I started as an electric guitarrist, switched to classical guitar and move to electronic music, composing and sound designing after finishing my instrumental studies. I developed a deep passion for experimental music and improvisation, which influenced my bands and musical career. I am experienced in several genres ranging from rock, pop and jazz to techno and noise, but I focus my personal work on drone and experimental music. I want to create sounds and music nobody has never heard. I like static drones and ambient sounds that constantly evolve and need time and concentration to figure out, making it a meditative, immersive and enjoyable experience. I also make rhythmic music to dance to at Algoraves and music for trailers and movies with some industrial and dark touch, but I can make music as happy as a rainbow. My sound designer experience ranges from ambient sounds for games up to UI sounds and sound branding. For a full showcase of some of my works, visit my SoundCloud profile.
This is my style, the kind of music I make privately and perform from time to time at concerts around the world. I have my drone set and perform it live, so everytime is different and adapted to my emotions and the audience. Coincidentially, this music has been used in games and as background music for some other visual material, since it's abstract and dark and fits to many purposes
During november 2014 I decided to make 1 piece a day under the motto Noisevember. I took it as an experiment and also as a possibility to experiment with some new hardware I've got on those months, a Doepfer Dark Energy II and two Monotrone synths. The results were published on the same day without much further editing. Each piece was made in about two hours using SuperCollider and LogicPro. The full set of Noisevember can be heard here, but you can preview the two selected pieces I enjoy the most right away:
This were some of my first attempt at solo live coding. The rule was, I should code for exactly 10 minutes, and then start recording. I did this to avoid the awkward beginnings of my solo live coding experience. Whithout having a template or boiler-plate code there's always a lot of silence and not much musical form in the beginning. After this initial phase I was able to start working more musically with the code. The complete set can be heard here or you can preview drectly my favourite piece of the series "Krautcoding"
Since twitter with it's 140 character limitation, some SuperCollider users tried to compose pieced which fit this format. This involves twisting the syntax of SuperCollider to use as less characters as possible for a sound or small composition and share it via twitter. I joined this experiment and did some sc-140 tweets that have been played at several exhibitions and took it a step further and tried to make an sc-tweet for every standard UGen in SuperCollider. Some of the best ones I recorded and are hearable (and readable) here. Preview some of my favourite sc-tweets below, or check out my tumblr with my sc-tweet for every UGen project.
I've been live coding since around 2008, mostly with SuperCollider. I started my own journey into live codung inspired by the ideas of Julian Rohrhuber and Alberto de Campo, and have been trying to push this activity to the limits. I started livecoding synthesizers and algortihmic music, but I've made concers live coding a piano (Yamaha Disklavier) and doing all sorts of cooperations where live coding is involved. Notably are my bands Benoît and the Mandelbrots, Delbrots and the Man and my cooperation with Anne Veinberg and Felipe Noriega. I also enjoy streaming and live coding alone, but in my opinion, the interaction between several performes makes a richer experience for me and the audience, hence I always try to play in groups.
Music and sound design for this serious mobile game about an e-waste recycler in India and the global impact of e-waste in general.
Music and sound design for science fiction interactive text adventure. The original idea was to create sound algorithms for every scene of the game, so the sound is generated in real time. Due to constraints of the targeted platform, we decided to use the usual sound file approach. The ambience sounds for each scene were completly programmed in SuperCollider and could work and be called in real-time if needed and would sound different every time. There is no preview available, since it hasn't been released yet.
Music and sound design for mobile game, funded by ProHolz
A collaboration between Georg Hobmeier, Reinhold Bidner and me that won the price at <…>. I composed the music and did the sounds for this short movie, as well as the programming of the facial expressions of the author using the TENS device (electroshock based method for stimulating muscles).
Music for video clips for Daniel Zenker's portfolio. There are five videos in total. Check them out at zenkerdaniel.de
This project started as a collaboration between Georg Hobmeier and me. The setting was an actor lecturing about technology and cybernetic while the audience should be able to control some of his muscles. I dind the TENS device programming, and the ambiend music for different scnes of the performance. Also the programming of Wii controler for the audience member that were about to control the actor. There is a video of this performance here as well as two publications about it at the LIPAM in Leeds and Leonardo Music Journal.
Audiovisual performance duo with Patrick Borgeat
Live coding band with Patrick Borgeat, Matthias Schneiderbanger and Holger Ballweg.
Live coding doom/drone/metal band with Matthias Schneiderbanger, Hollger Ballweg and Michael Vierling. Taking the idea of the Mandelbrots a step further, we mixed our live coding with guitar amps for our laptops and a drummer for maximum loudness.
Krautrock band with Friedemann Dupelius and Matthias Schneiderbanger. There are some recording of our live performances as well as a single edition casette with our greatest hits.
Former laptop ensemble with Patrick Borgeat, Philipp Leiss and Angelo Romito. We performed with Joysticks, Wii remotes, Gamepads, HDD motion sensors, MIDI Guitars and wind controllers. This was the wild time between 2005 and 2008 where we were willig to perform electronic music with everything that came into our hands.