Seven red motor sirenes are hanging at a steel rope of 11 meters length. They get short impulses of power which make them produce a short, cat-like sound. From time to time they run on low constant power which makes them produce a soft humming sound.
The central element of Annette Kurz's stage design was a four meter high music cabinet consisting of self-playing instruments: an orchestrion. I was responsible for the technical conception of the musical inner workings together with the implementation. I composed all the music for this award-winning evening by Luk Perceval at the Münchner Kammerspiele for this live music machine.
Rüdiger was a child, Aki two months old and Kurt the deputy head of the paedophile sect. They came to Chile in 1962 together with 500 other German sect members and lived locked away from the world for over 40 years. The documentary by Martin Farkas and Matthias Zuber tells about the attempt to continue as a collective after decades of crimes such as torture and murder. I took over the sound design and mixing.
Andreas Kriegenburg's stage design (Münchner Kammerspiele) works with two layers: a wall just a few metres behind the front edge of the stage creates a claustrophobically close-fitting apron, into which an initially upright revolving stage is built. When this is lowered, a further space opens to the rear. The staging was completely microphoned and amplified so that the actors could strike a non-declamatory note. I translated the perspectives of the stage design into different sound levels and perspectives.
Michel Houellebecq filmed his novel "The Possibility of an Island" himself. In several years of collaboration, even before the actual shooting, I composed the film music for orchestra, choir, soloists and band.
Empty stage, no music, it rains (director and room: Luk Perceval). The scene changes and the sound of the speech became audible through different acoustic spaces. We installed nine microphones hanging from the Schnürboden, through which the voices of the actors were amplified and alienated. From the sounds of the raindrops we created musical atmospheres. A small guitar plays in addition.
Around the turn of the millennium I was a freelance sound designer for feature films by (among others) Dominik Graf, Jo Baier and Paul Anderson, working at the sound post facilities by ARRI and Bavaria Film. Watch some examples here.
Supervising Sound Editor Nigel Holland asked me to use Kyma Sound Processing to help create the sound of the Licker monster from Paul Anderson's movie "Resident Evil". Nigel took an English vocal artist, Pete, as his basis, who first drank two litres of full-cream milk and then roared it into a monster-like arrangement of buckets and pipes. We developed a Dual-MonoVocoder with two times 50 bands, which was fed at the input with different loops of animal sounds and other diagonal tones.