Emilio Gordoa
Mexican composer and vibraphonist based in Berlin since 2012. He’s involved in numerous projects including his work as a soloist and in collaboration with theater and dance. Emilio is specially focus in sound art, noise, free jazz and improvisation.. He is redefining the vibraphone as a source, treating it with preparations and extended techniques, and is a busy composer as well, writing graphic scores for a variety of ensembles, large and small, for theater, documentary films and audiovisual. Studied music composition with Vincent Carver and Mario Lavista, and percussion with Raul Tudon. He has collaborated with several artist around the world such as John Russell, Tristan Honsinger, John Butcher, John Edwards, German Bringas, Misha Marks, Axel Dörner, Tony Buck, Tobias Delius, Kazuhisa Uchihasi, Ignaz Schick, Klaus Kürvers, Harri Sjöströjm, Frank Gratkowski, Jaap Blonk, and Ute Wassermann. Emilio is a current member of the BerIO (Berliner Improviser Orchestra), and otherer ensembles like the Circuit Traning (electro-acousting ensemble with Ignaz Schick, Achim Kauffmann, Alexandre Babel, Marta Zapparoli, Eliad Wagner, Klaus Kürvers, Tom Arthur, Benjamin Weidekamp). He often performs around countires in a wide kind of scenarios. Some of his active groups are Para.keets, Corso, Dörner-Gordoa-Thieke-Vorfeld Quertet and MOvE quintet. http://www.emiliogordoa.com

Burkhard Beins
Born 1964 in Lower Saxony, lives in Berlin since 1995. As a composer/performer working in the fields of experimental sound and sound art he is known for his definitive use of percussion in combination with selected sound objects. Furthermore, he works with live-electronics/analog synthesizers and has conceived several sound installations. Since the late 1980's he is performing at internationally renowned venues and festivals throughout Europe, America, Australia and Asia. Alongside his solo work he is a member of the ensembles Polwechsel, Activity Center, The Sealed Knot, Perlonex, Sawt Out, Trio Sowari, Junk Orbit, Fracture Mechanics, and Splitter Orchester and also works with composers/musicans such as Sven-Åke Johansson, Andrea Neumann, Keith Rowe, Axel Dörner, Tarek Atoui, Chris Abrahams, John Tilbury, or Charlemagne Palestine. Burkhard Beins gives workshops based on his graphic score system Adapt/Oppose, has published several articles on music theory, and is a co-editor of the book "Echtzeitmusik Berlin - Self-Defining a Scene" as well as the curator of a follow-up 3CD compilation featuring the Berlin Echtzeitmusik scene. http://www.burkhardbeins.de

Bjoern Erlach is a composer currently based in Berlin. Innovative methods for sound synthesis and transformation, as well as homemade devices play an important role in his work. 

Sabine Ercklentz 
Sabine Ercklentz first studied law at the FU Berlin before she turned to the trumpet at the Hochschule für Musik Hanns-Eisler, Berlin. She lives and works in Berlin as a composer and performer. Her works often stretch the borders and challenge the definition of genres. She frequently collaborates with other artists. She has peformed in numerous concerts and festivals such as FIMAV in Victorialville, Canada; Red Cat in Los Angeles, USA; Recontres Choreographiques in Paris; Moderna Museet in Stockholm; Taktlos in Zürich; City of Women in Ljublijana; Tanzplattform Deutschland, Dresden; ZKM in Karslruhe.

Andrea Neumann 
Born 1968 in Freiburg, Studied classical piano at the Hochschule der Künste, Berlin. Has been active primarily as artist and composer in (experimental) sound art since 1994. Has co-organized “Labor Sonor,” a series for experimental music, film and performance in Berlin since 2000. Her exploration of the piano for new sound possibilities has led her to reduce the instrument to its strings, its resonance board and the cast-iron frame. Playing this unmounted ‘leftover’ of a piano, with the help of electronics to amplify and manipulate the sound, she has developed several of her own playing techniques, sounds, and ways for preparing the instrument. For reasons of weight, a lighter special instrument was crafted in 2000 according to the measurements of the original heavier inside piano (piano builder, Bernd Bittmann, Berlin). She has engaged in intensive cooperations in the mixed border areas between composition and improvisation, between electronic and hand-made sound with ensmbles like “Les Femmes Savantes”, “Phosphor” and with musicians like Sophie Agnel, Burkhard Beins, Sabine Ercklentz, Bonnie Jones, Annette Krebs, Hanna Hartman o.a.

Ute Wassermann 
Ute Wassermann is known as a vocal soloist and composer/performer for her extraordinary, many-voiced and extreme vocal sound-language, which she has brought into experimental/contemporary sound in diverse ways. She has developed techniques to “mask” the voice using birdcall-whistles, palate whistles or resonant objects, and designs sound-installations. A particular interest is the development of compositions for spaces with unusual acoustic qualities. She studied visual arts (sound installation and performance art) at the Hochschule für Bildende Künste in Hamburg with Henning Christiansen and Allan Kaprow among others, and subsequently visual art, music and singing at the University of California, San Diego (with a DAAD grant). As a vocal soloist Ute Wassermann has performed in festivals, galleries and clubs throught Europe and also in Australia and Asia. As an improvising sound artist she performs regularly with the London scene (for example in John Russell’s Mopomoso and Fête Quaqua events) and in duos with Richard Barrett, Aleks Kolkowski and Birgit Ulher, in the quartet “speak easy” (with Phil Minton, Thomas Lehn and Martin Blume) as well as in larger formations such as the octet fORCH. As an interpreter of contemporary work she has given premieres of numerous works composed specially for her voice, for example by Richard Barrett, Chaya Czernowin, Henning Christiansen, Hans-Joachim Hespos, Michael Maierhof, Michael Finnissy and Ana Maria Rodriguez, with the ASKO Ensemble, Elision, Munich Chamber Orchestra, KNM Berlin and others. She has taken part in theatre productions by Matthias Kaul (Ensemble L’art pour l’art), Salvatore Sciarrino, Gerhard Stäbler and others, and performances with dancers, circus artists and visual artists; pedagogical projects and workshops with her choral composition “mimic” for festivals and cultural institutions.