It turned out to become one of the most interesting songs on that album! He also changed the bridge of the song and wrote some really crazy harmony changes while adding a lot of synth and FX stuff as well. Joey completely messed around with the drumpatterns on this song, and gave it a way better drive while replacing some bothering fill ins with silence to make the following part hit even harder.
It’s a track called „Panic Attack“ (WT was „Hope“). Which track on the album transformed the most from inception, and why? Our FOH guy mixes it with the real bass and so we get a nice clean and easy to control lowend sound in every big venue! We as a band even use a bounced sub destroyer track live now. Although it’s basically just a simple synth, it has some features combined that make it really essential when you try to improve and clean up your sub frequencies in a mix. My second favorite plugin is sub destroyer. However, what counts in the end is that your mix sounds great and not how you get there. It uses even less ressources then a C1 and its so easy to use that I sometimes even feel bad for using it. When I first used it on a vocal track, I instantly compared it to the vocal chain I used and improved over years. What is/are your favorite Joey Sturgis Tones product(s)? The fun side, they sound so ridiculously good, that you can use them in your final mix as well without a doubt. Throwing a bunch of Gain Reduction and JST Clipper instances on a few tracks is nearly disgracefully easy. For example when you’re writing songs right in your DAW, you don’t want to mess with vocal chains or drum mixes, you just want to concentrate on the music, but you want it to sound as good as possible right from the beginning of course. JST products stand up through simplicity! You get exactly what you need in the smallest amount of time with the smallest need of ressources. How did Joey Sturgis Tones products make your creative process easier and how do you feel they improved your songs? Joey did most of his production work in advance, so we could simply build up on that while we were in the studio. The engineers kept contact with him the whole time, and let him double check all the tracks we recorded. Joey has been there on our first day, and although we would have loved to spend more time in person with him, we didn’t get the feel he’s leaving us alone without caring about our record. We felt at home from the first minute on! Although I was a little doubtful in the beginning, if all the engineers can keep up with my 7 years of recording experience, I was even more surprised how much I could actually learn from them. Great gear, rooms and most important, great people to work with. This really helps a lot to improve your lyrics and pronounciation on your vocal tracks!ĭescribe your recording experience at 37 Recording Studio and working with Joey Sturgis.ģ7 Studios is a really great place to make a record. It’s also a good thing for us english singing Germans, to work with native english speakers in the studio. When you’re far away from home, you’re also more motivated and concentrated on the creative side then you would be when your tracking some guitars in your bedroom right after a long working day.
So why not working with one of the best? Nearly all our favorite bands are from the States, so traveling there to make a record is like a little dream come true. As I’m a producer myself, I’d either produce my music on my own or choose someone I trust completely. Our recording time in America was a really, really great experience! We will never regret the decision to pay the extra money to fly over there and work with one of our biggest producer idols. How was your trip to America and what do you think is interesting about working on music in different countries? Christoph Wieczorek of ANNISOKAY talks to us about production, JST, and the future of music
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