The Doepfer - Kraftwerk Connection

German Krautrock legends Kraftwerk and Dieter Doepfer have worked together for a long time.
As the only one in its industry Dieter Doepfer even may use their name for advertising purposes.

Florian Schneider (Kraftwerk) and Dieter

Dieter: One day i got a call from a Mr. Schneider who wanted to know if we could rebuild a special keyboard into a MIDI keyboard.
The caller was Florian Schneider of Kraftwerk. Schneider experimented much with speech synthesis, and had found a keyboard that was triggering speech sounds (phonemes) in place of letters.

Doepfer's miniature MMK2 keyboard for Kraftwerk

After the modification by Doepfer, Schneider was able to send signals to a sampler in which the sounds were stored.
In the end, the Kraftwerk operator could connect the phonemes with a sequencer into sentences.
Until it worked, Schneider had come several times to Munich, where they got to know eachother better.
Around that time, Dieter installed a MIDI-retrofit on their old EMS vocoder.
Also in the construction of the MAQ 16/3 analog sequencer with MIDI output, the company worked with the musicians.

Florian Schneider was apparently quite involved with the development of the 16/3, being regularly sent updates to the operating system and giving his comments in return.

Dieter: "Since then, we are allowed to use the name Kraftwerk to the device. But we do not want to overdo things"
In 1996 Florian Schneider also wrote a review for a German music magazine 'Keys' about one of the Doepfer company's newest items, the A-100 vocoder module and even contributed a short demonstration of the units capabilities on the free CD that accompanied the magazine.

During 2001-2002 Morgan Karlsson asked Dieter Doepfer about his collaboration with KRAFTWERK:

" Our collaboration with Kraftwerk started many years ago as we made some special designs for them (e.g. the miniature keyboards they use on stage for Taschenrechner/Pocket Calculator and a special phonetic keyboard for voice synthesis).

"Designed in cooperation with the
German Band KRAFTWERK"

The first unit we built in cooperation with Florian Schneider was the MAQ16/3. We built some prototypes and Florian tested them and told us what we would improve and which features are not required.
So we went many times to the KlingKlang studio in Dusseldorf until the final version of the MAQ was complete.

A similar cooperation - but not as close as with MAQ - was made for the SCHALTWERK.
(Kraftwerk also used/tested with a Doepfer MOGLI on stage around that time *PP)

Rumors are that the Doepfer logo was (partly) inspired
 by this 1983 Kraftwerk album font

The next cooperation was the A-100 vocoder.
We tested all of the vocoders of Florian (and that's a lot) and compared them to our A-100 vocoder prototypes (the first versions with different filter designs in quantity and filter response types, e.g. 10 band passes, 8 band passes and high/low pass, 13 band passes and the final version with 13 band passes and high/low pass).
And so we found a very good compromise between price and sound.
Even the very high priced vocoders sounded not significant better than the final A-129.

We learned a lot about vocoders e.g. that a treble boost of the incoming speech signal is very
important for a good vocoder effect (is now included in the A-129-5).
All high priced vocoders imply such a treble boost but the customers is not aware of this detail as there is sometimes no remark in the user manuals.
We experimented together with Florian with a 32 band graphic equalizer to find the best treble boost for good speech recognition and implemented it into the A-129-5."

Also see: Florian Schneider - Electronic Poem

Sources:
Morgan Karlsson

Doepfer Keys interview (by the same Florian Schneider)

Aktivitaet Online

Early Kraftwerk Modification by Doepfer

You might know that Doepfer can also do customizing and special design jobs for their clients (see HERE), but they must have looked up strange when they got a telephone-call from Dusseldorf in the late 80's..

It was Florian Schneider from Kraftwerk, calling if Doepfer could help them out retrofitting a miniature keyboard with MIDI.
Florian would use this keyboard later to trigger a sampler, and used it with Kraftwerk live for the Pocket Calculator song.
Schneider had to come back a few times to München for this project, and that is when the good relations started between Doepfer and Kraftwerk.

From that time on they worked together on various projects like the MAQ 16/3 sequencer, the MOGLI, the A-100 vocoder and some others.

Since then Doepfer even dares to advertise some products with the 'designed in cooperation with KRAFTWERK' tagline, but "...we shall not exaggerate that", according to Dieter...

Sources: http://network.technobass.net/page/kraftwerk-historical-images
KEYS Magazine 12/97 - Picture by: Petra Schrambömer

Florian Schneider - Electronic Poem

Here's another classic from the web that caught my attention last month, and it has an interesting story behind it too...

The (audio-) recording in the video below originally comes from a KEYS-Magazine demo CD, Issue 04 / 1996.
This issue of the magazine had an extensive A-100 test (page 44-50) in it, with statements from Kraftwerk's Florian Schneider (and O. Lieb).
Kraftwerk had worked intensively with Doepfer in the mid- nineties, for example on the Doepfer Mogli 'Midi Output GLove Interface', the MAQ 16/3 sequencer, the Doepfer A-129 Vocoder and some other (custom and modification) -projects. (more on this next month)

Florian Schneider (from Kraftwerk) spoke this poem on the answering machine of Florian Anwander, who wrote for the German KEYS magazine at the time.
Anwander played the cassette of the answering machine back in a Fostex 280 multitrack deck and did the vocoder recording with a straight saw wave from a Roland JX3P synthesizer as a carrier-signal.
No voiced/unvoiced detector was used; instead of that he took the high frequencies of the original signal, that were later added to the output-signal.

A Yamaha 2020 compressor and a noise-gate from Ashley were also used in this audiorecording.

Florian Schneider (Kraftwerk)
and Dieter Doepfer *

" Analogsynthese mit system 

klanglich, optish angenehm

technisch, logisch, funktionell

prototypisch und speziell

modular und variabel

leicht, kompakt und transportabel

für ein musikabenteuer

A-100, nicht zu teuer

midi-kontrolle vom computer

A-100 to the future! "

-translated into English:
Analog synthesis system / sonically and optically pleasing / technical, logical, functional / prototypical and special / modular and variable / Light, compact and portable / for a musical adventure / A-100, not too expensive / midi control from the computer / A-100 to the Future!

Video: Enigmidia / Florian Schneider - Electronic Poem
http://www.youtube.com/watch?v=B-gp5x1ujME
" Doepfer Vocoder, Digital ComputerArt by Paulo R. C. Barros
Florian Schneider, from Kraftwerk, perform a recorded test-drive of a vocoder to the Doepfer electronic instruments."

Florian Schneider seemed to be very pleased with the A-100, on page 45 of the KEYS-issue he writes:
" Up to now, I only had the chance to play around for one day with the A-100, but I can already say that Doepfer has built something really special.
The system does sound very good and does offer everything I do expect from a modular system - and that at a really reasonable price.
For me it is also a plus that it has turned out smaller than other systems, like some may point out.
But the adjustors on a mixing desk are even closer together, and you can also take it with you easily and leave the expensive rarities at home.
The vocoder has turned out really nice; it does really sound good in comparison to other vocoders.
After building a multi-channel filter (a very important module, by the way), it was only a small step for Dieter Doepfer to combine this with VCA's and Envelope-followers. "

He also shared a tip;
" On a modular synth, you really learn how the sounds are made.
I can advise anyone to buy a simple oscilloscope with the modular system.
This was also my start, I was fascinated to see; "this is how the sound looks here and after the filter it looks like that...".
You can really see principles here which you can also find in the whole world. "

* The opening voice is Gia Stemmer, who did the moderation of the KEYS demo-CD.
More info on the Doepfer vocoder system HERE

* Picture from Doepfer.de

Quotes XI : Kraftwerk

"We are not entertainers, we are sound scientists."

Kraftwerk 


http://kraftwerk.com/
Kling Klang Machine:
 http://kraftwerk.com/KKM/kkm.html
(also available as iPhone app)

- Kraftwerk recently launched their official Twitter account @Kraftwerk

The Doepfer Mogli and Gesture Control

In 1993 Doepfer presented the Mogli MIDI Data Glove Controller, an alternative controller device that was based on a Nintendo Power Glove controller.
It had traditional NES controller buttons on the forearm as well as a program button and buttons labeled 0-9.

The complete Mogli set with Power Glove,
receivers,  Mogli interface box and adapters

There were two ultrasonic speakers (transmitters) in the glove and you had to put three ultrasonic microphones (receivers) around your TV monitor.
The ultrasonic speakers took turns transmitting a short burst (a few pulses) of 40 kHz sound and the system measured the time it took for the sound to reach the microphones.
A triangulation calculation was performed to determine the X, Y, Z location of each of the two speakers, which specified the yaw and roll of the hand.
It could also sense the bend of the individual fingers, the only dimension it couldn't calculate was the pitch of the hand, since the hand can pitch without moving the location of the two ultrasonic speakers.

The Power Glove was originally released in 1989 and was in general a critical and commercial failure.
Partly because of the lack of accuracy and the availability of games (for it's original use with the NES)

The Mogli interface box, Power Glove and adapters

In 1993 Doepfer introduced an external box that could receive the glove's data and convert it into MIDI signals.
The name Mogli stands for 'Midi Output GLove Interface'
The original Mogli interface box was equipped with MIDI in and MIDI out, and it had a red 3-digit LED display.
The display was needed to program the unit (i.e.to assign different function to the fingers, to the X/Y/Z coordinates, to the rotating angle and so on).

After a calibrating procedure the glove could be used in different controller modes.
The 'Virtual Play' mode was maybe the most attractive mode, in which could make you play a virtual keyboard in the free space.
In Direct Mode you could assign any movement to any MIDI controller, other modes were Gesture Mode (converting sign-language to MIDI controllers) Vector Mode (position sensing only) and Manipulation Mode (for manipulating incoming MIDI with the glove).

Although i am not the world's greatest electronics-guy i do have a feeling that the original Mogli converter box could be easily transformed into a version that sends Control Voltage and/or Gate signals.

Original Nintendo Power Glove

If you can find one, it will probably just work just fine with one of Doepfer's MIDI-to-CV modules, but you might not get the most out of all the glove's many functions.

The price of the system was 598 DM (i.e. about 300 Euro) for the ready built unit including a Nintendo power glove.
The kit version was 448 DM (i.e. about 225 Euro) incl. Nintendo power glove.
The control box only (without the glove) was 398 DM (i.e, about 200 Euro)
A kit version of the box was also available for just 258 DM (i.e. about 130 Euro)

The unit was available from March 93 until December 1995, but Doepfer had to stop the production because the Nintendo Power Glove was no longer available.
Around 350 units were made in total.
Interesting fact is that the Mogli was also used by Kraftwerk (on 'Pocket Calculator' and 'Music Non Stop') during their concert at the Brucknerhaus in Linz/Austria on the occasion of the ARS Electronica Festival for Art, Technology and Society in 1993.

Okay, i admit that the technology of the Power Glove might be outdated by now, but the idea of controlling sounds/patches with the move of your hand will always stay an interesting subject.
Roland is famous for its D-Beam technology since 1998.
The A-178 Theremin Control Voltage module (or the discontinued A-179 Light Controlled Voltage Source) definitely do not offer all the functionality of a glove like this.

However, i do think we will see some kind of gesture-control-trend coming up this year with the recently announced Kinect motion sensing input device by Microsoft, that was already available for the X-Box platform but that will soon be available for the Windows platform too.
I wonder how soon the first interesting gesture-controlled modular synth-video's will pop up on YouTube...

Find the Mogli's user-manual (in German language only) HERE
Please let me know if you have an English version, or else check the start of my translation project (work in progress).

* Many thanks to Dieter Doepfer for the additional info
* Pictures by Gaiana via http://www.synthforum.nl/

Video by studentsmusic added March 1st, 2017:
Doepfer MOGLI Midi Glove (Rare - Vintage)

Booktip VIII - History of House by Chris Kempster

History of House is a very interesting book about the history of House music and the technology behind it.
The book is compiled and edited by Chris Kempster in 1996,  the articles come from music-technology-magazines like 'the Mix', 'Music Technology' and  'Electronics and Music Maker' (E&MM)

The 206-paged book is divided into three parts; The Artists USA, The Artists UK & Europe and a third part that is called 'The Technology'

The first part contains interviews with some of the most influential house-deejays/producers like Marshall Jefferson, Lil'Louis, Larry Heard, Juan Atkins, Derrick May, Kevin Saunderson, Richie Hawtin and Carl Craig.
The interviews that the author/ compiler picked are very well written, and besides giving an insight into the history of house music, they also contain a lot of tech and synthesizer references. Most producers explain what instruments they used and why.
The second part of the book features UK and European artists Kraftwerk, M/A/R/R/S, S-Express, Baby Ford, 808 State, A Guy called Gerald, The Orb and Goldie.

The third and last part is all about the classic House-instruments and probably the most interesting for the readers of this blog.
Here you can find some  interesting articles about the classic house drum machines like the TR-808 and TR-909, the Roland TB-303 acid bassline, SH-101 and Juno 106 synthesizers, the Alesis MMT-8 and Korg SQD1 sequencers and from more modern machines like the Ensoniq Mirage, Yamaha DX100 to the Akai S-1000 and Kurzweil K2000 samplers.

Overall this is a very entertaining book for anyone who is interested in house music, the (mid-)80's synthesizer history and/or its instruments.  8/10

Sanctuary Publishing, Limited, 1996
ISBN: 1-86074-134-7