Fifteen years ago I first heard about a method that makes comb filters disappear when summing multiple microphones. Patented at the Institut für Rundfunktechnik, never turned into a product. Using AI agents, I rebuilt it in ten days, first as a Python prototype, then as a working plugin. And then came the double-blind test.
My WordPress theme hasn't been updated since 2019. The Instagram integration broke, PHP warnings followed. Switching themes would have meant giving up the design that fits me. So I looked for another way — and found one.
Kassandra, daughter of Priam and a seer, looks back on her life after the fall of Troy — in the face of her own death. In Bielefeld, Christa Wolf’s novel became an interdisciplinary music theatre work between drama and orchestra — conceived as a collaborative compositional process.
Originality is one of those words that feels self-evident until you try to define it. A trace through Romanticism, copyright, and music, and an explanation of why CORPUS still uses the term despite all its frictions.
What’s a sound designer doing in Mozart? In Don Giovanni at Aix, the collaboration with Sir Simon Rattle and Robert Icke led to an unusual rehearsal process — and one clear insight: an idea is not enough. You have to carry it through all resistance.
How CORPUS grew out of a vision of music you can walk into, the training-data problem of music AI, and a detour through incentive systems.
With the Sonic Presence SP15 microphone, high-quality sound recordings can be made without effort: you always have the microphone with you, you don't need a tripod, your smartphone serves as a recorder. It captures the sound impression at the position of the listener in a credible way. A review.
Almost 10 years of wow&flutter removal with Celemony's Capstan! Time to reflect on its history and compare it to the newest offering by Izotope. Audio files included.
The just intonation differs clearly from the usual equal temperament in its sound but also in its practicability. On this accordion a third C-E sounds clear and free from beating, while the third B-D, for example, sounds totally sloped and crooked. This offers not only the possibility of playing particularly pure sounds, but also, in a particularly charming way, to play wonderfully iridescently "wrong". This "wrong sounding" is not the result of a randomly detuned accordion, but is determined in an audibly conscious and concrete way.
