Interdisciplinary Audio Production: Sound in Context

  • Course
4. March 2024 - 5. May 2024, 18:00
Max participants: 15

Once you can record audio well…

Who cares?

This course teaches you the main industry specializations in one intensive education:

You will get a great hands-on PROJECT WORK and build your PORTFOLIO in:
  • Audio production for picture (film/video),
  • Radio / radio art / radio plays (Hörspiel) and podcast,
  • Sound design for theater and live theater sound,
  • Sound for live dance/ experimental performance,
  • Live concert stage sound,
  • Understand the professional recording studio workflow at the Berlin School of Sound / Sugarcandymountain vintage recording studio.
  • A pro seminar on audio mastering completes the course.
  • At the end you may present your work at the legendary Acud Macht Neu Club

All of our teachers are foremost practicing professionals in Berlin with years of experience in their particular field of audio production. They are waiting to give you a deep insight into their craft, technique and artistic visions.

Who cares?

Compose your own MODULAR SYNTHESIZER for your LIVE SET-UP or for SOUND DESIGN getting to know a wide range of approaches and aesthetics: 

Did you know that almost half the professionals working in the field of audio production do not have an engineering degree from a university, or trade school?

If however you recently graduated from an institution with a degree in Sound Engineering, Music Production or similar, what is your next step?

If you have the proper qualifications, you may skip the fundamentals seminar and/or mixing seminars and join the course for a discounted rate starting from March 11, for the amazing range of practical audio production knowledge offered on this course.

Professional audio is a part of the production process in several different interdisciplinary contexts. To create great audio experiences it is crucial to understand how sound fits into various artistic production processes and the technical frameworks they require.

The end-listening scenario is always the most important to all the decisions that take place throughout mixing and production. Imagining and producing sound properly depends on being able to understand real outcomes in specific spaces (homes, cars, theaters, cinemas, concert stages, clubs, radio etc.)

Understanding the contexts of audio is a definitive part of developing an authentic artistic vision with a personal approach to recorded sound!

4. March 2024 – 5. May 2024, 18:00
1050€ (whole seminar)
950€ (without audio fundamentals seminar)
900€ (without fundamentals and mixing seminars)
Veteranenstrasse 21
10119 Berlin

Fundamentals Seminar: March 4th
Mixing Seminars: March 5th, 6th and 9th
11 Professional Seminars: March 10th – April 15th
Mastering Seminar: April 24th 
Project work and Mentoring: April 15th – May 2nd
Project presentations in the Acud Club: May 3rd – 5th

For those participants with no previous experience with sound, the Fundamentals Seminar can be taken separately, prior to the start of the main Interdisciplinary Audio Production course. The mixing seminars too can be skipped for those with extensive prior experience. Please contact us for details. 

All courses take place from 6-9pm in the evening unless otherwise mentioned below or arranged otherwise at the start of the course.

Instructor: Ben Krbetschek (see biography under Sound and Picture seminar below)

We will cover the basics of sound-recording and what it takes to do high-quality recordings. The following questions will be answered and some practical basics will be achieved in this first seminar:

How does sound work?
What physical facets and what “colors” belong to sound?
What works well with sound?
What doesn’t work well with sound?
How can we make something “sound good”?
What are the technical aspects of  “sounding good’?
How can I capture sound properly?
What basic tools are there for sound recording?
And do we use these tools properly for the best result, and for various artistic results?How can we put sound to picture (video, film, multimedia etc.)?
What does sound do to time-based images?

Instructor: Henning Grambow (see biography under SugarCandyMountain Studios below)

The first session of this audio mixing seminar delves into the intricate world of sound engineering, laying the groundwork for participants to master the fundamental steps of audio mixing. Opening with an exploration of signal processing essentials, attendees are immersed in the art and science of manipulating audio signals. The seminar progresses to an in-depth analysis of how to capture and sculpt frequencies to achieve clarity and balance in a mix. The lecturer guides participants through the nuances of dynamic range control, explaining secrets behind compression and expansion tools. As the seminar unfolds, attendees gain hands-on experience with various mixing tools, including time-based effects such as reverb and delay as well as when further manipulation like pitching and time-stretching might be necessary. The seminar continues with a thorough explanation of spatialization techniques, allowing participants to fully understand working with the stereo field. Through real-world examples and practical exercises, participants emerge equipped with a comprehensive understanding of these core audio mixing principles.

ProTools will be the main platform for this seminar but skills will be applicable on other DAWs as well. 

Instructor: Tim Gowdy

The practice of audio mixing benefits greatly from having a highly systematic understanding of the tools employed and a proper workflow. This workshop focuses on giving participants of all levels a unique perspective on mixing, focusing on how all the working parts function together as a whole conceptually. Instruments such as the dynamic range compressor and the frequency equalizer are fundamental to the process of synthesizing a whole mix from individual pieces or stems. The workshop will provide a unique perspective on understanding the nature of these tools, among other fundamentals. Over the course of three hours, participants will be presented with an intuitive workflow model that takes into account the mixing engineer’s emotional response in conjunction with the intended outcomes within certain contexts or genres.

Ableton Live will be the main platform for this seminar but skills will be applicable on other DAWs as well. 

Tim Gowdy

Canadian sound engineer, music producer and audiovisual artist Timothy Gowdy started his professional career as a choral singer with Princeton New Jersey’s American Boychoir, before pursuing classical guitar undergraduate studies and a Master’s degree in Sound Recording at Montréal’s Schulich School of Music. Since graduating in 2007, he has been credited as producer, mixing or recording engineer on more than seventy albums between 2008 and today, namely for artists such as Ensemble, Ada Lea and SUUNS.Gowdy has been releasing music since 2017, his fourth and fifth albums, Therapy With Colour (2020) and Miracles (2022) released with the Montreal label, Constellation.
He currently teaches at Catalyst Berlin – Institute for Creative Arts and Technology.
His recent audio visual work has been presented at numerous festivals, namely MUTEK Montréal, MUTEK Barcelona, Time Zones, Trans Art, Suoni Por Il Popolo, Node Festival and NEW NOW.

Mutek 2018
cst label page
Mutek 2020

Instagram: @t_g0wd_

Instructor: Enyang Urbiks (see biography under Mastering seminar below)

Embark on a transformative journey into the realm of audio mixing with an artistic approach that draws parallels to painting. Much like a painter wields colors to convey emotions and perspectives, this workshop views audio mixing as a canvas for sonic expression. From the subtle nuances of balance to the spatial intricacies of placement, every decision is a brushstroke in your auditory masterpiece. Here, there are no rigid rules or predefined answers; instead, we encourage open-ended exploration, empowering you to trust your creative instincts. Join us in this interactive environment to refine your mixing skills, receive personalized feedback, and unlock the boundless potential of your unique artistic vision. 

Logic Pro will be the main platform for this seminar but skills will be applicable on other DAWs as well. 

Instructor: Ben Krbetschek

In the Picture Workshop, we will create a video together that then is going to be worked on with sounds in multiple different individual’s projects. By the end there will be several very different versions of the same film because of the sound. This will not only show us the power of sound but also give us hands on experience, inspiration and a collective exchange of experience with different approaches. Also there will be room for collaboration and mutual exchange of ideas so that we do not end up simply judging by comparison  (‘my art is better than your art’) but rather in a collaborative process ( ‘we built something really interesting here’!) Here we can all learn from each others different approaches to putting sound to picture at the same time. We will use standard professional film editing software, including DaVinci Resolve, the best free software available for film editing with sound.

Ben Krbetschek

Studied Sound for Film at the Film University Babelsberg from 2001-2006 and since has worked on a number of international and national cinematic, tv- and streaming projects and countless short films over his career. He worked in all departments of the movie-sound industry from production sound recording to the final mix (re-recording mixer) with his main expertise in sound effects design/sound design. He has also done award-winning work on many different genres from Horror to Action, Sci-fi to Phantasy, Kids-Movies and Fairytales. He was nominated for the German Film Award in 2013. He also has experience as a composer on some short films and a feature film in the 2000s before specializing more on sound design. A few of the projects he has worked on include: Babylon Berlin – Sky/ARD (2017-2023) Outlaw King – Netflix (2018)Assassins Creed (2016) Northmen a Viking Saga (2014) TKKG (2019) ,Kundschafter des Friedens’ (2017) Armans Secret (TV-Series 2015) Employee of the Day (2014) Forgotten (2012)Kill Daddy Goodnight (2009) Berlin am Meer (2008) Schwarze Schafe (2006), etc. 


Instructor: Antje Vowinckel

Germany has a long and rich tradition of radio art. Composers such as John Cage, Mauricio Kagel, Heiner Goebbels, Luc Ferrari, Marc Matter and Antje Vowinckel have combined music and language in ever new ways. We will listen to masterpieces and develop our own concepts in practical exercises. How do I get interesting sound bites? We practice interview techniques, automatic speaking, dialect karaoke speech and other improvisation methods.     How do I edit sound bites? In art, different criteria apply than in journalism. In the best case, the experience of editing already influences the recording of the original sounds. How do I record text with actors*? What types of text are possible?  How do I select speakers? Which rooms are suitable?  Do I have to rent a studio? Which microphones do I need for which situation, e.g. outdoors, indoors, in motion, etc.?  What do speakers require?  Directing radio needs preparation, but you also need to respond to what the actors* bring to the table. It’s worth having a certain vocabulary and skill set  available and at the ready.What happens when music and text meet? A theoretical PowerPoint excursion on diegesis and mimesis will help you understand a range of parameters and possibilities. A basic knowledge of semiotics, for example, can help to avoid unwanted  hierarchies in the work.

Antje Vowinckel 

is a radio artist, composer and music performer in Berlin since 2000.  She studied literature, music and sociology in Bielefeld and, after completing her doctorate on collages in radio drama, did a traineeship at SWR in Baden-Baden. There she worked for three years as an assistant director, author and dramaturge. She has created sound compositions, directed and produced radio plays for numerous radio stations, festivals and concerts. In recent years she has also realized installations and performances in public space, e.g. Hubraum (cubic capacity) , a quartet for cars and vibrating loudspeakers. She has received numerous awards for her work, including the Prix Europa, the Karl-Sczuka-Förderpreis, Prix Ars Acustica of RNE Madrid, Ferrari recouté award of ZKM, balonbabel, Mexico, mentions at the Prix Ars Electronica Linz and Prix Phonurgia Nova Paris, as well as artists residencies in the USA, Italy, France and Portugal. Collaborations with Die Hochstapler (The Imposters), Ensemble Mosaik, Stuttgarter Vocalsolisten, Nicola Hein, Steffi Weismann, Alessandro Bosetti, Mat Pogo and others. Since 2022 she is an elected member of the Academy of the Science, literature and Music, ADW Mainz. This year she received the working scholarship of the Berlin Senate as well as the German Sound Cinema award 2023 for her  electro-acoustic composition  Second Floor.


call me yesterday: (put name in box)

audio portrait by Marc Vernon and Barry Burns: (scroll down) 

Facebook, Instagram @antje_vowinckel

Instructor: Rozenn Lièvre

During this workshop, participants will gain an overview of the challenges and prospects of the technical and creative work of a technician or sound designer in a theater production today. Based on practical examples of productions, we will look at the themes and stages of work including rehearsals and keys to create an original sound universe: the use of microphones, live sound recording, field recording, musical elements, performers and actors on stage. Here we will learn about the following:Sound interacting with the elements of the stage or Intermediality; Software for sound (Ableton Live, QLab & Axoa); The use of digital mixing consoles and remote sound amplification in a theater production contextTransmission of audio channels via the Dante networkVarious examples of sound systems (stereo or multi-broadcast), understanding them with basic concepts from acoustics The preparation and organization of a production, including the jobs that are involved.Practical exercises will be given to the participants to learn hands-on  after the theoretical part of the seminar. Participants will need to have a computer, and install Ableton Live 11 software (available free of charge for 30 days – Win&Mac) to take part in the Workshop.

Rozenn Lièvre 

She obtained a Two-year technical degree in Saint-Quentin (France), followed by a Bachelor Degree in INA (National Audiovisual Institut), before joining the National Highschool of Theater, Arts and Technics in Lyon, for a Master in Sound Design, in 2018. In parallel, she completed numerous commissions as a sound technician for event companies. After her graduation from ENSATT in August 2021, she was responsible for the sound direction and sound design of “Leurs enfants après eux” (2021), as Sound Designer Assistant and Sound engineer on “Hamlet” and “Hamlet Machine” (2022) by directed by Simon Delétang at the Théâtre du Peuple in Bussang. Other credits include multiple collaborations around Germany including with Rimini Protocol at Hebbel-am-Ufer Theater in Berlin. Her research focuses on soundscapes, their sonic distribution in spaces and intermediality.

Instagram: @zennro.beazick

Instructor: Brendan Dougherty

“Interdisciplinary performance” ( dance / performance art / theater ) is one of the most avant-garde and abstract areas of contemporary arts; always involving the body and physical movement, combining a variety of disciplines it can take place in a variety of venues and sites ranging from galleries, concert halls, clubs, opera houses and public space. Creating music and sound design for these collaborations combines the use of elements of improvisation, composition and technical precision. Effective methodologies and strategies have been developed to work on sound for this wide-ranging field involving the human body in action.  This seminar will look at the creative and technical aspects of working in movement / performance, starting from early conceptual stages, through creation, performing and touring. Particular emphasis will be placed on the professional use of Ableton Live in this seminar but other editing software can also be used. 

Brendan Dougherty

A music composer and performer who has created music for over 40 performance pieces and toured internationally with artists like Jeremy Wade, Antonija Livingston, Ian Kaler, Adam Linder and Meg Stuart.  These works have been performed in HAU (Berlin), Kammerspiele (Munich), Centre Pompidou (Paris) and Kaai Theater (Brussels).  He currently teaches at Catalyst Berlin – Institute for Creative Arts and Technology and has lectured and given workshops internationally.  He released records as a collaborator and solo artist on labels such as Entr’Acte and Opal Tapes.

Instructor: Alonso Boniche

This Live Sound Mixing workshop aims at individuals seeking an in-depth understanding of sound engineering in live event settings. This workshop will provide an opportunity to acquire both theoretical knowledge and practical skills that will help the attendees get a better understanding of the role and workflow of a sound engineer during a concert or event. We will be talking and discussing sound fundamentals, mixing consoles, sound systems, microphones and their techniques, signal flows and working ethos. The workshop will be divided into a theory session, some practical exercises, a live sound demonstration and a Q&A segment. It will be delivered in English and will take place in the ACUD Club.


Alonso Boniche

A Berlin-based live sound engineer with extensive experience in many different categories of the live event industry: concerts, performances, festivals and corporate events. Currently he works as part of the sound teams in Acud Club and Tresor. Apart from his technical career, Alonso has participated creatively in other collaborative projects as sound designer and music producer such as in “1 de 3” and “Los Males Habitos”, with dancer and choreographer Valeria Oviedo and mixing for Emma Moises.

Instagram: @sounds_like_aloe

Instructors: Ranjit Prasad and Henning Grambow

This workshop gives an all around introduction to the workflow in our professional recording studio. The special equipment found in such an environment is the original model for the DAW in a home project studio with its high-end tools and custom spaces. What is the right way to proceed in such an environment? How do you handle the tools correctly? How do you get the most out of a musician in the recording environment?    

Berlin School of Sound Studios is also home to SugarCandyMountain Studios, providing the all-around recording experience and a creative environment in the center of Berlin. The superior microphone collection in combination with the preamps, outboard EQs and compressors are of a caliber wholly unseen elsewhere in Berlin. Currently it is the only studio in Berlin that is set up to record live concerts directly to the studio control room from a music club. The studio houses a Steinway Grand Piano, several Rhodes and Wurlitzer electric pianos, Yamaha stage piano (CP-70), various synths and a large collection of vintage amps, drums and instruments. The studio also features a world class assortment of (as mentioned) microphones as well as other recording gear. Please find the equipment list here:



Zig Zag Club video:

Ranjit Prasad and Henning Grambow

Alabama native, multi-instrumentalist and composer Ranjit Prasad (aka Roger Praise) started his first recording studio in his basement in Missoula Montana in 1995 while attending college there. In that small town he became part of an emerging music scene that included fellow Missoulians and future Portlanders such as FireBalls of Freedom and Colin Meloy of the Decemberists. After two years in Montana Ranjit moved to Portland Oregon where he enrolled at Portland State University as a double bass major and was quickly introduced to the thriving local music scene by fellow bassist Freddy Trujillo. After playing bass for local songwriter Jim Greaves he was invited in to join him as a partner at Jim’s 3000 sq foot downtown loft known as Cave Studios. There Ranjit learned the ins and outs of recording while tracking several Jazz and Indie bands from the local scene. Around 2001 Ranjit moved to Amsterdam to study Jazz at the conservatory and befriended fellow student Henning Grambow. They quickly collaborated by creating a studio to track local musicians and make their own music. In 2005 Henning moved to Berlin while Ranjit followed his wife to Poland. While Henning focused on writing and producing music and establishing his newly founded music publishing company in Berlin, Ranjit teamed up with former Swans drummer and well known producer Roli Mosimann to create a large state of the art residential recording studio in the mountains of Poland. The studio provided a large backline of instruments and amps to accommodate the musicians while they worked on music in a remote setting. After 10 years of running the studio Ranjit moved over the studio to Berlin to continue his collaboration with Henning.

Henning Grambow started to play piano at the age of six. He studied Jazz Piano at the Conservatorium Van Amsterdam and attended classes and workshops e.g. with John Taylor, Michael Abene, John Scofield and Elvin Jones. As a sideman he performed e.g. with the German pop stars Udo Lindenberg and Karl Bartos (Ex-Kraftwerk), the British Drum‘n‘Bass DJs 4HERO and the New York Jazz saxophone player Bob Mintzer. In Amsterdam Henning produced the first album of his band Grambowski and was part of the DJ- and musician live show WickedJazzSounds. In 2005 Henning moved to Berlin and co-founded the music production and publishing company SugarCandyMountain. He founded the electronic band LAN and co-composed and produced two studio albums and various singles. in 2012 he finished his M.A. in Communication in Social and Economic Contexts at the University of Arts, Berlin. Beside that he composed and produced music for several international commercial, short and feature films. He has composed and released music with the electronic artist and trumpet player Thalstroem with the house producer Tigerskin and with the DJs Till von Sein (Suol) and &me (Keinemusik). He realised music and sound installations at the Victoria and Albert Museum and at Fortnum & Mason in London. He created compositions and conceptual sound designs for the Amsterdam Light Festival and for Muziekgebouw aan ‘t IJ in Amsterdam. After a media effectiveness research project based on fMRI brainscans, he co-founded and is the music director of the voice & music messenger App Klangchat focussing on concepts in the field of voice, music and machine learning.
Sound Installations / Music Experiences:
Time for Tea with Scholten & Baijings at Fortnum & Mason, London, 2018
Grambow & Thalstroem, Live Film Music Concert at Animocje, Bydgoszcz, 2018
Sound Experience for the Amsterdam Light Festival, 2017/18


All These Sounds with Customized by Pfeiffer, Berlin, 2014:
All These Sounds with Scholten & Baijings at the Victoria & Albert Museum, London,

Film Music:
Seed of Deceit:

Girl Versus:

Travel Breakers:

Black Eyed Sun:

Stiller Sommer:

Töchter – Filmsong:


Instructor: Enyang Urbiks

In this immersive audio mastering workshop, we explore a distinctive approach that merges technical acumen with artistic vision. As a mastering engineer, it’s crucial to maintain a vigilant eye on the technical facets, but what truly distinguishes a stellar master is the touch of artistry. Much like sculpting, mastering entails shaping and refining sound with precision and purpose. It’s about envisioning the final sonic image, channeling the spirit of an artist, and meticulously honing every aspect to achieve a three-dimensional sonic sculpture. Here, we delve into the height, width, and depth of sound, adding dimensions beyond the realm of mixing. Join us for an enlightening experience that bridges the gap between the technical and the artistic, and discover the transformative power of sculpting sound.  Logic will be the main DAW for this seminar but the information learned is applicable on all professional sound editing softwares including Ableton Live.

Enyang Urbiks

Enyang stands as an internationally renowned and sought-after technician, known for her collaborative work with groundbreaking artists such as Arca, Amnesia Scanner, and Glasser. Not content with mastering alone, Enyang is a musician, personally overseeing the production, mixing, and mastering of her artist project. This remarkable feat was achieved within the confines of her studio, nestled in the illustrious Funkhaus complex of Berlin. This amalgamation of diverse influences and experiences has endowed Enyang with a unique and innovative approach to music production, solidifying her as a luminary in the global music community.

A decade ago, she embarked on a transformative journey, moving to Berlin to immerse herself in the city’s dynamic music scene. Even though her formative years were spent in the United States (Kentucky) Enyang attended a high school with stringent policies against music. There she rebelled. Later in Tokyo, her time was dedicated to International Studies. Nevertheless, she steadfastly followed her heart and relentlessly pursued her passion for music.

Sound design podcast:

Instagram: @urbiks_music

In this time period all instructors can be booked for one-on-one sessions to help you complete your project work for the course.

Extra fee: 100euro per 75-minute session


There is no “perfect” mix, or “perfect fidelity” just like no two listening situations, or pair of ears, for that matter, are ever the same. Learn sound in context.

By learning with us about the most important applied audio production methods and strategies from multiple fields, you can find the tools and processes that fit best to developing your own artistic vision.


Bookings are closed for this event.

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