• S A L E :

    Last update: May 2017 SALE

  • April 2017: Conductor & Assistant

    After manual work and modifications to the instrument, I have now started again the Max/MSP programming to develop a new clock system. It's mainly about establishing a "master clock" in order to be able to process rhythmic subdivisions independently of the tempo. This also applies to the note lengths, which are no longer defined in absolute lengths (ms), but in percentage terms. Due to the binding to the master-clock, an exact timing (sync) is finally realized. Some upgrades in Max (whose introduction I had totally overlooked) bring a lot of new options. Since I do not like the term "Master & Slave", I call it "Conductor & Assistant".

    In the video, a test run is heard. For checking the synchronicity of MIDI and CV I also used two computer- and MIDI-controlled voices. As an assistant clock: 1|2 (= 1 over 2), 3|4, 1|1, 5|4, 3|2, 7|4, 2|1, 3|1 and 4|1. It's clearer with the denominator "4": 1, 2, 3, 4, 5, 6, 7, 8, 12 or 16 beats over four counts. The biggest irritation is a 7|3 Clock. It's 9,3333 beats over 4 counts. Tempo changes take place globally via the Conductor Clock. imag

    This clock concept is very interesting and "tight". Very complex rhythms are possible - without deviations! Progress is sometimes gratifying - and also sustainable in terms of work!

    Also interesting I find the combination of this clock system with granular synthesis. Here is a short example with live-granulated line signals from Buchla, which I have realized with the Max Package "petra". Here, too, there is a field of work that alone could employ several people for years.

    My Buchla-page...

    ... and my overhauled page about my hybrid modular system.

  • November 2016: Hello Axoloti

    On to new shores! The Axoloti-project is a really big deal: a small DSP board with stereo I/O, MIDI I/O, USB, SD card slot etc. for € 75.-, which can be programmed (fairly) free, via included Editor, as a synthesizer, controller or effect board.

    Axoloti does not have to be controlled with MIDI - you can also build directly connected controller boards with switches, lights or LEDs ... or sensors ... if a patch appears good enough, build your own instrument with your own housing, quasi standalone - and immediately order the next Axoloti-Core!


    My feeling tells me that here is the best electronic entry-level tool/instrument at the start - for people over 5 years! It does not require soldering or electrotechnical knowledge and is endlessly flexible in the "processing offer" - e.g. for assembling as a sandwich the board can also be cut into two parts or even shortened, if no MIDI is required.

    There is already a happy community with many questions (and answers) on all conceivable topics, housing discussions, templates for 3D printers ... There is really something to get together!

    Axoloti speaks to different interests, whether musicians, programming nerds or DIY freaks. To adult insiders, this small instrument brings a lot of performative options because the physical binding to a large setup is resolved.

    Axoloti has a political dimension due to the extremely favorable price. Every school should have Axoloti - one, two, three, many Axoloti! Electronic music is now available for everyone!

    Axoloti is available from Johannes Taelman in Belgiun.
    The Axoloti website

  • October 2016: Stompboxes and Synthesizer

    Stompboxes are also popular with Synthesizers, but in smaller quantities as with guitarists, since Synthesizers already have filters, waveshaper, etc. Previously, I worked with Stompboxes on "good luck" - Impedances and Volume are however completely different in Synthesizers, as with electric guitars, which is why the desired effect by the boxes often isn't achieved. It's not that bad with the Fender Rhodes (pickups), but with a Synthesizer, the selection of the Stompboxes is decreasing rapidly, if no impedance and volume adjustment takes place. In contrast to the numerous guitar and pedalboard blogs, the keyboardists don't communicate this at all. I will try to change that.

    imag My Pedalboard sits as "FX-Aux" in the Matrix Mixer of my Buchla. I wanted Delay, Reverb and some "dirt" - i.e. Distortion. Since switching via modules in the Synth would only be possible with quite a massive modules set, I came across a Lehle D.Loop SGoS as an alternative - and the blessings are welcome and versatile.

    The D.Loop allows "loops" (sends/returns) for effects and especially practical is the MIDI controllability. The D.Loop also has a Buffer/Booster which allows fine adjustments, not only for the volume of the incoming signal. The light, harmonious distortions that arise when the Booster is used, are a real asset. Just what I was looking for! Sitting before Delay and Reverb, the Booster creates for a "natural" distortion, it sounds a bit like 1965 - the Stompboxes just get the right character! No more "digital perfect boredom".

    The whole, more complex situation, as well as the operation of Overdrive, Distortion and Fuzz, I try to explain here:

    Stompboxes on my Website.

  • June 2016: the first year with Buchla Clones

    Already my change to Buchla is a year ago. Anyway, I have worked far too little with it (too many "construction sites"), but it has proven to be the replacement in my synthesizer life, I had really been looking after. With ARP and Moog i had reached an end-point because of my ideas of hybrid tech. MOTM was too large and too heavy and Eurorack just isn't my format to use it as main-format. Also, it is a lot more difficult to single out a clear instrumental character in Eurorack or MOTM (many builders with different approaches) - an aspect which is extremely underestimated and too little discussed.

    In self-imposed austerity I hadn't purchased any further Buchla module during this year and i did not even had difficulty doing so. The interaction of the modules is seamless and follows a clear target. This can be felt and is quite different from the "open" formats with countless manufacturers (which set different priorities and lead to modules that sometimes don't want to work together). Even the transportability of Buchla is excellent - it is the lightest instrument that I ever had. So just the right time to test the borders and add some more modules.

    2016 seems to be my year of Mixers: with the "Dual Matrix Mixer 205" (top right) a great module which contradicts all my needs - it is really large and not CV-controllable - has arrived. Even the switches - provided for internal connection with the "System Interface 227" - currently have no function in my system. But mixing on this Matrix-Mixer opens up the instrument to many, many new possibilities. Awesome!


    Because of the new and large modules a new "floor" was also needed to house the required Eurorack modules again. It looks as if I have found a good solution. Besides the Eurorack modules (mainly Expert Sleepers) my Reverb and Reverse Delay stompboxes will live here.



  • May 2016: Analog Console at Mobile Studio

    Studer consoles of the 90s I knew well - especially from my time in the electronic studio of the Music Academy in Basel - there I had almost 10 years to work with it and it was the "measure of all things". But, for people like me (musician), simply priceless.

    For used consoles that has changed significantly and (for me) unnoticeably. The Studer company no longer exists in its old form, it is now a subsidiary of Harman and new large consoles are still not in my focus (money). Still there is a large Studer community and enough parts to operate inventory maintenance of the old models. So a Studer 961 has now become (an optional) center of my analog setup.

    imag The major changes resulting from the console, can be seen in the fact that now analog devices are no longer in daisy chaining stereo process behind the sum. Individual stems/tracks can now be treated analog individually preliminary to the sum (without affecting the entire sum) - and the 961 console sounds fantastic - simply a technical masterpiece!

    Even today it is one of the best sounding console the world.

    More here:

    The Mobile Studio

    Studio-Hardware #studer

  • January 2016: RISE TIME II

    Only three months after the RISE 25, the Seaboard RISE 49 will be released end of February. Since I'm pretty excited about this interface, I like to spread these glad tidings. ;-)

    imag What i really like, is that you can develop very sensitive articulations with this instrument. I've never experienced that before (with a "normal keyboard").

    There is already a closer look to the technical similar Seaboard RISE 25 on my website, or, simply continue reading here first...

  • November 2015: RISE TIME

    It is black and difficult to photograph. The Seaboard RISE is 2.5cm high, 51cm wide and 21cm deep. Due to the metallic chassis it leaves an extremely "valuable" impression! On the left there are three illuminated sliders, program- and octave buttons and an XY-TouchPad. The playing field of silicone in keyboard arrangement has no keys, but Keywaves.

    imag The Seaboard RISE meets the MPE specifications (Multidimensional Polyphonic expression) and that allows Pitchbend and Aftertouch "per note"! This is exactly what makes the RISE especially interesting as a controller. Particularly pleasing (some may know it): the Pitchbend is transmitted by MSB/LSB in 14-bit (16384 steps)! This provides, besides the Aftertouch, a high resolution controller in addition, available for each played note. Fantastic!

    This month the RISE will become available internationally. Since I'm one of the "early birds", it seems to be my duty to document it, of course, with an extra look at the application as a controller. One thing is certain: it is a game changer!


    As always with new MIDI equipment, I have first programmed an own editor (better to become acquainted to MIDI hardware than any Manual). The included software (Dasboard and Equator) is very inspiring (but not yet perfect) and I have kept it in the layout (behavior, structure, appearance). Due to space and resource requirements I have omitted the visualisation. I also left out the CC mappings, because I rarely change controller numbers. It can be done with Roli's Dashboard.

    Because I liked the concept of a second, more editable curve from the Equator-Synth very well, I also have integrated this idea/curves in my Max-RISE-Dashboard.

    The Roli-Website with the Seaboard RISE.

    The Seaboard RISE on my website!

  • October 2015: Now also VOODOO

    From the latest expansion of the Mobile Studio I expect great simplifications when handling open microphones on stage. It is the Rupert Neve Designs processor with the unmistakable name "Primary Source Enhancer".

    imagIn a live sound environment, the RND 5045 Primary Source Enhancer offers the possibility of raising two microphone signals before feedback by up to 20dB, without causing a negative impact on the sound of the source signal. The 5045 senses when someone is speaking or singing into the mic and allows the signal to pass through, and senses when the person has stopped talking or singing and reduces the gain appropriately. Most importantly, the 5045 does not require filtering and digital processing to achieve significant benefits. Initial tests confirm the magic effect - with the 5045 you will automatically become a specialist for difficult cases.

    Also included are Rupert Neve's excellent transformers that reflect the input signal complete and undamaged. In fact, the sound can even be enhanced by the transformers if they are hit with an adequate level. The bottom line is that feedback problems should now belong to the past.

    In the live electronics there are so many encounters with feedback that the 5045 feels like a trump card in the sleeve. Especially helpful and probably unrivaled this processor is at church acoustics and similarly difficult conditions - and of course also perfect when using headsets.

    With the RND Portico 5045 you'll become a specialist on difficult acoustics immedeately.

    This is the home on the Rupert Neve Designs's website: 5045.

    There will be more soon on my newly revised Studio-Hardware page.

  • July 2015: Migration

    imag It lasted three months, now the change to the Buchla clones as the analog part of my hybrid instrument is accomplished. I really feel very, very good with this instrument! The modules have a very personal charm and a strong character.

    It's remarkable that it has actually changed everything for me. First, the “technical side” is, well separated, inside the Buchla modules. When playing, rather usual instrumentally aspects are in demand.

    The instrument resembles rather a creative mixer and permits much intuition. The playability has substantially improved (compared to my previous instrument) because of a distinct reduction of parameters - it's a little like the decision between violin, clarinet or piano. The instrument does not have to be able to do everything, only the interpreter!

    Amazing, how strongly this instrument also encourages intellectual processes, what pleases me very much! As the essence of the acquaintance phase I'd emphasize that the Buchla 200 Series makes it possible, to lower technical thinking down to a minimum during the performance and thus enables/forces the ears being the main controller extension (again).

    The technical concept (Complex Osc/Waveshaping/LPG) with its few, however very effective parameters interlinks fantastically. I've never ever experienced this so directly with any other electonic instrument. The sound is close to that, which I looked up for so many years.

    ... my Buchla page

  • May 2015: California, Here i come

    imag Two historical giants: the Buchla oscillatores 258 (right) und 259 (left). Finally I have both in genuine in front of me and that is somehow completely different, than only hearing recordings of them! The 259 is tremendously versatile and simply fantastic! The 258 just floored me and already is my new favourite!

    imag Thus, from now on Buchla will be an abiding theme on my website. A page has been created already.

    ... my new Buchla page

  • December 2014: "Weiss-e Weihnacht" (white x-mas) at "Mobile Studio"

    With the ending year the transformation of the studio has been completed on most points (after one year!). The result doesn't let me repent to anything - nevertheless i had separated from my beloved vintage synthesizer collection for realizing this step. The studio however won - in particular the sound.


    One the most popular Mastering EQ's world-wide, the Weiss EQ1-DYN-LP found it's way to my home! Its abilities evoke pure enthusiasm and from now on it refines the audiophile reference Mastering-Chain in the "Mobile Studio". The upsampling technology leads to beautiful sound, even without EQ changes.

    img Sensational values and abilities of the Weiss EQ1 make it also an extraordinary tool in the sound design. Therefore I programmed an iPad MIDI controller. Because of the latency it is not always suitable for Live electronics, but… wow! What privilege to have so well sounding instruments! The Weiss EQ1 can be "played" fantastically and remains absolutely pain-free also in extreme adjustments!

    I document my love for the devices (and gratitude to the manufacturers) under Studio-Hardware - freshly revised!

  • January 2014: ... Let there be Light!

    img By accident I found out, how simply a light control is to be implemented over DMX with Max/MSP. The crucial Max-object from Olaf Matthes permits the control over a USB-DMX Interface. The Hardware-Interface is the simple Enttec DMX USB Pro - it's already absolutely sufficiently.

    Since atmosphere is so important and light can be so dangerous by stray effects for audio engineering, i used the opportunity and extended the studio by lighting, already sufficient for small stages. For the beginning there are five spots: three colored LED Studio Par, two of it with Amber and two CW/WW Washer. All headlights are fan-less.

    It works great and is controlled via iPad. Everything just sounds way better!

  • October 2013: Max/MSP-Help-Patch for Expert-Sleepers-Audio-to-CV-objects

    img After three Max objects from Expert-Sleepers in order to operate their Audio to CV modules exist since May, but no discussion in the appropriate forums developed, I asked myself, why - because these objects are nevertheless a benediction for Max/MSP programmers. I was missing concrete specification and a Help file - it is probably also because of the missing Gate Expander control - thos Expanders are controlled with a single value!

    img Which might be missing to many users is a bit active mathematics (bit shifting), in order to transform the 8 gate statuses individually into the appropriate value (8bit=0-255). Thus i wrote the missing Help-Patch and just added the gate conversion, which can be stored simply as an abstraction separately.

    The Help-Patch can be downloaded here.

    Also I try to explain principle and programming since Bit-Shifting can be a “typical” calculation in Max-environments. Here the small Tutorial (Max-Patch) can be downloaded, which is to be seen in the picture on the right.

    More at the Muffwiggler Forum.

    PlugIns for Ableton Live

    Finally I've made all the way thru, using “Ableton Live” as a host with Timeline and Sync. “Live” offers an excellent timeline and a simple controller binding. Additionally, experiments with different “module”-combinations are easily realized. Now i rewrite some of my favorite Max/MSP “modules” also as Live PlugIns. Marvelously, how soft- and hardware consolidate!


    Dies ist eine extrem steilflankige Filterbank mit Compressor/Limiter und einem Panorama-, bzw. AM-Generator (je nachdem, wo das Panorama eingestellt ist).

  • July 2013: Chime for the Max/MSP interface...

    The interface for me is always a most important thing in the realization of electronic music. I just was about going a little deeper into the OSC world and now my favorite cyclists company (that still sells no bikes), brings out MIRA - an app that decreases a huge piece of work in interface programming by simply reflecting some Max Objects. Max and Mira: looks like a happy couple!

    Gone are the leisure-consuming work of typing addresses and routings. Finally, there is more time for finger exercises and etudes ...


    As pleasantly I feel the somewhat greater freedom in the design (unlike TouchOSC and Lemur), TouchOSC is a little too bright (although it looks nice too) and Lemur is very (too?) elaborately in programming. It is true that MIRA so far has only a very limited number reflectable Max Objects, but the important thing is already there. Furthermore, MIRA also offers access to the attractive iPad gyro control options, multi-touch and gesture control ... Now it is so fun and interesting at the interface design!

    To get to know MIRA I have first programmed once again an interface that i had just finished with TouchOSC (see below). How easily and quickly it went! img

    The iPad is without question anyway a hit as a controller (and TouchOSC and OSCulator remain still useful with MIRA).


  • May 2013: Have a Look!

    Because visualizations are always very helpful and also to substantiate once again, how enormously helpful Max MSP is, I have compiled a small tool which make these visualizations possible. img

    Download the "Tool" for free here.

    It needs Max-Runtime.

  • April 2013: Modul-Comparisons

    After I had compared three different ring modulators (carried out with parallel CV control), I realized how clarifying the results were and how much some diffuse existing issues img had been answered. The auditory information was described by the "reading" of the waveforms, spectrograms and sonograms. The recordings (or modules) were thus more consciously heard - maybe it's not like that only for me, so that's why I add these comparisons to my website.

    Trigger for the first try was my dissatisfaction with my three Ring Modulators. Various technical implementations and allegedly weaker saturation behavior of 12V compared to 15V modules also promised additional statements, which are also of particular interest for me, since I run both systems.

    The Modules comparisons (in german language)

  • February 2013: Winterfruits

    This winter I had a lot of time to ponder "in the matter". After some progress with the hybrid instrument, there was a lot of new software to program. Something I wanted to do for years and what had never succeeded satisfiable, was a good preset manager and the ability to integrate external hardware controllers easily (MIDI Learn). My previous assignment procedures were too complicated, too esoteric, and resource wasting (for man and machine).

    Soon more about this and also a small example patch the MIDI Learn function.

    The Max-Patch with the nice Channelstrip by Darwin Grosse is here: max-5-guitar-processor-part-5

  • October 2012: Hello Eurorack

    Even that my MOTM modular synthesizer gives so much pleasure to me - nevertheless it has limited noticeably my spontaneity by it's size. imagThus there was an urgent requirement according to a travel-friendlier instrument. Since there were already some Eurorack (-format) - modules in my setup and particularly lately some interesting modules appeared on the market, I've built myself a very practical wooden case and purchased some more eurorack modules that a complete synthesizer was the result. For this year my DIY desiderata are balanced.

    With this step also the development my hybrid (analog and digital) instrument took a big step forward- it also concerns simple transportation. The basic specs of the instrument: small, 10 kg, construction and deconstruction time 1 minute, because all patch-cables can remain on the instrument. A customized wooden case gives besides a much better feeling than a industrially rack. Now nothing more stands in the way to an increased travel frequency!

    In the following player is a sound example of the instrument that hopefully gives an impression.

    Alternative content

    More about Eurorack Modular Synthesizer - with more sound examples

  • June 2012: Software-Tool for flashing the MIDITEMP FSM


    The FSM from MIDITEMP (Footswitch to MIDI) was a part of my setup, that is really helpful and could need a software to make life easier.

    The FSM is a little Box for connecting 2 pedals and 2 switches. The configuration has to be done with SysEx-Data which flashes the memory inside the box. From my view that is too complicated and unusual for "normal" users. To realize different setups easily i programmed a little software (for myself).

    Since i use the FSM always with two pedals and two switches and since i believe it might be the same for the most users of the FSM, i offer to download of this software for free.

    Mac and Windows: MIDITEMP FSM FLASHER (770 KB) - needs the free software Max Runtime.

  • February 2012: Recording in the Sendesaal-Bremen

    For me it was a very special event: a recording-session in the Sendesaal-Bremen on the 10th of february - not as a musician but as an audio-engineer with my own recording-equipment. The Sendesaal is among the best recording venues i've ever seen/heard and it's also a place with a large history as well. A very spontaneous action waged into the recording of Hayden Chisholm's "Konzert im Dunkeln" (concert in the dark). Phantastic, what this acoustic allows for recording - finally an opportunity to use my microphones once under best conditions. The original recording is in 192 kHz.

    More about my work as an audio-engineer ...updated.


    Apposite to the recording session I revised and updated my Studiohardware-page. There i try to give descriptions regarding the devices used by me, their adaptation and also some OS-X specific stuff (Mac Aggregate Devices).

    Also my racked Telefunken V 672 microphone preamplifier has got some web-space now. For me it was for me a piece of “homeland work” bring the 1958 in Bremen at the NWDR developed Amp back to life - the Sendesaal at that time was part of the NWDR. My V 672 Cassettes have been built in 1970. The high quality of this amps make them very attractive even today - they can compare with much pricier amps easily.

  • Dezember 2011: A short feast day program in Max

    goes nicely with marzipan depletion

    imag Because I am asked in regular intervals, how the software for my controllers (motorfaders and push dials) is programmed, i've enhanced my Max page with a first study example now.

    There I demonstrate how one controller is connected with several parameters, in order to create different instances, e.g. for the push dials. Also is described how the storage of the variables can be done easily.

    Enjoy! My Max Universe ...updated.

    The MIDI Implementation chart of the Euphonix MC Mix is there as well.

    Direct download of the patch for Mac and Windows: Download Maxpatch (6kb).

  • September 2011: Electrifying! Strong PSU's for Modular-Synthesizers.

    imag Right in time before my first MOTM anniversary i received two wonderful new Power Supply Units which deserve an extra plug. From the beginning the somewhat fragile situation with the OEM-MOTM-PSUs, offered by Synthtech and Oakley, had irritated me, since they are not very effective, although quite large and not even cheap.

    The PSUs are fully specified with large toroidal transformers, are outstandingly built and customised for my needs. The imaged PSU is envisaged for the matrix and my 10U case and supplies additionally +5V besides the +/-15V.

    The Power-Supply is a central aspect in audio electronics and in particular for me as a non-soldering biped here was the most difficult point. With Graham Hinton/Hinton Instruments I had the good luck to find a high-competent and foresighted collocutor.

    FullPower Ahead!

    my modular synthesizer... updated

  • August 2011: Kenton Pro-2000 MkII Editor

    imag MIDI-CV converters do not belong to the best-selling devices. The Kenton Pro-2000 MkII however has aquired a top position in this device class. To my surprise i haven't found any software editor, even today - about 14 years after the first Pro 2000! Thus i programmed one now.

    The simplification in the handling of this great device and the achieved overview is so pleasant that i decided to offer the editor as a free download.

    There are two versions: a Mac only standalone-version (9,1MB) and a cross-platform version (Windows and Mac, 544KB), which requires Max-Runtime.

    More about the Kenton Pro-2000 MkII Editor

    I also programmed a Pro 2000 realtime-controller as a PlugIn for Ableton Live (Mac only). imag It offers those parameters, which are not intended for realtime control but are nevertheless very helpful to have.

    I did some tests without problems (except my lack of knowledge in Ableton Live).

    More ...

  • June 2011: Help yourself...!

    imag In expectation of some crucial parts (alternate PSU + Matrix) for the modular-synthesizer, the completion of my racked Telefunken-amps and the acquisition of a studio-desk i did a complete technical re-organization of the studio work station.

    Perhaps some details regarding the studio-desk will help the one or another during the studio planing as well as some hints for the correct handling of the electric current , which means the cabling, phase-detection, cable cross-section etc.. It also helps to prevent or combat hum or other noise problems.

  • Mai 2011: Hello MIDI again!

    After I neglected MIDI for many years, now the first MIDI Apps for my hybrid Synthesizer develops in full swing! This is a Clock Divider, which is on the way to become somewhat more complex. For this garage-video there are MIDI sounds to the descriptiveness - when finished it will produce CV data for the analogue modules.

  • March 2011: A MIDI-controllable 8x8 or 16x16 Matrix AC/DC

    Something that I missed in the connection between modular synthesizer and the computer was a switchable matrix - but except Synapse, an 8-year-old, allegedly built only 7x Patch Matrix, there is no such thing.

    That I get into the position of planing such a module along with an icon of synthesizer history just two months after the starting a modular synth, is a huge stroke of luck!

    From my view this matrix closes a last gap in the connection of digital and analog electronics!

    Since I firmly believe that others might be interested in such a module, I offer toto be informed after the completion of the developments, which are coming to an end.

    I can not say anything about expected prices at the moment, my tip is to save ever!

    Please bear with me not to send any requests for details! When the time comes, I will be happy to send a message - certainly other modifications will be possible then.

    The format is arbitrary (MOTM, Eurorack or whatever). A sketch of the design for the MOTM format can be seen. The module will look maybe a little different, but the width will be 3U or 42HP in Eurorack. I have selected additional mini-jacks to be open to other formats.

    Read more about the Matrix...

  • October 2010: Web-Once-Overs

    The first small movie from a newly-launched series on my electronic setup - very short, more in-depth insights into the functioning of the modules, starting with the controllers. In german language..

    On my website this series is called My Max/MSP Universe.

  • June 2010: Old Masters

    After just over three years now, my big "small classic synthesizers" experiment completed. One result is 7 wonderful, restored Synthesizers - 6x ARP and 1x Moog - imgsome in the original condition and some modified, thus better than new. Now comes a very difficult step for me, because I have to sell some instruments in order to refinance the whole thing, at least partially.

    My experience in dealing with the old, discreet built synthesizers can be found here.

    For sale are two ARP Odyssey, one ARP Axxe and other treasures, such as a complete historical Neumann Gefell Tube Microphone Set!

  • April 2010: WGB-channel online!

    Zum zehnten Todestag meines Vaters Wilhelm G. Bohnes habe ich endlich die Digitalisierung der hinterlassenen Filmbeiträge, die er als Kultur-Redakteur für das ZDF gemacht hatte, abgeschlossen. Da es die heutige Zeit erlaubt (Speicherplatz und Ladegeschwindigkeiten), gibt es auf einem "eigenen Sender" 100 seiner Berichte, die zwischen 1965 und 1993 entstanden sind.

    Mein Vater kämpfte für Kultur im Fernsehen. Der erste Kulturbeitrag in der Tagesschau lässt sich anscheinemd auf sein Drängen zurückführen. Das war 1961 - "Eine Revue von Menschen in Zeit und Raum". Ab 1963 wurde das ZDF seine Fernseh-Heimat.

    Es sind einige Perlen unter den Berichten, wahre Zeit-Dokumente.

    Diese Berichte wurden in verschiedenen Sendungen ausgestrahlt, hauptsächlich in Aspekte, der Drehscheibe bzw. Tele-Illustrierte und dem Heute-Journal.