Fabian Russ is an Orchestronik practitioner. His main focus is based on working with samples and the interweaving of electronics and classical music for solo instruments up to large symphony orchestras specialized in live 3D audio listening rooms or for headphones in various format constellations. He is the founder of the registered trademark Orchestronik (since 2018) and is officially listed as ABLETON Artist by the software market leader Ableton Live. He works among others with Carlo Grippa (FOH director Radialsystem), Folkert Uhde, Steven Walter, Christian Kellersmann (EDEL, Berlin Classics, Neue Meister), Albrecht Mayer, Andreas Scholl, Midori Seiler, Robert Gwisdek (as Käptn Peng), Frieder Weiss, Johanna Wokalek, Grammy-winning 3D audio pioneer Tom Ammermann. He has produced several radio plays and features for radio. Fabian Russ did the 3D audio composition and mixing for the VR film „future diaries“, which was nominated for Cannes XR in 2018. In 2019 Fabian Russ opens the Heinrich Schütz Music Festival with the 3D Audio installation series Kaleidoscope of Spaces, a rework of Psalms of David for the three-dimensional sound space. It is the first installation of the ambassador project „Schütz.22“ which will be continued until Schütz jubilee in 2022. In collaboration with the programmer Tobias Philipp he developed and launched SWALK, a geolocation based app in combination with 3D sounds. SWALK has been an integral part of the Heinrich Schütz Music Festival since 2019 and is continually being expanded with new sound stations in Central Germany. He is responsible for the film music in the compassion prison project, a social project run by Grammy-winning Fritzi Horstman in collaboration with Academy Award nominee Rodrigo Prieto (Scorsese’s cameraman) behind the camera. In 2020, Time Traveller Exequien reworked follows in the series Kaleidoscope of Spaces. Fabian Russ is part of the longer collaboration with Grammy winner Lasse Järvi for the development of new hybrid soundtrack formats. This has resulted and continues to result in completely new approaches to film soundtracks based on the orchestronic method.
Photo: Michael Bader