Since the middle of 2018 I maintaining the artistic idea with a pronounced sense of musicality to print an outstanding competitive product! The result is a master with using my brain, ears and finally my heart. For me mastering is about listen carefully, set of steps needing and communication.

Like most of us I began recording chummy bands or rather bands which I played in or with. After some while with spending time on growing up I became friends with the tough guys. So, I worked as a recording and mixing engineer/assistant on various projects with e.g. Moses Schneider on pop to fuzzy tunes up to touring with many guitar-driven and similar genre bands. As well I worked a lot with inter-national bands and artists (major/independent) regardless of type as an In-House-Engineer for different venues and television stations.

At home in Berlin, I work on masters in my own enviroment. My control room offers an excellent listening situation. It allows for profound analysis of recordings – I have the possibility to actually hear what is going on in the source material.

Every music is a unique piece of art. I like to take time and invest in visions of the musicians and producers. My work with music tends to be very individual and musical – I choose my given components to bring intimacy and authenticity to music as well as to give music a better chance to listen to!

My love for music – playing drums or guitar in bands – together with my interest in gear and graduating the sae institute in 2009 turned me into who I am nowadays – a mastering engineer with over 15 years of experience in recording, mixing and FoH engineering.


…for digital platform and CD
:: 24Bit/44.1KHz
:: 24Bit/96KHz

:: 16Bit/44.1KHZ
:: AAC-Format

…for Vinyl Release
:: 24Bit high resolution file for cutting elsewhere

…for Cassette Release
:: Master Tape
:: and/or print run of Tapes


My most valuable asset is a pair of good ears, combined with professional full-range loudspeakers and an acoustically treated room. The listed equipment linked in a short signal path and give the opportunity to optimize the incoming mixes. Most of the gear is modded by the creator or by myself to fit it more to my sound expectation. The outcome could be both clean and accurate or harmonic and punchy as well as everything in between with a classic impact to the sound. This means, I can figure out the best what fit the most to your songs to bring the magic in its out of it.

:: Antelope Pure 2 – DA (huge frequency stage, panorama width and big headroom)
:: Gyraf G21 – Passive Magneto-Dynamic Infundibulum (frequency cutting or rather dynamical frequency taming)
:: Buzz SOC-M – Optical Solid State Compressor w/ MS (open up/tighten up the mixes)
:: Gyraf G14 – Parallel Passive Valve EQ (deals insanely musical with frequencies)
:: Overstayer 8101 – Multi-Analog-Stage (some frequency points and gain-staging)

:: Antelope Pure 2 – AD (huge frequency stage, panorama width and big headroom)

:: DMG Audio – TrackLimit
:: Slate Audio – FG-X
:: Tokio Dawn Labs – Nova GE
:: Elysia – nvelope
:: SpectraLayers Pro
:: iZotope RX

:: LogicPro X – DAW
:: HOFA – DDP-Master
:: Nakamichi 480Z – Cassette Deck

Short Signal Path
:: Mogami (Cassette Deck)
:: Sommer (Loudspeakers)
:: Vovox (Hardware)


Stereo mastering charge per lenght of material and includes
:: mix-check, testimonials (testtape with 1 to 2 songs as well), editing, DDP transfer and 2 revisions of the same mix ; delivery costs for cassettes in Germany (rest of Europe doesn’t include and the costs depending on the weight of the package)

€85 || EP-Lenght: €300 (up to 6 Songs) || Album-Lenght: €450 (up to 10 Songs)
Cassette Mastering: + €35 per side || Print run of Tapes: €3 each || Additional Revisons: €25/song

Don’t hesitate to drop me a line for a testimonial, low-budget-projects or to say hello: info@cutandboostmastering.de
I handle receiving of material mostly through online transfer. To keep the transfer safe I please you to use the email based wetransfer.com

All prices are under small business regulation §19 UstG. (small entrepreneurs).


Loudness consederations in 2019
Apple Music, Spotify, YouTube, Bandcamp and most other streaming services are now loudness normalizing the songs on their platforms. When played back via streaming services, dynamic music sounds more interesting and impactful than crushed masters. When it comes to digital releases, it is no longer necessary to squeeze music as loud as hell at the expense of impact and clarity.

I am focusing on enhancing dynamic, appropriate loudness processing and make sure your music shine in the best light possible.
However, doesn’t play it any role for you what I have just said…? Please let me know about your specific loudness needs.

PAST PROJECTS (newest first)


A Mess #2

Rose In My Pocket

The Heroine Whores
Austrian Cellar

Australian Girl

Clear Lines
Sta. Catalina

Seed Holden
Time Stands Still

Immer Ignoriert

Lone Ol‘ Warrior


© 2019 cutandboost Mastering