In electronics, I'm looking for the sonority and the instrumental playability of the electronic setup - my experiences as a pianist are too deep to replace those instrumental possibilities in electronics by a production setup with mouse and keyboard. The key is the interface.
For almost 20 years I have developed software for other bipeds as well. These include such illustrious names such as Karlheinz Stockhausen, Thomas Kessler, Jacques Wildberger, Rolf Riehm and Giorgio Tedde. Occasionally I also port the electronic parts of older works by other composers (Luigi Nono, Thomas Kessler and others) to a more contemporary platform. The programming environments I use for such works are Max/MSP/Jitter (Cycling74) and MARS (IRIS, Rome).continue reading »
The possibility of audio- and control-voltage (CV) exchange between computer and analog equipment exercises a strong attraction on me. The property of modular systems to extend or replace individual components also speaks to me. So my big project is building a complex hybrid synthesizer.
Real Time Sampling and Real Time Control CV creates a real multi-faceted instrument. Especially the analog modules are pure fun!
For the perfect interaction of the Computer and the Modular a MIDI-switchable matrix is in development - now nothing stands in the way for doing a lot of work and even more brainstorming.
I have the feeling of arriving there, where to go I left almost 30 years ago.
After many years of consistent cooperation with studios such as the Electronic Studio of the Music Academy Basel and the Experimental Studio of the SWF, Freiburg, I was able to establish my own small (32 I/O) and very nice studio in the recent years. Highest quality of the equipment and usage in complete mobility present the underlying values for ensuring greatest autonomy.
Although studio also means "recording studio", the special bias is "Experimental Studio for Electroacoustic Music."
Since 2011 a wonderful 4-channel Nexo-PA guarantees also the live sound-quality!
The duophonic ARP Odyssey (built 1972-81) has proved, after some modifications, as an ideal instrument to build up a compact, analog stage instrument, which can be integrated fully into the computer live electronics. Easy to transport and perfect to extend through the ARP Little Brother and/or the ARP Axxe.
A truly wonderful synthesizer with high phonetic complexity and one of the best-ever built interfaces.
Also the Minimoog Model D has come to prevail: it provides a sound physique which only large systems are capable of. No other synthesizer can be recognized as clearly - which can be good or bad.