Herzlich Willkommen...

Unterricht bei Ihnen Zuhaus´


Ich bin ein erfahrener Musikpädagoge mit drei Staatsexamen der Hochschule für Musik Detmold.


In Darfeld, Horstmar, Borghorst, Laer, Billerbeck und Altenberge erteile ich...


Klavierunterricht  für AnfängerInnen und Fortgeschrittene (klassisch und Jazz)


Für eine erste Phase reicht auch ein solides, aktuelleres Keyboard mit Anschlagsdynamik (Lautstärke mit Anschlagsstärke variierbar)


  Ferner im Angebot...

(ggf. auch in Gruppen mit entsprechend vergünstigten Gebühren)

Kurse in Musiktheorie, Gehörbildung, Harmonielehre (z.B. als Studiumsvorbereitung oder - Ergänzung)


 Umfassendes Rabattsystem!


Bildungsgutscheine einrechenbar.

(Teilhabe-Boni für Kinder aus benachteiligten Familien)


Ein den jeweiligen wirtschaftlichen Verhältnissen gerecht werdendes Staffelsystem der Gebühren wird ab September 2019 schrittweise eingeführt.







Sie benötigen ein fetziges Jingle für Ihren Radiosender?


Es feht der Soundtrack für den Kurzfilm?


Ihre Soulstimme braucht ein grooviges, auf ihre Range abgestimmtes Playback?


Erfragen Sie Details per Mail oder Telefon.



Neben dem Tonmeisterinstitut der Hochschule und dem traditionellen Kompositionsstudium waren autonome Erfahrungen in diesem Bereich prägend.


Beginnend mit "Schraubereien" am ersten analogen Synthesizer im Jahr 1979 über nachfolgende Lehrjahre im hybriden Heimstudio mit Midi-Klangerzeugern, Mehrspurbandmaschine und synchronisierter C-Lab-Software auf einem Atari bin ich inzwischen - wie andere Pioniere - in der virtuellen Wirklichkeit der (fast) rein digitalen Musikaufzeichnung angekommen.


Nichts desto trotz erkennt man meine Produzentenbiografie an einer puristischen DAW-Software mit nur wenigen Plugins und dem ungebrochenen Vertrauen in umfassende Midi- und Analog-Hardware.

(Synthesizer, Mischpult, Kompressoren, Hallprozessoren ...)


Letzlich überwiegen - neben einigen Ausflügen in rein elektronische Genres - Produktionen mit viel "Handarbeit".


Die musikalische Muttersprache bleibt zwar die Bewegung auf der schwarz-weißen Tastatur; inzwischen habe ich aber solide Fertigkeiten auf vielen weiteren Instrumenten erworben. (Klarinette, Saxofon, Xaphoon, Querflöte, diverse folkloristische Flöten, türkische Oud, Gitarren, Mandoline, E-Bass, Percussions)

Mein jüngstes und ehrgeizigstes Projekt: Cello.


Die vielfältigen Interaktionen als vorwiegend klassischer Klavierbegleiter, als Rock- Jazz- und Folkmusiker in unterschiedlichen Formationen, sowie die Produktion der Demos von internationalen Musikerkolleg*innen bleiben dabei die wertvollsten Impulse.


For "Nerds" & interested people: a (more or less complete) list of my equipment...

(i am not getting any money for mentioning brands)


ASUS Notebook  (intel 5i Proz-

essor, 8GB RAM),

Edirol UA25 Audio- & Midi Interface (24bit, 96kHz)

Sony DTC690 DAT-recorder


Tracktion 7 DAW-Software

third party plugins: Moddart Pianoteq 6 (incl. e-piano-, harps- & handpan-upgrades),

Sonivox Orchestral Companion/strings,

LaPetite  (master-exiter)


Rode NT 1A big membrane condensor mic, isomax C condensor clip mic,

2x Crown "Soundgrabber" pzm,

Shure SM58, Fame MS57 (best Shure SM57 clone), AKG p4

(all dynamic mics),

Schaller oyster (flex-mauntable piezzo pickup)


Samson Media One 3a active 2 way nearfield monitors, several no name one way monitors, legendary Beyer DT100 recording headphones (closed), AKG k701 mastering headphones (open)


Soundcraft analoue mixing console running Lexicon 24bit effectprozessor (reverbs, delays incl. tap, gated, revers, chorus, flanger, phaser, vib)


dbx 160XT channel strip/insert compressor, Art channel strip tube preamp, dbx GoRack 2 channel multiprozessor (compressor, EQ, subsynth),

Behringer (old high quality period) "Dual Comp" 2 chan compressor/limiter/Gate



Dynacord CLS222 analogue Leslie simulator,

tc BodyRez ac.guitar enhancer, MXR EQ, Moer BabyTuner, Korg KDM1 high output metronome,

Digitec Bluescreamer overdrive,

Morley wah-pedal, Morley stereo-pedal


Artec 15W 6,5" acoustic amp, Behringer 15W 8" kbd/guitar tube-modeling amp


Casio privia e-piano (controlling Moddart virtual pianos s.a.), Maudio keyboard (controlling rest of el. soft- & hardware instruments), MRT breath controller, Fatar-& Maudio dampers


Novation KS rack polyphonic synthesizer/vocoder (comparable to Access Virus), Dave Smith moPho monophonic analogue synthesizer (1 prophet voice), Alesis SR16 drumcomputer, Akai MX8         8 pad sampleplayer (playing my own samples done by Akai S2000), Roland U220 sampleplayer (plus ethnic&woodwind cards)


Miditech 2 in/8 out patchbay,

Maudio USB to Midi interface



(half) acoustics...



Seiler piano


ibanez short scale bass, Collins fender-style bass (with original Fender strings), Epiphone Les Paul, Fender western,  Yamaha concert, oud (turkish shape/ syrian tuning), saz (long neck),

mandolin, E-cello


Yanagisawa soprano sax, Buffet Crampon clarinet (Bb), Xaphoone (B), Pearl flauto traverso, tin whistles (C,D,F), soprano & alto recorders,

2 1/2 octave melodica


loads of percussions...

cajòn, simple HiHat, snare (brush-coated), barchimes, zildijan crash, big frame, jingle-frame, tambourines, 3 darbukas, djembe, udu, gong-cup, temple blocks, shakers, foot- and handpercussion, oceandrum, rainstick, vibraslap, cabasa, diverse sticks & brushes (...)


Mallets and other tuned percussions (like handpans, steeldrums) can perfectly be substituted by my upgrade of the Moddart software mentioned.


If You want it more comfortable concerning other percs:  use the MX8 library!



There´s only a few rules visiting my studio & working in it:

-No messy behavior using the bath! (& wash Ur hands, please)

-No drugs! (& surprise! alcohol is one of the ugliests!)

smokers can use a balcony.

-No chocolate or other "harmful" food may be consumed in the studio.

-good coffee, tea, water & softdrinks and nrg-bars  are available (1 € per drink or bar).



my tips for Your own studio...


 The following advices are conciddering usual circumstances of an appartment. (all is done in one single room)


If You have the choice:

take a room fulfilling some of the following conditions:


- suited to a calm backyard

- good isolation of door & 

  windows (not too large)

- not bigger than necessary

- the floor should be

  covered with thick carpets

- avoid a room

  of symmetric shape.

  Roofslopes are perfect!

- wooden lettercases can

  easily work as diffusors,

 but do not put light &

 oscillating stuff in it.

- Use damping

   elements but do not

  damp the room to death.

(heavy curtains, big pictures without glass, sofas, damping plates - only on one of 2 facing walls. Shelves filled with books, scores, cases made of wood to store small instruments & cables etc.)

- avoid unwanted passive

 oscillation of strings, deco

 etc. Use tablerunners, cork & rubberized material.

Monitors should definately be suited on rubbermaterial & not too close to walls.

- not only to have a better

 communcation with

 supporting musicians:

 Your "cokpit" (table, masterkeyboard, monitors etc.)

should be placed not too

near to a wall.

Do the monitors have smilar reflection-condtions? (they should have!)

- while everything will

  probably take place in

 only one room:

 Be careful that mics do not

 accidentally record PC-cooling or other unwanted


Cardoid mics are best choice.

- there s a small & closed hall in front of the room?
 Best choice for voice- & acoustic recording!

(disadvantage: Lack of communcation.)

If You have to record mic-sources within the room:

an edge of it might be slightly isolated with curtains.

 - again: use cables that are

  as short as possible.

Audio-cables should not be layed parallel to powercables.

Di-boxes may also avoid hum.



if You can afford it:

always buy originals - no clones!


To be honest: Clones sometimes have about the same quality, but the honor is due to the inventors, isn´t it ?


By the way...

clones are often manufactured under bad working conditions.

Support brands with role-model philosophy (such as Warwick. They build instruments climate-friendly).

Inform Yourself before filling Your online-basket!


...and who is the best advisor?


...probably not always the forummembers & (payed) rators.

But even Your best mates will not be neutral.

Sometimes an advice is due to the lack of experience with alternatives.

And attention!

Some sites have hidden sponsors. (like bonedo.

Sponsored by Thomann)



"shit in - shit out"!

the best equipment will not make Your recordings sound like Lang Lang, Hendrix or Beyoncé.

A no name guitar with cheap, old strings also can not be mixed up to a strat or "Paula" later.


So if You spend more time in Your studio than practicing on Your voice or instrument, You will better specialize on recording other musicians.   ;-)


So: be warmed up & pause in time!

Recording cold or "tiered" instruments, voices, fingers & lipps will hardly lead to good results.

(also Your ears need pauses...)


Store or document the position of every knob, the chosen mic & it´s distance to the source, the chosen cable, effectsetting, trimming, EQ-ing etc.

(lazy guys might use the smartphone-cam.)


If it comes to later punch-ins or overdubs of tracks that seemed to be done the sound has to be as similar as possible!



Your computer should be cleaned up & defragmentated.

Fresh air - but do not forget to close windows & doors.

Relaxed but warmed up musicians.


And if You do not want to spend a lot for power & want to reduce hum:

A solid PC & audio-interface, short & high-quality cables, closed phones and a flexbile condensor mic (such as my Rode) may absolutely be enough!


If it comes to mastering:

Do not only trust in headphones.

Switch between speakers of different size & construction.

Listen in different volume & do not forget the mono-check.


The other way round:


Trying to be musician & engineer at once can damage Your nervs.


So if there is no alternative:

invest much thoughts in ergonomical aspects.

(a flexible chair, most important equipment in reach, a guitar- and phones holder for fast fixing next to You...)

And let Your DAW count in 2 bars.





In the beginning patience is challenged by precise preparation.


When it comes to mixing & mastering:

We need patience again.


In every creative process we are as sensible & excited as a little child.


So we are in danger to show up the results of our work to the whole world too soon.


"rough mixes" are only made for loyal & faithful musical mates.


Always be aware of the fact, that recorded music should be as perfect as possible because the recipient should listen to it

again and again without recognizing more & more ugly mistakes;

neither done by the musician nor by the engineer.


After all the raw material is "in the box":

Let days - maybe weeks - pass without listening to or even think about it.


This will lead to a precious distance.


If You can not afford or do not want to engage a different engineer to do the final step:

This is really important.


And again:

Pause as often as possible to refresh Your ear & concentration.


If several tracks are bounced to an album:

The volume should not differ too much.












Gedanken (nicht nur) zur Europawahl


 Nicht alles, was sich "Alternative" nennt ist auch eine.


Wer skrupellos um seines narzistischen Egos willen am lautesten brüllt, primitiv-irrationale Urängste bedient und sich selbst für vermeintliche "Erfolge" auf der Basis alternatver Fakten feiert sollte sich zuhause vor dem eigenen Spiegel ergötzen, statt auch noch Zuspruch von anderen zu bekommen.


Gehen Sie wählen und machen Sie Ihr Kreuz bei uneigennützigen, weltoffen-toleranten Demokrat*innen, deren Etablierungsfaktor sich v.a. daran festmacht, dass sie ihr Handwerk verstehen.


Sonst werden Sie bald keine Wahl mehr haben.