Stockfisch Records is an audiophile record label situated in the small town of Northeim, Germany. By using superb recording and mastering techniques Stockfisch Records produce highly acclaimed albums, appreciated by both an audiophile audience as well as professional musicians and sound engeneers around the world, and made Stockfisch a reference quality record label.

Stockfisch Records: record label and recording studio

Stockfisch records was founded in 1974 by tohnmeister Günter Pauler, who later also founded Pauler Acoustics. The label and the studios are located in an old mansion, once served as monestary. Pauler first rented this location, then bought it. Apart from a recording studio, the mansion also houses a cd & sacd pre-mastering studio and a DMM cutting studio. (DMM = Direct Metal Master, more about this subject later)

Stockfisch recording studio

Recording studio of Stockfisch Records in 1000 year old basement of monestary. 5.1-control room with NEXUS 28bit A/D-Converter, Strauss MF-2, STUDER Vista5 Digitale Console, PYRAMIX Virtual Studio V8 incl. HORUS/Ravenna, SADiE DSD8, tc System6000, weiss gambit, emmLabs ADC8 Mk IV, bricasti, Elysia, Avalon-EQs …


Stockfisch DMM cutting studio

DMM cutting studio with 2 NEUMANN VMS-82 DMM, Tannoy Canterbury loudspeakers, Sonic Studio™, weiss gambit, STUDER A820 …


Stockfisch CD SACD pre mastering studio

CD-PreMastering and NoNoise-processing with SonicStudio™, SADiE DSD8, PYRAMIX Virtual Studio, CEDAR, weiss gambit EQ1 + DS1, bw 102, Bowers&Wilkins 801D, L2 waves, Klark DN-60, SONY DRE-S777, saracon, mutec Reclocker …

Stockfisch – the art of recording

In the studios every link in the audio chain is optimized with utter precision. Stockfisch posesses about the best audio equipment available, in terms of recording, monitoring as well as mastering. For instance the studio has a very large collection of exclusive microphones, some not available in any other studio in the world. Pauler can hereby choose the right solution in any given situation. This choice of microphone can make a night and day diference, he claims in Stereoplay (edition 1/2015). Naturally not only the quality or correct placement of such microphone is of importance. Anybody can place a microphone, but not everybody can analyse the sound image and can come up with a satisfactory result. Experience is key factor here. Further reading of Stereoplay (same issue) reveals Paulers opinion about eliminating interferences in the studio. According to him the main culprits are WLAN, wireless networks and mains power contamination. These items are completely banned from his studios, the mains power is filtered and Pauler has deliberately chosen LED lighting in the building instead of (the more commonly used) light bulbs.

Pauler Acoustics

Pauler Acoustics

When Günter Pauler is asked in Stereoplay to describe his typical “Pauler” trade sound he answers: “I recently dug in the archives and came up with a very old recording of mine. I was surprised how good it sounded. Through the years the same tendens is apparent. The most important thing to me is to record as clean as possible.”

This typical “Pauler” stamp, which Günter presses on all Stockfisch recordings, succeeds beyond the borders of Stockfisch and beyond the borders of Germany. In the last couple of years he has become a big name in Asia, more specific in China. Forty percent of Stockfisch revenue is due to this world empire. They entrust him with ancient recordings on tape, which survived the cultural revolution, and which Pauler revives.

To illustrate that this musical “Orient Express”  pays off: in 2015 Pauler and his sound engeneer Hans-Jörg Macksch were nominated for a Grammy Award in the category “best surround sound album” for their recording of Chinese singer Song Zuying. More information about this highly acclaimed album can be found on the official website of Stockfisch:

Song Zuying

Pipa (lute), Gu Zheng (zither) & Song Zuying during recording sessions in Beijing

DMM – Direct Metal Mastering

Furthermore Pauler delivers on demand of external clients, for instance by applying DMM (Direct Metal Master) – a technique he has developed himself. With this technique the digital mstertape is cut on a metal platter, this “metal master” is then read and directly digitalized in SACD format. This way the final musical result has all the charming sonic advantages of a record, without any of the disadvantages. Stockfisch cuts 8 record sides each day, either on demand or for their own productions.

More info about the DMM technique can be found in our article “Stockfisch DMM – Direct Metal Mastering”.

DMM Direct Metal Mastering

DMM – Direct Metal Mastering

Musicians at Stockfisch Records

Stockfisch Records mainly focuses on singer-songwriters. Some examples of such artists are Chris Jones, Allan Taylor, Paul O’Brian, David Roth & Steve Strauss. In 2001 Pauler managed to sign “Queen of Audiophile” Sara K after her contract with that other audiophile label – Chesky Records – had finished. Sara K. mentions that she was convinced to sign after Pauler had gotten Chris Jones as accompaniment and sent her a fair but unheard of one-page record contract. The live album Live in Concert (2003) which resulted from her 2002 Bowers & Wilkins-sponsored “Nautilus” tour was chosen as the best audophile CD of 2003 by the readers of the German magazine Stereoplay and received their “Hifi Music Award 2003”.

Sara K nautilus tour

Sara K. – B&W Nautilus Tour 2002

Credit where credit’s due

Although Günter Pauler is the face of Stockfisch, his lifework would have never been accomplished alone. Luckily Pauler  is assisted – in the studio and beyond – by a select team of dedicated collegues.

Stockfisch Records staff

Stockfisch Records staff, from left to right: Percy Chan, Hans-Jörg Maucksch, Günter Pauler & Inés Breuer.

More info & sources:
Stereoplay, editie 1/2015