Mobile Studio

Experimental studio for electroacoustic music and mobile recording studio

For productions of acoustic, electronic or electro-acoustic music, a variety of top class audiophile processors is available in addition to the programming environment. This allows sonic interventions in the program material, right up to the mastering stage.

The studio is primarily based on the idea of realizing own musical interests, but I regularly work for others. This work is in the areas of software development (audio, video, light), typical recording studio work (live recording, mixing, editing, mastering, digitization) or teaching activities. A 4-channel PA is available for live projects (up to 32 I / O).

For performances or pre-productions of electronic/electro-acoustic music, in addition to Max/MSP, highly specialized instruments such as the M.A.R.S. or the EMS analysis filter bank B1-II are at disposal. In addition to historical synthesizers by ARP and Moog, a modular synthesizer (formats: Buchla, MOTM and Eurorack) forms the center of the electronic apparatus. The only keyboard with 'real' piano mechanics, a KAWAI VPC1, is provided as MIDI keyboard. Two electric piano classics, a Fender Rhodes MkII stage piano and a Hohner Elektra, as well as a historic Bechstein 265cm Concert Grand should make pianists' hearts beat faster.


tone tells more than word...
  • Hayden Chisholm in the Sendesaal Bremen, Feb. 2012

    "The Well Tempered Shruti-Box" was the title of the evening in the context of the series "Concerts in the Dark", which took place in 2012 in the Sendesaal Bremen. The Sendesaal is one of the best-sounding historical studios in the world, has a great history and a perfect reverberation time of 1.42 seconds!

    Here is a section of the unprocessed original recording (originally in 192 kHz). This concert has now been released on record - as part of a large compilation (on 13 CD's) by this hell of a chap from New Zealand.

    Hayden Chisholm/Softspeakers

  • Fisch im Trio

    The "Bird's Eye" Jazz Club is a pretty difficult recording location - it is in a small, former prison gym in Basel / CH. A real challenge. The recording equipment consisted of devices from Apogee, GML, UA, RME and Soundcraft. The microphones used were from AKG, DPA, Neumann and Schoeps. The wonderful Trio of Donat Fisch:

    Donat Fisch - saxophone, Baenz Oester - bass, Norbert Pfammatter - drums

    From the extensive recordings (4 days) of the trio around the saxophonist Donat Fisch, a CD has already been compiled and published in 2007 with the Swiss label "Unit Records". I hope that another CD, or better still, double CD will follow, because this trio has musically really much to offer!

    Donat Fisch, Baenz Oester, Norbert Pfammatter

  • Walter Jauslin Trio

    Another recording, also from the "Bird's Eye" in Basel / CH, with the trio of the great pianist Walter Jauslin. This recording is from the year 2006. These recordings also took place in the Bird's Eye in Basel / Switzerland, however during the day and without audience. Jauslin = TimeWarp!!

    Walter Jauslin - piano, Fernado Fontanilles - bass, Michael Wipf - drums.

Size matters!

Audiophile technology, almost in pocket format

    A "state-of-the-art" mixer of today is also nothing more than several I / O's and a digital gate, compressor and EQ section, which is controlled by Motorfader or Endless Encoders. Apart from a thicker bank account, trucks and helpers are needed to transport such intimidation electronics. Too expensive, too big, too heavy, too little discreet. For me, anyway. So why not a modular solution?

    This is my "big" mobile setup, from the front and from the rear. It is for live sonication and editing and has 32 I / O's, 16 analog and 16 digital. 14 of the analog inputs have microphone preamplifiers and 8 channels can be switched to DI mode. Two of the microphone / DI inputs offer a genuine "vintage" touch: they are 50-year-old telephones V672 microphone and gain amplifiers, which have come to life in 19-inch format. In addition there is a unique room simulator and individual monitoring. UAD emulations of exquisite vintage equipment are also available as a plug-in.

    Two stageboxes (mic/line) are connected via multicore cables so that the technology can be used more or less invisibly, without cable chaos or longer set-up times. A motor-faderbank is available to control the virtual console. A technical bonus is the wireless live mix - from any other place, via iPad - unbypassed and optically extremely discreet - possible (even if it sounds funny or looks toy-ish somehow: it is very pleasant to work with). Channel settings are made via Metric Halo's Console5, with Gate, Compressor and EQ of the already legendary MH channel strip, individual bus system and many other well-sounding extras.

    Audio Stage Technology

    At PA, too, the highest sound quality and ease of transport were the unrivaled requirements. This led to two, almost irresistibly small Nexo PA's (PS-8), each with a legendary 1750 W in "high-end quality", which is also recognizable from the 10th row. The audience noticed and thanked...

    Nexo PS-8 not only amazed bcause of its balanced and transparent sound - with crisp bass - but also thanks to its excellent coverage and wide range. Especially with such small PA's the sound often breaks already after a short distance - not so with the PS-8. You will not believe it from the mere view!

    Microphones are "very close", of course - I have an almost personal relationship with them. They are the "sensing elements" of the setup. There is no microphone in my collection that tries to sound like another.

    Different requirements require different microphones. In my collection are DPA 3521, Brauner Phanthera, AKG C414 B-ULS and other models of Beyerdynamic, DPA, ElectroVoice and Shure. Two wireless channels are possible, if the situation requires.

    The cables are from Mogami, Sommer, Vovox and Isoda, the plugs from Neutrik and Switchcraft.

    More about my studio equipment:

    Studio Hardware