I sometimes receive emails asking me for an autograph -- and I have to say that I haven’t got the faintest idea why some people are so set on getting something so ordinary like my signature; in fact there’s nothing special about my signature (the only thing that distinguishes a signature from an autograph is simply the fact that a signature is written on an ordinary piece of paper whereas an autograph usually comes on a glossy photograph).

If truth be told there are myriads of people possessing a signature of me: my employer, the guy at the cashier’s desk, my health insurance company, the communist party, the credit card company -- my signature is so bloody widespread amongst all those authorities, companies and institutions that it cannot possibly be considered as something special.

But what all these aforementioned institutions and authorities assumedly don’t have is one of my songs: unlike my signature these songs are part of my personality, they contain a great deal of my spirit and soul, my creativity and my feelings. They are so much more personal than any autograph; actually they are something really special.

Just two things to think about: in the past painters didn’t sign their artworks. Why the heck should they? A signature out of the blue would have spoiled the whole painting, and besides it was more important that the painting spoke for itself than its creatorship. Try to spot an autograph on one of Rembrandt’s portraits and you’ll see what I mean -- in fact that’s the reason why it’s sometimes so difficult for art historians to allocate certain pictures to certain artists.

And here’s another one: I once had the chance to attend one of Terry Pratchett’s excellent readings, and I’ll have to admit that even I was tempted to get a signature of my favourite author at the end of the event -- but then I saw the mind-bogglingly long queue of fans waiting for him to sign their books, and a considerable amount of them was not only handing over just one paperback to sign but their complete collection of discworld novels instead.

I really admired Terry for his braveness and friendliness, although one could easily see that he had severe pains in his right hand (mind you, the poor chap was doing lots of readings in these days). So I thought it would suit him better if he would not have to sign my book, too, and went off without an autograph -- because his spirit and his genius is in his novels, not in his signature.

Last year was definitely a good year for softsynth-aficionados like me: first we had G-Force's significant update to their famous M-Tron called M-Tron Pro, which offers much more sounds and tweaking possibilities than one could have ever expected from a Mellotron-replica, then came Spectrasonics with their groundbreaking Omnisphere (which will receive another important update on January 26th with more than 2000 new patches - and don't ask me when I'll ever find the time to check them all out!), and finally in December Camel Audio released their long awaited sample manipulation synthesizer Alchemy, which I had the chance to work with during the last two weeks.

First I should confess that building sounds from scratch isn't exactly my cup of tea: I love to have a proper library of inspiring sounds that I can tweak and work with, and in these terms Alchemy is simply gorgeous even if not as packed and well-assorted as Omnisphere, but then Alchemy doesn't require 40 GB of free space on your hard drive like Omnisphere does, instead it just asks for reasonable 2 GB.

Alchemy is equiped with over 300 presets sorted in categories like Arpeggiated, Bass, Brass, Drums, Guitars, Keys, Leads, Loops, Mallets, Organs, Pads, Sound Effects, Soundscapes, Strings, Synth, Vocals and Woodwinds, but don't expect any "traditional" sounds: that's definitely not what Alchemy is all about, moreover it aims to create new and outstanding sounds - no wonder, because it allows you to tweak and manipulate every aspect of any given sound, and best of all it also allows you to import your own audio files and put them through its additive, spectral or granular grinder... only the sky is the limit of what you can do to any sound snippet loitering on your hard drive! To find out more about Alchemy's numerous possibilities take a look at Camel Audio's tutorial videos here.

I was most impressed by Alchemy's arpeggiated sounds, its drums, pads, loops and strings: these sounds are so unique and inspiring that I could hardly stop myself from fiddling about with them for hours and hours - really great stuff! I only wished the guys at Camel Audio would have equiped Alchemy with more than just 10 drum sets, because each of them is a case of sui generis and high musical quality.

Alchemy's sound effects and soundscapes on the other hand are the categories that I won't have much use for, but then it's a bit unfair to judge strange sounds like these after I've worked my way through Omnisphere's sound library just a few weeks ago: Sure Alchemy's soundscapes and sound effects do sound interesting and vivid, and there's also a lot of morphing going on, but I think Omnisphere remains simply unexcelled concerning weird and eerie atmospheres and sounds - but keep in mind that someone else might see (or hear) things different, because these categories are of much more use for composers & producers of movie scores and computer game tracks than for your average and humble musician.

All in all Alchemy is an extraordinary and wonderful softsynth offering myriads of editing possibilities that even Omnisphere can't provide. It works like a charm, contains hundreds of unique and inspiring sounds, is expandable (CamelAudio are currently offering 2 expansion sets on their website and there will be more to come) and put up for sale at more than reasonable price. It only took me just one hour until I had to realise that Alchemy will become one of my favourite softsynths!

And as this is the end of the year, here are my favourite songs of 2008:

Bruce Springsteen - Dream Baby Dream
Duffy - Rockferry
Tindersticks - Boobar Come Back To Me
Kings of Leon: Sex On Fire
Silver Jews - Suffering Jukebox
Santogold - You'll Find A Way
The Ting Tings - That’s Not My Name
The Raveonettes - Yound And Beautiful
Vampire Weekend - M79
Glasvegas - Geraldine
Moby - Disco Lies
Bloc Party - Mercury
Dido - Grafton Street
Anne Clark - Full Moon
Amy MacDonald - This Is The Life
The Walkmen - In The New Year
Portishead - The Rip
David Byrne & Brian Eno - Home
Soko - I'll Kill Her

Spectrasonics, one of my favourite software companies, has recently released their new virtual instrument Omnisphere, which is really some kind of monster in a very positive way: It is the most inspiring and genuine software instrument I’ve ever come across, and within only a few days it has become almost indispensable for my musical work with Antichrisis.

Omnisphere comes with a vast core library of over 40 GB with thousands of sounds that can be tweaked, combined and manipulated in any way you want. The sounds are not just your average workstation core library sounds, instead some of them are entering spectacular new territories like f. e. the burning piano, which is - as you might have guessed - the sound of a piano being set on fire (which is exactly what those weirdos at Spectrasonics did to achive that special sound). Also the integrated arpeggiator is just brilliant and very easy to handle, the FX-Rack contains everyt bloody effect section you ever wanted and Omnisphere’s sound browser is simply one of a kind because it allows you to actually tag, sort and find the sounds that you’re looking for, which is something that no other virtual instrument has come up with so far.

You see, I’m really excited about Omnisphere and so I can only recommend it to every songwriter, producer or musician around. Check out Spectrasonics’ website for more information here.

By the way: G-Force have released a new version of their famous M-Tron, which is a very great and useful virtual instrument, too. It is my favourite “secret weapon“ for those moments, when most digital sounds are sounding a bit too clean: those old Mellotron soundbanks add exactly the kind of vintage dirt that will make your songs breathe!

Next thing I’m looking forward too is Camel Audio’s new synthesizer Alchemy: it’s not released yet, but the teasers on their website do sound amazing.

Year after year people think it's big fun to be cruel to animals — just like in Pamplona, where bulls are being driven through the streets to end up as sacrifice on the altar of machismo in the arena afterwards.

And year after year, something like this happens:

"Several men have been badly hurt in the San Fermin bull-running festival in Pamplona, northern Spain. The men are in hospital suffering from concussion and bruising after being trampled on Friday. Doctors said all casualties were in a serious condition in hospital; festival officials said they were injured when they fell under the hooves of stampeding bulls while running with the herd during a nine-minute dash through city streets to the Pamplona bullring.Each year thousands of people flee bulls and steers in the nine-day festival."

In my opinion: Well done, bulls!