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Principles and Specifics
In my work two lines overlap, a straightforward, of horizontal and vertical sound synthesis, and a second varying line of a concrete theme: this can be an instrument, later it became in particular midifiles to be edited (classical music pieces) and samples of real acoustic conditions (festivities, public performances, sound atmospheres in rooms).
A special possibility of digitizing organs has led in recent months to include these new instruments in the change and sound shaping.We work with instruments in Cappel (Schnitger), Stade (Schnitger), Waltershausen (Trost) and Metz (Cavaillé-Coll). The instruments begin with the AKS and finally lead to Teenage OP-1 at the end.
Insights in the Form of Pictures and Texts and Music Pictures
AKS and Logik
It started with devices from the Stuttgart company Rehberg, so the AKS, with its keylessness and only knobs, offered the new approach to sound design..
100 M by Roland
The first large perfect system from Roland "100M". A free combination of modules was possible. The classic sound design was finally abandoned.
The Jupiter 8 brought back the keys. You could play scales and chords again. But the sound generation was an analogue vertical and horizontal synthesis.
FM - Frequency Modulation
In the meantime and over a period of about 30 years, there was a wide range of other instruments that offered almost endless possibilities. A particular point was the technique of frequency modulation, given by the instrument DX7, which was continued with the SY 99.
Atari and new Instruments
The Atari music computer appeared with a Midi connection so that it could be effortlessly connected to musical instruments, e.g. Jupiter 8. Plus many new "instruments" like Virus and Nordrack.
Atari and PC
The computer world experiences a quantum leap: the PC. Comprehensive control of all musical devices becomes possible. The "brave new world" is created and has expanded to this day.
There were such quasi-perfect sound systems before, comprehensive and individual. Here an organ console of a Trost organ, but also digitised into the world of the computer, lifted off into a new virtual world.
Virtuality and abstraction reach a climax. Computer programmes mirror and create a totally virtual world. The rationality of the tangible has disappeared, the abstract quasi unreal and yet highly real audible spirit has changed the world of sound, here with the "RayBlaster".
Electronics began in Cologne with sine wave generators under Stockhausen, then came from England the AKS, and here a temporal return from the New World. Almost nothing has changed, only 40 years of history lie between Cologne and Verbos.
The most beautiful harmonic sounds composed in Rome Palestrina and among the most interesting electronic sounds now come after 300 years from Rome with the GRP Synthesizer, designed and built in the shadow of the historic churches and buildings.
this short sequence of images represents an interesting visual presentation of electronic music.The pictures show instruments, one can call them the "causa materialis" according to Aristotle for the production of certain novel sounds. It remains a question, whether behind these images there is something hidden such as the emerging reason of electronic music. It is difficult to assign a connection of initially completely incomprehensible controls to a music, although the "causa finalis", i.e. the final reason for these devices, the creation of sound formations, is therefore actually not of a material but of a spiritual nature. Globally, instruments are presented here as a comprehensive unit; individually, each instrument is different and even unique, .e.g.
Instruments by the manufacturers Verbos and Doepfer, control units instead of keys
An instrument of Arturia, connected with Vermona, completely detached from tradition
A mixture of sound modules that can be combined to create a new kind of polyphony
Knobs everywhere and little controlled by a keyboard
These pictures show a new, quasi disordered part of the New: overcoming the arranged keys of aligned music. The keys show the predictable, definitive, the keyboardless instruments offer a free access of any kind into the world of sound. Aristotle's "causa causalis" probably does not find fulfilment here. The working possibilities on these instruments are quasi aimless and only sometimes adapt to the historical conditions with keys.