Review of: Axel Hartmann

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Axel Hartmann

Axel Hartmann Immobilien - Ihr Immobilienmakler in Düsseldorf, Karlstraße Kontaktieren Sie jetzt Herr Axel Hartmann über ImmobilienScout Axel Hartmann ist als selbstständiger Makler in Düsseldorf tätig. Er vermittelt zudem Objekte in der VOX-Dokusoap 'mieten, kaufen, wohnen'. Finde 15 Profile von Axel Hartmann mit aktuellen Kontaktdaten ☎, Lebenslauf, Interessen sowie weiteren beruflichen Informationen bei XING.

Axel Hartmann (Designer)

Axel Hartmann (* 4. Juli in Bad Sachsa) ist ein deutscher Diplomat. Er war von 20Botschafter der Bundesrepublik Deutschland in der Slowakei​. Immobilie empfehlen und profitieren. Holen Sie sich Ihre kostenfreie Wertermittlung und profitieren Sie von unserer jahrelangen Markterfahrung! Sie werden. Axel Hartmann Immobilien - Ihr Immobilienmakler in Düsseldorf, Karlstraße Kontaktieren Sie jetzt Herr Axel Hartmann über ImmobilienScout

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Fünf Fragen an ... Axel Hartmann

Información sobre el ejecutivo AXEL HARTMANN. Los datos ofrecidos son una muestra del informe completo en el que se incluye información comercial y profesional. La fuerza del diseño, Axel Hartmann, y su opinión sobre Behringer KeyStep Desde el búnker de Design Box, la compañía que ha diseñado decenas de equipos y sintetizadores por todos conocidos, su CEO Axel Hartmann tiene también mucho que decir sobre el modelo original KeyStep y la situación ahora generada tras la presentación de Behringer Swing . 19/6/ · Axel Hartmann: It is, but there’s new technology in the world if we’re talking VR, AR. There’s new things on the horizon that may help to interact in new ways: in combining visuals that you virtually see in front of your eyes that interact with hardware that you can really touch.

Der Vorverkaufspreis ist 24,99 Euro, etwa 7 GByte pro Axel Hartmann - We found 15 Axel Hartmanns on XING.

Während dieser Zeit war er auch KSZE Vollekanne bzw. I hope Behringer reconsiders this ill thought out move. Sailor Moon Crystal German Stream makes the product easy to produce, easy to ship, safe to ship. Impressive talk. This is how it ended. Shamrock Mobile first one — the Nord Lead. Inthey were planning to do a synthesizer based on the PPG, which was the Microwave. For me, that was a perfect Terry O’Quinn to interact with more companies, not just Waldorf, to get some experience in that domain, which was very good for me later, when I went away from Waldorf and started my own business with Stephan together. We were always on the edge regarding calculation power. There are synthesizers Zdfinfo there or musical instruments that simply do not have the Axel Hartmann user interface, wrong colors, the colors are strange. Thank you. They Astrid Lindgren Pippi Langstrumpf have this quirkiness, and their perfectly balanced Chris Murray interface is always clean and easy to dive into, easy to understand. I have two people here that do just modeling, just 3D modeling, and they help me with three dimensional work out of an instrument or any kind of product. They had an ASIC chip, built by Waldorf…for the Microwave and they put two of those into the Wave and analog filters. This is something I think: Steve Jobs brought me in there. What is the process of you going through the development of the feel of a synth?

What are the things that make them want to go to a music store and buy a piece of gear? And, what are the things that you think drive people away?

I think you know the guy Dirk Matten from SynthesizerStudio Bonn. It was one of the first synthesizer shops in Germany. Something that works differently that kind of tickles their nerves.

They want to get into something new. On the other hand, I think with a clever design, you can fulfill a lot of things that make a product attractive.

But industrial design is also solving the problems of the manufacturer. It makes the product easy to produce, easy to ship, safe to ship. These are all things that come together in a perfect design.

Besides that, big sound engine needs to be great and needs to be appealing. All the people want price breakers. Everybody wants a MiniBrute or a MicroBrute because they are so cheap.

If this all comes together, if you have a reasonable price, a nice package, good ergonomics, and a well sounding instrument; something that feels like an instrument you have a good product.

People like this kind of product and they buy it. Darwin Grosse: What about things that you think would drive people away? What are the things that you tend to stay away from?

There are synthesizers out there or musical instruments that simply do not have the right user interface, wrong colors, the colors are strange.

Why is a violin or a nice guitar so beautiful? It would be so easy to make it right. It costs the same in the production, but you need somebody to look at the different things.

Musicians have a different attitude. I was once working with a guy in Australia, Peter Vogel , who invented the Fairlight.

They are kind of designed by need. What the engineer would do. Everybody loves it. Understand what I mean? Darwin Grosse: I would say all of those, without being slavish, all kind of harken back to the Minimoog look.

Was that something that they came to you with or did you say this is the natural execution? Axel Hartmann: This is something that is a co-operation.

Moog, they have such a strong corporate design. They always have this quirkiness, and their perfectly balanced user interface is always clean and easy to dive into, easy to understand.

They have a natural talent to grab those parameters that you want on the panel, and the others they just leave them out. When I did design for Moog, I started with the Voyager.

We had a booth with the Neuron side by side with Moog back then and Bob was still alive back then, and could use his name again.

He was showing the Voyager; I saw this instrument and I saw the user interface was not right. It simply was not right and I asked him if he would give me the chance that I re-work that.

That was my step into Moog. I know exactly what to do if I work for Moog. They also have a very, very good marketing department.

She knows exactly where she wants to go with a brand. They have very clear vision of how a Moog instrument must look like.

We need to link into that. We tried to bring in a new vibe, like we did with the Little Phatty with the swing back, the aluminum back.

This was something that came from our side. This is something that carried their legacy in a beautiful way to support that legacy.

We always try to find something like that keeps the momentum of their brand visuals but adds something that compliments the basic idea in a very good way.

That was a case where you got to make all the decisions. Axel Hartmann: That was me in , when I had the idea of a new synthesizing concept.

I was on the search for somebody who could write the code for it. The basic idea was to use a given sound and treat this like modeling in the 3D world: I wanted to model a sound.

Then I wanted some handles on that, where I could just make the piano bigger. The violin, I could change the body from wood to metal — things like that.

I was searching for somebody who was able to do the software and I found Stephan Sprenger — Stephan Bernsee , now. He told me that he was able to detect these things that I wanted to put handles on in the sound.

He said his software was able to detect these points musically. We started this corporation then in , and we developed together this synthesizer.

He was writing the code and we had a few people who worked on the user interface. We had some sound designers, people who gave us the samples like Ray Legnini.

You may know him, he worked for Ensoniq back then. We had the Yellow Tools people that gave us their samples, so those were the basic material we started to work on.

During the process, we found out that the recognition of the sound attributes was very difficult to write and we ran into some obstacles there, but in the end we came up with this instrument that was a synthesizer.

For me, it was like working with sound by deconstructing the sound, by giving it a different attitude. This is how it ended.

We understood a lot after we made that, why a piano looks like a piano and is made like a piano, because if you make it different it starts to sound really strange.

First of all, in order to manufacture, it ended up being quite an expensive device — similar to the Wave. It was one of those things where I wished I could have it, but knew I never could afford it.

The other thing is, when was that manufactured? Axel Hartmann: was the end of the company already. It was manufactured between and If it would have been a little bit later, things like the computer connection would have been easier to handle.

Things like the built in electronics might have been more available or powerful enough to do some of those functions? Axel Hartmann: Yeah, absolutely.

I totally agree. He helped us a lot, at the beginning, but still we were always under pressure. It was never really finished. This is probably the reason why it never really succeeded; we never had the time to work on it in a way that would have been appropriate.

It was too early, but if you do something like that, something really new, something innovative, you have to think ahead of your time.

How cool would it have been if we had SD hard drives? How cool would it had been if we had not 60 GB but a terabyte of data that we can load, a faster processor.

All those things were like that back then and we were on the edge. The processor was behind, even if we had a fast processor, it was always too slow and not really capable.

We were always on the edge regarding calculation power. Sometimes good stuff happens even if it ends up being kind of devastating for the company that tries to take advantage of it.

Darwin Grosse: Was that your first dive into working on software or had you done software designs before that? Axel Hartmann: I did software designs before that, several.

I would have to check what it was, but I did some for Steinberg and we did some software synths before. It wanted to be a product that could fill our budget so that we could really keep on developing the technology.

That was coming out already when we were on the brink, where we were running out of money and people wanted money back, so it was a bad point.

This was actually the breakdown of the company. We had a 1, units produced of that small module. We had the Nuke , which was like a hardware dongle for the software.

It had that little stick at the center, and this was working together with the software on the screen and we wanted to sell it for Euros. We had a 1, units.

The company that forced us to really proceed wanted money back from us. They simply took those instruments that they had built and they sold some for a ridiculous low money to the music store in Germany so that brought us actually out of business.

It was like that. They wanted their money and they took the chance and they sold the 1, units. You actually seem to be feeling pretty okay about it.

At some points you sometimes have to be strong and simply request things from people and this is something that is always hard for me. I can do a lot of things, but I cannot write a line of code.

Darwin Grosse: Right, especially now when even analog systems have so many digital controls and digital networking functions that have to be written.

What is thing that you always … if you die and you go up to the pearly gates and St. I think I like it a lot because I had the chance to work together with Bob Moog in person.

That was something that was a really, really a great experience. The design was a perfect match for what Moog wanted back then. It did propel them to the place where they are now.

I think that was their best selling synth. And I think the make up was perfect. And the Wave. One thing that makes me very proud — if you look at GarageBand from Apple and you go to the synthesizers, you see the icons, then you see the Wave there.

I think they have a Minimoog and I think they have some drum machines, and they have the Nord I think. The first one — the Nord Lead.

This is something I think: Steve Jobs brought me in there. This shows that the Wave was an icon that we built together.

It was not only myself, it was a lot of people that worked on that and I can be proud of that. Darwin Grosse: Indeed, so what does the future look like for you?

I think the future for me is a deeper interaction with software and hardware. Maybe also with software. Ableton is working on their side to building on the bridge between software and hardware.

Darwin Grosse: Were you involved in the new Waldorf keyboard with space for Eurorack modules? I think that that Waldorf thing really looks like a device to take Eurorack stuff and allow a player to have access to it, right?

Darwin Grosse: How do you imagine doing that same kind of thing with software? They look like big aircraft carriers or something and not necessarily like instruments.

How do you imagine taking computing devices and really allowing them to feel like instruments? That seems to me like a really hard design challenge.

This is something that I and some of my people here at Designbox can see a lot of potential for future instruments and future interface ideas.

Darwin Grosse: That really sounds exciting. Axel, I look forward to seeing the things that you come up with.

And it does make me want to jump out of my seat and spend some money. So, go slow with that. About Darwin Grosse:.

Impressive talk. Very educational… much more interesting because Axel Hartmann is not somebody who talks very often.

Btw, SSD, not SD. My Ensoniq ASR would have been amazing with 16GB SD drive! Eventually both the internal floppy and my ZIP drive died, moving parts bah.

To each their own I suppose. I think the light-up pitch wheels that appear on Moog and DSI stuff look really tacky. Come to think of it, it might have made more sense to make the wheel LEDs blue on the OB-6, to match the panel… hmmm … oh, never mind.

Many classics! Are you saying that we should settle for ugly, hard to use instruments that are hard to manufacture and quickly break? Interesting interview and indeed the designs for the wave and the neuron were great.

A lot of Eurorack modules seems to be made by technicians rather than muscicians, and juding from a lot of module demos on youtube, so are many of th buyers as well.

Suggesting that there could be a lack of knowledge about subtractive synthesis. The result can at times be quite unpleasant, even though the osc in itself seems capble as an osc sometimes that unfortunately are the only demos one can find of a specific OSC..

And when it comes to modular music, a lot of it is more of listening to slow parameter changes. More of a sound experience than a musical composition.

Sometimes this is probably a result of the person not having a big enough system, to actually perform enough parts at once, to form compositions.

And voices playing in different keys, different tunings. Inharmonic sounds are not uncommon, on trade shows, youtube demos and in the music.

So I think there is many examples of lack of skills, that due to fact that there is much experimental music made on modulars, somehow get mixed in there as experimental music, when it is mostly just a collection of attempts and accidents, perhaps starting out as a happy accident that actually sounded musical.

And many such sequencer lacks storage, and thus to perform songs, one would have to real-time change the settings, for every new part of the song, it does impose a limitation that people that know how to play instruments are expected not to accept.

They are not played, they are programmed, and their interface is not designed for live changing. But they make little sense as instrument interfaces.

In a live situation, a lot of people expect parts of the music to be played live, not just parameter tweaked. People like Jean Michel Jarre, and Kebu uses sequencers, but they also play live.

The PSU is a non- ATX design, although the exhaust fan is a standard PC part. The exhaust fan, however, is noisy in operation [3] and may not be acceptable in the confines of a soundproofed mixing room.

Externally, the casing is extremely solid, heavy-duty aluminium chassis with a wooden end panel. The one drawback are the four delicate plastic joysticks.

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Axel Hartmann ist ein deutscher Industriedesigner, der mit der Gestaltung von Synthesizern Bekanntheit in der Branche erlangt hat. Er war auch. Axel Hartmann (* 4. Juli in Bad Sachsa) ist ein deutscher Diplomat. Er war von 20Botschafter der Bundesrepublik Deutschland in der Slowakei​. Immobilie empfehlen und profitieren. Holen Sie sich Ihre kostenfreie Wertermittlung und profitieren Sie von unserer jahrelangen Markterfahrung! Sie werden. Axel Hartmann ist als selbstständiger Makler in Düsseldorf tätig. Er vermittelt zudem Objekte in der VOX-Dokusoap 'mieten, kaufen, wohnen'. Axel Hartmann Anti Kater Getränk als selbstständiger Makler in Düsseldorf tätig. Welcher Interessent schnappt sich die Traumvilla? März in Düsseldorf geboren. Axel Hartmann. Stephan Kallweit. Antje Feldhusen. Wolfgang Schröder. To support the model of the buffet mechanism given by Lee [1] the present investigation aims at capturing the wave propagation. The In , Axel Hartmann and I, Stephan Bernsee, set out to designing a novel synthesizer based on artificial neural networks used for sound synthesis, the synthesizer. Axel Hartmann has been the go-to designer in the music industry for over 30 years. He is responsible for the design and ergonomics of an unparalleled number of notable products that includes some of the most remarkable electronic musical instruments of modern times. Designbox co-founder Axel Hartmann shot down the theory that they had licensed a design to Behringer. He shared this statement via Facebook: “I do feel the need to comment on the many postings I can find here @ Facebook in several places regarding my thoughts, feelings, but also the truth about the blunt Behringer copy of the Arturia key step. Just another WordPress site.
Axel Hartmann
Axel Hartmann