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The second of the two FritzKatz sets. Drum and bass!

If you want to see the visuals mixed in with views from the studio, check out the video on MadTiXx’s channel.

I met up with MadTiXx at the FritzKatz hackerspace in Saarbrücken and we played two sets together that evening. This is the first one, a chill techno set.

I made extensive use of the scanline and VHS distortion effects that I built in Resolume Wire. I think they turned out pretty decent.

If you want to see the visuals mixed in with views from the studio, check out the video on MadTiXx’s channel.

The mighty MadTixx played a banging drum’n’bass set at HaxoGreen and I made visuals for it: a mix of analogue and digital video glitches, including a lot of stuff filmed off of my old CRT TV, circuit-bent video devices from the 90s, and my own custom made CRT and displacement effects (made in Resolume Wire).

2 hours to enjoy with your ears and eyes!

An audioreactive visualizer, made in TouchDesigner. Music made in Ableton.

I had the oppurtunity to play the awesome GPN-Lounge visual setup (hexagons!) with AA Battery (live set on Friday), k_ttu (DJ set on Friday), and MadTixx (DJ set on Saturday) at GPN22 in Karlsruhe from May 30 to June 2.

Here are some impression from my sets. All photos were taken by klemmi and were released under CC-BY-SA-4.0.

Wide view of the stage with the two projectors visible in front of the screen.

AA Battery (left) doing the bleeps and bloops with his Nintendo DS setup, me doing visual stuff.

AA Battery x Rauschfeld

At work on stage during my set with k_ttu

For k_ttu’s dark and bass heavy set I went pretty hard on the glitches and tried to tone down my usual rather colorful style a bit.

k_ttu x Rauschfeld

k_ttu x Rauschfeld

k_ttu x Rauschfeld

Colorful variation of GESTALT_V17 with a new music loop. Made in TouchDesigner.

Some sunday afternoon shenanigangs with instancing, noise, and feedback in TouchDesigner. The audio is a loop from an unreleased track. Tilt-shifty blur added in Final Cut.

At Revision 2024 MadTiXx played a Techno mix in the infamous “toilet tunnel” and I made some visuals for it, overlayed on the original video of the tunnel.

Here I’m using the 1920s timelapse footage of plants like I did in Drone 2.12.24, but in a very different way. The flower videos were glitched using displacement and feedback loops in TouchDesigner and composited with a background made with GlitchNES that was filmed off of a CRT TV. These videos were further glitched with Resolume Arena and then edited in Final Cut Pro.

Also for the long drone part I took a photo of my eye and used the same displacement glitch method as with the flowers. In this case the displacement is controlled with a very slow LFO in TouchDesigner, so the effect keeps getting stronger the longer it is visible.

For this video I experimented with particles and different kinds of feedback. Source for the particles was this 1920s timelapse footage of plants blossoming. A lot of time went into preparing the footage, including upscaling, cleaing, luma-keying, editing, and positioning. The feedback loops in TouchDesigner were reset every 16 beats to match the pitch bend in the music.

For this music video both elements, the audio-reactive background grid and the audio-reactive lines, were made in TouchDesigner. It’s all in one patch but the two parts were recorded separately (with alpha channel) and then edited together with the background in Final Cut Pro. The separate recordings gave me a bit more flexibiliy and also made it easier on the CPU and GPU.

I made several versions of the white lines with different line widths, and different effects on top. In the end I used a version with very few effects (only blur and limit), because I felt it fitted the somewhat analogue/paper style best.

The lines start with just two points and gain a new point (and thus a new line) with every beat of the kick drum, resulting in around 370 connected lines at the end of the video.

In the beginning the lines are quantized to a grid which they lose during the second break of the track, making it even look a bit organic – especially towards the end with a higher number of points. The tranisition to the non-grid version was animated in TouchDesigner.

The texts on every node are basically just the coordinates for every point added together and then converted to letters with a Python expression in TouchDesigner.

For the music I once again employed the Fors Opal Max for Live device, Live’s own Operator synth and a bunch of effect plugins.

As for the title: At first I wanted to use a red background, but it looked a bit too to dark. I liked the title, so I went with it anyway.

I finally took the plunge and started to learn TouchDesigner. The 3D model I used here is a low-poly scan of my face, cleaned up in Blender and imported into TouchDesigner, where I distorted it with noise, added some feedback loops and different materials for the different looks. I set up four cameras in TouchDesigner and recorded the whole track for each camera separately. These recordings were imported into Final Cut Pro where I edited the different scenes for the video.

This is also the first time I worked in 4K. For my usual analogue video low-fi glitchy stuff it isn’t really necessary but in this case I thought it should be worth it.

The music was made in Ableton, like the last track with the wonderful Fors Opal device.

The basic visuals for this video were made with the wonderful glitchNES for the Nintendo Entertainment System (used in an emulator here). I filmed the glitchNES visuals off of an old CRT TV to make them less pristine and to add the good old CRT scanlines.

Then I processed the CRT glitchNES visuals in Resolume Arena, mostly using the Threshold effect to make them monochrome black and white (in reality they’re very colorful) and the Edge, Trail, and Shift Glitch effects. For the Shift Glitch effect I made some parameters audio reactive to different parts of the frequency spectrum. These visuals were projected inside the cube using Resolume’s Cube effect.

I recorded several versions of this with different effect combinations and then edited them in Final Cut Pro.

The starting point for the music were sequences made in Ableton Live with Fors Opal. I recorded each of Opal’s engines to a separate track in Live, and then heavily edited them to form the track structure. Some additional sub bass FM was added with Ableton’s Operator synth.

A techno live set that I played for practice at home - and I made visuals for it: They are a mix of analogue glitches, partially re-scanned from CRT TVs, and digital effects made with waaave_pool. The visuals set was performed with Resolume Arena, the techno set was performed with a 6U case of eurorack modular.

I had this idea roaming in my head for a while: What if the world around you suddenly glitches right before your eyes? A glitchy train ride with glitchy, cinematic sound design.

TOPLAP does a solstice live stream event every year, and this year I was part of it with a 15 minute live coding session with visuals. For the music live coding part I used Tidal Cycles, for the visuals I used Resolume Arena with some audio reactive elements. I composed my editor window and the visuals in the OBS streaming software that I was using for sending my stream to their server. I’m afraid the bitrate is a bit on the lower side for the quickly changnging visuals, so unfortuantely there are some blocky artefacts to be seen throughout the stream.

This is a mix of footage provided to me of the various steps of preparing a Tschunk cocktail, and some 90s TV ads, mostly for drinks. Everything went through some analogue processing and was edited in Final Cut Pro, where some digital effects and final touches were added.

MADTIXX delivered a banging techno/progressive house set at GPN21 and I got to do live visuals for the recorded set.

The visuals were performed live in Resolume using a MIDI controller, with the recorded set playing and providing FFT data for Resolume. The remixed video for “FBI (GulaschDub)” (the first track in the set) was edited and added after the recording to get the right timings for the scenes in sync with the music and voices.

I prepared three major “themes” for the set:

• Glitchy videos, that were heavily processed through my analog video setup.
• Cleaner videos, that I would then process with some effects in Resolume.
• Vintage style videos and still images that I could compose in more of a collage style.

Also, I made heavy use of 2D animation loops, most of them by Laak and some by Micah Buzan. I also used a few 3D elements, some of them were made by me in Blender, most of them again by the awesome Laak.

In Resolume I grouped the clips and loops into eight decks that made sense to me and then it was just a matter of performing and improvising the visuals to the music.

MADTIXX has produced an acid house track and I made the music video for it.

The video consists soley of (looped) scenes from the 1980s HK action comedy Mad Mission 2. I ran all scenes it through my analogue video glitching setup and rerecorded it on the computer to give the scenes an appropriate glitched VHS/analogue video look. Looping was partially made in Resolume, but most of the arranging and video looping was done manually in Final Cut.

A drum’n’bass’n’chiptune track made in Renoise, mixed and mastered in Logic.

For the video I made some hand drawn animations with Looom on the iPad and used them as a mask in Resolume Avenue over a glitched video of a fashion show. I added some effects in Resolume, recorded several versions and edited it all in Final Cut.

A heavily 90s inspired jungle track, made in Renoise with synth samples from my E-Mu Orbit 9090.

The video is based on this video from the Prelinger Archive. The morphing 3D cube is a render I made in Blender 3D, the animated diamond shape pattern is from Laak’s “Hand” VJ loop pack.

I used some effects in Resolume Avenue (like mirror, delay RGB, etc.) and then sent everything though my analogue video setup for some glitches and feedback. I re-recorded those scenes and edited everything in Final Cut Pro.

The break is of course the famous Amen break, the bass sample and the voice samples are taken from the first Zero-G Datafile CD. All the synth samples I sampled from my E-Mu Orbit 9090 “The Dance Planet” rack mount synth, which has all the 90s dance sound presets you can imagine. Processing wise I used Arturia’s Cold Fire distortion plugin and Shaper Box, mostly for bass distortion and wobble. Mixing and mastering were done in Logic Pro.

Some 90s inspired rave/acid fun. The video consists of some 80s aerobics videos and footage from the 1984 Olympics - everything went through several of my circuit bent analogue video devices, was post-processed in Resolume, and edited in Final Cut Pro.

The video was made with a sloppily 3D-scanned selfie, some 3D animations rendered in Blender, and two particle videos by Laak. All of this was processed through my circuit-bent analogue video setup and captured in Resolume, then edited in Final Cut Pro.

Blob animation rendered in Blender, played back in Resolume and glitched through circuit bent JVC JX-C7 video corrector and a circuit bent Hama SE Processor 156. Feedback and mixing with Edirol v-4 and Panasonic WJ-AVE5, send/return and syncing with cyberboy666’s sync_ope.

A somewhat weird, nonsensical, stupid-fun track that was composed on the Dirtywave M8 tracker and mixed + mastered bei Thomas Kerstgens.

The video was made using animations by Micah Buzan and some 3D animated blobs that i made in Blender. Everything was processed and glitched through my analog video setup and then edited in Final Cut Pro.

»Old Janx Spirit« was made with my build of the LoFi Future GBS 8100 feedback video synthesizer. The footage was edited to the beat of the song in Final Cut Pro. Music by me. “Surreal Orb” animations by Micah Buzan.

This was made with the GBS 8100, the GSE VEP-2 video effect processor, and the Edirol V-4 mixer. everything was filmed off of a CRT TV and edited in Final Cut Pro. music by me. Animations by micah buzan.

»Programmschleife 2« is the second TELE83 release. For the second release the themes are vintage japanese commercials, video games, and television shows from the 1990s. Made with the LoFi Future GBS 8100 and video feedback through the Panasonic WJ-AVE 5 and Edirol V-4 mixers, filmed off of a 21" CRT TV, and edited in Final Cut Pro. Music by me.

»Programmschleife 1« is the first release of my audio-visual project TELE83. It’s a trip through the German television landscape from the 1970s and 1980s. The video was made with the LoFi Future GBS 8100 and some mixer video feedback, filmed off of a 21" CRT TV, and edited in Final Cut Pro.

This video was performed in realtime with the music with the Synesthesia video processing software. Music by me, composed on eurorack modular synthesizer, recorded in one take.

This video was performed in realtime with the music, using the Synesthesia video processing software, glitching some old skate boarding footage. Music by me, composed on eurorack modular synthesizer, recorded in one take.