LP (180 Gram)
Original Artwork by Klaus Röder
Numbered & signed edition of 25 ex.
Klaus Röder Born on 7 April 1948 in Stuttgart, married, 3 children. Violin lessons at the age of 10, later piano and guitar, from 1968 studies in ‘Bild und Ton’ engineering at the Hochschule Düsseldorf and composition with Milko Kelemen and Günther Becker, guitar with Dieter Kreidler at the Robert-Schumann-Hochschule Düsseldorf. During his studies he was a member of various bands (free jazz, rock, pop). 1972 to 2020 teacher for guitar at the music school in Langenfeld. Graduated with a diploma in electronic music compo
1970 Participation at the Darmstadt Summer Courses for New Music (scholarship).
1984 first experiments with computer music at the Institute for Communication Research and Phonetics at the University of Bonn with programmes for sound synthesis and sound analysis for the Kontron computer PSI 80.
Participation in courses on computer music: 1985 at the Groupe de musique expérimental de Bourges and 1988 at the Technical University of Berlin.
2002 Participation at the Stockhausen Courses in Kürten.0.
In addition to compositions for acoustic instruments (including ‘experimental’ instruments), he has written a large number of works of electroacoustic music (contemporary classical music), including 80 works for audio carriers (tape music).
1980 Award for Composition in Düsseldorf and Invitation to the ISCM World Music Days in Tel Aviv. In the same year he received a first prize for his composition ‘ Mr. Frankenstein’s’ Babies’ at the Concours international de musique électroacoustique de Bourges. Some years later he received in Bourges the ‘Euphones d’or’.
1988 1st prize at the Computer Music Courses Berlin for the composition ‘Kontra C’.
Klaus Röder was member of Kraftwerk in 1974 during the Autobahn LP.
Klaus Röder Website
The electronic sound continuously merges into the sound of the voice, and the sound of the voice continuously merges into the electronic sound. The electronic sound tries to sound like the voice and the voice tries to sound like the electronic sound. There are the following sound sources: My own voice recorded through the Sennheiser MD 421N microphone, a converted electric piano for percussive and also for sustained sounds, a converted graphic equalizer from RIM, where the filter quality of each individual channel could be adjusted, a Synthi A from EMS. The Synthi A, several tape recorders and a simple mixer were used for sound manipulation. In this piece, the sound melodies dominate. They were created by the juxtaposition of differently filtered sound sections with different lengths by tape montage. The result is a ’stepped’ filtering. In addition to the graphic equalizer mentioned above, the low-pass filter of the Synthi A was also used for filtering. It was mainly used for continuous filtering (as opposed to stepped filtering). Slowly sung vowels (a, e, i, o, u, ̈a, o ̈, u ̈, …) can be heard from the voice. From synthi A one hears amplitude-modulated noise, mixtures of different generators (e.g. triangle wave mixed with noise) and mixtures of microphone recordings of the voice with generators (e.g. voice mixed with noise or voice and sine tone via ring modulator), from the electric piano one hears clusters, fast tone sequences and long-drawn-out single tones. All tones from the electric piano are filtered in different ways. The following techniques were also used: Glissando sounds were created using tempo changes on the reproducing tape machines. Percussive sounds were made with the voltage controlled amplifier (VCA in Synthi A). Orchestral effects, a whole choir and also echo effects were created by simultaneous or time-shifted playback of sounding material with several tape machines. Apart from the explained sound melodies, there are also pitch melodies. Both types of melodies are short and highly recognisable, and they repeat themselves several times. As a climax, there is a third type of melody: a rapid succession of tones, sounds and noises that continuously merge into a synthesiser voice and sound like a human scream at the end.
(KR, September 2021)
Prélude pour la fraternité – Präludium für die Brüderlichkeit (1989) 18:30
Electronic Vocal (1978) 14:53
Überrauschungen (1972) 4:54
Prélude pour la fraternité – Präludium für die Brüderlichkeit is a piece from 1989, made with a computerprogram designed by Klaus Röder, named ‘PLAYTX’. The program worked in conjunction with a Yamaha TX802. The piece was commissioned by Gmeb.
Electronic Vocal, is a piece from 1978 for manipulated voice and electronics.
Überrauschungen is the first electronic piece by Klaus Röder, made with the CBS Buchla Synthesizer, Robert-Schumann Institute, Düsseldorf in 1972.
All music Klaus Röder.
Mastering, production, vinylcut Astres d’Or
Artwork description: Drawings by Klaus Röder
Music Score for unpublished piece Glasglockentanz (1983) (start score: from 25/25 – to End score 1/25)
Pencil, Marker, Colormarker and Stickers on Graphpaper.