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Quoted from "Count Acid"

I wouldn't call their method a time-saver; on the contrary, they have to go through a myriad of songs for every fitting component, just because they stick to their approach and refuse to make, most of the time, a fitting melody that could be done easily. And their songs sound flawless: they flow, everything matches, no matter if it's sampled or borrowed from several sources. Not to mention that they often, as mentioned in some interview, closely fabricate/re-create a particular sound instead of just sampling it. I consider their approach an art (and them definitely kings in their field), and not a way to save time or energy, which I believe it does NOT anyway.

True Acid It's quite difficult to search for sounds in like a million of tracks that are aviable, to get them to fit together to one flawless piece. And still giving the track a sound, like if all parts were specially composed for the track. They're masters in that, that without a doubt

The collaboration with Craig David seems to be going ahead on the new album. Allegedly a slower number with an R&B influence. WTF?

I just can't see it being that way, especially with a band with this level of success. I think the deadlines are something they agree with themselves -- and something they could extend if it came to that. (For example, this new album might come in spring, or a bit later, in early summer, as mentioned in the recent interviews. For another example, there was no new Scooter album in 2008 or 2010 (unlikely to come too within this month).) I think they (Scooter) keep them to whip themselves to work within a schedule (and as we know, they get working longer and longer days the nearer the deadline gets) and also as a way to tell "alright, this album is done now, no need to spend ages on it". And as far as I know they're friends with Jens since beginning, HP especially. I don't think people coming from what I imagine quite free background like CTN would suddenly sign under contract that would for twenty years make them unable to concentrate on anything as much as they want to... This is already a question of identity and pride, and I don't think HP and Rick would make themselves act like brainless monkeys and work in the way they don't want to for their lives's careers. Plus I think the guys naturally want to stay on the top and push out new material instead of doing nothing, and probably the eager fan base is one contributing factor.

Hm, perhaps music to some is a delicate and complex process -- I don't deny that. It's different for different people, and some create it effortlessly, just as others have a way with words and can write, and others draw anything they see, in their distinctive style. Something cognitive stuff, I think. But in my experience creating everything from scratch is the easiest thing for an artist. Taking samples and melodies is not a simple process: first, you have to choose what to pick. Then what kind of track to make of that stuff. Lots of arranging, sequencing, laying the beats. Add other melodies that match the speed and style. (And this is just a very straightforward, oversimplified description -- and their process might be entirely different, I just don't know it.) And all these melodies they have to create and program the way they would a melody of their own. "To me the responsibility of creating your own material means it's open to a lot more complications and maybe disputes that could be born from what's acceptable and passable to your audience," you say. I think that's not very relevant with Scooter since they experiment with so many styles, and even now, whatever they're trying, they're doing it on a whim (as noted in the recent interview). The melodies they take from are most of time from entirely different styles, and often something the basic Scooter fan (whatever that is) might not listen to in the original style, but Scooter transforms it to fit a new style. Making an own melody would be easier if one is too considered about such things; with an existing melody one has to use that and not to change it, if creating new ones one can just make the fitting ones. Now they have to take melodies that fit the song and at the same time make songs that can possibly use the said melodies. For me making an album using existing stuff would take longer than making them on my own.

i agree with a lot of facts hear that has been said regardign sampling, we all know scooter have a knack for getting it inch perfect, and there covers are fantastic,
for me its like 50/50, i would like more original work, but on the other hand scooter kinda make sampling there own work, and as said, they do change the saples slightly so i dont mind so much,
also what may said earlier, i too hope the new album wont be to heavily sampled, and if it is, i hope thesamples aint to new and familier

he interest of being good album, because taking all this time, they are interests that do a great album, I is around the corner.must not abuse

Quoted from "Count Acid"

For me making an album using existing stuff would take longer than making them on my own.

This is undoubtedly one of the most stupid things I've read this year...or ever! Sorry, but it is...read carefully what you wrote and then think it through...

Whether I make sense or not, I will still stand behind my words this time, since it is true to me; I'd get insanely frustrated with picking up samples, altering them to fit, thinking what would fit and where, recreating them, etc... My skills are best at creating new stuff, and I personally can't stand -- if it's me who's creating -- using others' stuff, so it would simply take a lot time and effort, where as creating something on own is more natural and easier for me. I guess this too differs from people to people. (But I won't start creating two albums right now, one using Scooter's methods and one of mine, just to prove my point. ) And I might add that I still think that three musicians put together could do 100% own stuff much easier than doing what I just described above.

As for all the other stuff, I guess it's a matter of belief, almost -- there's simply not enough evidence for me to think that they'd be held in a tight leash. I just can't imagine HP, a millionaire driving antique cars, saying "yes, whatever you say, my lord," to Jens and going meekly in the studio. From all those interviews I've never even gotten a picture that it'd work that way. All I can see is that they are very free and that many things happen on a whim, such as album style choices, and their spotting good melodies and samples at clubs, HP picking up crazy things as he goes (lakierski materialski, who's got the last laugh now?, etc.), etc. (These aspects I've read in interviews many times.) I don't see them as demigods or anything (honestly!), I see them as a just another band (no matter if they are my favourite one, granted) who work the way that bands do, not the way a Japanese pop-idol does. And even if they were forced to work in whatever mad schedules someone else thinks of (which I just can't see being true), they'd still be the ones making the music, and that wouldn't diminish their geniousness.

Quoted from "May<3"

It just doesn't seem in the least bit rational to me either. Even without a musical background, I can't for the life of me wrap my head around his reasoning. It just seems as if people are trying to rationalize these unnecessary discrepancies in any way they can - irrespective of its dubiousness. He usually makes some of the most intellectually brilliant posts on the forum too. However, this particular argument of Acid's just seems desperate and devoid of any real thought or substance. All I keep thinking of when responding is that some people see Scooter as these demigods that are free from imperfections (maybe greed?) and exist purely to please their fans. Maybe it's denial in some way in relation to their excessive sampling and borrowing other peoples work - I just don't know. There have been accusations of stealing and all sorts that perhaps puts Scooter's credibility as a band in jeopardy. Whilst we do agree with some of the haters points - we don't hate Scooter. We're being realistic, are we not? Something is preventing some people here from seeing sense.

I do hope that doesn't sound condescending though.

'nuff said...

regarding the yearly releases and traditional work and so on,
it would seem that the 4th has kinda broke that rule now,
1-there was no 3rd chapter singles collection sadly as i was one of the fans expecting it to come after jay left in 2006
2-the yearly album release has gone now, in 2007 both TUAO and JAOTW came out, in 2008 a re release which i count as that and not a new album so for me the was no new album in 2008, that is a gap there, 2009 UTROTT was out, in 2010, no album but a live release, now it seems as late as summer 2011 before the new album,
als singles have a shorter release gap now, every 2-3 months a new single for the existing album, then for a year nothing, they are pusing the albums material to fast and in the long run creating huge gaps, and IMO a bad thing, people forget and scooter fade till the next release, if it goes sour, than it is a serios bad thing, much like all of UTROTT era, not all bad, but not so hot either
the tours seem the same still at this time, 2006 the WGTLLN tour, 2008, JAOTW tour and 2010 the UTROTT tour, and still the four year live dvd gap,
but now scooter are doing a lot of gigs in the last 2 years, they are litrally touring all the time, which is not a bad thing, but does slow studeo work down a lot
also the 3rd member remians, in the older times by now mike should have gone, but still he remains, which isnt a bad thing, as i enjoy his work andhim in scooter, he is well suited.

so in ways the 4th has been a bit of a rollercoaster ride so far

the only other thing to me nowis when 2011 album comes out, will it be classed as 5th chapter ar still 4th???

During the soundcheck of the Bremen concert we heared clearly some new version of Posse with new synths added and other musical stuff. On the concert was played the normal version. Bu this soundcheck version sounded very crisp, like some re-edit from posse. Would be interesting to know what the track was made for.

@May: To begin with, this interview is as official as one can be, being on an album, and so it's probably planned more carefully to answer certain questions. I don't think the company would intend Scooter to be seen in such a negative light if it really was so, the truth would be harmful and not let out. When I saw this years back I didn't think that there's anything unusual in this. The whole interview is rather jolly ("melodies" ). When Rick says (I think) that the manager tells them to finish, everyone's laughing. All of this doesn't make me think that "yes, they have no control over anything". On the contrary... I think the deadline stuff is just a method that works the best for them, makes them push themselves hard. As HP explains, the work gets pretty all-consuming during the last weeks, and mentions how they've always had it that way. If they needed more time I think they could well have it, and the recent two albums (UTROTT and the new one) to me shows that they can take their time. To me this interview or any other doesn't prove that they'd be complete slaves.

@Scooterworld: Cool, thanks for the news. I think I have an idea where it's meant to...

Quoted from "Scooterworld"

During the soundcheck of the Bremen concert we heared clearly some new version of Posse with new synths added and other musical stuff. On the concert was played the normal version. Bu this soundcheck version sounded very crisp, like some re-edit from posse. Would be interesting to know what the track was made for.

Perhaps a new version made with the Inferno in mind?