Uploaded August 2026 | Updated September 2026, 2 weeks ago
Lärmesmitte, for solo basscomputer (2006)
At the turn of the century – of the millennium – I almost completely abandoned the electric bass, my instrument of choice until then, which seemed to me too rooted in a 20th century history, too subject to guitar "rites", not sufficiently in touch with the "now", to use only the computer as a stage instrument, for live performances.
Using the computer as my main instrument – as much an instrument for thinking about music as an instrument for the stage – has opened me up to possibilities that were previously unattainable: microtones, almost infinite polyphony, "sound clouds", notions of density, registers...
And then, once again, the desire to hybridize these possibilities with the bass – like a reunion – but a rethought bass, whether in its form, its electronic construction, its possibilities.
Another consequence of working with the computer as my primary instrument has been my growing fascination with noise, to the point of making it, in its various forms and colors (white, black, grey, fractal...), my sole sound source – filtered, sculpted, worked on in real time – there's no question of broadcasting sounds prepared in silence. Everything happens within the time frame of the music. --Kasper T Toeplitz
Art by Marco Fusinato
Lärmesmitte, for solo basscomputer (2006)
At the turn of the century – of the millennium – I almost completely abandoned the electric bass, my instrument of choice until then, which seemed to me too rooted in a 20th century history, too subject to guitar "rites", not sufficiently in touch with the "now", to use only the computer as a stage instrument, for live performances.
Using the computer as my main instrument – as much an instrument for thinking about music as an instrument for the stage – has opened me up to possibilities that were previously unattainable: microtones, almost infinite polyphony, "sound clouds", notions of density, registers...
And then, once again, the desire to hybridize these possibilities with the bass – like a reunion – but a rethought bass, whether in its form, its electronic construction, its possibilities.
Another consequence of working with the computer as my primary instrument has been my growing fascination with noise, to the point of making it, in its various forms and colors (white, black, grey, fractal...), my sole sound source – filtered, sculpted, worked on in real time – there's no question of broadcasting sounds prepared in silence. Everything happens within the time frame of the music. --Kasper T Toeplitz
Art by Marco Fusinato
