s workflow is a combination of high-quality hardware and intelligent software processing.

    • High-resolution recording: The RME ADI-2 Pro FS delivers an extremely precise digital image of the vinyl source.
    • Error-free internal processing: Sound Forge Pro 15’s 64-bit floating point engine virtually eliminates all digital clipping risks and ensures maximum precision in all processing steps. This is the decisive advantage that goes beyond the pure bit depth of the source file.
    • Quality preservation: Careful dithering practice ensures that the high quality of the internal processing is optimally transferred to the final 24-bit format.
    • Lossless distribution: FLAC guarantees that the listener gets exactly the quality we created in the studio.

    Although we don’t record directly in 32-bit float (which isn’t necessary in our vinyl digitization setup), we take advantage of floating point arithmetic where it matters most: throughout the entire processing chain. This makes our process one of the most advanced and quality-oriented workflows for record archiving and distribution.

    We hope this nerd-torial has given you a deeper insight into how we work. Stay tuned for more technical insights and of course great music on Mother Earth Radio!

  • Exclusive: The free Mother Earth Radio Windows App – now even easier to access!

    Exclusive: The free Mother Earth Radio Windows App – now even easier to access!

    Dear listeners of Mother Earth Radio,

    We received a great Windows app for Mother Earth Radio some time ago, developed by one of our dedicated listeners. It gives you an even more immersive listening experience and brings our music directly to your desktop. Until now, access has been a bit cumbersome, but we’re changing that!

    The app is now even more easily available. Our listener has made it available to all of us completely free of charge and selflessly as a contribution to the Mother Earth community – a wonderful gift for which we would like to express our sincere thanks!

    Hi-Resolution Radio with the Windows app

    The latest version of this highly recommended Windows app is available for download here:

    Click here to download the Mother Earth Radio Windows App

    A look behind the scenes: The A.Sky Player concept

    This app is based on the innovative A.Sky Player concept, which was created by Alexandr, the developer of the underlying player software. Alexandr has worked intensively on the requirements for high-quality audio playback and created a system that takes audiophile quality to a new level.

    We would like to give you an insight into Alexandr’s vision. Visit his site to find out more about the philosophy and technical details behind the A.Sky Player concept:

    Find out more about the A.Sky Player concept

    Important notes on installation and use

    Please note that the Mother Earth Radio Windows app is not an official app from the Microsoft Store. You must unzip the downloaded file manually and start it from a suitable location.

    You may receive a Windows security warning when you start the app for the first time. This is normal as the app is not distributed via the official store. You can ignore this warning once and start the app without hesitation to enjoy our program.

    For the best possible sound experience, it is imperative that an ASIO driver is installed on your system. Ideally, you should use the app in combination with a high-quality DA converter to unleash the full sonic brilliance that Mother Earth Radio offers.

    Your support counts!

    We are delighted with this app, which further improves the listening experience for you. If you like the app and would like to show your appreciation for our work, we are of course always happy to receive a small donation. Your contributions help us to keep Mother Earth Radio running and to constantly expand our offering.

    Donate now and support Mother Earth Radio

    We hope you enjoy the new Mother Earth Radio Windows App and look forward to welcoming you as part of our audience!

    Best regards,

    Your Mother Earth Radio Team

  • Radio Paradise as inspiration: How Mother Earth Radio became a pioneer of high-resolution audio

    Radio Paradise as inspiration: How Mother Earth Radio became a pioneer of high-resolution audio

    Radio Paradise: The inspiration behind Mother Earth Radio’s high-resolution audio revolution

    Radio Paradise is a name that stands out in the world of online radio – and for good reason. For us at Mother Earth Radio, Radio Paradise is not a competitor, but a real source of inspiration. The station has set standards that motivate us and show us how to present music with passion and integrity. In this article, we take a look at what makes Radio Paradise so special and how it has influenced us at Mother Earth Radio.

    The first free web radio without adverts

    Radio Paradise was a pioneer in the world of Internet radio: it was one of the first web radio stations to operate completely without adverts. This decision was revolutionary at the time and gave listeners an undisturbed music experience. No annoying adverts, no sales pressure – just pure music. This is a concept that also impressed us at Mother Earth Radio and inspired us to go our own way and put the music at the centre.

    Excellently curated music without chart constraints

    Another highlight of Radio Paradise is the incredibly careful selection of music. There are no playlists here that are based on the charts or the specifications of large media companies. Instead, each song is carefully selected to create a unique and harmonious mix. From classics to hidden gems, Radio Paradise proves that music doesn’t have to follow the ratings to be great. This freedom and dedication to quality is something we at Mother Earth Radio value highly and see as a role model.

    Radio Paradise

    A great team: Bill and Linda

    Behind Radio Paradise is a fantastic duo: Bill and Linda Goldsmith. Bill, a former DJ, and Linda, an artist, have put their heart and soul and vision into creating a station that delights music lovers worldwide. Their commitment to commercial-free, listener-centred radio has created a loyal community that shares their love of music. Bill and Linda’s teamwork and passion are proof that great things happen when you believe in your idea – a motivation for us too.

    The challenge of licence fees

    One issue that concerns both Radio Paradise and us is the licence fees for music. Especially in the USA, the fees charged by organisations like ASCAP are ridiculously high (see Radio Paradise FAQ). For independent broadcasters like us, these costs are barely affordable – we simply can’t afford them. Nevertheless, we at Mother Earth Radio have a clear stance: we have licensed every country that is willing to charge reasonable fees and pass them on to the artists. Why? Because we firmly believe in the work of musicians and want to ensure that they are fairly remunerated for their art. This is a real grievance in the industry and we are determined to do our bit by making licence agreements transparent and fair.

    Inspired by pioneers: Radio Paradise and Mother Earth Radio

    Radio Paradise pioneered the way for independent, ad-free web radio – and we at Mother Earth Radio are proud to follow in their footsteps, but with our own ground-breaking approach. While Radio Paradise was a pioneer of free web radio, we’re going one step further: we’re the world’s first high-resolution audio station. Since our launch in February 2020, we have been streaming music in exceptional quality, such as FLAC 24-bit/192kHz, offering a sound experience that is second to none. Before us, only paid services like Tidal and Qobuz offered high-resolution audio. We have opened the door – for streamers, platforms and listeners – and made a new world of sound accessible, free of charge and without adverts.

    Why Radio Paradise inspires us

    For Mother Earth Radio, Radio Paradise is a shining example of how to present music without compromise. Even though we have our own style – such as our focus on high-resolution audio and the Faslaks sound at 429 Hz – we share the same basic philosophy: music should be experienced authentically and without distractions. Radio Paradise has shown us that an independent, advert-free approach is not only possible, but can also be successful.

    Support through advertising on the website

    Our channels are licensed and remain free, ad-free and subscription-free. However, we have recently started advertising on our website to cover server and operating costs. This decision allows us to maintain the quality and service of Mother Earth Radio without compromising the listener experience. I continue to be the sole funder of this project and use these adverts to ease the financial burden. Donations from our loyal listeners continue to be a great help, but advertising on the website is an additional way to ensure that we can continue to provide the best audio quality – without compromising the music.

    Join the High Resolution Radio Revolution and stream now on Mother Earth Radio

  • New Year’s Eve Special

    Join us for a magical journey into the night with a 4-Hour DJ Live Set by the legendary Cris’AE! Starting at 22:00 PM Munich Time, immerse yourself in the art of mixing where craftsmanship meets creativity.

    Cris’AE, once renowned for his unparalleled skill in blending tracks with two turntables, brings his unique touch to Mother Earth Radio. Experience the fusion of past and present, where every mix is a piece of artistry.

    Tune in for:

    • An unforgettable musical voyage
    • The essence of house music reimagined
    • The spirit of Mother Earth’s dedication to well-crafted, soul-stirring sounds

    Don’t miss this exclusive event as we celebrate the New Year with music that resonates with the universe.

    Happy New Year from Mother Earth Radio!

  • 500.000 streams

    500.000 streams

    Half a million listeners in 2023/24

    On September 1, we renewed the music licenses with our provider ICE Services for the next year. The number of listeners in the last license period exceeded half a million – thank you! We are not alone!

    Mother Earth Radio, which has been free-to-air since 2020, is thus rising from a ‘micro-micro’ music streaming service to a ‘mini-micro’ station. I’m delighted and will stay tuned – we’re in it together. Music of quality, streamed in good quality – this obviously not only pleases die-hard vinyl and Hi Res nerds, in times of Spotify and musical uniformity in mp3 format, Mother Earth is not only a blessing for us.

    Next year, I’m planning to update our Google Play app, but I still need to familiarise myself with the Android programming language and will try to have a version ready by November.

    Many thanks as always to all supporters who have donated. A special thank you to the person who left us some wonderful classical records – I’m already busy recording!

    A music licence for the United States is still out of the question, unfortunately, American media law also requires us mini-providers to pay a fee of $1000 per stream plus song billing, so we’re probably talking about $5-600 per year.

    Of course, a Germany-wide DAB licence would be even more exciting for us – around €10,000 per year as far as I know.

    Chapeau to all listeners for your musical bravery and I wish you continued enjoyment of our programmes!

    -Florian Reiterer

  • Musicians at work part 2

    Greyson Nekrutman hears “Sleep Token” for the first time

    On the YouTube channel of Drumeo there is a quite interesting series where drummers listen to a song without the drum track that they don’t know. They then have to play their own drum interpretation of this song.

    I have selected the session with Greyson Nekrutman from many videos worth watching. Because here you can get an idea of how such a thoroughbred musician from the top league approaches his “work”. Greyson is a jazz drummer who has pretty much every trick in the book, if you’re interested check out his Buddy Rich techniques in the video“Caravan“. Anyway, the good Greyson is given a hardcore death metal song to play here, extremely challenging, and he masters the task to a tee. And he does this dressed in tweed trousers. That deserves my highest respect! Chapeu, Greyson!

  • Musicians at work – Part 1

    Chad Smith plays “Break My Heart” by Dua Lipa

    Red Hot Chili Peppers drummer Chad Smith contributed the drum track for Dua Lipa’s “Break My Heart”. At the beginning of the YouTube video, he says that he visited his friend Andrew Watt, the producer of Dua Lipa. He said they were just talking about how this song needed a live drum track! And Chad said: Let’s go!

    In music production, drums are mostly programmed. It costs nothing and you don’t have to set up and adjust microphones and select several recordings, cut them and then ultimately quantize them back into the clock grid through the computer.

    But Dua Lipa and Andrew Watt probably know that a real musician on a real drum kit is a different kettle of fish! And when Chad Smith from the Red Hot Chili Peppers comes to visit…

    I find it interesting that Chad is fooling around and singing and making jokes here, but you also see something else. Right from the introduction of the track, he’s waving his arms around, implying that he’s playing a “4 on the floor” – that is, banging the kick drum on every quarter of the beat, which is considered the easiest exercise. But listen carefully: you can set your watch by this kick drum. And furthermore, every drum note sits and thunders in an absolutely perfect manner. You can also see this in Chad’s highly concentrated facial expression. He may be underchallenged, but he gives his all. It’s a real pleasure for me to watch.

    Have fun!