Videos
inTERference - part 1 & 2
“inTERference” is composed by two words: interference and inference. The former is a frequency phenomena, the latter is a reasoning term, nowadays often used in AI context. The song was composed early 2024 in Portugal using software synthesizers only, mostly the good old “Absynth” and Native Instruments Reaktor. The visuals I developed in March 24. The resulting videoclip is composed out of fragments, non retouched or reworked. All images were prompted with the term “interference”. Visuals were designed with Stable Diffusion and AnimDiff in ComfyUI, I used very different model checkpoints as you can easily see. The song needs loudspeakers because of sub bass in part 2, this is intended.
Morte et Dabo
Morte et Dabo (shorter version of the longer song) and AI visuals. The song was composed early 2022, the visuals early 2024. The resulting videoclip is an all in one digital dreamscape. Visuals were designed with Stable Diffusion in ComfyUI, I used a custom mix of safetensor checkpoints and guess nobody needs to be mentioned here. All done under the impression of the murder of Nawalny on February 16th 2024. Visual glitches are intended, no postproduction, no retouch. Only text added.
DuDa
The video to the song “DuDa” was developed by me in 2023 with the AI software “Stable Diffusion”. I generated about 2700 images with different prompts and got them upscaled and merged with interpolation 1:3. My goal was to do this without any editing. Because the AI does unpredictable scene arrangements, glitches, errors, I had to render everything more than 100 times until one version (this one) appeared with consistent look, took several months. The story is about my grandparents in the 1920s, but I tried to open it up to modern times as well, because the topic is the same nowadays.
1920s
For this video I rendered about 200 images of 1920 big band singers, ensembles and solists with the AI software “Stable Diffusion”. I selected a few of them to make a slideshow like video for the song. I know the images are strange and anatomical details are wrong, but thats exactly why the are here. In 2022 AI was a baby, it underlines the immanent tragedy of the song.
Discovery Train
Song about a train and train ride through an utopical fantasy “Discovery Park” with animals, bees, people and a romantic scenery. This song has been composed by software only. For the visuals I use AI-Scenographic image tools (Stable Diffusion). Hope you like both!
Cluster
Here I worked with the experimental handling of rich sounds, retro elements and a brittle structure.This video was generated at cost by a software I do not recall at this moment, but I like it a lot!
Phased Music for 5 Pianos
Phased music in reference of Steve Reich but in my style using 32 synthesized instruments. The programming of the phase switching relys on a MAX Patch by Akihiko Matsumoto. The visual template of this video was provided by Saint Of AwesomeMess for After Effects and modified to my needs.
Q-Chord
This is a track dedicated to the Omnichord and Q-Chord Music Instrument by Suzuki. The idea of this song is to bridge the time between the Q-Chord and the Prophet12. No data was changed in any way, the song is generated by the Q-Chord which you can hear with its original voices in the beginning and a bit at the very end. The original Q-Chord Midi stream has been used to drive Prophet12 sounds multilayered. The photos of the Q-Chord and Prophet12 were made by me for this video. Entry Photo of myself with Q-Chord made by Oliver S. Scholten.
Farewell
This is a song dedicated to Edgar Froese, founding member of Tangerine Dream, who died recently. The song elements refer a bit to TD, Jarre and Schulze. Visuals are fractal animations rendered with DeepSheep.
Hang
A song dedicted to the HANG Steelpan instrument. I did use a Ableton Studio with a sampled sound library of the original Hang and an Orchestral instruments sound library, Prophet 12, Korg Karma, NI Reaktor. For the visuals of the video I used my own photos, most of the shot in Berlin.
EO
E and O are my prename initials (Olaf Erik). First song realized with software-based system (Ableton Live). Visuals done with After Effects, template based upon Andrin Rehmann | RedXPoison.
(2009) Tenori-On
This is my first tenori-on video and actually my first youtube video file. It shows the Yamaha Tenori-On which started as a fascinating input device and sound sample player, but – because of the lack of further support of Yamaha – is still stuck with version 1.00 Firmware after a year and seems to be a dead product. Anyway I came up with some songs and share one with you.
(2002) The Ambient Song
The video shows the actual live recording of the song with Propellerhead Reason software. A lot of Matrix sequencers and two Redrums were used. The video recording is old and lacks quality, I am sorry for that. I mentioned elsewhere, this song was remixed to the new song “HASAG”.
(1985) SO
Loopable short segment about the statement “SO”, never made it into a song. About 1985 or so. Synthesizer used was PPG 2.3 with Wave Term. Video was done by me much later with After Effects.
(1985) Quantel Mirage
“Smart Phone” and some more songs from about 1982-1985, used as background music for my demotape of the Quantel Mirage, a TV realtime graphic computer in 1985.
(1981) Synapse
Moog Modular and other analog synthesizers, recorded live on music cassette in 1981 in my home studio in Munich as song “Synapse”. I now live in Berlin in the same house as Peter Brinkmann, the journalist from the Bild newspaper who asked the crucial question (From now on?) and triggered the fall of the Berlin Wall that very night. Otherwise it would certainly have come down later. Thank you for that! The video I made on the 25th anniversary of the fall of the Berlin Wall. I went along the border of lights with GoPro Hero4 camera on 2m monopod. (Sorry for the wobbles) With the lights which showed the location of the Wall at “eye level”.
(1980) Rush
A pure sequencer piece, live without overdub, was probably an improvisation that I had recorded and fortunately kept. It can be found on the cassette “Matrix”, song was probably made in 1980 or 1981. The video shows photos and documents, all by me.
(1980) Symboter Studio
A view of my studio in my appartment in Munich. You can see the equipment and hear an excerpt from a recording of a live performance of mine. The synthesizers are self-explanatory, mostly Roland, e.g. Jupiter 4, the first digital sequencer (I used it properly for the first time on “Electronic City”), the CR-78 drum, the Moog Modular System (note the weights on the pressed keys, as the sample and hold didn’t work properly with Moog) was on loan from Gershon Kingsley (Popcorn), whom I repaired the system for and was allowed to use for a while as a compensation. The gray system was self-built (BME, Formant, Tünker and own circuits). The ETI Vocoder was a kit and modified by me. I recorded with 2 4-track tape recorders, Akai and Teak. This video was recorded 1979 or 1980 with an RGB Telefunken camera on a VHS video recorder.