(Music)
(Glazba)
(Applause)
(Pljesak)
Thank you. Ooh, I'm like, "Phew, phew, calm down. Get back into my body now." (Laughter)
Smiri se. Vrati se sad u moje tijelo.
Usually when I play out, the first thing that happens is people scream out, "What's she doing?!" I'll play at these rock shows, be on stage standing completely still, and they're like, "What's she doing?! What's she doing?!" And then I'll kind of be like -- (Vvvwow!) -- and then they're like, "Whoa!" (Laughter)
Najčešće kad sviram vani, prva stvar koja se dogodi je da se ljudi izderu: Što to ona radi? Znate, sviram na rock izvedbama, na pozornici sam, stojim potpuno mirno i samo to činim. Znate, Što to ona radi? Što radi? I onda ja napravim, i onda oni (Wwwow!)- znate, i onda, kao ... (Smijeh)
I'm sure you're trying to figure out, "Well, how does this thing work?" Well, what I'm doing is controlling the pitch with my left hand. See, the closer I get to this antenna, the higher the note gets -- (Portamento) -- and you can get it really low. And with this hand I'm controlling the volume, so the further away my right hand gets, the louder it gets. (Tones) So basically, with both of your hands you're controlling pitch and volume and kind of trying to create the illusion that you're doing separate notes, when really it's continuously going ... (Flourish ... Beep) (Laughter)
I sigurna sam da pokušavate shvatiti kako to funkcionira? Pa, ono što radim jest da -- oh! -- kontroliram visinu sa svojom lijevom rukom. Pogledajte, što sam bliže anteni, bude viši ton. (Portamento) I može biti prilično dubok. I s ovom rukom nadzirem glasnoću, tako da što mi je desna ruka udaljenija, to postane glasnije. (Tonovi) U biti, s obje ruke kontrolirate visinu i glasnoću i pokušavate stvoriti iluziju da činite odvojene tonove, a zapravo ono stalno radi ... (Cvjeta ... Beep) (Smijeh)
Sometimes I startle myself: I'll forget that I have it on, and I'll lean over to pick up something, and then it goes like -- (Blip) -- "Oh!" And it's like a funny sound effect that follows you around if you don't turn the thing off. (Laughter)
Ponekad uplašim samu sebe: Zaboravim da ga imam na sebi i nagnem se pokupiti nešto i onda počne, oh! Znate. To je poput smiješnog zvučnog efekta koji te prati ako ga ne isključiš. (Smijeh)
Maybe we'll go into the next tune, because I totally lost where this is going. We're going to do a song by David Mash called "Listen: the Words Are Gone," and maybe I'll have words come back into me afterwards if I can relax.
Možda da krenemo na sljedeću pjesmu jer sam potpuno izgubila nit. Izvest ćemo pjesmu Davida Masha „Listen, Words Are Gone" i možda mi se poslije vrate riječi kad se smirim.
(Music)
(Glazba)
(Applause)
(Pljesak)
So, I'm trying to think of some of the questions that are commonly asked; there are so many. And ... Well, I guess I could tell you a little of the history of the theremin. It was invented around the 1920s, and the inventor, Léon Theremin -- he also was a musician besides an inventor -- he came up with the idea for making the theremin, I think, when he was working on some shortwave radios. And there'd be that sound in the signal -- it's like (Screeching) -- and he thought, "Oh, what if I could control that sound and turn it into an instrument, because there are pitches in it." And so somehow through developing that, he eventually came to make the theremin the way it is now.
Pokušavam se sjetiti pitanja koja se često postavljaju. Ima ih toliko mnogo. Mogla bih vam ispričati nešto o povijesti teremina. Izumljen je oko 1920. i izumitelj, Léon Theremin -- koji je bio i glazbenik -- došao je na ideju izrade teremina kada je radio na nekim kratkovalnim radijima i ondje bi čuo taj zvuk u signalu -- To jepoput -- (Cviljenje) i pomislio je, „Oh, što bi bilo kada bih mogao kontrolirati taj zvuk i pretvoriti to u instrument zato što tu postoje tonovi. Tako da je, nekako, razvojem toga došao do izrade teremina kakav je on danas.
And a lot of times, even kids nowadays, they'll make reference to a theremin by going, "Whoo-hoo-hoo-hoo," because in the '50s it was used in the sci-fi horror movies, that sound that's like ... (Woo-hoo-hoo-hoo) (Laughter) It's kind of a funny, goofy sound to do.
I mnogo puta čak i djeca danas, pozivaju se na teremin i rade zvukove kao whoo-hoo-hoo-hoo, zato što se u 50-ima koristio u SF filmovima strave, onaj zvuk koji zvuči poput ... (Woo-ooo) (Smijeh) To je onaj smiješni zvuk koji čine.
And sometimes if I have too much coffee, then my vibrato gets out of hand. You're really sensitive to your body and its functions when you're behind this thing. You have to stay so still if you want to have the most control. It reminds me of the balancing act earlier on -- what Michael was doing -- because you're fighting so hard to keep the balance with what you're playing with and stay in tune, and at the same time you don't want to focus so much on being in tune all the time; you want to be feeling the music.
I ponekad kad popijem previše kave, moj vibrato izmakne kontroli. Jako si osjetljiv na svoje tijelo i njegove funkcije kad si za tereminom. Moraš stajati jako mirno ako želiš najveću kontrolu. Podsjeća me na čin ravnoteže koji je prije Michael radio, jer se boriš tako jako da održiš ravnotežu s onim čime sviraš te da ostaneš u tonalitetu i, u isto vrijeme, ne želiš se toliko usredotočiti na tonalitet svo vrijeme jer želiš osjetiti glazbu.
And then also, you're trying to stay very, very, very still because little movements with other parts of your body will affect the pitch, or sometimes if you're holding a low note -- (Tone rising out of key) -- and breathing will make it ...
I onda, također, pokušavaš stajati jako, jako, jako mirno, jer mali pokreti drugih dijelova tijela utječu na visinu. Ili ponekad kad držiš dubok ton i dišeš, dogodi se ... (Nije više u tonalitetu)
(Laughter)
(Smijeh)
If I pass out on the next song ... (Laughter)
Ako se onesvijestim na sljedećoj skladbi -- (Smijeh)
I think of it almost like like a yoga instrument because it makes you so aware of every little crazy thing your body is doing, or just aware of what you don't want it to be doing while you're playing; you don't want to have any sudden movements. And if I go to a club and play a gig, people are like, "Here, have some drinks on us!" And it's like, "Well, I'm about to go on soon; I don't want to be like -- (Teetering tones) -- you know?"
To je definitivno, mislim da je to skoro kao instument za jogu jer od njega postanete svjesni svake male ludosti koju vaše tijelo čini, ili samo onoga što ne želite da čini dok svirate, znate, iznenadni pokreti. Ako odem u klub odraditi gažu, ljudi mi kažu: “Popij piće, mi častimo!“ A onda, kao, uskoro ću nastupati; ne želim da bude, kao, znate ... (Zvukovi kolebanja)
It really does reflect the mood that you're in also, if you're ... it's similar to being a vocalist, except instead of it coming out of your throat, you're controlling it just in the air and you don't really have a point of reference; you're always relying on your ears and adjusting constantly. You just have to always adjust to what's happening and realize you'll have bummer notes come here and there and listen to it, adjust it, and just move on, or else you'll get too tied up and go crazy. Like me.
To također odražava vaše raspoloženje, ako ste, znate, ako ste -- to je slično kao kada ste vokalist, samo što to ne izlazi iz vašeg grla, nego to kontrolirate u zraku i nemate zapravo uporište; uvijek se oslanjate na svoje uši i stalno prilagođavate. Uvijek se morate prilagođavati onomu što se događa i shvatiti da ćete ponekad imati strane tonove koji će se pojaviti i morate ih slušati, prilagoditi, i ići dalje, inače ćete se previše upetljati i poludjeti. Poput mene.
I think we will play another tune now. I'm going to do "Lush Life." It's one of my favorite tunes to play.
Mislim da ću odsvirati još jednu pjesmu sad. Izvest ću "Lush Life": to je jedna od skladbi koju najviše volim izvoditi.
(Music)
(Glazba)
(Applause)
(Pljesak)