High Tide Studios were founded in 2010 by Dominik Hartmann and Lennart Damann and has been a well known and state-of-the-art facility for professional music production, recording and musical composition ever since.

By now the studio is run by four engineers who have worked with international artists like Leony Lewis, Robbie Williams, One Republic, Ryan Leslie or Akon. They also did work on projects of national artists like Die Toten Hosen, Guano Apes, Die Höhner and Scorpions.
The creative work, such as songwriting, arranging and producing is part of the every day business as well as every possible audio engineering service.

After moving in to new facilities in 2014 High Tide Studios now offers two very accurate sounding control rooms, a large live room and a great and comfortable vocal booth. The kitchen, lobby and terrace invite to relax and exchange ideas.
The studio was planned by mbakustik and built within 10 months by the High Tide team themselves.

Control Room A is based on the analog workflow with lots of high end outboard gear that can be used with the 56 channel Amek Hendrix console. High Tide paid special attention to create the best sounding working environment with especially great speakers.

"The EVE SC207 are the perfect supplement to our Dynaudio M3 main monitors" Dominik says. "They provide the perfect stereo image und enable you to get the proportions of the individual tracks just right very fast. We don't know any other speakers like the EVE SC207 and EVE SC408 that give you such precise sound without tiring out your ears."

And Lennart adds: "Our great experience with the SC207 made us wanting the "bigger sisters" EVE SC408 as main monitors for our Control Room B."
Control Room B at High Tide Studios was built around the legendary Sony Oxford R3 console with 96 channels of input. The EVE SC408's are a perfect match in size, power and sound. And they even match the modern look of the studio.

"The accuracy of the SC408 is incredibly good. You can even distinguish between the original reverb of the live room and the artificial reverb of the mix. You always get the feeling that you can place the instruments perfectly within your stereo image."