Welcome to the Website of the musician Jochen Bohnes

    C. A. M. R. (Computer Aided Musical Research) has been the generic term for most of my musical activities in the combination of acoustic and electronic instruments since 1989. Originally intended as a [sarcastic] imitation of the acronyms that were becoming more and more common at the time, the name C.A.M.R. (Wietn Wito's spontaneous suggestion) eventually took hold. The desired ideal was always that of the "electronic guerrilla" - i.e., the realization of electronic instruments that can be played in real time and are easily transportable.

    Corona? The Great Reset?

    March 2021 - Beginning of the Great Tribulation (Daniel's 70th Week)
    One year Lockdowns. Occupational bans. Travel Restrictions. Curfews. Isolation. "The media" has mutated into a permanent Propaganda Machine, engaging in fear-mongering and social division. Massive censorship worldwide, exceeding even the threshold of discrediting and criminalization. Critical questions or even opposition: eliminated. The Virus: not isolated. The PCR test: not approved (suitable) for diagnostic purposes. The evaluation: scientifically useless. The statistics: flawed and misleading. The measures: absurd. The "vaccination": does not meet the requirements for this designation. It is an (illegal) experiment on humans and an irreversible genetic intervention - also for all descendants of the vaccinated. It is not comparable with other vaccinations. What is done to children, the sick and the elderly is psychological and physical violence. It is unacceptable! The impact of the "measures" hits the most vulnerable! Meanwhile, an unelected, so-called "Elite" (WEF) is implementing a global New Order.

    There is an urgent need for discourse and action!

Mobile Studio

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

After years of close collaboration with composer studios, such as the "Studio for Electronic Music of the Academy of Basel", the "Experimental Studio of the SWF" in Freiburg, "IRIS" in Paliano, Studio for Electroacoustic Music of the Academy of Arts of the GDR, etc., I now finally run my own small and refined studio - the 'Mobile Studio' - in the sense of an "Electronic Guerrilla".

Audiophile quality and portability were the benchmarks when selecting the studio's equipment

My experiences from years of work in several very different recording- and experimental studios, and from temporary directorial responsibility of a recording studio, were very helpful in realizing this project. The studio also includes a PA: it guarantees the optimal music transmission at concerts with up to 4 (loudspeaker) channels (approx. 3500W) suitable for an audience size of ± 300 people.

Although "studio" also translates as "recording studio", in this case it is meant primarily as "experimental studio for electroacoustic music".

Software Development

for composers and performers/instrumentalists

For me, the core topic 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.


analog, historic, modern
  • Over the course of time I worked with all sorts of synthesizers. Many models have come and gone - I have always been particularly attached to my ARP synths (Rhodes Chroma, 2600, Odyssey, Axxe) until I needed to sell them as well "for progress".

    DSP (Digital Signal Processing) was the darling of the 90s. I already had an Apple SE30 and used Max to program controls for my MIDI synths when I had the opportunity to participate in the development of the M.A.R.S.. However, I made the decision for the M.A.R.S. under the premise to own a M.A.R.S. myself, which meant to sell the synths. I didn't regret it, because it unintentionally gave me a special position: practically all M.A.R.S. belonged to universities or radio studios. Now I had very interesting projects and really learned a lot about electronic music.

    It had become clear to me that my synths had not satisfied me, because they were mostly "stage synthesizers" geared towards Pop and Rock music - it was not what I was looking for. 10 years later I purchased a synthesizer again and in the meantime I am very happy with my instrument, a combination of computer and analog synthesizer modules - all shortcomings could be solved.

    A view on the different electronic instruments, digital and analog, that I work or have worked with:



MIDI, MPE, OSC und Eucon-Protocol
  • CtlKeys

    Keyboards, controllers and MIDI have also improved a lot. MPE (a kind of boosted MIDI) is a blessing and MIDI 2.0 is already announced. Keyboards are now even available with real action and useful Mini-Keyboards no longer belong to the toys section. With the Roli Rise (containing "Keywaves") there is also an excellent new instrument on the market, which is based on the piano in its layout.



    Especially because of the higher resolution of the touch panels (10bit=1024 steps) in relation to MIDI (7bit=128 steps), the control via touch panels delights me. Finally no more rigid rows of 8 with pots or sliders, which is exactly why I never liked them. Especially with Max 8 it is very comfortable, because display and parameters can be changed on the fly. XY pads and even gyroscopic inertia can (by moving the iPad) be used as a controller.



    everything else

    The menu item "Archive" contains everything that is not or no longer directly related to my work: historical synths, module- and format comparisons, DIY projects (studio desk, acoustics) and writings on Greta and on decoding the Bible.