Behind the Scenes of Sara’s Kumiko – Part 2

8th of October Café Kumiko by Sara Hochuli(Miyuko) had its grand opening in Reykjavik!

Here’s a short behind the scenes of Jan Knüsel’s ongoing mini documentary series about Sara. It’s basically a film about him filming Sara, shot again on this tiny wearable camera (by Drift Innovation). Watch it here:

Thank you for the support Arne!


Adriano Orrù & Silvia Corda @ 6. IOIC Stummfilm-Festival in Zurich

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November and December 2015 have been very exciting for me and Silvia, indeed! In a few days we had a tour in Portugal and Switzerland and two releases involving us. Being a musician includes sometime to experience periods so frantic alternating with others completely steady. We had 3 concerts in Lisbon playing together with fantastic musicians like Maria do Mar, Luiz Rocha (my fellows in the Endtitles’ release “Orrù Mar Rocha – Live at MIA 2015”) and also Maria Radich and the Variable Geometry Orchestra (46 musicians for this issue) conducted by Ernesto Rodrigues. We met a lot of friends there, great musicians and lovely people! A few day after we flew to Zurich to play over a silent movie – Spartacus – during an interesting festival called Marathon der Hochkulturen. Great experience indeed, a nice venue (Kunstraum Walcheturm), good instruments (grand piano and doublebass) to play on with the help of an experienced sound engineer. And, above all, Sara and Dominik who made this magic real!

Thank you, Silvia & Adriano

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Photos by Dominik Grenzler

Arovane @ 6. IOIC Stummfilm-Festival in Zürich

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das IOIC stummfilm festival findet jährlich in zürich statt. ich folgte spontan der einladung einen film live zu vertonen. eine premiere für mich und eine wunderbare gelegenheit meine erfahrungen als sound designer für dieses projekt umzusetzen.

nach einem kurzen flug und einem kühl, nebligen empfang in der schweizer stadt des kantons zürich lud mich die intime atmosphäre des festivals mit kleinem aber feinem, sehr aufmerksamen publikum in den alten hallen des kunstraumes walcheturm ein. schwarz weiß filme aus den 1920’er jahren flimmerten über die leinwand, dazu improvisierte elektronik und musik von akustischen instrumenten als untermalung.

aber es war mehr als nur untermalung. klänge verschmolzen mit der handlung auf der leinwand, musiker reagierten auf ausschweifende posen der akteure im film. faszinierend, die dynamik die dadurch entstand.

mein set für den film salome (1923) von aubrey beardsley bestand aus elektroakustischen/ elektronischen soundscapes kombiniert mit improvisierten piano klängen. der emotionale gehalt des filmes und die ambivalenz von salomes gefühlen drückte sich in der diskrepanz von abstrakten klängen und den warmen, vollen, erdigen klängen des blüthner flügel aus.

 „The mystery of love is greater than the mystery of death.

danke, uwe zahn


Photos by Dominik Grenzler, IOIC Institut

Packaging «Passage» with passion ;-)

EndTitles is all about passion to music and love to the special and unusual. With this ideal I thought of making something extraordinary with the physical release of Wilhelm’s «Passage». Wilhelm’s music needs approach. I used to listen «Passage» several times before I came up with an idea. I have to thank to Mr. Arovane for inspiring me during our chat at his studio. After a week or two I just thought: Wow! The physical release needs to be simple and useful and eco-friendly as far as possible. So I came up with the USB flash drive for all the heavy 24bit files made of recycling paper. I thought this might be quite unique and did it. After testing it for some time, the device worked smoothly. Now the final product is made with love and packaged with passion. My girlfriend sewed while I was putting all things together. To all of you who are using the device now: Please think of all the work Wilhelm and we did and the great effort and enjoy this great album!
Thank you :-)

Making of…

Wilhelm Matthies explains his technical approach to «Passage»:

To record this album, I used an RME UCX as the audio interface with all pieces in general.

I used two AKG C 2000B microphones recording in stereo in pieces 1-3 and two Earthworks QTC30 microphones recorded in stereo for pieces 4 and 5.

The RME UCX was connected into my DAW, Logic Pro 9. I recorded in several ways.

In most pieces I recorded dry, but in some I recorded with a reverb turned on. In most pieces I played without adding EQ first. When using any EQ or reverb while recording, it was Logic Pro effects, not from the RME UXC.

Mostly I add EQ and reverb after recording. I only did slight imaging panning in some pieces, so no panning, only global panning to more or less locate the instrument in the center of the aural space. Some pieces are slightly to one side, I notice as I am hearing the passage (for X) 2.

For reverb I used two tracks consistently. I use a small room reverb at a higher volume level and a larger hall reverb at a much lower volume level. No two pieces have the same proportions, I mixed specifically for each one.

The two tracks are balanced to be as loud as possible at their peak level without clipping. I did not use any dynamic limiter, to maximize the dynamic range of all of the pieces. The quiet passages are equally important as quiet as the louder ones are played loud.

All the remaining magic is done during the mastering process by Weldroid.

Sorry about the heater clacking noises in some places, and I heard a train passing at the end of the 2nd piece, but then again, it is real! I will create some window barriers this summer. I have deep windows into which I could stuff sound absorbing material :-)