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We're back with Season 2 of CAP Selects: a weekly series dedicated to showcasing the outstanding work of our second-year Creative Audio Production & Sound Engineering  Bachelor students. The task for the assignment is to write a  seven-track album towards a creative vision from scratch. The only  prerequisite: two of the tracks should be collaborations and another two  tracks should be covers or reinterpretations of original work. Listen to and read about our season-two selections below.

CAP Selects: Albums is a weekly series dedicated to showcasing the outstanding work of our second-year Creative Audio Production & Sound Engineering Bachelor students. The task for the assignment is to write a seven-track album towards a creative vision from scratch. The only prerequisite: two of the tracks should be collaborations and another two tracks should be covers or reinterpretations of original work.

'Black Turns Blue' was created by second-year student Tomas Altamirano, aka Micelio.

"I wanted to create a concept album, but I also wanted the individual pieces to be able to stand on their own. I envisioned something obscure and dark, but not haunting. I portrayed fragility and playfulness. I achieved this by being very free in terms of song structure and instrumentation. 

The Story:
A being will be born from the depths of the ocean, the voice of the mother will be present before its own. After the being is born, the voice of the mother will carry on as they surface and set sail looking for something...

This story was for me, and my collaborators. It is not necessarily intended for the listener to follow, but more for us to hold on to something."

Head to the blog for more albums of the week: catalyst-berlin.com/stories/cap-selects-albums-s2

Find out more about our Creative Audio Production & Sound Engineering courses at catalyst-berlin.com

CAP Selects: Albums S2 | Black Turns Blue by Micelio by Etikett Radio

"I wanted to create a concept album, but I also wanted the individual pieces to be able to stand on their own. I envisioned something obscure and dark, but not haunting. I portrayed fragility and playfulness. I achieved this by being very free in terms of song structure and instrumentation. 

A being will be born from the depths of the ocean, the voice of the mother will be present before its own. After the being is born, the voice of the mother will carry on as they surface and set sail looking for something...

This story was for me, and my collaborators. It is not necessarily intended for the listener to follow, but more for us to hold on to something.

Special thanks to Artur Pasco for the drums."

'Visor Från Hammarkullen' by Matias Santos

CAP Selects: Albums is a weekly series dedicated to showcasing the outstanding work of our second-year Creative Audio Production & Sound Engineering Bachelor students. The task for the assignment is to write a seven-track album towards a creative vision from scratch. The only prerequisite: two of the tracks should be collaborations and another two tracks should be covers or reinterpretations of original work.

'Visor Från Hammarkullen' was created by second-year student Matias Santos @sol-a-mente.

"What I mostly want to express are stories, even though they are written both from a first and a third person’s perspective, they’re a combination of stories from my family and friends. But it’s all written in a way where it could be about anyone.

This idea comes from when my father told me his story and when I said that it was such an impressive and unique story he replied that it wasn’t unique at all, that most immigrants had to live through what he lived through to survive. And that became a main pillar of my album. While most songs are about love stories, I wanted to write them from a perspective of a second-generation immigrant."

Follow Matias Santos:
https://www.instagram.com/santosmatias
https://www.facebook.com/matiassantoscortes 
https://vimeo.com/user94590245

Head to the blog for more albums of the week: catalyst-berlin.com/stories/cap-selects-albums-s2

Find out more about our Creative Audio Production & Sound Engineering courses at catalyst-berlin.com

CAP Selects: Albums S2 | Visor Från Hammarkullen by Matias Santos by Etikett Radio

"What I mostly want to express are stories, even though they are written both from a first and a third person’s perspective, they’re a combination of stories from my family and friends. But it’s all written in a way where it could be about anyone.

This idea comes from when my father told me his story and when I said that it was such an impressive and unique story he replied that it wasn’t unique at all, that most immigrants had to live through what he lived through to survive. And that became a main pillar of my album. While most songs are about love stories, I wanted to write them from a perspective of a second-generation immigrant."

CAP Selects: Albums is a weekly series dedicated to showcasing the outstanding work of our second-year Creative Audio Production & Sound Engineering Bachelor students. The task for the assignment is to write a seven-track album towards a creative vision from scratch. The only prerequisite: two of the tracks should be collaborations and another two tracks should be covers or reinterpretations of original work.

'Stranding' was created by second-year student @atlasglaas

"My vision was quite simple: dark, dreary, and drowned in mystery. I am naturally a 'night owl.' I value anonymity. I much prefer the comfort of darkness then the sunlight of daytime. My goal was to simply express these emotions without any grand ulterior motive. For the production phase of this album, I wanted to create a sound world drowned in darkness, decay, with a tendency toward the claustrophobic. To accomplish this, I relied heavily upon the scientific concept of Psychoacoustics and its effects on the perception of sound. The study of psychoacoustics has been an immense influence on my production, and my general view of sound design. Oscillator phasing techniques, feedback, microtonal tuning methods (such as just intonation) and careful navigation and exploitation frequency masking, all played a big role when considering how I wanted to layer my sounds. "

Follow Atlas Glaas:
https://www.instagram.com/atlasglaas 
https://atlasglaas.bandcamp.com
https://twitter.com/atlasglaas 

Head to the blog for more albums of the week: https://catalyst-berlin.com/stories/cap-selects-albums-s2

Find out more about our Creative Audio Production & Sound Engineering courses at catalyst-berlin.com

CAP Selects: Albums S2 | Stranding by Atlas Glaas by Etikett Radio

"My vision was quite simple: dark, dreary, and drowned in mystery. I am naturally a “night owl.” I value anonymity. I much prefer the comfort of darkness then the sunlight of daytime. My goal was to simply express these emotions without any grand ulterior motive.

For the production phase of this album, I wanted to create a sound world drowned in darkness, decay, with a tendency toward the claustrophobic. To accomplish this, I relied heavily upon the scientific concept of Psychoacoustics and its effects on the perception of sound. The study of psychoacoustics has been an immense influence on my production, and my general view of sound design. Oscillator phasing techniques, feedback, microtonal tuning methods (such as just intonation) and careful navigation and exploitation frequency masking, all played a big role when considering how I wanted to layer my sounds." 

A new season of showcase albums by our Creative Audio Production & Sound Engineering students. Listen to our track of the week.

Albums by Berlin's Emerging Artists

CAP Selects S2: Listen to Our Student Albums of the Week

As part of our NoBerlinale student festival, film director Craig Murray gave a guest session on practical FX for narrative, music, commercial and experimental videos. Find out what fuels his creativity.

As our Film Production students learn from year one in their ‘Microfilm’ assignments, short films are like elevator pitches. You only have a few minutes to ‘sell’ your creative vision, so that the viewer craves to see more after the ride is over. In the case of music videos and commercials, making an impression is more important than ever. In the oversaturated media environment, it’s easy to miss a good artist or product. Connect a compelling visual narrative and you can not only garner attention, but create a sensation. Add hand-crafted visual effects to the picture, and you've got a sure-fire explosion.

Selected work 2008 - 2020

Short form is where film director Craig Murray is in his element. Check out his wow-worthy Vimeo showcase (above), and you’ll get lost in visceral FX-infused music videos, atmospheric analog camera experiments, beautifully macabre hand-drawn pencil animations, and more. His original approach has seen him work with the likes of the post-rock/metal bands Mogwai and Alcest, as well as high-calibre companies like Samsung. Not relying on computer-generated special effects, he works with real elements in order to encourage a greater potential for connection. The visceral, emotive and otherworldly result could galvanise anyone out of content fatigue.

Hosted by our Visual Effects lead Matthieu Schmit, Craig graced our NoBerlinale programme with a guest session on practical FX for narrative, music, commercial and experimental videos. Our NoBerlinale festival was our response to the cancellation of this year's Berlinale in February. With the help of our film team, events and student experience lead Hannah Deans filled our students’ calendars with an exciting line-up of alternative events, from guest sessions to remote filmmaking to exclusive screenings.

Taken away by Craig’s exceptional art, after the session, we asked him what catalyses his creativity. Here’s what he told us.

“If it doesn’t work with their music, it generally doesn’t go in, even though it’s always for another band or client."

“Probably the band Godspeed You! Black Emperor…I build and initially edit most of my films listening to them. If it doesn’t work with their music, it generally doesn’t go in, even though it’s always for another band or client. I guess it creates another layer and tone for me? I also don’t have a dream to work with them. They already have a long-time collaboration with a person who does their live 16mm projections. But perhaps that’s also because in some way I already do work with them.”

As part of Catalyst Berlin's NoBerlinale, short film director and FX artist Craig Murray gave our students a window into his wildly creative world.

A Guest Session on Practical FX With Film Director Craig Murray

Short Film & Practical FX Sensation Craig Murray Shares What Fuels His Creativity

Third-year Film Production student Jayden Bailey talks about his short film ‘Not Olives,’ which was selected for Portugal’s FEST New Directors Film Festival in 2020. 

“Within two weeks of being gifted the olives, I had shot the film.” Sometimes life drops ideas into your lap without you having to lift a finger. For Film Production student Jayden Bailey, the creative serendipity started with the taste of an olive and ended in a witty short film starring said olives, which was subsequently selected for FEST 2020. What’s not to o-love?

For Business Inquiries (EU): jaydenbaileyjab@gmail.com

Logline: Roommates set out for a jar of very special olives, meanwhile their apartment is robbed.

Specifications: Shot on Sony A7s

Featuring || Adam Donald as Thomas, Samantha Lee-Kroll as Marie

Director / Writer / Editor / Sound Design || Jayden Bailey
Producer / Sound Recordist || Agostina Cerdan Niell
Director of Photography || Sidney Mandros
AC / Assistant Editor || Dico Baskoro
AD / Catering / Special Effects / Grip || Matthias Neumeister
Grip || Zac Yeates

Not Olives (2020)

“Not Olives was inspired by the real, on-screen, jar of olives that was gifted to me!” says Jayden, who is now in his final year of the Bachelor course. “I was down in the south of Germany for another film project and, following the shoot's wrap, we went to a friend's cocktail bar. I got to know the owner and I told him he had great olives, which he served with his drinks. Olives at this point were just a hated food of mine, but his olives were a sure winner! Then he surprised me and gave me a whole jar as a gift. As the conversations around me returned back to German, I was left daydreaming... this led me to a film idea, and then the very next day I told him I would make a film about a childish man being picky about a jar of olives. The childish character Thomas, went on to share the same name as the real 'non-childish' bar owner!” 

Screen Acting programme lead Adam Donald and Samantha Lee-Kroll play two spatting roommates who set out for a jar of very special olives. Their relatable dynamic immediately sucks you into the narrative, which wraps humour, tension and surprise into a delectable four and a half minutes. Jayden’s storytelling is as moreish as said olives. That’s why we’re thrilled to hear that he’s planning on upping the game with his next film, which is currently in post-production. Scroll down to find out how you can get involved!

"Little did I know that this would start a chain of unrelated events that gave me many film opportunities."

“FEST 2020 was my first selected short film,” he continues. “I remember it being one of the highlights for me during the COVID lockdown of last year. I was unable to attend the Portugal film festival, which was a real shame, but that's when I decided on the next best thing. I'll direct and write an even better film and go again in the next edition. Little did I know that this would start a chain of unrelated events that gave me many film opportunities. Fast forward to now and my latest film is being edited. It's a story of three friends on a camping trip. The night takes a big turn when the fire starts to spit out memories of the past.” We can’t wait to see it.

Want to get involved in the post-production of the film – editing, music, colour etc.? Don’t be shy! Jayden invites you to contact him at jaydenbaileyjab@gmail.com.

Third-year Film Production student Jayden Bailey talks about his short film ‘Not Olives,’ which was selected for FEST Film Festival in 2020. 

Filmmaker Jayden Bailey on His FEST 2020 Selected Film ‘Not Olives’

We're back with Season 2 of CAP Selects: a series dedicated to showcasing the outstanding work of our second-year Creative Audio Production & Sound Engineering  Bachelor students. The original singles were created from scratch by students from  both our one-year Certificate and three-year Bachelor courses. Listen to and read about our tracks of the week below.

CAP Selects is a weekly series dedicated to showcasing the outstanding work of our Creative Audio Production & Sound Engineering students. The original singles featured were created from scratch by students from both our one-year Certificate and three-year Bachelor courses.

'Daydreaming' was created by @imendezmusic

Follow Ivan Mendez:
Spotify: https://open.spotify.com/album/4fIyPBFiF9MZ7AOBM9Cy5m
Instagram: https://www.instagram.com/imendezmusic/
Facebook: https://www.facebook.com/imendezmusic

Head to the blog for more albums of the week: catalyst-berlin.com/stories/cap-selects-singles-s2

Find out more about our Creative Audio Production & Sound Engineering courses at catalyst-berlin.com

CAP Selects: Singles S2 | Daydreaming by Ivan Mendez by Etikett Radio

A new season of showcase singles by our Creative Audio Production & Sound Engineering students. Listen to our track of the week.

Singles by Berlin's Emerging Artists

CAP Selects S2: Listen to Our Student Singles of the Week

Ableton recently launched its latest software, Live 11. Music producer, composer and synthesist Stefan Knauthe gives his perspective on the new release. Stefan is a senior Catalyst music tutor  and tech, as well an Ableton Certified Trainer since 2012.

It has been said that the 2001 inception of Ableton Live was a new milestone in electronic music history, along with such inventions as the analog synthesizer and digital sampler. Even in its early days, Ableton Live changed our perception of how music can be made and performed –serving as both instrument and workstation. “I’ve used Live since version 3, which I bought in 2004,” Catalyst Music veteran and Ableton Certified Trainer Stefan Knauthe recalls. “It could only handle audio signals, but was capable of stretching in real time, which was an outstanding feature.”

Ableton Live 11: What’s new?

The same 20 years that advanced Nokia bricks into slick iPhones turned Ableton Live into a cult tool for musicians. Released in February, the latest version, Live 11, introduces even more exciting features – including recording and comping, linked-track editing, MPE (MIDI Polyphonic Expression) and new devices and sounds – which promise to further open up expressive and experimental potential. 

How does the software measure up for a seasoned electronic music production expert? Following the launch, we asked Stefan – synth nerd, recording studio enthusiast, music tech and short course tutor – for his reflections. 

My career as a Certified Trainer is closely connected to Catalyst (formerly known as dBs Berlin). I met the school founder David Puttick for the first time in autumn 2011. That's when it was decided that I should become responsible for installing the recording gear in the Funkhaus. David wanted the school to be an Ableton-certified training centre and, as I was already a Live user, we agreed that I should apply in summer 2012. Coincidentally, there was a certification event already planned for October 2012. I was invited to that and became an Ableton Certified Trainer. The opening of dBs, however, was postponed to September 2013, but I was able to start working for other institutions, both inside and outside of Berlin.

“Live is the quickest way to lay down a musical idea, and deep enough to heavily process sounds.”

These days, I use Live 11 mainly as a studio tool. It serves as my recording device, but also as a mixing and audio-processing tool. I don't use the internal sound generating possibilities that much, because I mostly generate sound with my hardware and modular synth equipment. The only exception are the granular synthesis options that Max for Live offers. Live – even though it has become quite feature loaded in the past – is still the quickest way to lay down a musical idea, and is then deep enough to heavily process sounds. The internal plugins are of good quality, even though I use third-party plugins a lot. 

Ableton Live 11: MPE

In Live 11, the new features that most interest me are a little hidden; it's more about smaller workflow improvements. I like the way they redesigned the clip view, integrated new MIDI editing features like MPE, and redesigned some devices in a useful way. The new version is super stable on my computers; even in the beta testing phase I had only a few crashes. Another important point is that the quality of Ableton’s sound content has become much better over the last years. I don't use third-party material a lot, but I have noticed that in the past that was a weak point. And of course – very important for me – all these weird Max for Live sound mangeling devices are super important for my work, also as a trigger for new ideas and as a source of inspiration.

Catalyst music tech and short course tutor Stefan Knauthe gives his expert reflections on the latest Ableton release.

Ableton Certified Trainer Stefan Knauthe Reacts to Live 11 Release

Brazilian filmmaker Lillah Halla recently inspired our student community with a guest session on feminist film theory, as part of our very own noBerlinale festival. Find out more about her vision.

At Catalyst, we believe disappointment is synonymous with innovation. That’s why, when the 2021 Berlinale Festival was cancelled, our events and student experience lead Hannah Deans didn’t settle for a sinking feeling. She and the film team pulled out all the stops to provide an equally enriching and even more engaging online programme of exclusive screenings, remote filmmaking, project presentations, guest sessions, film reviews, and more, to our Film Production students. To top it off, there was even a Zoom screening and awards party!

Trailer MENARCA dir. Lilla Halla

Lillah Halla was one of our noBerlinale special guests. Hosted by a fellow Brazilian filmmaker, BA and MA tutor Leandro Goddinho, Lillah joined us to give a lecture and Q&A on feminist theory. Speaking from her experience of the film, she gave a brief talk on the process of scriptwriting female characters that subvert foundational archetypes and cultural stereotypes, centred around cinema as a tool for subversive perspectives.

Lillah studied Directing and Scriptwriting at the Escuela Internacional de Cine y Televisión de Cuba. Her latest short film, Menarca, was one of the ten shorts selected at Semaine de La Critique Cannes 2020, awarded in Kurzfilmtage Winterthur 2020. Lillah is also the co-founder of the São Paulo-based film collective Vermelha, a political project for women and queer filmmakers in Brazil.

Lillah Halla presents MENARCA

Menarca is a reinterpretation of the myth of the vagina dentata (“the toothed vagina”), and as film critic Léo SeoSanto wrote at Cannes 2020, a welcome feminist call to arms. “The poison of toxic masculinity threatens Nanã and Mel,” he writes, “who are saved by a fish and a woman: Lillah Halla’s perfect high-wire act between the magic realism of a fairytale and a realistic, stifling atmosphere (ageless, though it echoes present-day Brazil) infers the very essence and turns up the heat before the punk explosion finale.”

“You can choose to look at things differently. You can choose to try to give a voice to people who haven't been heard... I think what we're doing is giving space for reflection and to dream, and to feed the power of imagination, which is the strongest tool we have.” 

Like us, Lillah puts storytelling at the centre of her creative practice. Her use of narratives and symbols probe deep into the subconscious of the viewer to create a truly captivating and influential experience. “You can choose to look at things differently,” she says in the inspiring DW Berlinale Talents feature below. “You can choose to try to give a voice to people who haven't been heard... I think what we're doing is giving space for reflection and to dream, and to feed the power of imagination, which is the strongest tool we have.”

"Menarca is on every level a biting film. It is a reinterpretation of the myth of the vagina dentata ("the toothed vagina") and a welcome feminist call to arms.” written by Léo SeoSanto, Semaine de La Critique Cannes 2020

Lillah Halla is a Brazilian director and screenwriter. She studied Directing and Scriptwriting at the Escuela Internacional de Cine y Televisión de Cuba.

Her most recent short film, Menarca, is one of the 10 shorts selected at Semaine de La Critique Cannes 2020, awarded in Kurzfilmtage Winterthur 2020.

Lillah is also the co-founder of the São Paulo-based film collective Vermelha, a political project for women / queer filmmakers in Brazil.

“I have quite a trajectory in researching narratives, speaking about female contexts in filmmaking. I have a collective in Brazil called Collegeville Familia, which is a collective of women filmmakers who have been organizing debates, actions, encounters, courses, workshops. And that is, on one hand, that it's beginning when it was more important to talk about representation and just having access to funding, having access to work positions.

(…) This is what we're speaking about, and every word counts. So grammar counts, words count and... And the way we're telling stories not only what we're speaking about, but the way we're telling them is also either reproducing those stereotypes, those archetypes or you're changing them.”

Berlinale Talents 2021: Lillah Halla

Brazilian filmmaker Lillah Halla inspired our Film Production students with a guest session on feminist film theory, as part of our noBerlinale festival.

A Guest Session With 'Menarca' Filmmaker Lillah Halla

'Menarca' Filmmaker & Catalyst NoBerlinale Guest Lillah Halla on Feeding the Power of Imagination 

On Women’s Day 2021, we’re celebrating two outstanding Creative Audio Production & Sound Engineering alumni who are part of the new generation of female producers: Akila and Cecilie Sadolin. First up, read our Q&A with Cecilie. 

If there’s one thing (probably the only thing) for which we can thank Corona, it’s the creative spirit it reawakened. According to The Guardian, the lockdown periods have seen a colossal spike in registrations for creative courses, as well as an uptick in ‘how-to’ searches. When it comes to the male-dominated audio production and sound engineering industry, the outlook is particularly exciting. The percentage of women in the workforce has languished at five percent for the best part of a decade – no thanks to sexism, underrepresentation and underexposure. However, in an incredible turn of events, lockdown has encouraged many more women and non-binary people to ignite their passion and take the first steps towards their dreams.

At Catalyst, we’re happy to meet more women and non-binary applicants each year – though they remain in the minority. That’s why, this Women’s Day, we’re celebrating two Creative Audio Production & Sound Engineering alumni whose outstanding music is helping to change the face of the industry: 2020 graduate Akila and 2018 graduate Cecile Sadolin. We caught up with them to learn what they’ve been working on since graduation, as well as their advice to fellow females who aspire to a career in music.

Read our Q&A with Cecilie below and click here to head to Akila’s.

Studio Sessions | CECILIE SADOLIN

What was your motivation to focus your career in this field?

I was only supposed to be at Catalyst – formerly known as dBs – on an exchange programme. As I already studied my Master’s degree in composition from The Royal Academy of Music (Denmark, Aaruhs), I was only aiming for a semester at dBs. But I ended up being so thrilled about the world of audio and sound engineering, that I put my degree in Denmark on hold and finished the accelerated dBs programme, which was then called Music Production and Sound Engineering. My main focus for applying to dBs was to be able to record and produce my own music. Yet, in addition, I wanted to be able to produce, mix and master for other artists, bands and ensembles.

Coming from a more traditional background and working within the frame of musical scores, notes and rehearsals with bands and ensembles, it was such an upside-down experience, to then work with sound as the basics of all things, in studios and on computers. 

"I have been able to work many different jobs, as an audio engineer, producer, mixing and mastering engineer, sound designer and as a teacher. Most importantly, I have expanded my craft as a composer in having sound as one of my main perspectives and parts of my creative process."

It was the best decision I ever made – as it gave me a foundation of knowledge and experience that I would have never gotten in a basic three-week course. Since graduation, I have been able to work many different jobs, as an audio engineer, producer, mixing and mastering engineer, sound designer and as a teacher. Most importantly, I have expanded my craft as a composer in having sound as one of my main perspectives and parts of my creative process. 

What are your current projects/endeavours/jobs in the music industry?

I recently finished my Master’s project in composition from The Royal Academy of Music in Denmark, Aarhus, with my project, PROJECT X. My wish was to connect all of my identities as a sound engineer, electronic music producer and sound designer, with my work as a classical composer, singer and musician. Corona happened in the middle of it all, and I had to rethink all my ways of working. I was forced into diminishing my plans of recording, composing and producing three big orchestral pieces and I decided to narrow it down to: how much sound could I create with very few musicians? I wanted to recreate classical music with an electronic music perspective where diffusion of sound, panning, movement and change in timbre and acoustics, was central as part of the listener’s experience. For acoustic instruments and ensembles and with the concept of Ambisonics – spherical surround sound – I wanted to see if it was possible to create something totally new. Due to Corona, all the venues and musical platforms had been shut down, and I wanted to bring a live-concert experience to people. To create a dialogue between the different styles of contemporary-acoustic and electronic music. And for everyone to be able to listen, I decided to compose music only for headphones. 

Cecilie Sadolin performing 'Cyclus' live from her debut album 'Pseudo Random' with band and Danish string quartet "Who Killed Bambi" - at SPOT FESTIVAL 2018. Filmed and recorded 12/5 at Klubscenen (Musikhuset) in Aarhus, Denmark. All rights reserved to www.ceciliesadolin.com

Film and edit: Lasse Løndahl Henriksen
Master: Christian Tronhjem

Strings: Who Killed Bambi 
Drums: John Riddell
Bass: Jens Pilgaard Ulrichsen 
Tape Machine, Saxophone and Clarinet: Jeppe Højgaard 
Guitars: Nikolaj Bugge
Electronics: Christian Tronhjem
Vocals, guitar and effects: Cecilie Sadolin
Hair and Makeup: Susanne Marxen

Cecilie Sadolin 'Cyclus' LIVE feat. Who Killed Bambi (SPOT FESTIVAL 2018)

By using a specific microphone setup NT-SF1 from RØDE – a tonne of spot and room mics – I could recreate the piece to be central to the listener’s perspective in post-production. Working with software in the surround-sound format of Ambisonics, I could record musicians from different angles and directions within an acoustic space, and then recreate the whole piece in post-production. It opened up a whole new world for me as a composer. It was powerful to be able to create and move sound sources within a virtual acoustic space; to change the sonic quality of the instruments over time; and to combine it with the basics of sound design: doubling, layering, panning, deconstructing audio, resampling and using effects. 

My new single Tapestry out! :-)
 See the video here https://vimeo.com/193349860 or stream it here https://itunes.apple.com/dk/album/tapestry-single/id1177003795?l=da

Tapestry by Cecilie Sadolin

I ended up having three recordings: Sandstorm (for a string quartet), My Authentic Voice (for a choir of three singers) and Symphony for Two Flutes (for two flutes). They are musical pieces that have an out of this world quality to them. Additionally, I have been granted a sum of money from The Nordic Cultural Fund to recreate this idea as a livestream performance for headphones and media, in a binaural format. In a combination of light-design, film and performance of a virtual cinematic experience, I wish to take sound, space and visual media to a new level. The music from PROJECTX and livestream will be available to listen and watch in the summer of 2021. 

Since Corona, I’ve also put my mind into mixing and mastering for others, and I have been working with producing, mixing and mastering many different artists since I graduated – the Danish National Theater, known and unknown artists, and currently I’m working on a mix for BBC 4, for the artist Bichi. Being so versatile in ways of working, makes me constantly evolve and expand my view on what music is. I also teach composition, music production and recording for students at post-degree level. 

What is your advice to future female students considering their studies in CAP?

I think it’s important to be hungry to learn, versatile in your ways of working, and always willing to evolve as a person. To be able to master an idea and put it into a finished product has helped me build a sense of freedom that I felt like I lacked. To keep on doing that, I constantly try to challenge myself and put myself into new environments. It's good if it scares the shit out of me. 

“I love to see how much of a focus there is on why women have been misrepresented everywhere in society – and especially within the music industry.”

What are the obstacles you perceive? What should we work collectively to overcome?

What is my take on the today? I think we all have to be better in asking for help, help each other out and be brave – especially women. BUT I love to see how much of a focus there is on why women have been misrepresented everywhere in society – and especially within the music industry. Change is coming and it makes my heart cry out of joy, to see how much focus the imbalance of power in society between the sexes has now. Women – and everyone on the genderfluid spectrum – have been treated horribly since the beginning of mankind. Thank god for #metoo, and for every person who has been brave enough to speak out, and still does. I applaud all institutions and people in a position of power that take the necessary responsibility, listen and acknowledge the truth: that women and men are not and have never been treated equally. So many have been blinded by their privilege since birth and it’s about time that they see truth for what it is. To see the beginning of a much more inclusive, diverse and loving atmosphere in all parts of society brings me hope. 

We stand on the shoulders of people who paved the way for us, asked the uncomfortable questions, stood up for injustice and demanded change. All of them – the ones who lost their lives, the ones who were belittled and mistreated – have reaped the ground for all of us to stand where we are today. It is our responsibility to honour them and keep the ball rolling. I never want to become complacent.

Cecilie Sadolin is one of the two audio production and sound engineering alumni we're celebrating on Women’s Day 2021. Read our Q&A.

Composer & Singer Cecilie Sadolin's Journey in Audio Production

Female Firestarters: Cecilie Sadolin Shares Her Journey in Audio Production Since Graduating

On Women’s Day 2021, we’re celebrating two outstanding Creative Audio Production & Sound Engineering alumni who are part of the new generation of female producers: Akila and Cecilie Sadolin. First up, read our Q&A with Akila. 

Read our Q&A with Akila below and click here to head to Cecilie’s.

[Above photo credits: Photographer & art director: Kaśka Jankiewicz. Fashion Designer: Kai Gerhardt. Make-up artist: Pablo Barckhahn]

I’ve always had a passion for art and music since I was a teenager and I’ve always dreamed of being an artist. I flew 11,004 km from Indonesia to Germany to pursue this passion. Therefore, this effort and sacrifice kept me motivated.

I’ve been having a lot of fun with my band Æ. It is a duo project consisting of me (vocalist and producer) and Elias O Graversen (singer and instrumentalist). The project was born as a result of the “Working to a Brief” module in my third year at Catalyst. Thanks to my tutor, Florian Zwietnig!

Last November, we were granted the artist’s residency from Musicboard Berlin at Hellerau cultural center in Dresden, where we wrote and recorded our debut album, Small Hands. Now I'm finishing the production of our album. Ainsley Adams, who was also my tutor at Catalyst is the mixing and mastering engineer of our album, under his production team, Brave. I am very happy to work with him and his team, he is benevolent and very encouraging. He boosts my confidence!

Our latest appearance was at the Hellerau Bandstand Festival, where they showed the two live performances of our unreleased tracks from the album. Nickolas Menescal, a Film Production alumnus from Catalyst is the director of our videos. 

Æ – Mind Back | Bandstand 2021

In general, when you decide to study something art-related, you must believe that you’ll be happy doing it and have the love for it. The more you do it, the more in love you are with yourself. It is like carrying a gift. I believe everyone has the gift. But the challenge is how to develop your talent.

“The life of the soul is in its creations and once you get the taste of it, you feel the freedom. You’ll be dancing in the moonlight, women!”

The gift of creativity is a part of the soul. When I play or create music, I put myself into it – I think we all do. The life of the soul is in its creations and once you get the taste of it, you feel the freedom. You’ll be dancing in the moonlight, women!

Therefore, my advice would be to trust your intuition. Intuition is the compass you bring to this world. I used to give up so easily because of the voices outside of me. Yet, all I need to know is already inside of me. Despite the fears of our egos, with no guarantee of success, we need to go and trust that our inner being will take us exactly where we need to be. Listen to your gut feeling and it will lead you.

Æ – Into This | Bandstand 2021

What are the obstacles you perceive, what should we work collectively to overcome?

Self-doubt and criticism are the biggest obstacles in my creative process. I used to only work alone. I closed the door to other people because at that time I thought no one would understand my ideas. It’s a lack of trust I guess. Because I worked alone, I felt personally attacked when someone criticized my work, I couldn’t separate myself from my work.

Now I realize that even though I locked myself in my own musical realm, I was still trying to get acceptance from the outside. I was naive to think that I could do it all by myself and then I would get the validation that I deserve. I was making music for other people, not for me, which can be a struggle because you will never feel enough. Through this experience, I started to learn how to accept myself. By doing that, I feel that making music is more enjoyable because my only intention is to be free with it. I want to make music for me, to make me feel good. In this state, I’m flowing with the music. There is no rush and pressure, and you will see there are many doors of inspiration open for you, under your joy and self-acceptance.

Nevertheless, there are always ups and downs in the process. I will not say that I amcompletely free in making music. I still have obstacles in the process, but I think the most important part is to be aware of it, so then we can work on it and we will find our way to enjoy our own creation.

“I get inspired by people’s stories, their background, cultures, their jokes, their pain, their happiness and their perspective towards life.”

Can you share someone you look up to or who inspires you?

There are so many people and artists that I look up to and feel inspired by, and it's hard to just choose one. Some of them are Kate Bush, FKA Twigs, Aurora, Kendrick Lamar, Patti Smith, Nico, Brandi Carlile, Weyes Blood, Caroline Polacheck, SZA, Kelsey Lu, Kid Cudi, Tyler The Creator, Tom Yorke, Alex Turner, Michael Jackson. But to be real, I mostly feel inspired by the relationships I have with other people.

I get inspired by people’s stories, their background, cultures, their jokes, their pain, their happiness and their perspective towards life. Sometimes, the people that really care for you embrace some of your reflections. The good ones and the bad ones. You can understand yourself better when you are surrounded by them, but you can also feel a sort of resistance when they show the sides that you don’t like about yourself.

To balance my different sides is what inspires me the most. The more I feel inspired, the more I can open myself to others, the more I listen to others, the more I feel true to myself. When I combine all of these inputs and the voice I have within me, my work seems to be more honest, genuine, and authentic. I think to find the best in people and in yourself is inspiring.

Pop artist Akila is one of the two audio production and sound engineering alumni we're celebrating on Women’s Day 2021. Read our Q&A.

Pop Artist Akila Shares Her Advice to Aspiring Producers

Female Firestarters: Audio Production Alumna Akila Shares Her Advice to Aspiring Artists

Our Visual Effects students have full access to a curated selection of over 50 bonus online classes to further unlock their creative potential. Find out more.

If education is a passport to the future, then Visual Effects education will get you there the fastest. Every day at Catalyst, we’re blown away by the skills our specialist tutors share with our students – from ways to model new realities to breathtaking effects. From the first year of study, the knowledge acquired by our students is extensive – allowing graduates to confidently enter the broad and competitive VFX industry with a honed creative mindset and blaze a trail as the next generation of artists. 

Our students’ success is in their own hands. The clue is in the name of our institution – we are only a catalyst to YOUR creative potential. Our course gives students the keys to self-learning, instilling an autonomous mindset which enables them to tread their own path in the creative and technical fields of visual effects. More importantly, these adaptable skills allow them to find out which approach best suits their style, so that they can evaluate the unique requirements of every incoming project.

To reach the top of your game in VFX, it’s all about immersion – taking what you learnt in the classroom and building upon it, further deepening your knowledge through exploration and play. That’s why our Visual Effects students have access to over 50 online classes around every topic approached in our workshops, including membership access to Skillshare’s extended catalogue. This on-demand resource counts as yet another invaluable tool in the bottomless VFX toolbox.  

Illustration for motion design, DSLR photography, Adobe After Effects, sculpting in ZBrush, abstract art in Cinema 4D… the list goes on. The wide selection of online classes includes complete software courses, practical tutorials, tips and tricks – so that you can broaden your skill set from multiple angles and perspectives. 

Live VFX demo: 3D asset texturing with "Substance Painter”

Interested in Visual Effects at Catalyst? Digital artist and tutor Anton Egorov recently streamed a live tutorial on 3D asset texturing using the 3D material creation software Adobe Substance Painter. Over the hour and a half-long, step-by-step, tutorial, Anton broke down how he used Substance Painter to texture the skin and metallic material of his 3D scene I’ll Just Stay at Home Today.

Our VFX students have full access to a curated selection of over 50 bonus online classes to further unlock their creative potential. Find out more.

Bonus Visual Effects Online Learning Resources

Binge-Worthy Extras For Our Visual Effects Students

As part of our live-stream collaboration with residency programme Amplify Berlin, producer, pianist, DJ and January mentor Afriqua joined us live in Catalyst’s music studios for an interview.

You need only visit Afriqua’s Instagram to understand what fuels his silky production skills. They say that creativity is the natural extension of our enthusiasm, and the producer, pianist and DJ has as much of that as he has keys on his many instruments. Afriqua’s instinctive melodies merge with smile-inducing funky beats to create a deep and spacey sonic dream. 

Afriqua || Corona Cookin' #13

Afriqua’s Corona Cookin’ series of performances is a cherished example of his powerful mood-lifting abilities, proving that despite the circumstances, creativity conquers all. Amazingly, he channelled his isolation creations into a semi-eponymous new LP which brings the secrets of Black music to modern clubland – a marvel wherever your current dance floor may be. 

AFREEKWUH [SCR062] by Afriqua

“It is during times of uncertainty when great musicians create their best work,” reads the blurb of AFREEKWUH, “and it’s no surprise that these tracks are some of Afriqua’s most impactful to date. A nod to the sounds of Rick James and Nile Rodgers, tracks like ‘Legacy’ inject funk into whatever space they are played and caught the ear of Eli from Soul Clap Records. This music feels right at home with the label’s eclectic mix of electronic sounds and reminds us that a dancefloor can emerge anywhere when the right music permeates the air. With bomb after bomb, Afriqua made a name for himself. With AFREEKWUH, he wants you to know how to say it.”

We were thrilled to host the Amplify Berlin January mentor in our Funkhaus studios as part of our collaborative live-stream series with the residency programme. Fellow house artist and Electronic Music Production & Performance tutor Philippa McIntyre sat down with Afriqua to discuss his creative workflow, technical process and life as an artist. Scroll down to watch the full interview! After the session, we asked Afriqua what catalyses his creativity. Here’s what he told us:

“Nothing catalyzes my creativity like my time at the piano. I develop my musical ideas at the keys, and my practice is the foundation of everything I do as a musician.”

Amplify x Catalyst presents: Afriqua with Philippa

In collaboration with residency programme Amplify Berlin, January mentor Afriqua joined us live in Catalyst’s music studios for an interview.

We Interview Producer and Amplify Berlin Mentor Afriqua

Amplify Berlin Mentor Afriqua Shares What Catalyses His Creativity

A group of Catalyst film and music students and alumni recently collaborated with Tatsuya Takahashi on his Most Wanted: Music video presentation, Powers of Ten. Learn all about the project and watch our exclusive interview with the design mastermind and KORG Germany CEO. 

Tatsuya Takahashi started playing with electronics at a young age – and he's never stopped. Ask many of our students at Catalyst Music, and they'd say he has their dream career: instrument designer. In fact, his first job, aside from student bar work, was Chief Engineer at KORG Japan, an 11-year gig which he scored by directly asking the company for an interview and bringing along the eight-oscillator synthesizer he designed. He’s now the CEO of KORG Germany. 

When it comes to music making, Tatsuya is one step ahead of the game. His natural flair for hardware and sound meets a remarkable sensitivity to the customer's creative needs and desires. The resulting instruments are tactile, simple to use, versatile and, above all, fun. Portable builds and internal speakers are a particular revelation, allowing fellow musical devotees to “doodle” anywhere – from the sofa to the park to the train. This labour of love has led him to work on some of the most iconic synths and drum machines of the 21st century: the Minilogue, Monologue, Monotrons, early Volcas, Triggers and the Granular Convolver.

“Making a living from designing musical instruments is a funny business,” Tatsuya tells Most Wanted: Music. “On one hand they are commercial products. On the other, they are forms of expression. I'll be navigating my experience of grappling with this duality through how many times each project is manufactured – in powers of ten. From the big hit Volcas to the personal projects that are painfully close to my soul, each project has a different story to tell, but there's also a continuum that runs through them all.”

A group of our film and music students and alumni recently had the pleasure of converting the Tatsuya aesthetic into a stunning teaser video (below), Powers of Ten, which was played during his presentation on his design evolution at the Most Wanted: Music conference in November. The slick synthesizers resonate perfectly with our Funkhaus studios’ Bauhaus-inspired interiors. Full of tantalising close-ups of knobs and circuit boards, cut to a fittingly experimental, synthy soundtrack, the six-minute video is enough to induce serious gear envy. 

Tatsuya Takahashi's Powers of Ten - a synthematic journey

To probe deeper into the circuitry of Tatsuya’s creative process, the team also filmed an insightful interview, which you can watch at the bottom of this article. The videos were directed by Film Production alumnus Roman Koblov, with camera work by current student Alba Llach. Electronic Music Production & Performance students Olivia Mamberti, Max Aad and Wei Bei recorded the sound, while Wei and Mizuki Ishikawa designed the sound for the clip. The project was produced by our storytelling lead Christina Gaither. We asked Roman, Mizuki, Olivia, Max and Wei to tell us about their experience of the collaboration. 

When approaching the project, I was fortunate enough to be briefed with a clear direction from Tatsuya Takahashi himself. As a natural problem solver who enjoys working under challenging limitations, I relished the opportunity to create a video which was entirely out of my comfort zone – having had little experience shooting still life and product videos. A massive thank you to Christina, Alba, Olivia, Max and Wei who volunteered their time and effort to make it all happen. 

The inspiration for the video came from the 1977 short film Powers of Ten by Charles and Ray Eames. A groundbreaking film for its time, it succeeded in depicting the relative size of things in the universe. The film begins with an overhead shot of a man and a woman picnicking at a park, then proceeds to slowly zoom out (at a rate of one power of ten per 10 seconds), to a view of 100 meters, then one kilometre, and so on, until we are shown the observable universe. The film then reverses the motion, until we zoom in to the hand of the man picnicking, revealing the skin cells and their atoms.  

Powers of Ten™ (1977)

Taking inspiration from the film and the theme of Tatsuya's keynote address at the MW:M Berlin conference, we took a selection of Tatsuya's inventions and reinforced the idea of scale and abstract beauty that can be found inside of these electronics. For this, Tatsuya disassembled the instruments and we used a macro lens positioned overhead to take stills and video clips of all the components. We then captured clips of the instruments at a greater distance until we captured the true scale of the object inside the room. The film begins with zoomed in macro shots that can appear abstract and unidentifiable. It is only when we start to slowly zoom out that we start to identify the objects. This process was repeated for each series of instruments, totaling six parts for which Wei Beh composed an original soundtrack to accompany the visuals. Mizuki Ishikawa composed the music for the trailer video.

Collaboration was an integral feature of the project as a whole. It was very important to have current students involved and spend time with Tatsuya, learning about the process of instrument design and the story behind many of his inventions.  A massive thank you to Max and Olivia who helped with the interview and also to record sound. Also a big thank you to Olivia and James Ma for editing the audio and Jonny Zoum for his guidance on this. 

When I got the concepts and images for the teaser from Roman, I made two versions of it at first. One had a very dramatic synth with some reliable kick and hi-hat, while the other was just one part of audio from my jam session. I made the first one by entirely following the reference tracks and concepts, so it was lacking a bit of freedom and randomness. It was more like doing homework rather than creativity work. Then, I came up with an idea of putting in a random audio recording from one of my modular sessions, which is a completely unintended, unbalanced, irrational composition. I sent them both versions in the end. When I got the final edition of the teaser, I noticed that Tatsuya actually chose the one with my modular. I felt the satisfaction of achieving something I can be proud of. 

Compromising in collaboration work is always a hard thing for me. Sometimes you can get a really nice result, but sometimes you have to stand up for yourself. I am learning how to get a good balance of myself and my collaborator, and my clients, through these experiments. Thank you to all involved for this great opportunity. It was fun!

The Saturday we worked on this special project was truly an amazing day. Meeting Tatsuya and being able to help on the shoot was one of the best experiences I've had since I moved to Berlin. The whole team worked perfectly together and having the opportunity to see up close, and learn more about Tats’ creations and creative process, was an incredible experience that I'm deeply grateful for.

"I picked up a Minilogue he had brought along with him...I might be geeking out a bit but it’s by far one of the coolest synths I’ve seen in person."

The KORG interview with Tatsuya was pretty amazing in general, but my favorite part would have to have been actually getting to play around and see the insides of prototypes of synths I own. I picked up a Minilogue he had brought along with him, and it was significantly heavier than mine, and had no serial number or any KORG markings (logos, barcodes, recyclable symbol, etc) on the body, I might be geeking out a bit but it’s by far one of the coolest synths I’ve seen in person. 

Tats was also kind enough to sign my personal Minilogue, and answered quite a specific question about the PCB architecture that I’ve had for a couple of years. It wasn’t information I could do anything with, but I was really chuffed to have the insight. 

As for the project, it allowed me to work on a set, which I hadn’t done in a while, and allowed me to get another gig as the stage manager for the Cyber stage of the Most Wanted: Music festival.

The working experience with the team and Tatsuya was awesome! One thing that inspired me about Tatsuya was his down-to-earth approach in communicating and telling his own story. Other than that, the session was a very beneficial and eye-opening experience for me. For instance, creative critical thinking is quite important for instrument design and development. One has to consider the fact that the machine should be functional, and also that it should manifest itself by its functionality.

Meet Tatsuya Takahashi - KORG's Star Synth Designer

A special thanks to Your Mom’s Agency and Red Bull for helping us to bring this memorable collaboration to life. 

Learn about our community's Most Wanted: Music video collab with instrument designer and KORG Germany CEO Tatsuya Takahashi

We Interview Instrument Designer & KORG Germany CEO Tatsuya Takahashi

Tatsuya Takahashi: We Interview the Brains Behind KORG’s Most Legendary Designs

Each semester, we invite an industry specialist to deliver their own exciting perspective on VFX – from audiovisual installations to stop-motion animation with models and miniatures. 

Choose your own reality and then create it. From day one studying Visual Effects at Catalyst, our students are immersed in the endless possibilities of a career in the VFX industry. In the first year, they gain multiple strings to their visionary bow – a broad foundation of skills in everything from digital art to animation to creative coding. In addition to regular workshops with our resident Visual Effects specialists, each semester, we bring in a guest tutor to add their unique perspective to the curriculum. Find out more about our roster of rotating tutors.

Andreas Dahn - VFX Reel

Andreas Dahn joined us in the first semester to teach VFX Supervising. He has worked in both Germany and India as a VFX artist and director. His VFX credits include the Emmy-awarded series Game of Thrones, Wes Anderson’s Grand Budapest Hotel, Marvel’s Guardians of the Galaxy 2 and the Oscar-nominated BBC short The Gruffalo.

Doron Sadja is a regular tutor on all of our music courses – yet his creative practice is not limited to sound. He often combines his compositions and self-designed instruments with visual elements to create extraordinary audiovisual installations and performances. In the first semester, he shared this knowledge in a series of workshops on audiovisual installations.

In the second semester of ‘Practical FX’, we welcome David Lichtenauer, a specialist in models and miniatures. He’ll be delivering his insight on how to make and film miniatures – a time-honoured VFX technique that’s still in use in films such as Harry Potter, Inception and First Man. Finally, the Visual Effects students will film the Screen Acting students in our green screen studio, who they’ll later place into a scene using digital compositing software.

Another wonderful addition to our ‘Practical FX’ module, SFX make-up artist Iryna Suniaieva will be joining us in the second semester. Also a sculptor by trade, she’ll give our students insight on how she sculpts people into otherworldly creatures.

Each semester, we invite an industry specialist to deliver their own perspective on VFX – from stop-motion animation to SFX makeup.

Meet Our Specialist Guest Visual Effects Tutors 

Meet Our Roster of Specialist Guest Visual Effects Tutors 

As part of our live-stream collaboration with residency programme Amplify Berlin, techno artist and November mentor Phase Fatale joined us live in Catalyst’s music studios for an interview. Find out what fuels his creativity.

“I wanted to express something different than just a standard dance-floor 4/4 tempo.” Hayden Payne has earned a reputation as an electronic music innovator. Through his industrial techno project Phase Fatale, the New Yorker has reinjected spirit into a genre that many – including him – have recently accused of prioritising speed over substance. 

A strong contributor is the conceptual foundation to his production. Phase Fatale’s acclaimed 2020 album Scanning Backwards was inspired by the mechanism of sonic control: from the mind-control experiments of the CIA in the ‘50s and ‘60s, to the high-powered sound systems of clubs like Berghain, of which he is a resident. By slowing down the tempo, he gives discerning listeners a chance to read between the lines – to pick up audio clues between the thrashing kick drum that reveal the music’s mysteries.

But we couldn’t leave it to Phase Fatale’s music to do all the talking. We were thrilled to host the Amplify Berlin November mentor in our Funkhaus studios as part of our collaborative live-stream series with the residency programme. Fellow techno artist Isabassi sat down with Hayden to chat about his creative workflow, technical process and life as an artist. 

Amplify x Catalyst presents Phase Fatale with Isabassi

After the session, we asked Phase Fatale to share one thing that catalyses his creativity. Here’s what he told us:

“That one thing is hearing and experiencing an inspiring set on a top class sound system where I can feel inside the music. Whether it's a live set or DJ set, when different tracks are mixed together, it creates new sounds independent of the individual tracks themselves, leaving foundations for new ideas. Then the next day I can attempt to put those ideas from the dancefloor together into my own design.”

Amazingly, the interview wouldn’t be the last we saw of Hayden at Catalyst. Impressed by our facilities, he asked events and student experience lead Hannah Deans if he could return with Pablo Bozzi of Imperial Black Unit to film their Fact Magazine live set there, as the EBM-disco-synthwave duo Soft Crash. Last year, the pair released their debut EP, Spritzkrieg, on Hayden’s BITE label, which explores the blurred line between technology and the body. Shot by our Film Production students, with VFX by Visual Effects tutor Paulina Greta aka Imaginaria, the set celebrates the deep passion for synthesis that drives Hayden’s musical creations. 

Patch Notes: Soft Crash ft. Imaginaria

In collaboration with Amplify Berlin, Isabassi interviews Hayden Payne, Phase Fatale, about his creative process in Catalyst Berlin's funkhaus studios.

We Interview Techno Artist & Berghain Resident Phase Fatale

Amplify Berlin Mentor Phase Fatale Shares What Fuels His Creativity

When creativity escalates: Read all about how Amplify Berlin November resident Phase Fatale’s visit to our music studios resulted in a futuristic Fact Mag live set collaboration between EBM duo Soft Crash, Visual Effects tutor Paulina Greta and some of our Film Production and VFX students.

Tools are an extension of the artist’s body. To the painter, the brush is a customisable finger. To the music producer, the wires of the modular synthesizer are nerve endings. Though many of us recoil at the thought of neural chips, the technologised body is ironically human. This blurred line is one of the concepts that inspired the debut EP of Soft Crash, Spritzkrieg, released last year on BITE. 

When the EBM-disco-synthwave duo – Hayden Payne, aka Phase Fatale, and Pablo Bozzi of Imperial Black Unit – were asked by Fact Magazine to perform a hardware live set, they decided to give their sonic aesthetic a visual mirror by commissioning VFX artist and Catalyst tutor Paulina Greta, aka Imaginaria. 

Visual Effects tutor Paulina Greta, aka Imaginaria, collaborates with Catalyst Berlin film students on Soft Crash Fact Mag live set. Read all about it.

Read all about it

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Ableton Certified Trainer Stefan Knauthe Reacts to Live 11 Release

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Female Firestarters: Cecilie Sadolin Shares Her Journey in Audio Production Since Graduating

Female Firestarters: Audio Production Alumna Akila Shares Her Advice to Aspiring Artists

Binge-Worthy Extras For Our Visual Effects Students

Amplify Berlin Mentor Afriqua Shares What Catalyses His Creativity

Tatsuya Takahashi: We Interview the Brains Behind KORG’s Most Legendary Designs

Meet Our Roster of Specialist Guest Visual Effects Tutors

Amplify Berlin Mentor Phase Fatale Shares What Fuels His Creativity

Soft Crash Collaborate With VFX Tutor Imaginaria & Students on a Fact Mag Live Set

10 Tips to Build a Successful Music Business With Jon Doig of Kiss Your Ears

VFX Tools & Techniques /// Substance Painter 3D Asset Texturing With Anton Egorov

How to Amplify Success With Interdisciplinary Artist Samaquias Lorta

Shape the Future of Digital Arts With These VFX Careers

Watch the First Semester of Work by Our Visual Effects Students

Support Our Screen Acting Students’ Short Film ‘Member State’