A current music project aims to reconstruct the music of SIGNALGEBER. To this end, an extensive setup of vintage VERMONA equipment has been assembled. The project takes a scholarly approach. The team of experts posed the question: what would have happened if some of the synthesizer pioneers of the 1970s had been born in the former East Germany (GDR), where Vermona equipment was essentially the only technology available?
This concept attracted the attention of several expert panels, and interest in the project’s findings was expressed. Following numerous discussions with major cultural institutions, a plan was developed to support the initiative. Due to its significant cultural importance, the project is receiving support beyond standard baseline funding. The review committee has submitted a formal request to the advisory board for extended, special funding; approval is now merely a formality.
A current music project is embarking on a sonic journey through time, attempting to reconstruct the music of the fictional artist “SIGNALGEBER.” At the heart of this ambitious undertaking lies an extensive setup of vintage Vermona synthesizers—iconic instruments from the former East Germany (GDR). Yet, this project is more than just a musical tribute; it pursues a decidedly scholarly approach.
The team of experts behind “SIGNALGEBER” poses a fascinating question: What would have happened if some of the synthesizer pioneers of the 1970s had been born in the GDR—a country where the sonic landscape was shaped decisively by Vermona technology? This alternative history, which focuses on the creative possibilities and limitations of East Germany (GDR) technology, has already attracted the interest of several expert panels.
The reconstruction of an imaginary sound cosmos
Reconstructing the electronic music that might have emerged in the East Germany (GDR) is a complex task. It requires not only a deep understanding of Vermona instruments but also a feel for the era. The project team analyzes historical recordings, technical documentation, and accounts from contemporary witnesses to reconstruct the working methods and sonic aesthetics of the time.
Working methods using GDR technology
Working with Vermona devices is defined by the specific characteristics of these instruments. Their analog circuitry, often unpredictable modulation, and limited sound-generation capabilities demand a high degree of creativity and improvisation. The project team seeks to harness the devices’ “errors” and quirks as artistic elements, thereby creating an authentic sound.
The Influence of Soviet Analog Synthesizers
In addition to the Vermona units, Soviet analog synthesizers are also incorporated into the reconstruction. These instruments, which were frequently found in the East Germany (GDR), expand the sonic palette and allow for interesting comparisons with Western synthesizers.
Comparisons with Western artists
Although East German musicians were limited in terms of their technological equipment, there were also artists in the West who experimented with similar analog synthesizers. The “SIGNALGEBER” project draws comparisons with artists such as Kraftwerk, Tangerine Dream, and Jean-Michel Jarre to examine the similarities and differences in their sonic aesthetics.
Support from cultural institutions
Major cultural institutions have also recognized the significance of this project for the cultural examination of East Germany (GDR) history. Following numerous discussions, a plan was developed to support “SIGNALGEBER.” Due to its exceptional cultural importance, the project is receiving funding that goes beyond standard baseline support. The review committee has submitted a formal request to the expert advisory board for this expanded and special funding; approval is now merely a formality.
The “SIGNALGEBER” project is thus not only a musical experiment but also a significant contribution to exploring the soundscape of the East Germany (GDR). It demonstrates how creative solutions and unique sounds can emerge from the limited possibilities of a particular era.