Conrad Schnitzler

Schnitzler bought his first synthesizer in the early 1970s - a considerable investment at the time. The introduction ofthe compact cassette had liberated duplication and distribution from the realm of the record company, but Schnitzleralso recognized the creative potential of the medium, beyond its practical functions. He built a "cassette organ" out of12 cassette recorders and two cases for his musical collages. Towards the end of the decade, he could be found onthe Kurfndamm, West Berlins premier boulevard, cassette recorders slung over his shoulders as his musicboomed out of battery-powered loudspeakers. He sold the cassettes on the spot. It doesnt get more independent thanthat.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 beliefthat the creative potential of the group had reached its limit, but their friendship endured. Baumann made use ofdowntime in the studio to pursue his own musical experiments. And then Conrad Schnitzler appeared at the door with asmall Korg synthesizer, a sequencer and his EMS Synthi (a portable model in an attach case), having transported thewhole 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 heneeded to leave the studio at least some commercially viable material in return for the chance to work there. Hey, itcould even be fun. Con 3. proves as much. The last record to be completed at Paragon reveals Schnitzlers lightheartedrapprochement with German New Wave (Neue Deutsche Welle). However, when record companies rolled outtheir standard contracts, including the usual clauses obliging the artist to attend interviews and participate in televisionshows, Schnitzlers independent spirit rebelled. Those con...