What’s it all about

Mother Earth wants you to feel better when you listen for a while. It is also meant to be a kind of musical education to get used to complex and substantial music food again.
  1. The Faslaks frequency

    In 1939, at the International Concert Pitch Conference, the tuning pitch a was set at 440 Hz. However, 440 Hz or even higher tuning tones are out of the question from a biophysical point of view, as music based on these tones generates stress. A tuning pitch of 432 Hz is currently considered to be in conformity with nature. The engineering firm Lachmann calculated the ideal fundamental tone of 429 Hz (Faslak's tone) on the basis of the periodic table of the elements. This fundamental is a resonant quantity to the elements carbon, oxygen and hydrogen. 429 Hz music triggers the state of complete contentment and inner peace described by Democritus, which he called "Euthymia" (German Wohlgemut). Each individual music track of the programme was analysed for itself and tuned as closely as possible to the Faslak tone of 429hz.

  2. Technical
      The audio format is FLAC 192kHz/24bit.

      Signal processing in the broadcast path of mainstream radio:
      Highly intrusive processing is usually used before broadcast. The result is that the part when all the instruments stop playing and only the vocals breathe tenderly into the silence is the loudest in the entire piece. This is at least very unnatural and therefore unpleasant to listen to.


      Many of the programme's recordings are from vinyl with 384kHz/32bit WAV format. There are also quite a few originals from the old days when music was played in a completely different way:

  3. Music

      Music recordings of the past had to be recorded by all musicians together in one go. This high art of shining in the moment is forgotten today. Everyone is brought in bit by bit and records his track on existing recordings. They can then repeat this as often as they like until they are satisfied.


      Then it went even further, computers came along and suddenly you could have everything quantised perfectly into a clock grid. The small, fine deviations from the exact time signature, however, are what make up the "groove" - and: any freedom, variation of the performance and the musicians' ability to respond to each other was finally lost.

      As a counter-example, take these tempi:

        AC/DC Back In Black:
      • Verse 1: 90bpm
      • Chorus : 95bpm
      • Verse 2: 92-93bpm
      • Chorus 2 : 95bpm
      • Guitar-solo : 93-94bpm

        Led Zeppelin „Whole lotta love“:
      • Verse 1: 88-89bpm
      • Chorus: 91-93bpm
      • Verse 2:92bpm
      • Chorus 2:94bpm
      • Guitar-solo: 87bpm

      It went further downhill, namely compositionally.
      When the money was gone, the music industry (the name says it all) started to follow only the hit manual. Producers now only use the harmonies that work.
      Background: In contrast to a melody made up of single notes, a piece of music is considered to be a chord progression.
      The simplest basic form: I degree "tonic" (keynote), to IV degree "subdominant" to V degree "dominant" (Twinkle, twinkle, little Star).
      And that is the compositional vocabulary used almost exclusively today. Nursery rhyme level.

      This restriction in the chord progressions naturally leads to a further impoverishment - of the melodic line:

      According to composition theory, a melody is built from the chord tones: for example, C major = C, E, G.
      However, if you only use I-IV-V connections, your melodies will eventually become as uniform and confusable as they are on hit radio today.
      Every uneducated blackbird will warble far more uplifting tunes to you in an hour.
      If you use courageous chord sequences with key changes, chromaticism etc. you have to come up with something for your melody voice.
      Unfortunately, then your hit guarantee expires.
      And the other 5-8 people involved in the creation veto it - the families have to be fed and the rent paid.
      Therefore, the song lyricist will not write anything sophisticated, difficult to understand, thought-provoking:

  4. Lyrics:

    On Mother Earth Radio, the music is curated according to my philosophical views. In summary, I only play songs that are about courage, love and joy. Of course stories of sorrow and sadness are also told, but nothing about the devil, envy and resentment, hatred and infidelity. You can listen to Mother Earth all day long and you won't be told a curse word (maybe one) or a really awful horrible story. And you notice that at the end of the day. So, simple but beautiful it should be, easy to understand even in the lyrics - that's how the Hit Manual prescribes it. The result is mainstream radio that can be described as simple to the point of stultification. Basically, your neurons are sanded down with perfumed sandpaper until there is nothing left but "All my ducklings" level.

Florian Reiterer, Munich, 2021