Welcome to the Website of the musician Jochen Bohnes

C.A.M.R. (Computer Aided Musical Research) is the generic term for most of my musical activities in the combination of acoustic and electronic instruments since 1989. Originally conceived as a [roguish] imitation of the then increasingly common acronyms, the name C.A.M.R. has finally established itself. The aspired ideal has always been the one of "electronic guerilla" - that is, the realization of electronic instruments that can be played in real time and are easy to transport.

Mobile Studio

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

After years of close collaboration with composer studios, such as the "Studio for Electronic Music of the Basel Academy", the "Experimental Studio of the SWF" in Freiburg, "IRIS" in Paliano, Studio for Electroacoustic Music of the Academy of Arts of the GDR, among others I meanwhile own a small and fine studio - the 'Mobile Studio' - in the spirit of the electronic guerilla.

Audiophile quality and mobility were the benchmarks in the selection of equipment. The experience gained from the temporary management of a recording studio was helpful. For autonomy, a PA is also part of the studio - it guarantees the optimal transmission of music at concerts with up to 4 channels and a audience size of ± 300 people."

Although Studio also means "recording studio", in this case primarily "experimental studio for electro-acoustic music".



Software Development

for composers, interprets, instrumentalists and presentation conducting
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For me, the central theme in music electronics is instrumental playability and intuitive access to the setup. Besides, I'm not that interrested in sound-design, a more industrial process. My experiences as a practicing musician are too profound to replace these possibilities in electronics with a mouse and keyboard. The magic word is Interface.

The interface e.g. on a trumpet consists of mouthpiece and valves, on the piano it's keys and pedals.

Since the 1990s, I have also been developing software for the realization of composed works - tools for composers or for instrumentalists - as an extension of their instruments.



Synthesizer

analog, historic, modern
  • Electronically sounding music, like in the Shadoks Cartoon, or in many productions of the BBC, fascinated me as a child. At the age of 5, I got "Kontakte" from Karlheinz Stockhausen in my hands - a record that immediately electrified me.

    Almost 20 years later, while studying piano, I acquired a Rhodes Chroma (ARP) and a short time later an ARP 2600. After a DSP phase (MARS) during the 90s, analog synthesizers came into my life again with the new Millennium - but now in conjunction with own software, programmed in Max (Cycling74).

    Here is an overview of the instruments I work or worked with, as well as an overview of my hybrid instrument, a combination of computer and modular system:

    synthesizer

Controller

MIDI, MPE, OSC and Eucon-Protocol

Especially because of the higher resolution of touchpanels in relation to MIDI (10bit=1024 steps vs. 7bit=128 steps), today the ubiquitous touch panels and smartphones spark. Finally, no rigid 8-series with buttons or sliders, which I felt never optimal because of the rigid arrangement.

Also with keyboards and MIDI much has improved, whether MPE or a claviature with genuine mechanics: