A place for sound
Good sound begins with a good room—and with an environment in which people feel at ease.
My studio is a place for exactly that: allowing music to emerge without pressure, with care and attention to detail. Analogue warmth, fine craftsmanship and modern flexibility meet here.
Whether recording, mixing or sound design, my focus is always on the people, the music and the path we take together.
01 / The control room
Listen, shape, decide
The control room is where I work on the details: listening, shaping and mixing. Its acoustics are neutrally tuned, allowing decisions that translate reliably elsewhere.
The room is both a workplace and a retreat, designed for calm and concentrated work.
Every reverberation, resonance and reflection has been addressed carefully through a combination of broadband absorbers, diffusers and deliberate room design.
The result is a neutral, clear listening room in which mixing and mastering decisions can be made with confidence. What sounds right here also translates outside—on headphones, in a car or over a club system.
02 / Sound tools
Synthesisers as an extension of the acoustic world
A small but carefully chosen selection of synthesisers is available in the control room—for warm pads, rhythmic sequences, delicate textures and distinctive sonic ideas.
With its analogue polyphony and morphing concept, the Arturia PolyBrute creates organic, multilayered sounds. The Nord Rack 3 complements it with virtual subtractive synthesis and a distinctive, often underestimated character.
For rougher ideas, the Arturia MiniBrute comes into play—direct, unpolished and hands-on, inviting experimentation.
There is also a small modular trio: three Behringer MS-20 clones connected as a playground for unconventional sound experiments, feedback loops and analogue accidents.
03 / Rhythm
Capture ideas before they disappear
For beat-based productions, sketches and complete arrangements, a Native Instruments Maschine Studio is also available. It can be used flexibly at the main workstation or elsewhere in the room.
As a hybrid of hardware and software, it enables fast, intuitive work: building grooves, triggering sounds and shaping effects without interrupting the creative flow.
Especially alongside the synthesisers, it is a reliable tool for capturing spontaneous ideas immediately and developing them further.
Working method
All of this fits seamlessly into the way I work—as an extension of the acoustic world, not its opposite.
04 / The recording room
Alive, flexible and open
The recording room is lively and flexible, with enough space for bands, ensembles or soloists—from a whisper to a full gesture.
Its acoustics can be adapted so that intimate vocal takes and powerful drums each find their own space.
The recording room is also designed with acoustic precision—not as a sterile chamber, but as a living, neutral sound space. Absorbing, reflecting and diffusing surfaces combine to create a balanced room response that gives voices and instruments depth and naturalness.
Whether detailed solo instruments, intimate vocals, percussion setups or multi-part ensembles, the room offers the necessary calm and openness for sound to breathe.
Flexible elements such as movable screens and variable absorbers allow the acoustics to be fine-tuned according to what the music requires.
05 / Microphone selection
A fitting voice for every sound
Microphone choice is a particular focus of my work. A growing collection of modified classics and hand-built boutique microphones is available here.
I built or extensively modified many of these microphones myself—with time, sensitivity and the aim of giving every sound an appropriate voice.
The selection ranges from carefully tuned large-diaphragm valve microphones to specialised solutions for stereo and room recording.
Each microphone has its own character—sometimes warm and open, sometimes direct and present, sometimes raw and alive.
This variety allows me to find the right tool for every voice, instrument and sonic idea—with an ear for the distinctive beyond standard solutions.
06 / Instruments
Ready to play for spontaneous ideas
A selection of instruments is ready in the recording room at any time—for spontaneous ideas, sonic extensions or complete arrangements.
These include the Harley Benton HB-35Plus in Metallic Plum, a semi-acoustic electric guitar with a warm, assertive tone, and the Harley Benton HBO-850, a traditional steel-string acoustic guitar with an integrated pickup, ideal for natural-sounding recordings.
The Startone STS-75 tenor saxophone adds a deeper breath—robust, reliable and warm with a lightly roughened tone that fits many genres.
A Fender amplifier is available for guitar recording, offering the classic warm valve sound suited to dynamic cleans and lightly driven tones: authentic, direct and proven.
The Red Hill Western Vintage adds a characterful acoustic guitar with a slightly rough yet balanced sound—ideal for rhythmic playing, singer-songwriter recordings or a distinctive contrast to softer instruments.
The collection is completed by the distinctive Studiologic Sledge 2 synthesiser with black keys—a powerful, intuitive instrument for digital pads, analogue basses and experimental textures.
All instruments are ready to play—for creative processes, spontaneous overdubs or simply to explore.
07 / The place
Away from the city’s rhythm
The studio is located in the Ergewa business park in Erfurt, at Blumenstraße 70/71—slightly removed from the city’s bustle and surrounded by greenery, mature trees and small workshops.
Visible from a distance, the large silo stands over the site like a quiet signpost. Once you see it, you are almost there.
There is no disruption from road noise or neighbours. The surroundings are quiet, sheltered and ideal for concentrating fully on the music.
Creative processes need space—and that space is present here: relaxed, undisturbed and focused.
On arrival, it quickly becomes clear that a different rhythm applies here.
