What were some of the plugins that you used to rely on before you developed your own proprietary stuff? I took that to start with and started structuring it around that. My experience is doing that for 10 years and kind of buckling down on something that really works in like so many different situations. Basically what you’re getting is a combination of all the experimenting I’ve done with limiting and compressing and EQ and where they go in the chain and how the interact with each other.
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I know you can’t really get into the secret sauce of exactly what’s going on with the plugin, but how did your chain develop? Were you a software guy? A hardware guy? How did your evolution come?
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I’m working on a bass amp simulator where you’ll just be able to plug in your bass right into it and give you a full on, finished mix ready sound coming out of the other end. I think I’m going to explore that a lot more. Then I would start playing around with the different controls to fit with the song and to fit with the vocalist. I would start it off when you open the plugin, it’s kind of the way it is by default, that’s kind of how I would start with my vocals. It’s kind of like how I would start off my vocals. My vocal plugin, well it’s more of an interactive preset is one way to look at it.
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When you considered the idea of mixing presets and stuff like that, did you have any ideas of ways that you could do that so that it couldn’t be just like “hey guys, let’s download the settings” and everyone just share them? It’s not like something that you can download, and like an Axe-FX plugin where it’s something that’s. Yeah, and also, something like mixing settings is not as much about product. Ultimately it kind of felt like the wrong thing to do, and I think presets kind of dances on that gray area, that blurry line where we’re selling things that are making it a lot easier to get into production, but at the same time, you’re not learning the ropes of what you need to know to do it yourself. It’s like “why not monetize that?” I’m the only person who created those settings, and I’m the person who owns that. In fact, I even thought about the idea of what if I sold the mixing settings to a Asking Alexandria album or something because there are so many kids who are like “man, I wish I could get that same sound on that album” or something like that. It wasn’t like I hadn’t had the idea a long time ago. Are you aware of anyone that did it before you?Īctually, yeah, one of my friends, Cameron – he’s kind of associated with Chango (that’s the name of the studio), he was doing Podfarm presets before me. I actually can’t think of anyone else off the top of my head that has sold presets beforehand. So you’re going to see some producers who are putting out stuff that’s not so good and you’re going to see people who are a little bit more experienced that are going to be putting out better products. I think you’re just going to see more and more of that, and the quality of the product is going to be attached to, I think, the level of success of the producer. He started out with drum samples and then kind of migrated into hardware compressors and now he has his own microphone line thing that just came out. I honestly followed in the footsteps of people like Steven Slate. Yeah, I think you’re already starting to see other people take on to that. Do you feel like that’s something that you’re going to expect to see a lot of other people doing, or were people surprised when you started doing all that? One of the main things that’s really different that you’re doing from a lot of other people is that you’re actually taking a lot of what you’re doing in the studio and making it available for other people – the vocal compressor or the Born of Osiris plugins. His newest product is a plugin that gets you the tone of his specific vocal chain, JST Gain Reduction. And if you’re a drummer recording with Joey and want to market samples from the sessions? You’re at the right place. Remember when everyone lost their shit because Born Of Osiris was selling Axe-FX presets? Well Joey Sturgis was the man behind that tone, and it was his website selling the patch. The other is that he’s an pioneer of a new type of musical entrepreneurship. That was part of why I wanted to do this interview. So say what you will about the songcraft of Emmure, but Joey Sturgis is very good at getting them to sound heavy. But they’re also putting out the records that sell stacks and stacks of invisible digital copies, and thus can afford to hire an engineer who knows what he or she is doing. They’re metal, but not the kind of groups adored by the (mostly) musicians that frequent our site. Okay, yeah, you probably noticed that some of those groups aren’t the kinds of bands we usually cover.
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