Hybrid Mastering with class

Q: What other musicians or music production professionals inspire you?

A: Since I started off as a music producer in the dark electronic underground/industrial scene, I couldn't have more respect for complex electronic acts such as Skinny Puppy or Front Line Assembly. I was really lucky having a top notch audio engineering and mastering mentor with Wolfgang Gottlieb from the Lotte Lindenberg studio in Frankfurt/Germany, who sent me on my current path. I also enjoy listening to Mr. Bob Katz talking ;)

Q: What type of music do you usually work on?

A: I have mostly worked with dark and unusual electronic acts that produce pretty complex and diverse music. Dark or not: I'm really passionate about anything divergent from the norm, any creatively "different" approach to music is tremendously interesting. That's my area of expertise where I can really shine :)

Q: What's your strongest skill?

A: Being a musician myself, I'm able to empathize with the client's artistic approach and understand what the track is supposed to represent. This allows a very musical mastering approach. I also have a good feeling for carving out specific elements and details.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: All the Maselec stuff. ;)

Q: Can you share one music production tip?

A: Don't overdo the high frequencies in your mixdown, actually try to have them just a tiny little bit lower than you'd want them to be. Due to the fact that higher frequencies are always boosted just a little bit when limiting, this results in a more homogenic/natural outcome in the end. Of course, it could always be adjusted in the mastering process, but it wouldn't be quite as homogenic.

Q: What are you working on at the moment?

A: Right now, I'm working on Fix8:Sed8's 5th studio album and the upcoming Mesh Live Blu-ray.

Q: Analog or digital and why?

A: Absolutely both. Nothing beats the synergy between digital convenience and analogue magic!

Q: What's your 'promise' to your clients?

A: A deep commitment to their music until they're a 100% satisfied.

Q: What's the biggest misconception about what you do?

A: Mastering is sometimes mistaken for a "fixing" process instead of an enhancing one. The outcome is always heavily depending on the source material!

Q: What questions do you ask prospective clients?

A: Actually, the music delivered speaks for itself. However, I might ask for certain reference tracks that represent the desired direction.

Q: What advice do you have for a customer looking to hire a provider like you?

A: If you have a specific idea on how the master should sound like in the end, don't hesitate to communicate that from the beginning.

Q: What do you like most about your job?

A: To have the privilege working with a vast variety of different creatives and helping them pursue their artistic vision!

Q: What do you bring to a song?

A: This always depends on the song of course, but I aim to polish things up and give the track a nuanced and transparent clarity. In the end, the song will shine in the best possible light, customized to the client's wishes.

Q: What's your typical work process?

A: Step one is always a critical listening process with possible feedback for the client regarding his mixdown(s). When we made sure that the mixdown lives up to its potential, the mastering process can begin!

Q: Tell us about your studio setup.

A: The heart of the studio is a beautiful Maselec mastering transfer console, which is a really powerful core piece where everything comes together. I use several outboard processors, including a Maselec MEA-2, SPL PassEQ, API 2500 & 5500, UREI 539 and Drawmer 1973. The digital playground is mostly Pro Tools, but also the Studio One 4 mastering suite for final editing/tagging and .ddp creation.

Q: Describe the most common type of work you do for your clients.

A: I do audio mastering. In most cases this means mastering a music release, but I also master and edit podcasts or dvd/blu-ray audio.