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 mischievous imitation of the then increasingly occurring abbreviated names, C.A.M.R. still solidified. The aspired ideal has always been that of the "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 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 today - now in conjunction with my own software (Max).

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



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: