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For the implementation of compositional ideas or for electronic extensions of instrumental or vocal play a customized software is the best solution. In addition to the technical requirements for this software, the combination of parameters to be controlled with a hardware controller is the most interesting aspect, because management and spontaneity must meet here. The result is called Interface and can be a set of sliders, a pedal, a keyboard, light or humidity sensor. Or a video camera. There are hardly any limits. Even robotics offers itself to involve. Occasionally composers entrust me to develop software according to their specifications - the realization of live electronics.
software for composers
The left image shows the software to perform the piece "Morite" (for voice and live electronic) from the sardic composer Giorgio Tedde.
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For Giorgio Tedde I've developed most of the software. We know each other from our time together in the electronic studio of the Music Academy in Basel. He tells me what he wants, mostly very specific (such as information on the pitch-shifting and delay times, etc.). With the first software-version usually some parts will be modified after short conversations. Then again some tings, mostly additions, modifications, etc. according to the results of the first rehearsals have to be done. Giorgio Tedde is the first with which I can look back on long-term experience (very positive), because what I do for him was done in recent times only in conjunction with universities or ambitious radio studios - in any case in environments with huge subsidies. It is also no obstacle that he lives in Berne and Italy and I have settled in northern Germany.
A great aspect is that through the progression of this technology, once virtually priceless things are now (as in this example) up to move into the low-budget field. (The illustrated motorized fader controller costs 155 euros - for 1000 euros you already get an 8 channel TopNotch Faderbank!) This allows the composer to experiment at home with the electronics today - something for which composers had to travel to one of the few electronic studios for working with engineers or students on the realization of the electronic parts of the composition. In a tight time frame. Often a lottery ...
To keep software development costs as low as possible, I have developed some standards, which allow very fast and complex programming. A key aspect is the modular design: audio inputs and outputs, faderbank-controllers, delay, filters, etc.. The modules are interconnected with each other through a matrix.
For the current controllers, I have already pre-programmed patches, so that at varying hardware needs the required control modules for new or existing software are available immediately.
Also for the audio I/O area I have already pre-programmed patches with ad, whether as an LED or a VU meter. With the additional matrix everything is ready for a "mainframe" where the processing-audio-modules's may live. In the (right) example there are two ramp generators, Warper, two LFOs and two phase generators (what should be mentioned).
Value ranges of the controllers can be varied through the software. Complex overall settings are stored as presets and can be accessed. Since there are always situations where too much changes at the same time or in any way, that you could not create it manually, processes can also be pre-defined and articulated. For a more specific embodiment there is a variety of timeline or ramp-generators.
Everything else are sound processing modules that can be modified again and again. Of course, these are a great number of different filters, delays, shifters, ring-and amplitude modulators, phase shifters, etc. pp .. Oscillators of all kinds and a variety of synthesis-forms for sound production. Tens of modules for various aspects of granular synthesis. Sampling in any possible way ... For pre-production there is also an offer for the involvement of my analog equipment.
Here is a video of the piece "Boreo" from Giorgio Tedde, for which i´ve programmmed the software as well (external link - needs aproximately 10 sec. loading time).
The personal is Miako Klein recorders and Theodor Milkov percussion. The performance took place on the 10th of november, 2007 in the Muziekgebouw Amsterdam.
live video
As with so many others, video moves into into the focus of my works too. Of course I work in this medium, as well as in the audio field, preferably in real time. Through the use of video, the space can be be experienced very different during a concert. the video creates a whole new situation and one sense liberates the other. The whole, however, goes a bit towards three-dimensional chess and requires time for recess. Certainly video in the near future will extend its role and perhaps finally in a dehyped existence it may be able to convey its charm..
live visualising
For live visualization of DJ sets I occasionally get together with friends of the techhouse/minimal Music. In the photo you can see the DJ's Manon and Pascal Feos. A hot night on the "Schiff" in Basel. The visualization of the music is done with a live camera what the character of visualization significantly strengthened..
