Knut Kaulke

“Where do beats begin and where does tonality end? You can find the answer in a forest of steel trees composed of resonant bark during a spectral thunderstorm.”

The aim of my research project is the merger of melodic and percussion elements resulting into one conglomeration. Drum sets become more tonal without loosing their characteristic noise-like sound. The ambition is to create entirely new sounds and complex forms driven by beat sequences which can be played via claviature.

During my scientific doctoral thesis I was driven by a passion to discover something new and to increase the understanding of complex molecular networks. In life sciences, hypothesis often have to be modified due to functional complexity of living things. Experimental results may disprove theoretical assumptions—a novel, surprising thought can appear! My curiosity and excitement of organic/natural complexity as a scientist also emerge as a musician when I perform sound studies.

This is the view of my user interface in Kyma from Symbolic Sound (called VCS). In Kyma, I use a specially designed sequencer that controls novel self-designed percussion instruments.

Homepage: knutkaulke.com

Facebook: https://www.facebook.com/KnutKaulkeSound/

Twitter: https://twitter.com/KnutKaulke

• What are your inspiration sources?

That’s really different. Sometimes I come up with new ideas while on holiday and sometimes on the train to work. Most of the time it’s about: How does it sound when I do this and that or change it?

I always benefit from my scientific approach to problems and their solutions.

At the moment, as already mentioned, I am busy with sounds that combine both tonally and tonelessly. In other words, all sounds should contain both characteristics.

I am also interested in the sound as something organic, living and changing.

In the real world, I am particularly inspired by percussion music from Africa and the South Seas. I find such complex rhythms really exciting. In addition, the percussion instruments also sound great and have this tone/toneless character, with which the musicians conjure very skillfully very sensitive melodies. Great!

I transpose this inspiration into the digital world and add to it the many possibilities that come into my mind—keywords: sequencing in sound and synthesis techniques.

• Tell us something about your workflow.

I’m building some instruments or sequencers in Kyma. Then I’ll learn to play them. I might notice one or two things that I would like to change or add to the instruments or sequencer. That’s pretty much the short version of what I’m doing.

• How would creative rituals benefit your workflow?

I think that structured work is extremely important.

I mean by who you find out when you’re the most creative in the day, then you should set up your main working time at that exact moment. Furthermore, I have noticed that distance or a break can also give a creative boost to your work. For example, just when I’m not sitting at the computer, important ideas come to me that I didn’t have before while working at the track.

• How do you get in the zone?

I don’t like constraints. A carefree train of thought that is not under pressure is the best. That’s exactly what I try to achieve with breaks, for example.

• How do you start a track?

I start with a rhythm that I like and then the whole thing is complemented with suitable sounds.

• Do you have a special template?

Yeah. My setup (see screenshot) is my template when I generate sounds. The individual instruments contain some synthesis techniques, which I can use not all at the same time but in combination. The mix is then mixed in Ableton, where I can record everything.

• What do you put on the master channel?

A dynamic EQ only.

• How do you arrange and finish a track?

At the moment I’m just recording my live session in the studio and leaving it at that. This means that the result corresponds to the recording.

• How do you deal with unfinished projects?

I take that as an inspiration for new pieces/projects.

• How do you store and organize your projects?

I can save the basic settings in my setup (top left of the screenshot) which can then be used for live improvisation.

With OSC commands I can then use Lemur-App to switch between the basic settings. In Lemur I built my remote control for the sequencer. Lemur is simply great when you need an individual controller.

• How do you take care of studio ergonomics?

As a live-orientated musician or sound arranger I make sure that my controllers (two iPads) are right in front of me. Exactly the same goes for my small Korg Nanokontrol, which allows me to adjust some volume levels.

In addition, I always try to sit in the optimal listening position (sweet spot). : )

• Tell us something about your daily routine, how is your day structured, how do you make room for creativity?

I have a part-time job so that I can have free days for the music. That’s where it starts tomorrow, because I am most creative in the morning. Then I take a little break and in the evening we continue. The important thing is to feel comfortable.

• Share a quick producing tip.

If a sound or sequence feels right the first time it is heard, it doesn’t change much. That means there’s already something there.

• Share a link to an interesting website (doesn’t have to be music related).

http://general-theory-of-rhythm.org/

• List ten sounds you are hearing right this moment : )

Weihnachtsoratorium (Johann Sebastian Bach)

ELSEQ 1-5 (Autechre)

Live 2016 (Autechre)

Public German News Radio (DRadio), I like how calm and balanced the voices of the moderators sound.

Drone Ambient, that’s what I listen to when I write any text on the computer (as I do now).

That’s all I can think of now, because I often like to hear nothing more than the sounds of the environment in which I find myself.