As I am sometimes been asked about the low volume of my music I want to explain the reasons. I am working with hardware only (except of that I record my audio with Logic on a Mac). I make music with synthesizers and outboard equipment. To achieve a sensitive and moodfull sound I have to adjust the velocity and filter cutoff in a wide range. Then I record the room sound. Every recording you hear is what I heard while playing the keys.

I always have audible noises through the use of hardware. Making music louder after the recording sessions means making it louder on hardware. This raises the noises tremendously. But raising volume through software means making the music harsher and colder. To keep the smooth sound and to capture the moment, that is why I keep the low volume.

I could record louder without velocity, without filter cut off, and I would loose all tones and timbres. I could postproduct louder, and I would loose the moment and the sound while I was making the music. I record on a system with subwoover and active monitors. I make music for listening loud and in quietness. You may listen to my music on a good sound system or on good open headphones. Online-streaming, in-ear-headphones and lo-fi-mp3s can hide some important details of my music.

I compare the volume of my music more to the past times then today. The world became louder, I ain't. Quiet music makes aware. It makes us aware how still we are inside. This is pure reflection.


To listen to Jaja is to enter the night sky. (Spieltrieb)

Jaja’s celestial orchestration made my body feel as if it was being lifted, gently falling through space. (Ally-Jane Grossan)

The vision behind Jaja's music is to describe in all its facets the sensations of our life in space. Her music is a real invitation to travel to unknown worlds and exploration of the cosmos. (Pieter Moreels)

This is space music: outer, inner, room-filling, head-expanding. It’s all loose sine waves given seconds — and, seemingly, eons — to chart their course. Slight modulations lend a sense of development to the glacial tones, texture provides a richness sometimes lost in synth-heavy work, and layers introduce metric play even when there is no self-evident rhythm. (Marc Weidenbaum)

Jaja’s work offers us one of the closest approximations to the sublime in all of contemporary music. (Spieltrieb)

An album with stellar limit delicacy. It inspires daydreaming, its taking us to tickle the stars. (Andrea C)

There is Jonn Serrie and then there is Jaja... Slow, Rich and Deep excursions for stargazing or just quiet time. All wonderfully composed and produced. What is also unique about Jaja's work is her choice of tuning which I think is creative and richly holistic... Please lookup The Cosmic Octave as well as Attuned Vibrations, Healing. (Discipere)

I think she does the same great work like some masters of singingbowl meditation, only that she uses a minimalist setup of synths. Both, technically and meditative, her music plays in the highest and joyablest sphere´s. (In.Visible.Generator)

Dreamy, cosmic, serene. For my nights sleeping in the open. Beautiful. (Max Corbacho)

You make us discover that on the scale of the cosmos eternity is the sublime extension of time. (Christian Braconnier)


Jaja Bandcamp CYAN Free Audio Label Hearts of Space An Atlas Of The Universe The Cosmic Octave European Southern Observatory Hubblesite

My heartful thanks:

To my love Marco who share the same passion in music and life with me. To my fans around the world for their endless support. To Stephen Hill and Steve Davis at Hearts of Space for airing my music. To all astronomers who provide us an insight of the Universe. To all startravelers.

background photograph by ESO/B. Tafreshi