Max Richter

Yeah. So, I mean, this comes... So this is the 24 postcards. Yeah, the... I guess really the thing that kind of prompted this was, you know, hearing that crazy frog ringtone everywhere. I don't know if anyone remembers that, but pretty traumatic. Just hearing this thing going off all the time.

Yeah. So, I mean, this comes... So this is the 24 postcards. Yeah, the... I guess really the thing that kind of prompted this was, you know, hearing that crazy frog ringtone everywhere. I don't know if anyone remembers that, but pretty traumatic. Just hearing this thing going off all the time.

And I suddenly thought to myself, look, there's all these millions of little loudspeakers going around the world. You know, we could actually, you know, this is a space for music, music. You know, it could be a creative space. So I wrote, yeah, all these little fragments. And just almost like treated them like Polaroids, you know, just little snapshots of a moment.

And I suddenly thought to myself, look, there's all these millions of little loudspeakers going around the world. You know, we could actually, you know, this is a space for music, music. You know, it could be a creative space. So I wrote, yeah, all these little fragments. And just almost like treated them like Polaroids, you know, just little snapshots of a moment.

Yeah, for people to use as ringtones.

Yeah, for people to use as ringtones.

Yes. Yeah. I mean, obviously, I had sort of ideas from a purely musical point of view, what kinds of things I should be doing. But I had no real data, you know. And actually around, you know, it's funny to think, but 2012, 2013, around there, there hadn't been that much research about the effects of music and sound on sleep. There's been a ton recently. But there wasn't an awful lot out there.

Yes. Yeah. I mean, obviously, I had sort of ideas from a purely musical point of view, what kinds of things I should be doing. But I had no real data, you know. And actually around, you know, it's funny to think, but 2012, 2013, around there, there hadn't been that much research about the effects of music and sound on sleep. There's been a ton recently. But there wasn't an awful lot out there.

I called up a friend of mine, David Eagleman, who is a neuroscientist.

I called up a friend of mine, David Eagleman, who is a neuroscientist.

Okay, well, you know, David, he's an absolute live wire and so sort of multidimensional. So he pointed me at some stuff. And I just sort of checked through a few things. And just to kind of, it was like a sense check, really, just to make sure that what I was planning to do would actually have some beneficial effect.

Okay, well, you know, David, he's an absolute live wire and so sort of multidimensional. So he pointed me at some stuff. And I just sort of checked through a few things. And just to kind of, it was like a sense check, really, just to make sure that what I was planning to do would actually have some beneficial effect.

I guess the big thing is, and this for me compositionally was beautiful, is that, you know, some people have demonstrated that using like repetitive low frequency tones can, you know, elongate slow wave sleep so you get better information processing and memory, that kind of stuff. So that for me was great because I love the sort of low end and subsonics. It's all over my work for decades.

I guess the big thing is, and this for me compositionally was beautiful, is that, you know, some people have demonstrated that using like repetitive low frequency tones can, you know, elongate slow wave sleep so you get better information processing and memory, that kind of stuff. So that for me was great because I love the sort of low end and subsonics. It's all over my work for decades.

So I was then able to reach into that space for sleep, which was great.

So I was then able to reach into that space for sleep, which was great.

Almost, yeah. I mean, down at sort of 25, 30, 35, 40 kind of thing where you sort of hear it and sort of feel it.

Almost, yeah. I mean, down at sort of 25, 30, 35, 40 kind of thing where you sort of hear it and sort of feel it.

Well, I would love someone to do that.

Well, I would love someone to do that.