I am a recording engineer and composer from Hamburg. I am passionate about creating sound recordings and mixing for motion pictures. I specialize in composing, arranging, recording and editing music and sound effects at the studio or anywhere in the world.
Berenberg corporate image video. Music composer and re-recording mixer. This is just the film music. Composition for piano, drums, synthesizer and noise.
Seat Mii "Shades Of Grey". Supervising sound editor, music composer and re-recording mixer. Formats: stereo and 5.1 for cinema and web.
Abenteuer Kanada, 90' documentary film by Harald Paul. Composition for string quartett, piano and omnisphere. This is a compilation of the film music.
Mawaju, TV and web commercials, campaign summer 2013. Composer, supervising sound editor and re-recording mixer.
Mercedes SLS AMG in Grand Tourismo 5, viral. Awarded Gold in Cannes 2010 (still a nice movie!). Job: music and sound design.
Money in Minutes (WDR/ARTE). Documentary by Monika Hielscher and Matthias Heeder. This is a compilation of the film music.
Music inspired by Mirko Faienzas great short movie "My Fathers Garden". Composition, VSL programming and re-recording.
Swift "I'm a fan" worldwide campaign [TV, radio, web] 2010-2012. Supervising sound editor, music composer and re-recording mixer.
Activision, Ärzte ohne Grenzen, Berenberg Bank, Berlin Recycling, Bomatic, Bonita, Bonprix, Campari, Compo, Dreamlines, Duni, Germanwings, GEE, Gilette, Google, Gruner & Jahr, Stadt Hamburg, Hamburg Blue Devils, Hamburg Casting, HAW Hamburg, Hamburg Freezers, Henkel, Healthy Living, HSE, HTC, Hyundai, Jam! Reisen, Jacobs Krönung, Ladival, Leomat, Liberta, Mawaju, Mercedes Benz, Messe Hannover, Microsoft, MTV, Mustang Jeans, My Best Brands, Navigon, NDR, Nintendo, Nivea, Novartis, Parship, Porsche, PSA Bank, Publicis Dialog, Rainbow Tours, Rimowa, Raveline, Roche, Romwell, Schwarzkopf Professional, Seat, Sensient, SMM – shipbuilding machinery & marine technology, Sony Ericsson, SVT, Statista, Stella Entertainment, Stihl, Suzuki, Techniker Krankenkasse, Telekom, Tide, Tom Tailor, T-Systems, Ulla Popken, Universum Boxen, Unitours, Vitez, VW, Weingut Tesch, Wiethe Group, Wimdu, ZVA.
Talk to me (Samira Radsi, 2005) - music composer
Almost Casablanca (Samira Radsi, 2006) - sound effects editor, music composer
Abenteuer Canada (Harald Paul, 2012) - supervising sound editor, music composer
7 Tage... (NDR, 2012, 2013, 2014, 2015, 2016) - music arranger, programmer, recording engineer
Nouvelles (L. Sakuth, 2013) – sound effects editor, re-recording mixer
Money in Minutes (M. Heeder and M. Hielscher, 2013) – music composer
Voll Schwul (Pieper / Roselius / Wiedhöft, 2014) – music composer
Die lächerliche Finsternis (C. Rüping, Thalia 2014) – consulting sound designer
Bootsmann (S. Grell, V. Gamke, 2016) – sound effects editor, re-recording mixer
Alin Coen, Susanne Dieudonné, Everything Everything, Gerrison Ford, Benny Greb, Marion Hamann, J. Z. James, Antonia von Romatowski und Stefan Lehnberg a.k.a. Küss mich, Kanzler!, Rocco Royal, Walter Schmidt, Starbeat, The BossHoss, Keith Tynes.
Recording is an art form. Recording means turning acoustic events into acoustic media. In this rendering process – i. e. deciding on what and how to record something, and what and how to edit and mix it, does not only result in a new form but, according to Marshall McLuhan, also to a new substance – the medium is the message. Therefore the recording artist is, in fact, the designer of a certain message, be it a newscast, soundscape or orchestral music. He needs to choose carefully from the countless possibilities of how to capture a certain time period and to transcode it into a media art form that serves its specific purpose best.
Furthermore, creating a recording means taking care of the concepts figure, ground and field, a visual comparison introduced by Murray Schafer in 1977. He considers the figure as the central carrier of meaning one records, while the ground is the context which the figure is part of. The field may be understood as the place where the acoustic emission is perceived. In a classical concert, this figure might be the playing orchestra; the sounding context would be the concert hall, and the sounding field the position of the listener. But, in terms of a recording, this field is completely different: if the listener wears headphones, it may be a car, a living room or any place in the world. Even more interesting is the differentiation of figure and ground. Clearly, most often the acoustic emitter is the figure, as it most probably carries the important meaning, and the ground will be the sound of the local context, in which the recording takes place. This may be the reflections of the figure in a room, a hall or in a forest, or the sound of the context itself: soft room noise, animals in the woods or the weather in open space. But where do you draw the line between figure and ground? Since Cage’s “4:33” it has become clear: there is no such line, especially if one tries to generally define the carrier of meaning: Even if the orchestra does not play a single note – there is still sound. Of course, this sound would be the ground or even field in any other case, however, in “4:33” this is intentional and must therefore be considered as a figure.
Hence, the most important and powerful lever of a recording artist is to be able to draw this line in an artistic way in order to use the massive impact on perception with sometimes even the most subtle changes in microphone patterns, positions, or signal relationships in a mix, and to be able to communicate these topics within a team in order to create an artistic vision.
Acoustics is all about change over time. When we try to organize and to arrange gradual changes in order to transport meaning implicitly, we talk about music. So music is not only a folk or pop song, or The Ring of the Nibelung – spoken words, city noise or any sound is to be considered music as well, if it is used to implicitly transport meaning.
This may be due to our limited vocabulary in describing acoustic events, but it is no coincidence that, when talking about language, we choose terms such as sentence, melody, phrase, tempo, expression and so on – the very same we use in music. But looking at the genealogy of musical composition, it becomes clear that the vocabulary we use is more an effect rather than the actual cause. Musical composition itself, from the very beginning of human mankind to the hyper-diversified musical styles of today, can be understood as a formal approach to arranging with ever more extending principles – every single piece of music is used, like in language, to encode the transmission of meaning. The same goal applies to functional music, or functional sounds in general.
With regard to context, functional sounds give meaning to a movie, a commercial or even an h&m store. With regard to the listener, functional sounds encode the meaning in a way that the majority of people can, at least at its core, understand. However, this does not necessarily mean, that musical meaning has to always apply to the lowest common denominator, like often very simple structures of functional music imply. Functional sound ideally adds meaning to pictures (or any environment) and does not just paraphrase what you see – even if it’s sometimes necessary. Translating this often very complex meaning into intelligible implicit words – i. e. music – is the artful skill of a composer of functional sounds, whether in sound design or in film music.
For me, every sounding aspect of a film is part of a large and complex musical composition and should be understood as such.
|2000 – 2001||
Audio Engineer Diploma, SAE Hamburg
|2007 – 2009||
Systemischer Coach & Prozessberater, DCV Zertifikat
2007 – 2009
Bachelor of Arts (1st class hons), Recording Arts,
2012 – 2014
Master of Arts (1st class hons), Time-Related Media,
Alan Parsons (Mixing and Production),
Hans-Martin Buff (Recording and Mixing),
Thomas Görne (Film Sound Design and Mixing),
Javier Navarrete (Music Composition for Film),
Youki Hamamoto (Arrangement and Orchestration)
1st Instrument: Classical & Western Guitar
2nd Instruments: Bass, Piano
|2000 – 2001||
TPR Music Productions, Job: Recording Engineer & Composer
|2001 – 2003||
Hastings GmbH/ Milo Heller Musik & Sounddesign,
|2003 – 2006||
thein’n’ohlendorf GbR, Executive Partner
|2006 – today||
Elbstudios Audio Postproduction, Owner & Tonmeister
|2013 – today||
SAE Hamburg, Lecturer for Audio Postproduction, Sound Design / Sound FX Editing and Film Music Recording
|2015 – today||
Medienakademie Hamburg, Lecturer for Location Sound, Audio Postproduction and Sound FX Editing
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