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

A: You will feel seen with your work and your project will be in careful hands, focussed on all the details and the greater vision. You will receive high quality results.

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

A: That women are super rare in this field - they are not. There are so many of us out there.

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

A: Trust your own creation and work - and open up to the possibilities. I´m an artist and an engineer, you will always get both.

Q: What questions do you ask prospective clients?

A: What do you love about your project and what do you think needs to be improved? Whats a reference track and why do you like it? How should the final result make you feel and what do you want to achieve with it? Why do you think it needs to "sound like abc.."

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: I dont know anyone in particular but I would always recommend the person you feel drawn to regarding trust and quality, so If you can afford it, dont safe money at the wrong part. When it comes to a music project, intuition is key.

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I was writing, producing and engineering my 3 full length studio albums, I´m very proud of this independent and professional process that gave me insight in what impact all the single steps have on the outcome.

Q: What's your typical work process?

A: I always take time to dive deep into the vibe of the project to understand the vision and what can be helpful to bring it to life. I offer a first approach (Mixing or vocal example) to go from there. If the direction is right, I focus on details and I always keep a strong communication to the artist trough the whole process.

Q: Tell us about your studio setup.

A: My studio setup is a hybrid electronic production and mixing environment built around analogue, digital and vintage tools. It includes classic and modern synthesizers such as the Waldorf Blofeld, Nord Lead 2X, Korg Poly 800, MicroKorg, Doepfer Dark Energy and MicroBrute, allowing for a broad range of tonal character from raw analog textures to digital precision. For sequencing and composition I work with Elektron Octatrack MKII, Roland MC-505, Korg SQ-1 and Doepfer Dark Time. My drum machines include the Korg DDD1, Kawai R100, Alesis SR16 and Roland SPD-One Electro, bringing both vintage digital grit and modern percussive flexibility. My mixing process includes a wide range of ITB tools and an outboard and effects section, including Drawmer 1970 for analogue compression, Vermona VSR 3.2 reverb and a range of analog-style pedals from Boss, Electro-Harmonix and Ibanez for distortion, modulation, delay and spatial processing. My mixing and production chain runs through Focusrite Scarlett interfaces (18i20) and a Boss BX-16 for additional routing flexibility. Work is done in Pro Tools and Ableton Live Suite on a Mac Studio M4 Max system. Monitoring is handled through ADAM A7 monitors, Beyerdynamic DT150 and AKG K240 headphones, providing detailed and reliable reference across different listening environments. My Vocals sound best through the SM 58 but I also use the SM Beta 57A and LD D1010.

Q: What do you like most about your job?

A: everything

Q: How would you describe your style?

A: dedicated, artistic, detailed, reliable, focussed, professional and creative

Q: Which artist would you like to work with and why?

A: PJ Harvey and Kim Gordon, beacuse of their special vocals and the strong artistic attitude..

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

A: SM 58, Roland mc 505, Waldorf Blofeld, Interface, Boss Reverb RV6

Q: What was your career path? How long have you been doing this?

A: I started out purely as an artist, live performer and songwriter. For over ten years, I’ve been releasing music and touring international clubs under my solo project. Along the way, I’ve had some amazing collaborations and produced, wrote and engineered 3 albums and several EPs. But the whole mixing thing started out of frustration: I often got mixes back that felt way too polished, too bright, and just lost the raw, dark pulse that made the tracks special. So I decided to learn how to do it myself. I wanted to back up my ears with real knowledge, so I got a certification in Audio Engineering and joined the AES Germany. Now, I work with a hybrid setup between Berlin and my studio in Leipzig, helping other artists get that gritty, honest sound without losing their soul. Writing, producing, and tweaking electronic tracks has been my world for more than a decade, and the deep dive into professional mixing and hardware studio work has been my daily life for over 8 years now. Spending all this time both on tour and in the studio gives me a pretty good instinct for what a track needs to really work.

Q: Can you share one music production tip?

A: Keep it simple and focus on the essence of your track (the beat, the vocals, the synth textures). Let the music breathe, and don't be afraid of the edge. First takes are often the best! When it comes to vocals, don't over-edit or chop them up too much. It's usually much better to re-record a whole take to preserve the genuine raw energy and emotion.

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

A: Dark Wave, Post Punk, Electronica, Leftfield, Drone, Dark Pop, Acid Elektro

Q: What's your strongest skill?

A: Vocals and mixing Synthesizers, also communicating with the artist about their vision

Q: What do you bring to a song?

A: Through my vocals, I bring a deep, atmospheric edge and emotional weight that makes a song feel meaningful and whole. As a mixing engineer, I put love and absolute dedication into each individual sound, creating the perfect space for every single part while giving the entire track a warm, hardware-driven but sharp elegance that stays true to your vision.

Q: What are you working on at the moment?

A: I’m currently mixing the new album by Comma Baby, an extra ordinary new band with great songwriting and vocals. I had to clear up the low ends and let the vox and synths shine through, bring everything at its place. Also I mix the new EP by Warm Graves...such delicate, intelligent music that blends synthesizers, guitars and vocals in a very subtle, almost hidden way. The music sits somewhere between modern Krautrock, Wave and Post-Punk, and it’s a real pleasure to work on, especially the interplay between synth textures and guitars, which creates a very rich, intimate and atmospheric sonic world that is still cold and distant. My goal in this mix is to bring more presence and clarity to the vocals and elements without making the artist feel exposed or losing the intimate character of the recordings. The music sits somewhere between modern Krautrock, Wave and Post-Punk, and it’s a real pleasure to work on—especially the interplay between synth textures and guitars, which creates a very rich, intimate and atmospheric sonic world that is still cold and distant.

Q: Analog or digital and why?

A: I work in both worlds but my heart just digs the analogue approach. Its the litte difference in the sound and the way I can communicate with the machines, so tactile. It also gives you the chance to focus on a certain gear to approach your signature sound, to give it a certain special touch. But its mostly so expensive and the plug Ins are so good now that its easier to work ITB. In the end the mixing outcome must fit the vision and it all depends on the demo material as well. And: The greatest set up cant beat experienced ears - they are the most important analogue gear anyways.

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

A: I always loved the work of the german audio engineer Conny Plank. I enjoyed all those Krautrock, Pop and IBM Bands he worked with, like DAF, Freur, Ultravox, Neu! and Kraftwerk. He formed a whole new music era with his unique approach to synth and drum sounds. I also adore PJ Harvey as a songwriter and vocalist, also as a producer. She recorded so many albums by herself, independent and with a strong artistic attitude.

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

A: I help artists to shape their sounds and make their the vision fully appear that the music will become this perfect piece of art work, for the artist first, but also regarding sound technical aspects. I dismantle the muddy parts, set single sounds free but still try to keep the core vibe. I respect the artwork and fully take it in with a close contact to the artists, and then shape the edges like a sculpture. This includes classic mixing work with a strong focus on vocals, but I also offer Sound Identity Sessions to figure out what they actually want. Also I love to do some A&R work and talk about the vision of the album or EP, what labels could be interesting and empower the artist with ideas based on my own experience as a music artist. As a Vocalist I deliver Main and Backing Vox, Hook Lines and Lyrics to create the emotional component, making a song deep and meaningful.