Joey Sturgis

I have a Mac with a Digi 192 interface just in case a band arrives with Pro Tools demos,” reasons Joey, "but we'll immediately convert them to Cubase. One PC is an old system that runs Windows XP and that stays at 37 Studios. For all three PCs I use the RME Fireface 800, which is the interface that literally never has any problems. And we use a Countryman DI box straight into the RME for guitars, bass and any instrument that uses a cable. I'm an in‑the‑box person, so if we record vocals, for example, we go through a preamp and leave the compression for later. If you are editing a vocal and it's already compressed, you can't really touch it, so I prefer to compress afterwards.

I have a Mac with a Digi 192 interface just in case a band arrives with Pro Tools demos,” reasons Joey, "but we'll immediately convert them to Cubase. One PC is an old system that runs Windows XP and that stays at 37 Studios. For all three PCs I use the RME Fireface 800, which is the interface that literally never has any problems. And we use a Countryman DI box straight into the RME for guitars, bass and any instrument that uses a cable. I'm an in‑the‑box person, so if we record vocals, for example, we go through a preamp and leave the compression for later. If you are editing a vocal and it's already compressed, you can't really touch it, so I prefer to compress afterwards.

I use iZotope Ozone for the final EQ, limiting, multi‑band compressor and exciter‑type things. I use various compressors as my bus compressors, but mostly Waves SSL or Kramer PIE. So Waves and Ozone pretty much take care of it.

In this post joey shows off his A7x moniters. he uses these for all of his studio monitoring

For example, there was a time I had to make a decision on a kick mic and my options were the standard AKG D112, Audix D6 and Shure Beta52. But there was also a Shure SM7B not being used.

If I'm in a studio that has some really nice compressors, like two Urei 1176s that have serial numbers next to each other, I might put the room mics through those. I use very widely spaced, large‑diaphragm condensers for my room mics, and I have those pretty loud in my mix.

Joey Sturgis, the founder of Joey Sturgis Tones, developed the JST Clip plugin based on his extensive experience recording heavy music for renowned artists.

In an Instagram post, Joey Sturgis highlights his use of the Rode NT1-Kit microphone, expressing gratitude to Rode Microphones for enabling him to podcast while traveling.

Joey's current setup comprises three Windows‑based PCs running Cubase v6.5 and all Joey's favourite plug‑ins, so that the same project can be opened on any one, plus an Apple Mac running Logic and Pro Tools.

That helps keep clarity in all those really fast parts. If I get a heavy hitter I'll use a Sennheiser 421 on a stand because he's not going to be playing fast enough for you to miss anything if the tom moves.

For example, there was a time I had to make a decision on a kick mic and my options were the standard AKG D112, Audix D6 and Shure Beta52. But there was also a Shure SM7B not being used.

For example, there was a time I had to make a decision on a kick mic and my options were the standard AKG D112, Audix D6 and Shure Beta52. But there was also a Shure SM7B not being used.

I have two snare setups. I like to put a Shure SM57 top and in reverse phase on bottom, but I also like to use an Audio‑Technica AE3000 condenser. I prefer a condenser because I really like bright snares. I do top only and place it a good six to eight inches from the drum to pick up top, underneath and side with the one mic. That works if you're dealing with a drummer who hits the snare exactly how you want every time, but the cymbals will come through, so you can't touch it up a whole lot. If you're working with someone who needs a little help, you might use the SM57 because you can hide little things here and there as you need to.

I like very roomy drums. Depending on the studio, I sometimes use ribbon mics. I think the Coles 4038s sound pretty good. There is also the stereo version of the C12 that I like a lot. But if I don't have a lot of options I might use two [Audio‑Technica] AT4040s.

For example, if you use a Waves CLA‑76 blue‑face compressor, you'll notice that the breaths are too loud when you compress the crap out of a vocal. Before the vocal starts, you hear that really loud inhale and then the vocal gets quieter because that breath has slipped though before the compressor clamps down, so it seems like they are louder than the actual vocal. Then you come across compressors that do the exact opposite, where the breaths don't come in loud enough relative to the vocal. This compressor is based on 10 years of messing around with vocal compression.

Joey Sturgis, the founder of Joey Sturgis Tones, developed the Gain Reduction Deluxe plugin. This compressor plugin reflects his extensive experience in recording heavy music for renowned artists, as highlighted by Joey Sturgis Tones.

Joey Sturgis, the founder of Joey Sturgis Tones, developed the Pixelator plugin, drawing on his extensive experience recording heavy music for prominent artists.

Joey Sturgis, the founder of Joey Sturgis Tones, utilizes the Joey Sturgis Tones Toneforge - Menace plugin. This amp simulator plugin reflects his extensive experience in recording heavy music for renowned artists.

Joey is the founder of jst. these pluggins are based of of the years of experience recording heavy music for some big name artists

In this add for joey sturgis tones, joey can be seen using a halo custom guitar

IN this post joey shows off his guitar collection. In his collection can be seen a ibanez rg guitar

IN this post Joey shows his guitar collection. In his collection can be seen an ovation round back accoustic guitar

In this post Joey shows his guitar collection. in his collection can be seen a martin dreadnought acoustic guitar

In this post Joey shows his guitar collection. in his collection can be seen a martin dreadnought acoustic guitar

His favourite tools are Native Instruments Komplete 9, reFX Nexus 2 and Vengeance, and Spectrasonics Omnisphere. "Omnisphere has everything — pianos, strings, basses, organs, sound effects, chants, drums, synthesizers — and Komplete 9 has everything as well, but they have their own workflows.

His favourite tools are Native Instruments Komplete 9, reFX Nexus 2 and Vengeance, and Spectrasonics Omnisphere. "Omnisphere has everything — pianos, strings, basses, organs, sound effects, chants, drums, synthesizers — and Komplete 9 has everything as well, but they have their own workflows.

His favourite tools are Native Instruments Komplete 9, reFX Nexus 2 and Vengeance, and Spectrasonics Omnisphere. "Omnisphere has everything — pianos, strings, basses, organs, sound effects, chants, drums, synthesizers — and Komplete 9 has everything as well, but they have their own workflows.

For example, there was a time I had to make a decision on a kick mic and my options were the standard AKG D112, Audix D6 and Shure Beta52. But there was also a Shure SM7B not being used.

Joey Sturgis is among the producers and engineers to have released plug‑ins capturing aspects of his sound. Here, two instances of his JST Clip peak-clipping plug‑in form part of a complex snare drum processing chain which also incorporates Cubase's channel EQ and Waves' SSL Channel, TransX and Q10.

Joey Sturgis is among the producers and engineers to have released plug‑ins capturing aspects of his sound. Here, two instances of his JST Clip peak-clipping plug‑in form part of a complex snare drum processing chain which also incorporates Cubase's channel EQ and Waves' SSL Channel, TransX and Q10.