Dive into the world of renowned producer and engineer Guy Sternberg, the visionary behind Berlin's LowSwing Studio. From collaborating with legendary acts like Bonobo and Fink to leading Dolby Atmos projects, Guy shares his journey and insights into immersive sound and cutting-edge audio production.
Guy, you have an extensive and diverse career in sound engineering and music production. What initially drew you to the world of music and sound engineering?
I started with music at an early age, learning to play the keyboards, but I got more serious about it when I moved on to play the bass guitar as a teenager.
I got my first job playing the bass at a recording studio when I was 15–16 years old, it was the beginning of the ’90s, before the internet, and one wouldn’t know what a studio even looks like from the inside… from the first moment I was there I was hooked and knew that this is what I want to do!
It took me a few years before I sat in the producer chair for the first time when I was 20 years old.
Your career spans over two decades, with collaborations on Award-winning projects. Could you share one or two projects that have been particularly meaningful to you, and why?
It’s hard to choose, as so many albums are close to my heart. One that stands out is Wunderkammer by German jazz pianist Michael Wollny. When Siggi Loch of ACT Music asked me to work on it, Michael was still relatively unknown, but the moment we met, there was an immediate “click.” Michael’s talent as a pianist and composer is extraordinary, and our time in the studio was intensely creative. Even 15 years later, the result feels timeless.
Another project I’m proud of is The LowSwing Sessions with UK singer Fink. I produced the album with incredible musicians like bassist Tim Lefebvre (David Bowie’s Blackstar album) and drummer Earl Harvin (Jeff Beck, Tindersticks). Fink and I selected the songs, mostly covers, and the entire recording process was a pure celebration of music.
From working with legendary artists like Keane and Kings of Convenience to newer acts like Bonobo, you’ve worked across genres. How do you adapt your engineering and production style to each unique sound?
One of my first sessions at LowSwing Studio in 2002 was recording Rose by Maximilian Hecker with producer Gareth Jones (Depeche Mode, Nick Cave). I was eager to do a great job, but I noticed Gareth was willing to adjust our creative direction to match the artist’s taste, even when it conflicted with ours. Curious, I asked him about it over beers one night, and he told me, “Guy, we’ll move on to the next project next month, but this artist will live with this album for the rest of their career. We have to respect that.”
That advice stuck with me. Great ideas and sounds are crucial, but understanding the artist’s vision is just as important. With every new project, I dive into the artist’s world, exploring their musical perspective. It’s endlessly fascinating and a privilege to collaborate with so many talented people.
Can you tell us the story behind starting LowSwing Studio in Berlin? What vision did you have for it initially, and how has it evolved?
I founded LowSwing Studio in Berlin in 2002, during a time when the city’s music scene was heavily underground and indie-focused. My goal was to create a high-end studio that could connect with these artists on their level. Back then, the music industry was shifting—studios, producers, and engineers were no longer separate entities. I wanted LowSwing to embody this new model where everything could happen in one place.
With experience across genres—classical, jazz, electronic, and rock—I quickly started working on exciting cross-genre projects. Over the years, LowSwing became one of Berlin’s most renowned studios until it was tragically destroyed in a fire in 2021. The outpouring of support from colleagues worldwide was incredible. Now, in 2023, I’ve reopened LowSwing in Berlin-Kreuzberg, ready to write its next chapter.
Immersive audio is becoming increasingly popular, and you've led Atmos projects for prestigious acts and labels. Could you walk us through your process for Dolby Atmos mixing? How does this differ from traditional stereo or surround mixing?
After LowSwing Studio burned down in 2021, I worked at Emil Berliner Studios, where I became a Dolby Atmos mixer, handling classical albums as well as pop and jazz records for artists like Daniel Lanois, Bonobo, Fink, and Rosin Murphy.
What I love about Atmos is the freedom. In stereo, you’re constantly battling for space, but in Atmos, the 3D sphere lets every element shine without compromise. Most projects start with the stereo mix, but as I pan sounds in the 3D space, I uncover creative opportunities to highlight different elements. More recently, I’ve begun “thinking in Atmos” during production, incorporating extra mics and elements to enhance the immersive experience.
A great example is Tamar Halperin’s upcoming album (April 2025). By setting up surround and top mics from the start, the Atmos mixes turned out far richer and more engaging than their stereo counterparts.
With the Galaxy 32, you’re handling high-channel counts and complex routings. How does this streamline your setup, and what advantages does it offer for managing both analog and digital inputs?
The Galaxy 32 was one of the first things I bought when I started to rebuild LowSwing in 2023. Antelope is known for the pristine sounding converters but the Galaxy could give me all that I need with a high count of in/outs (up to 64ch of i/o, 32 of them are AD and DA!) and flexibility to move from one big setup to another just with one click.
I can move from a huge tracking project to an Atmos mix just by changing the routing preset and go back to where I was without any downtime!
Atmos can be challenging from a technical standpoint. What role does Antelope’s Galaxy 32 play in ensuring the integrity and precision of an immersive mix?
To get an Atmos room certified by Dolby the system must be calibrated in a very high precision to Dolby’s specs, this means each of the many speakers must be delayed (if needed) and EQ’d to the “Dolby Curve. Usually setting up a room for this purpose is very complicated, with Galaxy 32 it is made super easy as all delays/volume/eq of each speaker can be calibrated from within the Galaxy interface and also be saved as presets!
This makes Galaxy the ideal interface for studios that work with Atmos, especially for those, like me, who change rapidly from a stereo multitrack project to Atmos projects on a daily basis.
On top of this, Antelope created the MRC Dolby monitor control. This unit, in conjunction with the Galaxy, lets me solo/mute or hear any combination of speakers, making Dolby Atmos mixing much easier and intuitive.
With such complex projects and high channel counts, do you have any specific techniques or settings on the Galaxy 32 that help you manage and optimize your workflow?
The one thing that is really great about the Galaxy interface is the ability to create and save a completely customizable routing setup for any imaginable project or work scenario and then be able to flip between those presets in a breath. It doesn’t matter how complicated your project is, you can make the Galaxy work for you.
Looking back on your career, what moments are you most proud of, and what do you hope to achieve next?”
I feel I have just started 🙂 Yet, there are many amazing projects and moments I remember.
I hope to keep on working with artists of many genres for many more years and to continue to develop my own label “LowSwing Records” which is famous for full analog audiophile recordings.
Socials:
LowSwing Studio Instagram – https://www.instagram.com/lowswing_studio/
LowSwing Records – https://lowswing-records.com/
LowSwing Studio – https://www.lowswing.com/
Want a closer look at Guy Sternberg’s creative space? Check out the full LowSwing Studio tour on our YouTube channel.
