C.A.M.R. has been the keyword in most of my musical activity with combinations of computer, acoustic- and electronic instruments since 1990.

Mobile Studio

event engineering , live-recording, production- and experimental site

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 established my own small and decent studio during the last decade.

Audiophile quality and mobility present the underlying values for ensuring greatest autonomy. The studio also includes two PA's for the perfect transfer of music at concerts."

Although "studio" also means "recording studio", the special bias is "Experimental Studio for Electroacoustic Music.

Software Development

for composers, interprets, instrumentalists and presentation conducting

For me, the central theme in music electronics is the instrumental playability of the setup. My experiences as a practicing musician are just too deep to replace such instrumental possibilities in electronics with a mouse and keyboard. The magic word is Interface.


analog, historic, modern
  • Synthesizers fascinated me since the 60s, even if the focus was on the piano first. It wasn't the Pop synths, but the electronic sounding music on TV, e.g. in the cartoon "Shadoks" or in some productions of the BBC. In fact, in the year of publication 1964, I was only 5, "Kontakte" by K. Stockhausen fell into my hands - a 25' record, which totally electrified me and I still love this remarkable composition today.

    After my first ARP synths (80s) and a "DSP phase" (90s) I use analog synthesizers again - now in conjunction with my own software (Max).



MIDI, MPE, OSC and Eucon-Protocol