I am a recording engineer and composer from Hamburg. I am passionate about creating sound recordings and mixing for motion pictures. I specialize in composing, arranging, recording and editing music and sound effects at the studio or anywhere in the world.


Activision, Ärzte ohne Grenzen, Berenberg Bank, Berlin Recycling, Bomatic, Bonita, Bonprix, Campari, Compo, Dreamlines, Duni, Germanwings, GEE, Gilette, GOOGLE, Gruner & Jahr, Stadt Hamburg, Hamburg Blue Devils, Hamburg Casting, Hamburg Freezers, Henkel, Healthy Living, HSE, HTC, Hyundai, Jam! Reisen, Jacobs Krönung, Ladival, Leomat, Mawaju, Mercedes Benz, Messe Hannover, Microsoft, MTV, Mustang Jeans, My Best Brands, Navigon, NDR, Nintendo, Nivea, Novartis, Parship, Porsche, PSA Bank, Publicis Dialog, Rainbow Tours, Rimowa, Raveline, Roche, Romwell, Schwarzkopf Professional, SEAT, Sensient, SMM – shipbuilding machinery & marine technology, Sony Ericsson, SVT, Statista, Stella Entertainment, Stihl, Suzuki, Techniker Krankenkasse, Telekom, Tide, Tom Tailor, T-Systems, Ulla Popken, Universum Boxen, Unitours, Vitez, VW, Weingut Tesch, Wiethe Group, Wimdu, ZDF, ZVA. 

Movies, Documentaries & Plays

Talk to me (Samira Radsi, 2005) - music composer
Almost Casablanca (Samira Radsi, 2006) - sound effects editor, music composer
Abenteuer Canada (Harald Paul, 2012) - supervising sound editor, music composer
7 Tage... (NDR, 2012, 2013, 2014, 2015, 2016) - music arranger, programmer, recording engineer
Deutschlands Große Clans (ZDF, 2016) – music composer

Nouvelles (L. Sakuth, 2013) – sound effects editor, re-recording mixer
Money in Minutes (M. Heeder and M. Hielscher, 2013) – music composer
Voll Schwul (Pieper / Roselius / Wiedhöft, 2014) – music composer
Die lächerliche Finsternis (C. Rüping, Thalia 2014) – consulting sound designer
Bootsmann (S. Grell, V. Gamke, 2016) – sound effects editor, re-recording mixer




Alin Coen, Susanne Dieudonné, Everything Everything, Gerrison Ford, Benny Greb, Marion Hamann, J. Z. James, Antonia von Romatowski und Stefan Lehnberg a.k.a. Küss mich, Kanzler!, Rocco Royal, Walter Schmidt, Starbeat, The BossHoss, Keith Tynes. 

What I think about recording arts

Recording is an art form. Recording means turning acoustic events into acoustic media. In this rendering process – i. e. deciding on what and how to record something, and what and how to edit and mix it, does not only result in a new form but, according to Marshall McLuhan, also to a new substance – the medium is the message. Therefore the recording artist is, in fact, the designer of a certain message, be it a newscast, soundscape or orchestral music. He needs to choose carefully from the countless possibilities of how to capture a certain time period and to transcode it into a media art form that serves its specific purpose best.

Furthermore, creating a recording means taking care of the concepts figure, ground and field, a visual comparison introduced by Murray Schafer in 1977. He considers the figure as the central carrier of meaning one records, while the ground is the context which the figure is part of. The field may be understood as the place where the acoustic emission is perceived. In a classical concert, this figure might be the playing orchestra; the sounding context would be the concert hall, and the sounding field the position of the listener. But, in terms of a recording, this field is completely different: if the listener wears headphones, it may be a car, a living room or any place in the world. Even more interesting is the differentiation of figure and ground. Clearly, most often the acoustic emitter is the figure, as it most probably carries the important meaning, and the ground will be the sound of the local context, in which the recording takes place. This may be the reflections of the figure in a room, a hall or in a forest, or the sound of the context itself: soft room noise, animals in the woods or the weather in open space. But where do you draw the line between figure and ground? Since Cage’s “4:33” it has become clear: there is no such line, especially if one tries to generally define the carrier of meaning: Even if the orchestra does not play a single note – there is still sound. Of course, this sound would be the ground or even field in any other case, however, in “4:33” this is intentional and must therefore be considered as a figure.

Hence, the most important and powerful lever of a recording artist is to be able to draw this line in an artistic way in order to use the massive impact on perception with sometimes even the most subtle changes in microphone patterns, positions, or signal relationships in a mix, and to be able to communicate these topics within a team in order to create an artistic vision. 

My point of view on composition and design of functional sounds

Acoustics is all about change over time. When we try to organize and to arrange gradual changes in order to transport meaning implicitly, we talk about music. So music is not only a folk or pop song, or The Ring of the Nibelung – spoken words, city noise or any sound is to be considered music as well, if it is used to implicitly transport meaning.

This may be due to our limited vocabulary in describing acoustic events, but it is no coincidence that, when talking about language, we choose terms such as sentence, melody, phrase, tempo, expression and so on – the very same we use in music. But looking at the genealogy of musical composition, it becomes clear that the vocabulary we use is more an effect rather than the actual cause. Musical composition itself, from the very beginning of human mankind to the hyper-diversified musical styles of today, can be understood as a formal approach to arranging with ever more extending principles – every single piece of music is used, like in language, to encode the transmission of meaning. The same goal applies to functional music, or functional sounds in general.

With regard to context, functional sounds give meaning to a movie, a commercial or even an h&m store. With regard to the listener, functional sounds encode the meaning in a way that the majority of people can, at least at its core, understand. However, this does not necessarily mean, that musical meaning has to always apply to the lowest common denominator, like often very simple structures of functional music imply. Functional sound ideally adds meaning to pictures (or any environment) and does not just paraphrase what you see – even if it’s sometimes necessary. Translating this often very complex meaning into intelligible implicit words – i. e. music – is the artful skill of a composer of functional sounds, whether in sound design or in film music.

For me, every sounding aspect of a film is part of a large and complex musical composition and should be understood as such. 


1999 – 2001

Audio Engineer Diploma, SAE Hamburg
Focus: acoustics and recording arts

2007 – 2009

Systemischer Coach & Prozessberater, DCV Zertifikat
Focus: interdisciplinary development and
guidance of creative individuals and groups 

2007 – 2009 

Bachelor of Arts (1st class hons), Recording Arts,
SAE Berlin/ Middlesex University London
Focus: acoustics, musicology, sound in advertisement

2012 – 2014 

Master of Arts (1st class hons), Time-Related Media,
HAW Hamburg. Focus: music psychology, film sound design and acoustic brand management 


Master Classes

Alan Parsons (Mixing and Production),
Hans-Martin Buff (Recording and Mixing),
Thomas Görne (Film Sound Design and Mixing),
Javier Navarrete (Music Composition for Film),
Youki Hamamoto (Arrangement and Orchestration) 

1st Instrument: Classical & Western Guitar
2nd Instruments: Bass, Piano 


2000 – 2001

TPR Music Productions, Job: Recording Engineer & Composer

2001 – 2003

Hastings GmbH/ Milo Heller Musik & Sounddesign,
Job: Composer, Arranger, Sound Designer, Recording & Mix Engineer 

2003 – 2006

thein’n’ohlendorf GbR, Executive Partner

2006 – today

Elbstudios Audio Postproduction, Owner & Tonmeister

2013 – today

SAE Hamburg, Lecturer for Audio Postproduction, Sound Design / Sound FX Editing and Film Music Recording

2016 – today

BTK Hamburg, Lecturer for Location Sound, Audio Postproduction and Sound Design 



Lars Ohlendorf
Emilienstrasse 9-11
20259 Hamburg
Telefon 040 – 55 77 51 10
Telefax 040 – 55 77 51 70
Mail L[at]larsohlendorf.de
Verantwortlich: Lars Ohlendorf
Technische Umsetzung: Julian Schäfer

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