Connector XVIII

At the first edition of Connector this year, Gerri Jäger will perform his new solo set for the first time. Our intern Ward Slager will present a new instrument called PRP VOYAGER, especially designed for ‘The Pentacle’, after which Fedde ten Berge will give a performance with this instrument

IMPORTANT NOTICE! starting this year the Connector events will be held every 2 months instead of monthly. So mark you calander:
4 April, 6 June, (we skip August, but in July we plan our yearly Summer Party!) 3 October, 5 December.

DATE: Thursday 7 february, 2019
TIME: 20:30 (Door open 20:00 hrs.)
COST: €7,50
LOCATION: STEIM (Broedplaats Lely), Schipluidenlaan 12, Amsterdam


Gerri Jäger Solo

Semi-structured improvisation and elements of composition using drums, electronics, vintage yamaha keyboard and drum synthesizers. This is a try-out of a new set that Gerri is developing for his first international tour trough Germany, Austria, Italy and Czech Republic. An exciting open stage where the music has not yet settled into a routine.

Born in Innsbruck (Austria) in 1979 Gerri picked up the drums when he was 9 years old. After some brass-band and grunge-rock teenage years he studied jazz at the Conservatories of Innsbruck (AT) and later in Amsterdam (NL), where he graduated in 2006. Since then Gerri has been performing extensively in and outside the Netherlands expanding boundaries in music and its genres. Current working bands include Knalpot and Naked Wolf – in collaboration – and as a band-leader: STUG with Sofia Jernberg, Petter Eldh, Joachim Badenhorst and Raphael Vanoli and the Gerri Jäger Double Duo with Frank Rosaly, Raphael Vanoli and Giray Gürkal. New projects are Marieke Verbiesen’s Loud Matter, Grafwerk and his Solo Performance.


Ward Slager

Ward Slager is a creative system designer, electronic musician and student Music & Technology at the HKU. Ward combines his strong programming background with his love for electronic music to create both hard- and software instruments, sound art and installations.

During his internship at STEIM Fedde ten Berge and Ward worked together to turn Fedde’s performance setup for ‘The Pentacle’ into a hardware instrument called PRP VOYAGER. Ward will present the instrument and talk about how it came together, choices made in design and demonstrate some features.


Fedde ten Berge

Photo: Nina Mik

After the presentation of the PRP VOYAGER, Fedde ten Berge will perform with this new instrument on ‘The Pentacle’. The Pentacle is a powerful high fidelity surround sound mobile speaker system, which Fedde developed together with Jesse Meijer, it consists of 15 self-designed loudspeakers and 3 self-designed subwoofers.

Fedde ten Berge (1983) is an Amsterdam based sound artist who creates work across different contexts and disciplines. In his work, Fedde challenges his audience to leave the comfort zone of the distant spectator and, to a large extent, takes responsibility for the experience of his work. In exhibiting his work he is looking for social aspects and alludes to playful interaction in between his audience.
He sees sound art as an interdisciplinary art form in which sound is uncompromising but the connection is sought with other art forms. Fedde has embraced this focus to develop his skills broadly. He is the builder of interactive sound installations, performer and composer of electronic music. Fedde is committed to make works that are solidly constructed and can operate without his supervision. For his installations he selects materials both for their sonic qualities but also for purely visual aesthetic qualities. He’s constantly searching for solutions to merge the both criteria.
For his electronic music performances and those of other artists he designed a loudspeaker system called The Pentacle. It is a transportable powerful high fidelity 15.3 surround sound system wherein the sound spatialisation works on audio rate. The system aims at a broad range of musical genres that are suitable for surround sound reproduction. At the moment about twenty artists have developed performances for The Pentacle and there is a concert with the system about every two months. For his own electronic music performances he’s currently working on a instrument for pseudo random pulse algorithms that can be performed with The Pentacle.
Fedde works as the artistic coordinator at STEIM in Amsterdam. Within the STEIM facility he manages his own workshop for electronics, wood and metal processing. He organizes exhibitions together with and within STEIM as well as on his own title. Fedde regularly creates interactive sound design and electronic music compositions for music theater initiatives. He develops educational projects at primary schools with the Utrecht based organization Kunst Centraal. In the scope of this collaboration he visits around forty primary schools each year with his interactive sound installations. He teaches conservatoire students in the field of instrument design, electronics, sensor strategies, data mapping and programming.

About the performance:
TITLE: Pseudo Random Pulse Fight (20-25min)
“During the summer of 2017 on a day full of rain at the Dutch Island ‘Schiermonnikoog’ I doodled a generative algorithm for pseudo random pulse patterns. I was hooked on it for a few days but then the wind came, I took my kite and forgot about it. In the fall of 2017 I finished the complete Pentacle 15.3 surround system. I started working on a live performance for the system. This made me remember the pseudo random pulse algorithm that the wind had made me forget about on the island. I took up the pseudo random pulse patterns and elaborated them for The Pentacle. I became fascinated by the syncopated patterns that arose from the layers of pseudo random pulses. I added generative chord sequences and interwoven them with the pulse patterns. I programmed resonant models for the generation of melodic structures. When I applied the resonances, some unexpected melodies arose. A new more musical performance arose. Something completely different then my previous works. I attached midi-controllers and a joystick to make it all more playable and started rehearsing. During my explorations into the material I made certain decisions for moments that are more or less composed. At the same time there is a lot of space for making adaptions in the moment. Because of the pseudo randomness of the pulses there is a constant suggestion of drive that is not really there. I am fighting with the instability. A pseudo random pulse fight you could say. Come and Listen.”

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