Studio Absconditus in Waldenburg

In early 2023, in the tranquil and mysterious town of Waldenburg in Saxony, Germany, I fulfilled a dream I had been having for more than thirteen years: a music studio of my own. It was to be a music studio in which I live, but which would be more than what is commonly called a "home studio". However, I had not just dreamt of producing my own music in such a studio. It had also been my wish to use my growing knowledge and the studio equipment I have been accumulating over the years to make other musicians happy with it, too. Up until now, however, I did not have the proper premises for this at my disposal, a place I could equip with proper acoustic treatment to allow for professional recordings. I have finally found such premises in Waldenburg. 

Apart from a lot of peace and quiet, the small rural town has a castle, a Masonic park, an 18th century  natural history museum with many curiosities and a small river called Mulde in an idyllic valley. And although the secluded location allows to focus just on the music, far away from the hustle and bustle of the cities, Leipzig and Dresden are about an hour away by car, Chemnitz and Zwickau twenty minutes – a musical environment in which I feel very much at home. The perfect place for Studio Absconditus. 

And it is the place where I could mix, master or record your music and produce it from scratch. In the chapter "Your production in the studio or over the internet" below you will learn how this can become reality.

Painting with sounds - my unusual approach

My music project ART ABSCONs has been around since 2008, and since then, I have not only been the artist and multi-instrumentalist behind the project, but - as is very often the case these days – also my own music producer. From the very beginning, it was clear to me that ART ABSCONs' music had to be characterised by an inexhaustible palette of sound colours to be newly compiled with each piece and each album while becoming more and more extensive. Over the years, I have thus amassed an impressive collection of acoustic and electronic musical instruments. Not only did I have to learn how to play them, but also how best to record them and weave them into unusual arrangements. I often felt like painting with sounds and wanted to constantly enrich my music with new colours, shades and perspectives. Hence, in addition to my many musical instruments, I also needed the appropriate microphones, amplifiers, compressors, effects and the knowledge to operate them; and since I was never really convinced by computer emulations and plug-ins, I wanted real, analogue devices wherever it was possible. This is the only way to ensure that a production will stand out from the many amateur productions that flood the internet, productions that are simply created on computers in semi-professional home studios. On special occasions, I will even use 4-track tape recorders or an 8-track reel-to-reel recorder to achieve a sound that you will no longer hear very often in our days. 

What I have learned in fifteen years of ART ABSCONs is certainly not the same as what you learn when you train as a professional sound engineer. Even if I have constantly been studying sound engineering by myself and have read and tried out many things, my approach will certainly be unconventional in some respects. I consider my past productions to be merely the results of this progressive learning process and would by no means want to point to them as a reference for my current skills, especially because until I moved to Waldenburg, I did not have any rooms with professional acoustics and, thus, my high-quality studio equipment was of little use to me – because even the most expensive microphone will sound bad if you use it in a bad room, and in a room that does not have the appropriate acoustics, you cannot come up with a professional mix or a professional master. Fortunately, those days are over. In Studio Absconditus, I finally have a sound-optimised recording room and a well-adjusted control room for monitoring, mixing and mastering. The album "Aus tiefen Höhlen" by KAELTE is my current reference to show that my future productions will have a higher professional standard than my past ones. Sven Martins vocals were recorded in my recording room, and the mixing and analogue mastering of the album was done in my new mixing room. 

When I produce your music, it will be different from booking a certain amount of hours in a regular professional studio. I do not just want to deliver a professional and decent production, I want the production to be as close as possible to what you heard deep inside you when you were inspired to create your work. I do think that I possess the required empathy, patience, resourcefulness and skills to get there. Your production will only be considered finished when you are satisfied – no matter how long it takes. 

Your production in the studio or over the internet

Since it is in my home and I have a day job, Studio Absconditus is not a studio for hire. So, in the near future, I will only be able to offer full-scale productions on site to artists I know in person and whose music I can relate to - but that should not stop you from asking me if you think that my approach to music production could be just right for your music. There is no reason why we should not get to know each other. I will be glad to talk with you to find out how much time we would need for your project and how much it would cost or if it would cost anything at all. 

If you prefer to record your music yourself and only need support with the mixing or mastering process, or if you simply want that certain "je ne sais quo" in your production, e.g. additional instruments, effects or advice on the arrangement, this will, of course, be very easy via the internet. In this case, too, I would discuss any costs I might need to be covered or how much time I would require in a personal conversation. Just write to to make the first step.

The Recording Room

The recording room is small and cosy. In addition to its professional acoustics, I have placed a lot of emphasis on a pleasant atmosphere for which I have provided a wide variety of light sources, so that the right kind of lighting will enhance the mood that will be most favourable to the specific kind of music or recording situation. The room is equipped with a good selection of high-quality large-diaphragm, small-diaphragm, stereo and ribbon microphones, a Universal Audio 6176 microphone preamp and compressor and a Neve 1073DPA stereo preamp. Communication between the recording room and the control room is via microphones, so that you can be all by yourself during the recording. The recording room is not suited to record big and very loud instruments, such as a drum kit. However, if you need it, I can set up an additional room that will be temporarily suitable for this purpose. 

The Mixing Room

The mixing room's acoustics are perfectly adjusted to the monitoring position. This room is also used as control room. In addition to the Yamaha HS 8 near-field monitors Yamaha, the block containing the xfilter (analogue equaliser) and the xpressor (analogue compressor) from Elysia as well as the Vermona DSR-3 studio spring reverb are the heart of my analogue mixing and mastering process that is controlled via Logic Pro on a Mac Studio. For the finishing touch to the audio master, I use Ozone 9.