Our Story

Listening, comparing, optimizing, repeat.

In 2018, the Digital Concert Hall of Berliner Philharmoniker required a Tonmeister to compare different existing upmix algorithms, in order to choose the best one and transform their archive material into surround and immersive audio. Whilst doing this, the Tonmeister Benedikt Schröder found that the existing solutions all have their limits and don’t fit the high demands of classical music producers. His concept to try something new, including different audio software and give this new product a final polish was the birth of Schroeder-Upmix. After several listens and comparisons through different Tonmeisters, the decision was made that Schroeder-Upmix was the most convincing option for the symphonic (but also chamber music) content of the Digital Concert Hall. Since then, the upmix has also been used in all sorts of other productions: albums, broadcasts and even cinema trailers.