We're used to working with 4 people. So the addition of the extra person …
PETER BERGMAN: The 1.1 extra person.
PP: Ohhh, it's gotten
more crowded in the Studio. Its hot. The mix, we need more ears.
PB: Well we need more
mix 'cause we drink more.
PP: It's harder work.
And also to retain that kind of distance that you get. It's like being in a movie theater.
PB: Normally we just
retain salt and fluids. Now we have to retain material. The thing about 5.1 that's
interesting, is that its absolutely tailor made for The Firesign Theatre.
PP: It is.
PB: I don't know for
example if I were to buy a 5.1 audio of Cream or The Brandenburg Concerto. If I want to be
in the center of the group. Where do you put somebody in the middle of the musical
experience. But with the Firesign, it gives us an opportunity to move people and things
all around you. It's like a Wonderdome of sound.
PP: But not only that
but you know…
PB: Not only that!
Don't start with not only that! Yes and!
PP: Yes and not only
that but the Firesign Theatre has always been making, what we call, movies for the mind to
begin with. We try to be…
PB: Movies in your
PP: Not only that but
movies of your mind. You see? And so it's perfect for us to be able to create something
that's dramatic that happens to literally move people from left to right and into the
phantom center, from whence they never return, by the way. But now we can move them under
your skirt and up over the top of your head, through your toupee'.
PB: We moved people
out of this very room that we're in, that were living here. It was a low interest
PP: But that's another
PB: …we moved to
a now renovated irrigation ditch.
PP: Right next to the
PB: Al Gore's old
Information Highway. And they're happy there.
PP: What do they know?
PB: That's a RICTA
PP: So.. we're in the
iriction business. So the opportunity to create something that will put you in the middle
of a tornado, for instance, which we're hoping to do, and move things now around you in a
swirl. Remember, we've been in the business for so long, 165 years. We were there before
the creation of sound. We did most of our record originally just by performing them.
PB: Like on barbed
wire. We were wire recording.
PP: We did the barbed
wire recordings but people would get hung up on them.
PB: They were
PP: You could only
play them once. But now, the opportunity to go back to the old quadraphonic, which we
loved so much. We did 2 of our albums in quadraphonic, "I think We're All Bozos On
This Bus" and…
You Know Is Wrong".
PP: That's right. It
was in 8-track quadraphonic and so to sit in the studio and actually just be able to move
things around in a circle was so much fun.
PB: We used to be able
to only move the actual furniture around, you know. But now we can do it as a sound
effect. Also, the opportunity on DVDA is that it's an audiophile specialty. So you'll be
able to get The Firesign Theatre sampled at extraordinary rates.
PP: Free samples?
PB: So all of the
things we used to cover… Now you'll be able to hear all the errors. Hear all the
glitches. Hear all the pops. Hear all the crackle.
PP: Isn't that DVD
Ahhh? Did I just hear.. Ahhh? What is that?
PB: That's DVD AAH.
PP: Oh, oh, AAH. Yeah,
PB: So we're looking
forward to mixing it and then finding out what it's all about. And then we expect that one
of us will go out and probably buy one of these sets and set it up so we hear it.
PP: Nobody's given us
one. Usually… we've always been in the avant-garde and hired to create things for
PB: When we first
started, people would give us, like, phonograph needles!
PP: Yes, saying,
"We're thinking of building a player. Come up with something for a
PB: "Think this
PP: And we did that
for the RCA video disc system. We were all given video disc players.
PB: I just threw mine
PP: Did you?
PB: Oh sure.
PP: That the one I
PB: Well now…
PP: I was going to
sell that for a lot of money! It was a collector's item.
PB: I knew you were
but I gave it to Goodwill. And they're sending it along with Chapstick and Preparation H
PP: That's good. They
could drop it on that woman with breast cancer up in the Antarctic because she's got
nothing to do up there.
PB: She's got nothing
to watch except herself.
PP: Chemo therapy but
anyway, it's true we've always been in the avant-garde. We created the first prototype for
the interactive CDI for Stan Kornin. And we created something that sounded a certain way.
PB: It was something
that nobody could figure out what to do with.
PP: No, because there
was nothing to play it on.
PB: Just like DVDA!
There's nothing to play it on!
PP: I think it's DVD
and there is a player.
PB: A player.
PP: That's what DVDA
means. DVD a player.
PB: And we know who
has it but we won't mention his name.
PP: No, we won't. But
you can go over and listen to whatever we're doing on that player, if you like.