--- orphan: true --- # Jessica Kert ```{raw} html
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``` **Jessica Kert** is a Berlin-based musician and producer specializing in modular synthesis and techno. Her releases have appeared on labels such as Detroit Underground, Athmophile Electronics, and Associated Parapoloid. Her live performances in clubs and at festivals are characterized by precise rhythms, experimental sound textures, and the use of analog modular systems. Through her work at the Berlin synthesizer store SchneidersLaden, she deepened her technical understanding of modular systems. In addition to her artistic work, she teaches workshops where she shares her knowledge of synthesis and live performance. [Jessica Kert](https://www.instagram.com/jessyandthechords/) ## The Live Setup **Benjamin Weiss:** What is your live setup? **Jessica Kert:** I built my own "drum machine" using different drum modules from MFB, [Shakmat](https://shakmat.com/), and [TipTop Audio](https://tiptopaudio.com/). Some of the individual voices alternate, like a clap or cowbell, and are controlled by a trigger sequencer. I also have some noise sources for additional percussive sounds. For voices, I use a [Complex Oscillator](http://www.verboselectronics.com/modules/complex-oscillator), which is then processed by two filters and envelopes, opened differently for polyrhythmic elements. For control, I use two different CV sequencers to create basslines, acid sounds, melodies, and so on. And I have a one-shot sample player. I always use effects outside the modular system, as well as the mixer. I have an audio interface where everything goes in, and then all audio tracks come out eight times to a desktop mixer. On the aux sends, I have things like the [Big Sky](https://www.strymon.net/product/bigsky-mx/?srsltid=AfmBOoo0DXwD29T0-MPnL-hQvGhUXml_6BhJ0SwCIedFkuRIrwxBapSt) or a spring reverb—delays, reverbs, and so on. I use different effects depending on the mood. ## Preparation and On-the-Fly Improvisation **Benjamin Weiss:** How much do you prepare when you perform live? **Jessica Kert:** I don’t prepare any sequences. I create all the melodies and basslines on the spot using the Sequence Selector and Multistage from [Verbos](http://www.verboselectronics.com). It’s the same with the drums. I have a total of eight different voices, and I switch between them and play them live. I prepare a small starting scenario, a little pattern, and with the sequencer, I can jam live, copy-paste, and edit other patterns—all on the fly. ## Flexibility and Mobility **Benjamin Weiss:** When do you decide what the mood will be? **Jessica Kert:** It depends on the day. I decide just before the gig. I check if everything is working, and then I choose the effects I feel like using at that moment. **Benjamin Weiss:** Do you bring your own mixer, or do you use what’s provided? **Jessica Kert:** Sometimes I have to bring my own because of the circumstances, but generally, I prefer it when one is provided. I usually get one. My setup consists of a single-row case, a [Tiptop Audio Mantis Case](https://tiptopaudio.com/mantis/) case, and a small device with an effects pedal. It’s definitely easy to transport. **Benjamin Weiss:** What’s most important to you about the gear you use live? **Jessica Kert:** It’s crucial that it’s compact because I want to travel with it. I don’t just want to play in Berlin; I want to fly somewhere else, too. My modules are all selected to be super flexible, both in terms of sound characteristics and the filters I use. I want to be able to patch something quickly during a live performance. If I feel like adding a pad or a drone, I want to be able to do that fast. For that, I need flexible modules. For example, an oscillator is great if you can route it in different ways—whether for FM, amplitude modulation, or working with a wave shaper. That brings in a lot of movement and variety. ## Haptics, Colors, and the Dislike of Menus **Benjamin Weiss:** What’s important to you in terms of haptics? How do the devices need to reflect that? **Jessica Kert:** With sequencers, I really like it when they’re "hands-on." I’m not a fan of incredibly long, complex melodies. Visual feedback is super important to me. It helps me orient myself: Where am I right now, what’s happening? I like having space to tweak my filter or oscillator. It’s important that the modules aren’t just two HP wide, so you can’t access them properly. I like having direct access. **Benjamin Weiss:** What about the visual feedback is essential to you? **Jessica Kert:** I can always orient myself really well with colors and directions, especially with trigger sequencers. It can get quite complicated because you’ve programmed large patterns on the fly. It’s good to see the direction—it helps me orient myself because I can imagine what’s happening and where we are. I don’t like mini-displays and menus. You just can’t see them when you’re playing live and everything around you is pitch black. A small display doesn’t work for me. In my system, I definitely prefer no display at all. ## Polyrhythms and the Search for the Perfect Filter **Benjamin Weiss:** You have a pretty big selection through your job at SchneidersLaden. But is there anything you’ve wanted for a long time for a live set that you haven’t found yet? **Jessica Kert:** With sequencers, I actually always find it difficult—you always have to make compromises. With my trigger sequencers, I’d really like to have eight tracks, for example, and for each track to have its own length. So I could say: Track one has eight steps, and track two has 32 steps. That would be awesome. I’d also like a really clear high-pass filter, but only high-pass, and very small. I haven’t found one yet. Otherwise, I don’t have many complaints about my instruments. Regarding polyrhythmic elements, I find sequencers a bit tricky in my setup. Of course, I could add clock multipliers or logic modules, but then there’s no space, or I’d need a bigger case. But I want to limit myself to this size because anything else makes traveling difficult. **Benjamin Weiss:** And is modularity important to you? How about two or three desktop devices? **Jessica Kert:** I would do that, too. If a desktop device gives me exactly what I want and I can still turn knobs, I’d use it. But otherwise, it means I have to carry another thing with me. It depends on what the device does for me. ## Feedback on the TBD-Toolkit Prototype **Benjamin Weiss:** Good transition. Now we have this thing here \[the prototype\]. If you could do whatever you want with it, what would you do? **Jessica Kert:** I’d check it out first and press some buttons. I’d definitely do the trigger sequences I mentioned. Effects would also be nice if they were included. I’d also love it if it were a small MIDI controller—I’d use it more if I were playing with a Buchla system. What else could I do with it? For spatial sounds, it would be great. Or some kind of matrix where you can route audio and CV signals. That would be cool. And of course, as a sampler\! In my system, I work with samples, but it’s always just one sample. I’d use this as a classic sampler. And live looping would be awesome. I like samples; I enjoy multisampling. All kinds of effects, from granular to delay and reverb, like the Big Sky boxes. It could also be a device with sensors, so you could trigger something in your system with movements—a deluxe controller. I could also imagine it doing video synthesis. That wouldn’t be bad; then you could create your own visuals for the live set. A laser would be cool, too. **Benjamin Weiss:** How would you want the setup to work? If it’s a modular thing where you can setup the functionality? **Jessica Kert:** It has to be simple. The parameters that are important in a scenario need to be quickly accessible. I’d maybe set it up on the computer and then send it over. I don’t have anything against computers, but I sit in front of one all day at work. That’s why I’m happy not to have one when I’m making music. Of course, it could also have some crazy synth on it, polyphonic with 60,000 voices—but I wouldn’t think of integrating a synth first with this device. But that’s just me. It definitely has everything: USB, a small slot, USB-C. I’ll give it back to you now. *Interview: [Benjamin Weiss (MID)](https://instrument-design.com/)* *Funded by [NLnet](https://nlnet.nl/project/TBD-DSP-Toolkit/)* []([]())