Subharchord

Electronic sound generator Subharchord, 1966, DIAF, in the Technical Collections Dresden , February 2016

The subharchord is an electronic musical instrument that includes undertones (subharmonic tones) in the sound generation.

The innovative electronic sound and noise generator was developed by a team led by Ernst Schreiber between 1959 and 1968 specifically for use in studios on the initiative of Gerhard Steinke , formerly director of the (former) Radio and Television Central Office (RFZ) Berlin-Adlershof Developed for experimental or electroacoustic music as well as for use in radio, film and television studios. The Subharchord was built in a small series of six in the RFZ Berlin. A later production should be done by the company Heliradio in Limbach-Oberfrohna . The development of the sound instrument was stopped in the GDR from 1970 for "music-political reasons". One device was securely stored in the Nalepastrasse radio station. The device was forgotten and was rediscovered in April 2003 by the Berlin sound artist and music historian Manfred Miersch in the Funkhaus Nalepastraße . "It is his merit then to have collected historical recordings with this instrument and to have viewed and archived the tapes and correspondence surrounding it."

The brand name Subharchord is legally protected for Gerhard Steinke. Ernst Schreiber is considered a technical designer and inventor.

precursor

In the exhibition "Berlin-Moscow" in 1996 in the Gropius-Bau in Berlin, a 'sound machine' by Soviet Russian Lew Termen , the Theremin , was shown - an 'ancestor of electronic music' that is played without touching by putting one's hands in electromagnetic fields. The construction was based on the electron amplifier tube, which was generally available in 1919. It is still used today.

Mixtur-Trautonium (1955) in the Musikinstrumenten-Museum Berlin

In 1930 Friedrich Trautwein constructed the Trautonium as one of the next electronic instruments. He was involved in the further development of the instrument until 1933, later Oskar Sala worked on it independently. Sala was commissioned by the Ostberliner Rundfunk in 1949 to produce a new kind of quartet Trautonium with two double tables. It was already based on the subharmonic tone series. It was probably not used in the GDR - but he had "further developed the sound generator and made the strange sounds world-famous in 1962 in the soundtrack to Alfred Hitchcock's film The Birds ."

The subharchord combines the basic ideas of the Trautonium and Oskar Sala's “Mixturtrautonium” with innovative electronic sound modules and was a further development of these constructions.

Functional characteristics and sound generation

construction

In its basic principle, the subharchord is a “further developed organ with subharmonic mixtures”: “The way of construction - the way of thinking - was derived from organ building - rather than from that of the synthesizer - there are registers ; the difference is the 'control generator'; d. i.e. there is a 'hierarchy of assemblies'; with the synthesizer these are 'equal': the subharchord is less of a synthesizer forerunner than an 'organ follower'. "

Sound processing

“The tones result from a fundamental tone with the associated overtone scale : the sine tones , which build up on the fundamental tone at a reduced volume and which, depending on the characteristics, determine the type of tone we hear it, which is why a“ c ”sounds on a guitar , Violin or trumpet each different because the overtone spectrum is different. Subharmonic mixtures are created by 'reversing' the overtone series - the subharmonic series is a mirror image of the normal overtone series. The fundamental tone as a 'tone component' is divided, as it were - the harmonic overtones are made to disappear (“go down to the basement”), the subharmonic ones remain. Normal overtones usually merge for the ear with the fundamental - this does not work with the subharmonic, which the ear can still differentiate ("filter out"). "

- Manfred Miersch in: MDR Radio Orgelmagazin Figaro from November 22, 2015.

In addition to a melody voice , which can be varied in many ways by means of subtractive sound shaping from overtone-rich overtone oscillations in sawtooth or rectangular waveform using filters of different characteristics, up to four subharmonic undertones can be generated in the division ratios ½ to 1/29 and combined into a polyphonic mixture as desired for novel sound structures become. They inspired the name "Subharchord". The subharmonic frequency series is the true-to-interval mirror image of the overtone series found in natural, conventional sounds. It was found in the 1930s by Friedrich Trautwein and first realized in the Mixturtrautonium by Oskar Sala in 1952.

Further technical and functional information in:

Display

The solutions for pressure-dependent volume control for the free design of the sound insert and the compression of the sounds using a special choir modulator and other processing stages were also new at the time. A special feature of the subharchord is the timbre play realized for the first time in an electronic instrument, which is possible on a separate manual by means of specific filters according to the Mel pitch scale in 14 frequency bandwidths tested by the composer Josef Anton Riedl (at the time in the Siemens studio for electronic music in Munich) .

The subharchord was initially equipped with a key manual (keyboard) with a range of three octaves in view of the simplest playability and operation . With a suitable frequency division and choice of settings, a range of over ten octaves is available. With a decay device, continuous tones can be transformed into plucking or striking sounds. The duration of the decay process and the steepness of the decay curve can be regulated. The sounds can also be changed into staccato-like short notes by means of a rhythmization device. Other interesting sound and noise structures can be achieved using a ring modulator by modulating sine tones or noise via the keyboard or glissando control.

A second key manual for additional additive sound synthesis (overtone mixture) and a tape manual for a non-tempered sliding tone scale were no longer implemented. Using suitable control options, it should also be used as a concert instrument in conjunction with conventional musical instruments and orchestras.

History of the subharchord

The development of electrical engineering at the beginning of the 20th century, after the manufacture of a generally usable electron tube (1919), made wide-ranging application possibilities possible - "it is the decisive organ in electronic control and regulation mechanisms" and also offers the possibility of "converting current or voltage pulses into electrical" To convert waves and then, after suitable conversion into electronic circuits, to pass them on to the control organs of a machine. ”These possibilities could also be used by technically experienced artists, by piano makers and by technicians interested in sound production. This is where the work of Friedrich Trautwein , Oskar Sala and Ernst Schreiber begins .

Funkhaus Nalepastraße, 1970

The history of electronic music in the GDR "begins in 1949 with the" Studio for Artificial Sound and Noise Generation "in the Central Radio and Television Office (RFZ) of the Deutsche Post , when Oskar Sala was commissioned by the GDR radio to perform a new kind of quartet trautonium To make two double game tables, which apparently was never used. That studio was divided into two sub-studios located in East Berlin. One, "Studio for Electronic Sound Generation", was located on the Nalepastraße radio station , the other, "Experimental studio in the laboratory for musical-acoustic borderline problems", found its home on the German television station Adlershof . "

“When the first purely electronic compositions were created in the 1950s in the wake of musique concrète and the work of the studios for electronic music opened up new worlds of sound, this revolutionary development was also closely observed in East Berlin. [...] So the 'Laboratory for Acoustic-Musical Borderline Problems', founded in October 1956, began around 1960 with the construction of a sound generator, which as a compact sound laboratory and the core of a studio for electronic music [...] was based on the phenomenon of subharmonic mixtures. "

The subharchord "was created around the same time as the kitchen-cupboard-sized Soviet ANS synthesizer , which never went into series production." (WDR 3 press release on the broadcast).

1960s

"The patent for a process for generating subharmonic frequencies for electronic musical instruments was registered by Ernst Schreiber in February 1960."

At the Leipzig Autumn Fair in 1965, the subharchord was presented to the international public - combined with the composition “Der Auftakt” by Hans-Hendrik Wehding. The design (the "design") was developed by Gunter Wächtler. But "the political development in the GDR" - according to Miersch - "was not made for the experimental sounds for which the instrument was designed - there was always political headwind from those responsible."

In 1966 the subharchord was further developed, 'demo tapes' originate from 1968 and the devices still in existence today are also marked with the year of construction 1968 (MDR Figaro). The devices were built by the company Heliradio in Limbach-Oberfrohna .

Subharchord (1966), Technical Collections Dresden

The subharchord was used in the RFZ's own experimental studio to record experimental music, etc. a. with symphony orchestra, for radio and television as well as for radio plays. The composers Addy Kurth and Karl-Ernst Sasse used the subharchord in the (former) animation studio in Dresden for their own compositions for setting animations to music. The composers who composed for the subharchord included a. Siegfried Matthus , Hans-Hendrik Wehding , Bernd Wefelmeyer, Tilo Medek, Wolfgang Hohensee , Paul-Heinz Dittrich and Frederic Rzewski . The Academy of Arts in Berlin, in particular the composers Kurt Schwaen and Paul Dessau , and later also Georg Katzer , supported the work of the studio and organized public events.

In the late 1960s, the Adlershof studio had lively contact with numerous studios for electronic music around the world and the composers who worked there (including Luigi Nono , Bruno Maderna , Henk Badings , Herbert Eimert , Elliot Crater , Franco Evangelisti , Lejaren Hiller and many others) Band exchange.

In competition with the West

"The development of the Subharchord was motivated by the successful spread of the Hammond organ " - the intended device was an adequate device, "a kind of radio organ ". From the mid-1950s onwards, Schreiber had applied for patents for “organ constructions”. (Miersch, MDR)

But as early as the mid-1960s, instrument making concepts - especially in the USA - were too advanced to allow the subharchord blocked by cultural functionaries to spread: In 1962/63 Don Buchla and Morton Subotnick had a “revolutionary technical element on the American west coast , the voltage control "developed, which created a" connection of everything with everything ", no longer required controller operation and automated the corresponding processes. A first modular synthesizer . The result was an LP: "Silver Apples of the Moon", 1967. In the same period on the east coast, however, with a parallel development (since 1964) Robert Moog hit the jackpot: he promoted his keyboard “ Moog synthesizer ” in 1968 with the Record "Switched-On Bach" by Walter Carlos .

After Brezhnev had "expressed himself unhappy in 1969" in the East and described electronic music as "cacophony" (Miersch, WDR 3), the race for the subharchord was finally over. Production was still going on 'under the hand' - as dated “a last work from 1974” (Miersch, WDR 3), but there was no longer any public for it.

Completion of work on the subharchord

After the end of the studio for electronic sound generation in Berlin's Funkhaus Nalepastraße and the experimental studio in the laboratory for musical-acoustic borderline problems of the RFZ, which was then ordered by cultural policy in 1970, until the 1980s there were no more officially funded electronic studios in the GDR possible.

It was only in 1986, on the initiative of Georg Katzer and Lothar Voigtländer, that workshop days of electroacoustic music could be brought to life in the electroacoustic production studio founded in 1983 at the Academy of the Arts in the GDR . The work now found "its progress [...] with devices at a higher level of development than the subharchord". (WDR 3)

Since the subharchord received neither support nor public attention in the GDR from the 1970s onwards, it was not surprising that the subharchord was forgotten after the fall of the Wall and the dissolution of state and social institutions, facilities and labor relations in the GDR .

The newly acquired laboratory for acoustic-musical borderline problems was also devoted to the problems of recording studio technology after the fall of the Berlin Wall as part of the restructuring of the RFZ and also after its later takeover by Deutsche Telekom , but the subharchord also no longer played a role.

Rediscovery

In the late 1990s, the Berlin musician and sound artist Manfred Miersch dealt with new ways of generating sound. He started with a theremin kit and encouraged him to carry out further experiments.

Notes and experiments

For his experimental music band atelierTheremin , Miersch tried to recreate Friedrich Trautwein's Trautonium in 2000 using circuit diagrams from 1931 . That failed due to the lack of important components, but in the search for them the music researcher found evidence of the existence of a device that GDR sound engineers were supposed to have built in the 1960s.

The sound machine in Norway

“Using a Doepfer synthesizer and a frequency divider, he tried to create subharmonic mixtures. [...] While he was still doing this, he found an issue of the magazine Radio Fernsehen Elektronik from VEB Verlag Technik from 1968, which mentioned the subharchord. "In the Central Television Office of the GDR, Miersch finally found a test tape with sounds and the technocratic alienated voice recordings of a female speaker: Miersch had "proof of the existence of a device that, according to the state of music historiography, was not allowed to exist."

The last proof of existence was a photo from a Norwegian museum , in Trondheim, depicting a subharchord.

Search for the device

Miersch systematically searched through recording studios and radio stations for copies of the device in Germany and, through a tip in the Nalepastraße radio house in April 2003, he succeeded in discovering a "dusty box with colorful controls [..]: the subharchord. [...] In 2003, in the studio for electroacoustic music at the Akademie der Künste (Berlin), he found another subharchord, a prototype that had been there for years undetected. "

Miersch am Subharchord II / III, today in Berlin

Repair

The “dusty box” in the Nalepastraße radio station - the subharchord type II / III believed to be lost - that Miersch found on April 2, 2003, was in the studio inventory that a new recording studio had bought after the fall of the Wall. It resembles the exhibit in the Trondheim Museum and was repaired by Georg Geike in 2007. The instrument was purchased by the German Museum of Technology in Berlin in May 2010 . The prototype in the Akademie der Künste Berlin has also been restored to the point where it can be used. In 2005 Miersch also found the patent application for the subharchord.

Publications on the find

Miersch initially published the history of his research and his findings on the subharchord on a website. The sound artist Carsten Nicolai then contacted him in 2004 and placed the find at the center of an art installation. The prototype could be seen in the exhibition 'Künstler.Archiv' at the Academy of Arts in Berlin.

Around the turn of the year 2015/16 Miersch established the knowledge of the existence and history of the subharchord and its recognition as a rediscoverer of the instrument in professional circles as well as in the general public in East and West. The researcher assumes that there are other devices. For several years now, the subharchord has been attracting increased public interest through exhibitions and concerts.

Documentation for use since 2002

Tape adhesive from the RFZ 1968

Publications with sound samples

• Deutschlandfunk on October 4, 2005, broadcast Corso , Barbara Wiegand: “The Subharchord: an instrument from the former GDR that was believed to be lost”. (also on info radio rbb)
• Film about the history of the subharchord: "Memory traces - Die Gedächtnisspuren", 2007, documentation in 13 parts, authors: Benzo (Richardas Norvila) and Oleg Kornev, Russia.
• The animation film Counterpoint by Gaby Schulze, 2015, was set to music with the subharchord.
• WDR 3 on September 16, 2015, broadcast by Stefan Amzoll : Das Subharchord - a history and sound report [1] .
• MDR Kultur Orgelmagazin Figaro from November 22nd, 2015.

Material security

• In November 2002 Miersch secured the old tapes and other audio documents from the estate of the RFZ for the audio carrier archive of the Akademie der Künste Berlin .
• The Deutsches Museum in Munich archived sound carriers with subharchord recordings by M. Miersch in 2010 and the Ringve Museum, Trondheim / Norway in 2014.

The subharchord in the present

The Subharchord II (1968) from Bratislava, today in Vienna.

Device inventory

Of the presumably seven to nine instruments produced, the prototype restored in 2005 and playable in the Akademie der Künste zu Berlin still exists , as well as the serial device No. 2/68 restored in 2007 in the radio play production complex 2, from the Funkhaus Berlin-Nalepastraße , today at Technikmuseum Berlin , which is also the most technically advanced instrument, as well as the serial device of the Slovak Radio in Bratislava, which was made functional again in 2008 . The latter enriched the exhibition "Magic Sound Machines" from the Institute for Media Archeology (IMA) in Hainburg near Vienna; It is now in the Technisches Museum Wien in an exhibition section on synthesizers. Another series device is in the Ringve Museum in Trondheim.

Lecture and performance

• Subharmonische Tage Weimar from October 29th to 31st, 2010 at the Bauhaus University Weimar with a lecture by Manfred Miersch.
• Lecture and performance with the Subharchord by Gerhard Steinke as part of the CTM.13 Festival , 2013.
• Exhibition without sound no picture / sound in DEFA animation film in the Technical Collections Dresden (April 17, 2015 to March 28, 2016).

Sound samples

Publications until 1970

• In the animation film studio of the Dresden production center of the state-owned company VEB DEFA (from 1955), various animated films were set to music with the subharchord.
• Addy Kurth: The Lazy Magician (children's radio play)
• VEB Deutsche Schallplatten: Experimental Music (record with compositions and sound samples, Eterna 720205; 1963/64).
• Southeast of the moon (children's radio play with music by H. Höpfner; 1963).
• Frederic Rzewski : Zoological garden , EA production, radio in the GDR, studio for EA border problems 1965, CD archive of the Academy of Arts.
• Wolfgang Hohensee : Capriccio for subharchord and orchestra , members of the BRSO, conducted by W. Hohensee, Rundfunk der DDR, Studio for EA-Grenzprobleme, 1965. (CD archive of the Academy of the Arts).
• Siegfried Matthus : Galileo Galilei (text: Bert Brecht), Bernd Wefelmeyer: Protest , Paul-Heinz Dittrich: Chamber music 2 (record, Nova; 1966).
• Film music for Signals - A Space Adventure (composer: Karl-Ernst Sasse , 1923–2006; 1970).
• Collegium Musicum (Slovak group with Marián Varga on the subharchord, various LPs, also CDs; 1970s).

Publications after 2002

• The Krautopia Sampler (CD with historical and new sound samples, Krautopia Records 980046, 2003). With the demonstration tape of the RFZ studio in 1962.
• Manfred Miersch: Subharmonic mixtures with the Subharchord (vinyl EP, Krautopia Records, 2003/4).
• Biosphere : The Subharchord (Biophon Records, 2014).
• Manfred Miersch: Das Subharchord - The Subharchord. A musical portrait , new subharmonic mixtures. (Audio CD, Krautopia Records, 2014).
• Luigio Nono: La lontananza nostalgica utopica futura , Arditti Quartet, Experimental Studio of the Ernst Strobel Foundation, André Richard, MO 782004 (undated). Specification: WDR 3.

literature

• Manfred Miersch: Subharchord. The story of the sound generator "SUBHARCHORD". (4 parts, published in Keyboards magazine in issues 8-11, 2003).
• Manfred Miersch: The fight for the sounds. The rediscovery of the unique electronic instrument subharchord. In: Forum music library. Vol. 26, No. 2, 2005, ISSN  0173-5187 , pp. 201-208, (illustrated).
• Gerhard Steinke: The studio for artificial sound and noise generation Berlin-Adlershof. In: DecimE messages. No. 10, 1993, ZDB -ID 2307380-9 .
• Gerhard Steinke: After 40 years: rebirth of the “Subharchord” sound generator. In: VDT magazine. Issue 4, 2005, ZDB -ID 2074912-0 , pp. 32-35.
• Gerhard Steinke: After 40 years. The miraculous rebirth of the sound generator Subharchord. In: keyboards. Issue 1, 2008, ISSN  0178-4641 , pp. 90-91.

Web links

Commons : Subharchord  - collection of images, videos and audio files

• www.subharchord.org - Subharchord website by Manfred Miersch (with history, pictures and sound samples)
• History of the subhachord on keybords.de
• krautopia.com - Manfred Miersch's website on Krautrock and subharchord music
• www.musikexpress.de - Report on Subharchord performance at the Berlin Electronics Festival 2013

annotation

1. ↑ Manfred Miersch in: MDR Figaro - Orgelmagazin , editor: Claus Fischer, November 22, 2015, transmission protocol after recording (CD), web link not available. This and the other quotes from the program correspond to direct speech by those involved in the program and are only slightly corrected linguistically - without changing the content of the statement. A log of the broadcast of WDR 3 is available on the website.
2. ↑ In view of the simplest playability and operation, the Subharchord was initially equipped with a key manual (keyboard) with a range of three octaves. In its place, a glissando control can optionally be switched on to cover the range of the three octaves steplessly. In addition to a second key manual, a tape manual for a non-tempered sliding tone scale is also to be used in the future, as was already used in the Trautonium according to the ideas of Bruno Helberger . With a suitable frequency division and choice of settings, a range of over ten octaves is available. With the help of a new type of volume control that is dependent on the keystroke, it is possible to freely design the sound input, swelling and swelling of the sound. The pitch of the generated sounds and mixtures of sounds can be changed rhythmically with an adjustable stroke using a vibrato generator. A special feature of the subharchord is the timbre play realized for the first time in an electronic instrument. This is made possible on a separate keyboard next to the actual keyboard manual using a so-called MEL filter (according to the Mel pitch scale ). A decay device transforms continuous tones into plucking or striking sounds. The duration of the decay process and the steepness of the decay curve can be regulated. The sounds can also be converted into staccato-like short notes by means of a rhythmization device. A choral effect is achieved by a special choir modulator with which four output signals are processed differently and added to a complex output signal. Other interesting sound and noise structures can be achieved using a ring modulator by modulating sine tones or noise using the keyboard or glissando control. After the planned expansion to include a second key manual for additional sound synthesis (overtone mixture) and a band manual, as well as using suitable control options, it can also be used as a concert instrument in conjunction with conventional musical instruments and orchestras (WDR 3). Ernst Schreiber gave a detailed technical and functional description in 1964: A new type of electronic sound and noise generator , special print from "Rundfunk und Fernsehen" 1964, issue 2.
3. ↑ As an indication of the attention paid to international developments a. the exchange tapes with European studios and broadcasting houses as well as with American and Canadian studios found in the RFZ's estate. See website Subharchord: Link: 'Klangbeispiele / Tondokumente / Archiv': Estate of the RFZ: tapes (received in exchange) .
4. ↑ On the "headwind":
   • The development engineer and at times deputy laboratory manager Wolfgang Hoeg in an interview (in March 2008): “The unspeakable, purely politically motivated decision by the management of the StRuKo to abruptly terminate the project, which led to the scrapping of most of the largely completed plant parts, because they special equipment could hardly be used anywhere else. "
   • The composer Georg Katzer in an interview (in April 2007): “Since the cultural policy was very restrictive at the time, the matter was stopped very quickly. It had purely political reasons. "
   • The sound engineer Klaus Bechstein in an interview (in May 2006): “The plan was for an electronic studio to be built in Nalepastraße, and that I should then take over. Because of political circumstances it never came to that, because everyone knows that this whole direction - the party was not very comfortable with it. ”See website Subharchord: Link: 'History and Stories': contemporary witnesses .
5. ↑ Thilo Medek's piece "Black Pictures" (Pinturas Negras) - A melodrama about Goya for speaker, marimbaphone and electr. Sounds: In the directory of the works produced in the Studio for Artificial Sound and Noise Generation, RFZ Berlin . See also the interview published in New Germany on November 17, 1974.
6. ↑ In the 1960s, electronic music was permanently suspected of being denied “intelligibility”: “The criterion of intelligibility is an essential feature of socialist-realistic music. Socialist realism relinquishes its function when it reveals this criterion. ”Quote from Heinz Alfred Brockhaus (musicologist), quoted from his presentation at the 3rd theoretical conference of the GDR Composers' Association on problems of socialist realism in music. (Published in: Anthologies of the history of music in the GDR , Volume II, Berlin 1971 / 73-74). See also: New Music in Divided Germany , Volume 2, Documents from the Sixties, Ed .: Ulrich Dibelius u. Frank Schneider, Berliner Festspiele GmbH and Henschel-Verlag, Berlin, 1995.

Individual evidence

1. ↑ Stefan Amzoll : Das Subharchord - a history and sound report in: WDR 3 - Studio for Electronic Music, September 16, 2015. WDR 3 - Das Subharchord ( Memento from June 4, 2016 in the Internet Archive ).
2. ↑ Bodo Mrozek : Comrade Techno in: Der Tagesspiegel, July 24, 2005.
3. ^ Walther Gerlach : Physics and Chemistry in: Propylaen Weltgeschichte Das Zwanzigste Jahrhundert , Volume 9. Propylaen-Verlag Berlin Frankfurt / Main 1964, p. 490 f.
4. ↑ Stefan Amzoll: Das Subharchord - a history and sound report in: WDR 3 - Studio for Electronic Music, September 16, 2015.
5. ↑ Manfred Miersch: Das Subharchord - The Subharchord. A musical portrait , new subharmonic mixtures. (Audio CD, Krautopia Records, 2014), accompanying text.
6. ↑ Manfred Miersch in: MDR Radio Orgelmagazin Figaro from November 22, 2015.
7. ^ Gunnar Leue: The humming moon car , Sächsische Zeitung Dresden, magazine 30./31. January 2016.
8. ↑ This remark has been widely circulated, but has not yet been guaranteed.
9. ↑ “The tape came from an institute in which technicians and composers in white lab coats were working on the music of the future: the laboratory for acoustic-musical borderline problems. A team of experts looking to the future, including the composer Addy Kurth and the sound engineer Ernst Schreiber, showed further research, experimenting with the then little-known semiconductor technology in order to surpass western synthesizer pioneers. ", Der Tagesspiegel, July 24, 2005.
10. ↑ Bodo Mrozek: Comrade Techno in: Der Tagesspiegel, July 24, 2005.
11. ↑ See article by Gunnar Leue: Strange humming and creaking tones , in: DAS MAGAZIN , December 2015, pp. 50–53; Fast dance music from the sound machine in: taz .berlin (Die Tageszeitung), January 27, 2016; The humming moon car , Sächsische Zeitung Dresden, weekend magazine 30./31. January 2016; Sound of a machine made in GDR in: Nordkurier Neubrandenburg, February 1, 2016 and: History of a sound machine in Allgemeine Zeitung (AZ) Journal, weekend magazine of the Rhein Main Presse , April 30, 2016. Plus two radio programs: Stefan Amzoll in: WDR 3 Studio Electronic Music , September 16, 2015 and MDR Figaro - Organ Magazine , November 22, 2015.