Visit our studio
The 24 carat golden plug on the guitar is the only one you'll see throughout the studio... 🙂
No matter whether it comes to recording, mixing, mastering or stem mastering: Undoubted hearing tests in our rooms have shown that already one single plug connector affects negative on the tone. Our logical consequence therefore means that we have eliminated all connections in the entire studio, also at the microphones and the standard cables have been replaced by highest quality cables from Ray Kimber. So we have already achieved an enormous sonority, depth and width. Other research has shown that a good grounding and Power Supply have a significant effect on the sound.
In fact, have low cross-sections and lower copper content in the feed lines of all devices involved in the studio a very adverse effect on the sound and therefore we also have all feeders oversized and bridged the miniature fuses of the devices, the bypass switches and fuses of the power supply. We also have an autonomous ground with a minimum cross section of 35 mm² in the supply line of the studio and additional individual grounding of the equipment, because the results again improved enormously and we got more 3D-Sound.
In audio production, there is another fact that is often underrated or not considered: Superimposed interference frequencies in the gigahertz range from the power grid caused by machinery, engines, machine control systems such as PLC controllers, frequency converters, motors, relays, contactors, as well as in the studio itself through transformers, switching power supplies, computers, amplifiers etc. affect the audio processing to a considerable extent. This problem we have resolved through special filtering and attenuation in the supply lines as well as within the individual devices and this means in the consequence that even no switching power supplies, wireless network devices, unnecessary lighting, computers etc. are turned on at work with audio throughout the house. This even goes so far that also the power amplifier for studio monitors and LCD monitors are switched off during the final mix / master, because naturally large transformers and switching power supplies are also active here.
By using a high-precision super clock instead of a normal word clock we reach even more powerful signals, more noticeable panorama and depth.
The neutral conductor of the power supply company is particularly burdened with interfering frequencies, so it should never be connected to the ground in the studio. Therefore, there is no potential equalization in our house how of the power company prescribed.
Furthermore, we have found: SSD drives achieve better quality results in the audio processing than conventional hard disk drives, and PCIe as well as DSP cards such as UAD-2 cards and inserted USB sticks deteriorate the audio quality when recording, mixing and mastering even if all DLLs deleted or are inactive. That's why we use such cards only to produce special effects; after this, DLLs are removed including the cards and drivers.
It is at the same time clearly audible for us that badly programmed software, drivers, Windows services in the background, all the displays and graphics cards accelerator degrade the audio quality once more, that's why we have these quickly removed. Of course our rather particular optimizations of signal processing will increase exponentially when recording under these conditions with the best microphones and preamps. This immediately creates a special emotional relationship with each note of the song, because quality, expression and power inspire such a way that you can only record with a permanent grin and creative flow!
Three acoustically optimized recording rooms with daylight, visual contact and various world class microphones as well as instruments are available in order to meet different challenges.
However, the big difference here are our unique conditions. High-quality modified equipment, direct wiring, optimized auxiliary power supply, as well as creative competence in music production provide sonically superior results with analogue warmth, vibe, liveliness and punch.
The purpose of mastering is to maximize the musical expression of a song in the master mix. However, the big difference here are our unique conditions. High-quality modified equipment, direct wiring, optimized auxiliary power supply, as well as creative competence in music production provide sonically superior results with analogue warmth, vibe, liveliness and punch. Crucial to the success of a title is increasingly also the sound! Over 22 million sold records speak for themselves.
Since the mix will decide, whether it brings a song forward and comes across well on all systems respectively emotionally arrives at the listener, at our house it already includes the greatest part of the mastering process and requires no post-tonal processing. Incidentally so also is avoided unnecessary DA / AD conversions and copies. The analog signal processing is by far softer and more musical because here the waveforms remain intact. In addition, so more headroom, width as well as depth is made possible because these are electrical impulses and not ones and zeros are just netted.
Our rather particular optimizations of signal processing will increase exponentially when recording under these conditions with the best microphones and preamps. This immediately creates a special emotional relationship with each note of the song, because quality, expression and power inspire such a way that you can only record with a permanent grin! Three acoustically optimized recording rooms are available in order to meet different challenges and they have daylight as well as visual contact.
Size: 35 qm, ergonomic and acoustic optimized. Monitoring: G.J. ACOUSTIC TD-600M, EARTHWORKS SIGMA 6.2, GENELEC 1030A. Mixer: SOUNDTRACS JADE 48 channel inline patchbay; automation, gates, compressor, limiter, autopanner for inputs programmable, 12 aux/ch. Multitrack: 4x ALESIS XT 20 DIGITAL AUDIO RECORDER, 32 tracks, BRC, RMB. HD/recording: 4x SOUNDSCAPE 32 with 24 track APOGEE 896 A/DD/A converters. Mixing/mastering: DAD AX24 AD/DA Convertersystem, SOUNDSCAPE 32, WEISS DS1, WEISS EQ1 DYN-LP, SONORIS DDP-Creator bit transparent waveburning, +DDP Player OEM with securety option, DBX QUANTUM, YAMAHA CRW-F1, TASCAM DA 30, MARANTZ CDR 620, Wavelab, Spin Audio, Universal Audio. Analog/mastering: ANAMOD ATS-1 Analog Tape Simulator, TASCAM 35-2B. Cassette deck: AIWA, PIONEER CT 959 REFERENCE.
1 x GML 8900 Dynamic Gain Control - Series 3, 1 x Dangerous Music VCA Compressor, 1 x Manley Mastering Version HP, SC, TBAR, 1 x PENDULUM ES-8 Stereo Cutoff Tube Limiter, 2 x DRAWMER S3, 1 x DRAWMER S2, 1 x CHANDLER TG1 Stereo Limiter, 1 x WEISS DS1 digital / compressor / de-esser / limiter, 1 x Waves MAXX BCL 48 bit, 1 x Pendulum PL-2 Analog Stereo Peak Limiter, 1 x Purple Audio Action, 1 x Anamod AM660 Limiter, 1 x Shadow Hills Optograph, 1 x UNIVERSAL AUDIO 2-LA-2, 1 x UNIVERSAL AUDIO 1176LN, 1 x UREI 1176 Stereo Limiter.
1 x Manley Massive Passive Stereo EQ, 1 x Weiss EQ1 DYN-LP, 1 x Manley Stereo Pultec EQ, 1 x Elysia MUSEQ, 1 x A Designs HM2EQ Hammer, 1 x Great River MAQ2NV Stereo Mastering EQ, 1 x Great River Harrison 32 EQ, 1 x Chandler Little Devil EQ, 2 x Purple Audio TAV 10-way Eqs, 10 x Purple Audio ODD Eqs.
Analog interconnection: Kimber KCAG, Timbre, Sommer, Mogami, Direct wiring/soldering. Digital interconnection: Vovox, Kimber, Direct wiring/soldering. Power supply cables by Berndt Bauer (Audiotools) Direct wiring/soldering.
2 x LEXICON 300 Digital Effects System, LEXICON model 200, EVENTIDE DSP4000, - DSP4500 Digital Dynamik-Effectsystem, -Harmonizer, ALESIS Q.-20 Multi-Effect, TC M-ONE XL-Reverb, TC FIREWORKS, MAM VF 11 Vocoder, ROLAND SDE 2500 Midi Digital Delay, Pug-Ins: all SOUNDSCAPE, EMAGIC, Universal Audio UAD-2 Card.
ANAMOD ATS-1 Analog Tape Simulator; all cards, DBX 786 Dual Mic Preamplifier with EQ, UNIVERSAL AUDIO 2108 Dual Mic Preamplifier, A-Design Gold, DAD AX24 AD/DA Convertersystem, TC GOLD-CHANNEL, 4x GATEX, APHEX Aural Exciter Typ 3, Headphone Amplifier for 18 headphones, DBX QUANTUM, Swissonic Wordclock Distributor/Generator WD8, div. headphones.
Masterkeyboards AKAI MX76, ROLAND RD-600, ROLAND OCTAPAD, AKAI CD3000 XL Sampler, AES EBU Interface, CD-, ZIP-drive, Sound Library, E-MU PROCUSSION (Drum Expander), KORG TR RACK, E-MU PROTEUS 2000, E-MU XTREME LEAD, E-MU MORPHEUS, ROLAND VINTAGE KEYS, ROLAND JV-2080, ACCESS VIRUS, ROLAND R-70, WAVESTATION SR, div. Soft-Synth., -Sampler/Sound-Librarys, 4 PCs, 19“ LCD-Monitors, MIDI EXPRESS PC, CAKEWALK, EMU, UNITOR 8, MIDI TIMEPEACE AV (SMPTE, 8x Midi in, 8x out), EMAGIC-LOGIC-AUDIO, CUBASE.
Guitars: FRAMUS, Vigier EXCALIBUR, Bass: Vigier PASSION 5-String, Drum-Sets:, 6 part Drumset MAPEX MARS PRO SERIES, 2 x MAPEX Snares, 1 x GRETSCH Snare, 1 x SONOR Snare; div. cymbals from Zildjian, ROLAND V-DRUM 12 Stereopads, Kickpad KD120, 2 x double pedal, div. percussion instruments. Guitar amps: MESA BOOGIE MARK 4, 2 x HUGHES & KETTNER, Marshall JCM800, Guitar Rig 4.
SOUNDELUX U99, EARTHWORKS, NEUMANN, AKG, MILAB, BEYER, SENNHEISER, SONTRONICS, AUDIX, SHURE.
Extract of our client list
Abby, Absence of Malice, Acid Rain Dance, Angie and the Jazzin' Daddies, Asmodeus, Backspin, Benzien, Bayer, Big Band Verden, Björn, Bo feng, Bolsche Vita, Bozo's Brain, Burning Lights, Brain Trust, Christian Faur, D.O.S., D.P.R.F, Douglas Shawe, rank Slaman Music Experience, Rolf Schnyder, Fun Factory, Gran Dia, Hoechst, Icy Roads, Jake Lynch, Jeff Hanc, Kammerorchester Cesis, Karl Valentine, Kien Ninh, Leyli, Last Delay, Lichte Momente, Maddi, Marton Vödrös, Michael Beier, Mike Manney, Night Owls, Pequod, Pavol Lantaj, Powerty's no Crime, Posaunenchor Dörverden, Pusteblume, Shamal, Sony BMG, Taichi, Terror X, The Bobbies, The Die Is Cast, Thomas Steigl, TSC Verden, The Turning Shade, Tanzschule Beuß, Ulrich Boss, Vanilla Muffins, Veronika Usholik, VØGUE, Wry Way, Yatsuba, Zarys, ZYX Music and counting...