I remember loving sound before I ever took a music lesson.

And so we make our lives by what we love.

John Cage „Lecture on Nothing“ (1949)

Sound transports music. It contains all of a musical performance’s emotions and the subtlest details of a composition; it lets the listener experience his own rich sensual perceptions.
This is where I direct my attention; this is where my passion lies. 

As a producer and sound designer, I work on various projects from jazz studio recordings, pop music post-production on up to touring with contemporary music ensembles.

At home in Berlin, I work on mixes and masters in my personal environment. My control room offers a world-class listening situation. You can sensually explore music with physical dynamics and space, and it also allows for profound analysis of recordings.

I see every music production as a unique piece of art. I like to take time, invest in pre-production, visions and planning.

My work with sound tends to be very conceptual and individual. I choose my components – such as the right sounding room – very carefully. This also applies to specific recording techniques and intimate working environments throughout Europe.

I am using Strauss Elektroakustik mastering monitors SE-MF-2

Studer Master A80 Tape Machine / Antelope Conversion / Manley Mastering Console / Focusrite ISA430 / Avalon Vt747sp / Tube Tech CL2A /UREI 1178 / Space Echo RE-201 / Crane Song STC-8 / API 2500 / API 5500

Nuendo7 / Pro Tools10 / LogicX / Ableton9


If you are interested, you can read more about me:


When you hear the word audiophile, you automatically think of nerds in Birkenstocks and ponytails who constantly carry lint-free, anti-static record cleaning cloths, react allergically to crackling and hissing and are proud owners of a haut de gamme stereo system. However, if you explore the etymology of the word, an audiophile is simply someone who loves sound.

This is what Martin Ruch is – a Swiss Berliner by choice, maniac and, yes, audiophile: he loves sound. And not just what monitors and headphones emit, and not just what emerges from a perfectly padded recording studio.

Martin Ruch expands the concept of sound and his highly sensitive receptors are oriented towards its complexity. Music is a Gordian knot of sound… cryptic oscillations that emanate through the air, dust and labyrinthine passages, accompanied by all of the world’s noise (what a shame it would be to exclude it), until it finally meets with ears and skin.

Martin Ruch feels that the difficulty inherent in attaining a faithful reproduction of this journey is a worthwhile challenge. For him, his work as a producer, engineer and sound designer is a search for the surroundings, direction and space that adapt perfectly to the respective music.

Born in 1980, he grew up in Bern with his father’s record collection; the Beatles, Frank Zappa, Pink Floyd and Jimi Hendrix were already accompanying Ruch when he was playing with his Legos.

He answered to music’s call, took drum and keyboard lessons and then studied to become a sound engineer and received his degree from the AES.

He was employed as a Tonmeister at the Bern city theater for four years. During this time he also played in bands while mixing and producing acts from the Bern jazz and pop scene such as Hildegard lernt fliegen, Kummerbuben, Die Pilze and countless others.

This experience led him to his work with the Jazzwerkstatt Bern, which continues to this day.

At some point he must have given up eating and sleeping, possibly in 2008 when he moved to Berlin. The number of projects he was involved in grew exponentially in the following years and his intake of fluids switched to roadhouse coffee. In 2009, he went on European tour to mix and do live recordings of the Vienna Art Orchestra, one of the most innovative and successful ensembles of recent jazz history. The recording of an album with VAO mastermind Mathias Rüegg’s chamber music compositions followed. Martin Ruch first became acquainted with the acoustic specificities of the GDR broadcasting studio in the Nalepastrasse, Berlin-Köpenick in his work with another large ensemble, the Andromeda Mega Express Orchestra. He recorded their debut album, take off, in studio 1, as well as their follow-up, Bum Bum, and then went on tour with the wonderful freak-jazz orchestra to South America, among other places. The following formula became more and more meaningful to him over time: interesting cast + inspiring environment = very good music.

Thus Martin Ruch entered the realm of experimental field recordings when he recorded the Dada brass band Le Rex in the hills of Corsica, equipped with a Decca Tree and an auto battery.

He recorded Hildegard lernt fliegen on their Russian tour in beautifully daring contexts such as bars, streets and trains. You can see this in Michelle Brun’s film Tales Wander; the film’s sound design and mix was also his.

The young men and ECHO prizewinners from the jazz-but-not-jazz-trio Rusconi are augmented by a very fresh approach, because it’s non-dogmatic, bumpy, noisy and pop. On tour, Martin Ruch is their fourth man; he forms the band’s sound with radical effects and live modulations.

Shortly thereafter, Martin Ruch runs down the stairs with his pompom microphone in pursuit of an escaping trombone player. The trombonist is Samuel Blaser, the stairs are in the Nalepastrasse’s broadcasting studio and the project is called 18 Monologues Élastiques. Craziness and meticulousness, aspirations and nonsense are not mutually exclusive. The journey continues.

Francesco Wilking