Tim only teaches piano lessons one-on-one.

"It's all about the efficiency of tone refinement and being able to enjoy the results! For example, during the first 15 years of my life I played piano mostly with muscular effort. Studying in masterclasses with renowned concert pianists and piano coaches, I was introduced to the concept of Functional Piano playing. My arms stopped hurting, my back didn't feel heavy and I actually enjoyed playing the piano - not just on a musical level but also on a physical one. This sense of ease, efficiency and transparency is now also available to artists and piano students I work with. It does interfere here and there with my work as a producer but I wouldn't give up coaching - no way, it's too much fun."

"It's great to be able to do this. In record productions I work often for many months on the same ten tracks. Working with pianists once a week is very refreshing and rewarding. We both immediately hear the results!"

"I myself am an avid athlete, runner, windsurfer and skiier and have worked with several peak-performance coaches on fitness, nutrition and focus. Like the athlete, the musician needs to have a sense of purpose, direction, and energy as well as the ability to move beyond obstacles. And so, handling those aspects has become a part of my coaching as well."

On record production and Functional Piano Training:

"I often liken the work of the recording studio to that of an airport: Let's go over the essentials, train your wings and then take off. The musician learns to be in an independent relationship with his or her instrument. She or he has confidence because there is a real relationship with the instrument, one that allows them to perform with freedom and without fear."

"In Berlin, every Tonmeister student is required to study instruments. They are expected to master either the piano or a string or woodwind instrument and to perform at various recitals. In addition, there are two semesters dedicated to studying the construction and history of instruments. I recommend highly that all my colleagues in record production and engineering learn more about instruments. The instrumental performance is the main point of any record, so why is it that engineers learn all about software and compressors but generally don't study the instruments they are supposed to record?"