Schnitzler, Conrad
Con
Schnitzler bought his first synthesizer in the early 1970s - a considerable investment at the time. The introduction of the compact cassette had liberated duplication and distribution from the realm of the record company, but Schnitzler also recognized the creative potential of the medium, beyond its practical functions. He built a "cassette organ" out of 12 cassette recorders and two cases for his musical collages. Towards the end of the decade, he could be found on the Kurfndamm, West Berlins premier boulevard, cassette recorders slung over his shoulders as his music boomed out of battery-powered loudspeakers. He sold the cassettes on the spot. It doesnt get more independent than that. How did he find his way into a commercial studio? Buoyed by the success of Tangerine Dream, Peter Baumann, Schnitzlers successor in the band, established the Paragon Studio. Schnitzler had left after their first LP in the belief that the creative potential of the group had reached its limit, but their friendship endured. Baumann made use of downtime in the studio to pursue his own musical experiments. And then Conrad Schnitzler appeared at the door with a small Korg synthesizer, a sequencer and his EMS Synthi (a portable model in an attach case), having transported the whole lot on his delivery bicycle. Disciplined artisan that he was, he soon had something decent to show for his efforts. Something, indeed, which could be pressed on vinyl for a wider audience. It was clear in Schnitzlers mind that he needed to leave the studio at least some commercially viable material in return for the chance to work there. Hey, it could even be fun. Con 3. proves as much. The last record to be completed at Paragon reveals Schnitzlers lighthearted rapprochement with German New Wave (Neue Deutsche Welle). However, when record companies rolled out their standard contracts, including the usual clauses obliging the artist to attend interviews and participate in television shows, Schnitzlers independent spirit rebelled. Those contracts remained unsigned. The Paragon Studio era, with sound engineer Will Roper, whose work with Schnitzler gave him the opportunity to demonstrate his skills in tape manipulation, splicing, editing and looping, came to an end when the studio was sold and Peter Baumann moved to the USA.