The basis of each and every recording is formed by the composition, i.e., the score of the work to be recorded. Study of the score is followed by the planning of the overall production. The production process begins with the selection of an acoustically outstanding recording space corresponding to the particular composition. It is also at this time that the seating arrangement of the ensemble is discussed, preparatory to the planning of the overall recording technique recording procedures, microphone types, etc. In this connection, it also has to be decided in advance whether the result is to be released as a stereo recording or a surround recording. At the beginning of the recording process we work together to determine the ideal placement of the musicians. Here the criteria involved are the mutual listening and joint playing of the musicians as well as the sonority and directivity of the ensemble in the recording space. Through the optimal positioning of the microphones I endeavor to do ideal justice to the composition, the playing style of the musicians, and the acoustic circumstances of the recording space. At this point the perfect microphoning forms the basis of an optimal overall result inasmuch as it is from the microphoning that the depth gradation, desired harmonious sound balance between the various instruments, and impression of immediacy as well as the relation between the main microphone and spot microphones result. If these prerequisites are not met, these components can later be satisfactorily improved only within very limited parameters, even with multitrack technique including artificial enhancements such as echo or delay. During the ensuing recording the producer, in his role as first hearer and conversation partner, takes charge of the musical production process in an inspiring atmosphere and with a full sense of responsibility. Mutual trust is the most important basis for successful cooperation between the musicians and the recording team. The musicians must also always be able to trust the musical judgment of the recording producer. The digital postproduction is completed either by the sound engineer alone or in cooperation with the musicians in my studios. It involves take selection, multitrack editing, and mixing down as well as mastering for CD, DVD Audio, or SACD. Depending on the extent and expense of the planned production, I carry out the recording in all the components described above either by myself or in a team with another sound engineer. I also support other producers who call on my services as a recording engineer with my mobile recording equipment. Of course I produce all the recordings with technology that is always up to date and of the highest quality. In order to guarantee a good work atmosphere, mobile recording equipment is employed for all the recordings. It is only in this way that short distances and very good monitoring conditions can be guaranteed for producer and musician alike.