Recording Studios in Aarhus: A Guide for Alternative Bands (2026)

Aarhus has a small number of studios and engineers that alternative bands actually use, and most of them are connected: Aarhus Lydstudie, run by Asger Christensen and Iris Marie Jakobsen since 2007; Tallman Studio and MACH Mastering, both with public per-song prices; Everloud Studios for metal and hard rock; and the Lydhavnen community, home to ET Mastering and Gyraf Audio. Tapetown, which started at the old Feedback studio in 2011 and co-founded Lydhavnen in 2012, still mixes in Aarhus: our mix studio in the city is open, we record at our recording studio on Djursland, about 30 minutes out, and we mix and master online. This guide lists what each does, with a link to their own page, and what to ask before you book anyone.

How we built the list

Everything here comes from the studios' own pages, Tape Op and MusicTech interviews, and marketplace listings, each linked. We include ourselves where our history places us. Prices appear only where a studio publishes them. Checked 31 October 2026.

Studios and engineers in Aarhus

Studio or engineer	What they do	Known for	Source
Aarhus Lydstudie	Recording and mixing with four engineers; also a rehearsal space; started 2007 in a city-owned building	Local bands with drums; Asger Christensen's layered, arrangement-heavy recordings	Tape Op #110, Nov 2015
Tallman Studio	Mixing at about 300 dollars a song, mastering at about 70, writing	EDM, electronic, pop, indie pop, heavy rock; Manley, Pultec, Neve and API hardware	SoundBetter
MACH Mastering	Stereo and stem mastering at about 90 dollars a song, unlimited revisions, 3 to 5 day delivery	Analogue mastering with Gyraf compressors and EQs and ATC monitors; indie, soft pop and rock	SoundBetter
Everloud Studios (Kristian Øgir)	Mixing and mastering	Metal and hard rock	SoundBetter Aarhus list
ET Mastering (Emil Thomsen)	Mastering, based at Lydhavnen	Mastered most Tapetown live sessions	Tapetown session credits
Gyraf Audio (Jakob Erland)	Studio hardware maker with a workshop at Lydhavnen	Compressors and EQs in use at MACH Mastering and Tapetown	MusicTech, 2018
Tapetown Studio	Mix studio in Aarhus, band-in-a-room recording studio on Djursland, online mixing and mastering, live sessions	Sessions with Iceage, The Murder Capital, Elias Rønnenfelt, Pale Honey, Les Big Byrd and Mikal Cronin; more than 150 artists	Session credits

The Aarhus scene in brief

Feedback was the city's historic studio until it closed in 2011; its engineers started their own companies, Tapetown among them. Lydhavnen, the Sound Harbour, opened in 2012 in a former meatpacking district with local-authority support and houses twelve businesses in recording, mastering and music technology. SPOT Festival brings the Nordic music industry to Aarhus every spring; we recorded live sessions at SPOT in 2019, 2024 and 2025, including Elias Rønnenfelt in Musikhuset's Great Hall, all listed in our session credits. Drowned in Sound once called Tapetown the Sound of Aarhus, a line we still get asked about.

Where Tapetown fits now

We started in 2011 at Feedback in Viby and co-founded Lydhavnen in 2012. Our Lydhavnen recording studio, above a 300-capacity venue, has closed; the Tapetown mix studio in Aarhus is open and operating. Recording happens at our recording studio on Djursland while we build our new home at Friland, The Reserve, a 400 square metre complex with around 200 square metres of studios plus art space and accommodation, about 30 minutes outside Aarhus in a nature reserve, opening in 2027. Mixing and mastering are online for artists anywhere, and Rasmus Bredvig still records and mixes the Tapetown Sessions. If you want a recording room inside the city limits, the studios above are the ones to call; if you want a mix in Aarhus, a band-in-a-room recording 30 minutes out on Djursland, or a mix from Denmark wherever you are, that is us.

What to ask a studio before booking

1. Who will engineer the session, by name, and what have they recorded in your genre?

2. Can the whole band play in one room, and how many channels can they track at once?

3. What is included in the day: setup time, backline, an assistant, mix time?

4. Who mixes and who masters, and are they the same people?

5. How do revisions work, and what exactly do you deliver?

6. Can you take the multitracks with you afterwards, and in what format?

What it costs

Aarhus studios rarely publish day rates; the two that publish per-song prices are in the table. Professional mixing in Europe is commonly quoted between roughly 400 and 1,200 euro per song, with mastering separate. We quote each project after hearing a rough mix or talking through the days needed, because scope, song count and studio time change the price; the contact page is the way to ask.

FAQ

Which recording studios are in Aarhus?

Aarhus Lydstudie, Tallman Studio, MACH Mastering, Everloud Studios, ET Mastering and Gyraf Audio at Lydhavnen, plus a longer list of individual engineers on SoundBetter's Aarhus page. Tapetown started in Aarhus, still mixes in the city, and records about 30 minutes away on Djursland.

Does Tapetown still have a studio in Aarhus?

Yes. The Tapetown mix studio in Aarhus is open and operating. The former Lydhavnen recording studio has closed; recording happens at our recording studio on Djursland, and The Reserve at Friland opens in 2027. Mixing and mastering are also done online.

Can a band from abroad record in or near Aarhus?

Yes. Aarhus Airport is on Djursland about 41 kilometres from the city, Grenaa has a ferry to Sweden and Ebeltoft a ferry to Zealand. We have recorded and mixed sessions for bands from the US, Mexico, Sweden, the UK and Ireland, including Mikal Cronin, Mint Field, Pale Honey, Ulrika Spacek and The Murder Capital.

Is online mixing from Aarhus different from mixing in person?

The work is the same; the difference is how you take part. We run attended remote sessions across time zones so you hear the first pass with us, and we deliver stereo WAV files with stems or other formats on request.

Read on

If you are searching in Danish, our page on lydstudier i Danmark covers the country. For how a remote mix from Denmark works, start with the online mixing page.

About a Studio: Feedback Studiet, Aarhus

Feedback Recording at Haraldsgade, 7 January 1986. Photo: Jens Tønnesen / AarhusArkivet.dk (CC BY 4.0).

Feedback Recording, usually called Feedback Studiet, occupied Haraldsgade 27 in Viby, Aarhus, Denmark. It grew out of Gnags’s own working environment and became a recording home for a much wider circle of musicians. Steel Pulse made True Democracy there. Danish artists gathered for “Afrika”. Thomas Helmig, TV-2, Henning Stærk and Poul Krebs all became part of its recording history.

Its busiest decades were the 1980s and 1990s. Understanding Feedback means looking at the records, the engineers and the practical independence that Gnags built around a house and a former workshop in Viby. The focus here is the original Haraldsgade studio.

Gnags, Genlyd and a workshop in Viby

Gnags established their collective at Haraldsgade in 1971. During the following years they developed a recording studio in an old carpenter’s workshop behind the house. Jacob Riis-Olsen contributed practical building skills, while Peter A.G. helped organise the project.

The studio belonged to a wider ambition to control how music was recorded and released. Gnags founded Genlyd Grammofon in 1974, creating a base for their own records and for other artists. As Aarhus Stadsarkiv’s history explains, the intention included keeping profits available for further work and new talent.

Feedback developed in stages. A contemporary Studio Sound report from December 1983 traced its beginnings to a rehearsal and demo setup with two Revox machines, followed by rebuilding and a 16-track installation in 1975. The rooms, equipment and uses of the buildings continued to change.

Peter A.G., Jacob Riis-Olsen and Jens J.G. Nielsen at Feedback during the Gnags X sessions, 3 March 1983. Photo: Jørn Timm / AarhusArkivet.dk (CC BY 4.0).

Steel Pulse: True Democracy in Viby

One of Feedback’s important international recordings was Steel Pulse’s True Democracy, released in 1982. In a 2022 interview with the Jamaica Observer, singer David Hinds recalled the band having no record deal and little prospect of financing their next album. An opportunity in Denmark led them to travel by boat from England and record at Feedback with producer Karl Pitterson.

Hinds remembered the sessions taking 25 days. He also recalled a disagreement over “Rally Round”: Pitterson wanted another vocal performance, while Hinds initially felt the existing take was right. After several days he tried again, and later came to value Pitterson’s insistence.

Drummer Steve “Grizzly” Nisbett also recalled the invitation and the late-1981 Danish sessions in his interview with Andy Brouwer. Feedback’s story reaches into international reggae history as well as the Danish records most closely associated with the address.

1985: “Afrika” brings the scene together

On 13 July 1985, a large gathering of Danish artists came to Feedback for “Afrika”, written by Nanna and produced by Kim Sagild. The singers included Thomas Helmig, Sanne Salomonsen, Lis Sørensen, Bamse, Steffen Brandt, Henning Stærk and Peter A.G. The project raised funds for the Danish Red Cross.

Photographer Steen Tronsgaard documented the gathering. The anniversary feature at Promus and GAFFA’s session gallery preserve a visual record of musicians working together in the original rooms. The major gathering happened on 13 July. The single’s reproduced recording and mixing credits list work across several dates in July.

Sagild later remembered the pleasure of having so many artists together for a shared recording and an evening afterwards. His recollection helps explain the significance of Feedback as a meeting place, alongside the familiar sound of the finished single.

The records behind the reputation

The record sleeves give Feedback’s history some precision. They show artists returning, engineers working across different projects, and albums moving between studios for recording, overdubs and mixing.

Thomas Helmig’s debut, Thomas, was recorded at Feedback between January and March 1985. Its reproduced sleeve credits name Kim Sagild as producer, with Tom R. Andersen and Johannes Stærk engineering. The musicians included Gnags members Per Frost and Mads Michelsen, alongside other collaborators.

Henning Stærk Band recorded Soul Feet at Feedback in August 1985, with Billy Cross producing and Tom Andersen engineering. Mixing was split between Feedback and Werners. Stærk’s own discography records those roles.

TV-2’s Nærmest Lykkelig followed in 1988. The band’s original track-by-track credits place “Kys Det Nu”, “Monas Solarium” and “En Sommerdag For Alt For Længe Siden” at Feedback. Other tracks were recorded at Werners. Their next album, Vi Blir Alligevel Aldrig Voksne, was recorded at Feedback and Werners in 1989–90, then mixed at Werners.

Gnags returned to Feedback in January 1989 after travels in Cuba and Nicaragua. Mr. Swing King followed that September, with some of that Latin American inspiration carried into the arrangements, according to the band biography reproduced from Gnags’s own website.

The 1990s brought further work across different styles. Release credits identify Feedback as the recording studio for Gnags’s Øjne på stilke, produced and engineered by George Shilling in 1994. Thomas Helmig’s Groovy Day credits place part of its recording and mixing at Feedback alongside work in the United States.

The engineers who carried the work

Tom R. Andersen and Johannes Stærk recur throughout these credits. Their work connects artists and records that might otherwise seem to belong to separate stories. GAFFA’s 2017 tribute to Tom Andersen recognised him as a central figure in Feedback’s recording history.

Feedback also mixed recordings made elsewhere. Lars Lilholt’s Engang drog vi ud for at slå tiden ihjel was recorded at Dreamland and mixed at Feedback by Johannes Stærk. The band’s Kong Pukkelrygs Land was recorded in Silkeborg, then mixed at Feedback in December 1993 and January 1994.

There was a mobile operation too. Gnags’s Intercity was recorded at New Experimental College in Thy by Feedback Mobile Studio and mixed at Feedback in July 1980. That is part of Feedback’s wider work, although the recordings themselves were made away from Haraldsgade.

Poul Krebs: a week of night sessions in 1995

The making of Små sensationer gives a particularly vivid picture of Feedback in the 1990s. In Poul Krebs’s published biography, the starting point was 20 songs captured on a Walkman in Amsterdam, using his voice and acoustic guitar.

Working with producer Poul Martin Bonde and musicians from different stages of his career, Krebs began a week of night sessions at Feedback in late January 1995. Before the studio work started, the seven musicians played an improvised concert at Peter Gift in Aarhus. They then developed the arrangements in the studio.

The resulting album became Krebs’s commercial breakthrough and included “Sådan nogen som os”. The detailed account, also reproduced for the album’s anniversary tour, describes a deliberate attempt to preserve the immediacy of the new songs.

Inside the Whale and the life around the sessions

Marcus Winther-John’s published memoir excerpt records another part of Feedback’s later-1990s history. Inside the Whale returned there for the first week of the sessions for Rebeller uden sag, having made their first proper demos at the studio years earlier.

He remembers meals supplied by rock cook Chili John, including steak with chilli-chocolate sauce. Recording then moved to Mox in Copenhagen. The account, accompanied by a photograph identified as Feedback, gives a glimpse of the everyday life surrounding a record that became important to the band’s Danish-language breakthrough.

Inside Studio 1: changing rooms and equipment

Feedback’s equipment changed over the decades. The 1983 Studio Sound report described an Amek M2500 in the control room. It also recorded maintenance engineer Ole Toft building noise gates when Steel Pulse booked the studio, an example of technical work responding directly to a recording session’s needs.

In a later configuration, Studio 1 housed a Calrec UA-8000 “Polar” console. Calrec’s own history identifies the UA8000 as its first music console, developed for ABBA’s Polar Studios in Stockholm in 1984. Jakob Erland’s Gyraf documentation includes photographs explicitly identifying Feedback’s actual desk and describes the design as manufactured in very small numbers.

Tapetown founder Rasmus Bredvig, who worked at the original Feedback in its later years, remembers a huge main live room, a second recording space known as the “garage room”, and a side room between the main live room and the large control room. There was a kitchen and a lounge with an entire glass side, giving people space to eat and spend time together between sessions.

The main house had its own changing uses. By the time Bredvig worked there, rooms were shared among a group of engineers and producers, with Studio 1 used for recording. Those later arrangements were part of how the working community made the premises financially possible.

Gyraf Audio: equipment developed during real sessions

Equipment design was part of the life of Feedback. Gyraf Audio’s own account describes designs developed to meet the needs of the studio’s engineers. Working close to recording sessions made it possible to test a unit, hear a response, change the design and try it again quickly.

Freelance engineers carried this locally made equipment into other studios, generating wider interest. Production was established in the basement beneath Studio 2. Jakob Erland’s workshop became the base for a business whose equipment reached well beyond Haraldsgade.

That close relationship between recording and design was also observed by engineer George Shilling, who described Erland’s work at Feedback and the studio testing of his designs in a review of the Gyraf Gyratec XIV.

The later community: ET Mastering, Anders Boll and Tapetown

Feedback remained a working studio beyond its best-known decades. Efterklang recorded the core of Magic Chairs, released in 2010, there before adding further contributions in Copenhagen.

It also became an early professional home for another generation. Anders Boll began his professional career at Feedback before helping establish Lydhavnen, a connection documented in Aarhus Teater’s programme biography.

Emil Thomsen’s mastering work began in 2007, as ET Mastering’s own site records. Bredvig remembers Emil first working from the apartment he shared with Marie Højlund, then moving into Feedback in 2009. Tapetown took shape there too: Bredvig remembers choosing the name in Studio 1’s kitchen.

There are direct musical connections across the generations. MANI’s own biography describes recording at Feedback with Cy Nicklin after signing to Genlyd in 1982. Decades later, Emil Thomsen transferred and remastered the band’s catalogue for its reissue.

Several members of the later community helped establish Lydhavnen, carrying working relationships and knowledge into new rooms. Bredvig described that transition in a 2016 interview. Magnus Vad carried the Feedback name forward in his own studio after the original Haraldsgade operation ended.

A legacy built by making room for other musicians

At Steppeulven 2020, Gnags received the Pioneer Prize. The speech honouring the band recognised Genlyd and Feedback, and the decision to make production facilities available to other musicians. On the same evening, Anders Boll received Producer of the Year for his work with Ganger and Lowly. The contemporary awards report brings those two generations into the same room.

Feedback’s history can be followed through the records, but also through what people learned and built there: the studio skills, equipment designs and working partnerships that continued beyond the original address.

For more Danish recording history, read our article on Puk Studios. Our series also covers Sweet Silence Studios in Copenhagen.

About a Studio: Polar Studios, Stockholm

Polar Studios was the Stockholm recording studio built by ABBA's Björn Ulvaeus and Benny Andersson with their manager Stig Anderson. It opened on 18 May 1978 in a former cinema on Kungsholmen, and in its first two years it produced ABBA's Voulez-Vous, Led Zeppelin's In Through the Out Door and Genesis's Duke. It closed in 2004. This guide covers the building, the desk, the records made there and the people who made them, and it ends with the thing we think most writing about famous studios gets backwards.

The short version: the most famous object from Polar now sits in a museum, and the most famous ABBA song was recorded three years before that object arrived in Sweden.

Polar Studios at a glance

• Address: Sankt Eriksgatan 58-60, Kungsholmen, Stockholm, in an early 1930s building known locally as Sportpalatset because it had housed a public bath and sports facilities.

• The room: a disused cinema, converted into a studio. Construction started in 1977.

• Opened: 18 May 1978.

• Founders: Björn Ulvaeus, Benny Andersson and Stig Anderson, owner of the Polar Music label.

• The desk: a 40-channel Harrison 32 Series console, delivered in January 1978 and described by Harrison as the first 32-bus inline desk. It now lives in ABBA The Museum in Stockholm.

• Key records: ABBA's Voulez-Vous, Super Trouper and The Visitors, Led Zeppelin's In Through the Out Door, Genesis's Duke, Anni-Frid Lyngstad's Something's Going On.

• Closed: the studio left its original home on 1 May 2004, after 26 years, when the building changed hands and the rent went up.

Why ABBA built their own studio

By 1977 ABBA were one of the biggest acts in the world, and they had made every hit so far in rented Stockholm rooms, mainly Metronome and Glen Studios. Building their own place meant no booking calendar, no clock running on someone else's invoice and a room set up exactly the way Benny and Björn worked, which was slowly and obsessively, one layer at a time.

They put it in a cinema, which is a big, high-ceilinged box and a good start for a studio, and built the control room around the new Harrison. The desk was a statement in itself. In 1978 a 32-bus inline console was the newest way to run a big multitrack session, and Polar had one of the first.

Voulez-Vous (1979) was the first ABBA album made mainly at Polar, with only part of the title track's backing recorded in Miami. The sessions ran from March 1978 to March 1979, and six months in, only two songs were finished. Björn and Agnetha's marriage was ending at the time, and the tension in the band slowed things far more than any piece of equipment could speed them up. Super Trouper (1980) and The Visitors (1981) followed. The Visitors was cut on the studio's new 3M digital machine between March and November 1981, which made it one of the first mainstream pop albums recorded and mixed digitally. The final ABBA singles, "The Day Before You Came" and "Under Attack", were recorded there in 1982.

The ABBA sound was made before Polar existed

Most people get this part wrong. "Dancing Queen" was not recorded at Polar. The backing track was cut in August 1975, according to ABBA's own history of the song, and the Arrival album was made at Metronome and Glen Studios between August 1975 and September 1976. "Waterloo", "SOS", "Mamma Mia", "Fernando", "Knowing Me, Knowing You" and "The Name of the Game" all predate the Harrison desk too.

What those records had in common was not a room. It was a person. Michael B. Tretow engineered ABBA's records at Metronome and Glen, and he moved to Polar in 1978, where he later became studio manager. The trick that people now call the ABBA sound was his. He described recording the drums, the bass, the piano, the guitars and the vocals twice, with the tape machine slightly detuned on one pass through varispeed, then pairing the two versions left and right. Played back at normal speed, the pairs differ a little in pitch and tone, and the whole band shimmers.

That approach needs a tape machine with a varispeed control and an engineer who knows what he is listening for. It does not need a particular room, and Tretow brought it with him from rented studios into Polar. Benny Andersson's own tribute to Tretow called him the one who made the records timeless, which is a songwriter crediting an engineer, not a desk.

Led Zeppelin at Polar: In Through the Out Door

In November and December 1978, Led Zeppelin spent three weeks at Polar making what became their last studio album, In Through the Out Door. It is the most unusual record in their catalogue, and the reason is who turned up.

By the band's own accounts, Jimmy Page and John Bonham were frequently absent from the sessions, struggling with heroin and alcohol respectively. John Paul Jones and Robert Plant were there, working. Jones described the band as having split into two camps, with him and Plant in the cleaner one. Jones is a co-writer on six of the seven songs, more than on any other Led Zeppelin album, and "South Bound Saurez" and "All My Love" are the only two original Zeppelin songs Page did not help write.

Jones had just bought a Yamaha GX-1, a huge polyphonic synthesiser, and it is all over the record. That, more than the Stockholm room, is why In Through the Out Door sounds the way it does: a keyboard player with a new instrument and the time to use it, while the guitarist was not around. The album was then mixed at Page's home studio in Plumpton, England. It went to number one in the United States in its second week.

Genesis at Polar: Duke

A year later Genesis came to Stockholm. Duke was recorded at Polar from mid-November to December 1979 and mixed at Maison Rouge in London, then released in 1980. It mixes group-written pieces with songs each member wrote alone, including two by Phil Collins, and it points towards the shorter songs the band would make next.

Collins came back to Polar to produce Anni-Frid Lyngstad's 1982 solo album Something's Going On. She made it in her own band's studio, with a producer from London, and to our ears it sounds closer to a Phil Collins record than an ABBA one. Again, the sound arrived with the person.

After ABBA: the later years

ABBA stopped recording together in 1982, but Polar kept working for another two decades. Later clients included Roxette, Rammstein and the Backstreet Boys.

It closed because of property, not music. The building was sold, the rent rose sharply, and in 2004 Polar left Sankt Eriksgatan. The Harrison desk survived and is now on display at ABBA The Museum in Stockholm. Harrison marked the 20th anniversary of the closure in 2024.

What made Polar records sound the way they did

• Tretow's varispeed doubling on the ABBA records, an engineer's technique rather than a feature of the building.

• Time. Owning the room meant ABBA could spend months on an album without watching a clock. Voulez-Vous took thirteen months and The Visitors eight.

• New instruments and new habits arriving with visitors. Jones's GX-1 on In Through the Out Door, Collins as drummer on Duke and as producer on Something's Going On.

• Finishing elsewhere. Both of the famous visiting records were mixed in England, in rooms their makers already knew.

Our take: you are choosing people, not a room

We run a studio, so we have a stake in rooms mattering, and they do. A good room with a sympathetic acoustic makes some decisions easier, and a bad one fights you all day. We have argued for the room as part of the sound many times on this blog, and we stand by it.

But look at what Polar actually tells you. The most famous ABBA song predates the building. The most famous piece of equipment in the building is now a museum exhibit. The Led Zeppelin album made there sounds the way it does because of which band members showed up and what one of them had just bought. The Genesis album made there was shaped by a band changing direction, not by the desk. Every one of those sounds would have come out of a different room slightly different, and still recognisable.

Studio history gets told through rooms and desks because rooms and desks are easy to photograph. Gear mythology is a substitute for listening, and famous studios are gear mythology at building scale. The honest version is less romantic. A studio is the people in it, the time they have, and the decisions they are willing to commit to. The room is the least portable of those, and the least important.

That matters when you choose where to record or who mixes your record. The question is not which console they have or what was recorded there in 1978. The question is whose ears you are hiring, what they think your kind of music should sound like, and whether they will protect what makes it yours. You cannot rent Tretow by booking the room he worked in.

Nordic studios, and why so few people write about them

Stockholm, Copenhagen and the rest of Scandinavia produced a disproportionate number of the rooms that shaped rock and pop records, and most of their history is written in Swedish or Danish or not at all. We have covered the Danish side in Puk Studios, where Depeche Mode mixed Music for the Masses, and Sweet Silence, where Metallica made Ride the Lightning. If you are thinking about making a record up here yourself, our guide to recording studios in Denmark and planning a destination recording in Scandinavia are the practical versions of this story.

Polar Studios FAQ

What albums were recorded at Polar Studios?

ABBA's Voulez-Vous, Super Trouper and The Visitors, Led Zeppelin's In Through the Out Door, Genesis's Duke and Anni-Frid Lyngstad's Something's Going On. Later clients included Roxette, Rammstein and the Backstreet Boys.

Was "Dancing Queen" recorded at Polar Studios?

No. "Dancing Queen" was recorded in 1975, and the Arrival album was made at Metronome and Glen Studios in Stockholm. Polar did not open until May 1978.

Where was Polar Studios located?

In a former cinema at Sankt Eriksgatan 58-60 on Kungsholmen in Stockholm, in a 1930s building known as Sportpalatset.

Is Polar Studios still open?

No. Polar left its original building on 1 May 2004 after 26 years. Its Harrison console is on display at ABBA The Museum in Stockholm.

Why did Led Zeppelin record at Polar Studios?

Led Zeppelin recorded In Through the Out Door at Polar over three weeks in November and December 1978, when it was one of the newest and best-equipped studios in Europe. The album was mixed afterwards at Jimmy Page's home studio in England.

Keep reading

• About a Studio: Hansa Studios, Berlin

• About a Studio: Muscle Shoals Sound Studio

• Puk Studios, Denmark's hidden gem

• Recording the DIY punk scene: how those records were made

• Vintage mixing consoles that shaped recording studios

Ready for a mix made by ears rather than a gear list? We mix indie rock, post-punk and shoegaze from Denmark for artists everywhere, and we will tell you honestly what we would keep and what we would change. Send us the rough mix.