Josip Šuker

Christian & Pop Music Producer

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3 Reviews
Josip Šuker on SoundBetter

Music is more than a language. It's an inexhaustible and powerful source of inspiration. It should be used thoughtfully to spark joy, hope or, when in sorrow, to help get through it, no matter if it is in major or minor key. If you share this point of view, I encourage you to contact me.

In the last 13 years or so, after completing classical music school, I found myself in several rock & fusion bands learning to play every instrument I got in my hands.
Then I built two home recording studios recording almost every genre of music for various artists and composing for student film productions.
After graduating at Music Production Academy I was invited to work in one of Croatian major record label companies as a music producer.
Being there I experienced things that I couldn't get along with so I left and turned my life in other direction.
I knew exactly what I need to do.
After several months of extensive research on acoustics, I built a professional music studio. The one that skyrocketed my creativity and quality of my recordings more than anything before.
It was the best decision ever - not to gather hardware, but to make really precise sounding control room, pleasant to be in and to work on the projects that are aligned to my beliefs.
Now I work mainly with Christian artists and on some pop/rock projects from time to time.

Contact me through the green button above and let's get to work.

3 Reviews

Endorse Josip Šuker
  1. Review by Mihael Blum Productions
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    Great studio, great equipment, very professional approach to work! I got everything I wanted in short period of time. Would recommend Josip to everyone!

  2. Review by Andrijana Janevska
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    It was a great pleasure to work with Josip. His expertise and talent shine through with every interaction! Josip works very hard to make your masterpiece and he is very adaptive to your vision. You could not ask for more! Your finished product will surely blow you away.

  3. Review by Emanuel Pavon
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    It was great experience to work with Josip. Wonderful person and he knows how to get the best out of musician. Hope to work with him again! :)

Interview with Josip Šuker

  1. Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

  2. A: I recorded an album and an EP for Scotland based composer Nigel Osborne. The guy who rocked along with the Hendrix, Cream and even played rhythm guitar for Chuck Berry. Nigel left a deep impact on me. Combination of his charity work with deep musical experience draws from him the way to communicate, to express and to say things in a different way than the average person. It has weight, it has meaning.

  3. Q: What are you working on at the moment?

  4. A: At this moment, I'm finishing the Christian rock, pop-rock album, and gathering inspiration for the new song I started to write with a friend, singer.

  5. Q: Is there anyone on SoundBetter you know and would recommend to your clients?

  6. A: There are some people I've been working with: Andrijana Janevska - great and professional singer, songwriter, producer, virtuous violin player and piano player. Emanuel Pavon - the most talented cello player I encountered. Works in Philharmonic orchestra. Pleasure to work with. Darko Vlahović - one of the coolest bass player you can imagine. Versatile and virtuous. Years of experience.

  7. Q: Analog or digital and why?

  8. A: After really a lot with experimenting with analog equipment and their digital counterparts I can say: whatever makes you really doing the job. Personally I'm a convenient guy and an audiophile. Really tough combo. So I found my happines in Softube Console 1 mixing environment. Wouldn't change it for any kind of analog masterpiece console.

  9. Q: What's your 'promise' to your clients?

  10. A: I will listen to you, think about your wishes and do my best doing my best.

  11. Q: What do you like most about your job?

  12. A: It is really, really involving you into creating meaningful material full of unwritten rules. Those rules when followed too obviously may create a "caricature" of a song, but followed in the smart way, or even avoided in smarter way can create a new, original piece of music.

  13. Q: What questions do customers most commonly ask you? What's your answer?

  14. A: "Is it possible to make this sound like a this or that". Two answers: "Yes, it is, it would be really cool to do that." or "Are you sure you want that? You see if we add this or that, it may do this or that".

  15. Q: What's the biggest misconception about what you do?

  16. A: Deffinition of the word "arranger" or "arrangement". Arrangement in this case means the complete auditive "screenplay" for every instrument with its role in the final sound of the song.

  17. Q: What questions do you ask prospective clients?

  18. A: I always ask about references (send me link to the three songs you want to sound like). Then I may comment that if I see some inconsistensies (you wouldn't believe how often that happens). If I hear something in my head, I may suggest and ask for your opinion.

  19. Q: What advice do you have for a customer looking to hire a provider like you?

  20. A: 1. Get your references and wishes straight. 2. Communicate them clearly. 3. Be honest.

  21. Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

  22. A: Laptop with Cubase + Native Instruments Komplete Ultimate, definitely S88 MK II MIDI controller (keyboard), RME card, Rode NT1A (cheap mic that perfectly fits my voice) and Dynaudio speakers.

  23. Q: What was your career path? How long have you been doing this?

  24. A: I'm doing this for some 13 years now. Started underground, found myself everywhere (playing in rock, blues, progressive/fusion bands, church choirs,...), been working in various industries (music live and studio, film - on the set, post production, composing, theatre), than the big record label studio and now I'm my own boss.

  25. Q: How would you describe your style?

  26. A: Warm, spacious with vintagey vibe. Emotional.

  27. Q: Which artist would you like to work with and why?

  28. A: I don't know because you need to know the person to know with whom do you want to work. I like clients that share my point of view and take music as a way of expressing their inner self with decency. I also like people who are aware of what they can and what they need other people for.

  29. Q: Can you share one music production tip?

  30. A: The best I personally discovered: take a break, first listen and write, then correct. For example, after working on a song, the next day listen to a song writing down everything you hear that need correction. Don't stop! Just go. As soon as you start to loop, or doing things, you're not unbiased anymore. Next, you "shoot" corrections like a machine gun burst, completing one after another so you stay unbiased and objective as much as you can. That can significantly speed up your workflow and boost your quality.

  31. Q: What type of music do you usually work on?

  32. A: Usually it is some kind of pop-rock music. I tend to work with acoustic instruments (or samples) more than electric. Main portion of that music is a Christian music that speak of love, surrender, hope and faith.

  33. Q: What's your strongest skill?

  34. A: Wide variety of music I've listened, played and researched. In other words, adaptability.

  35. Q: What do you bring to a song?

  36. A: I'm very pedantic. So everything must be "in order" or "have its own place". Everything must be, as we say in Croatia "drinkable", consumable. I seek beauty and ingenuity, avoiding repetitivnes (when it is not stylisticaly required). So what is that then? It is an arrangement filled with "pictures" or emotions, not too much of it, not too little of it. Just the right amount, like spicing up the foods.

  37. Q: What's your typical work process?

  38. A: After finding correct BPM and key, I record or import info track with just the guitar (or piano) with vocals. Next step is to rearrange the song sections into the "skeleton" arrangement. From there I build up rhythm section (drums and percussion), bass and lead elements (piano, guitar, synth or else). Then carefully adding all the other elements and correcting every part that can be made even better. The whole process may require two weeks. Sometimes I need pause (for the weekend or more days) to rest my ears and gather objectiveness so I can hear better and with more detail after that pause.

  39. Q: Tell us about your studio setup.

  40. A: Core of my studio and complete studio work is in the acoustics. After visiting lots of studios I discovered the vast majority of producers invest in their gear, not in the acoustics. Why? Gear is fun, flashy and when you pay it and hear that 1% difference in sound, you think of it as if it is the most important thing out there. Acoustics is not. It is dull, boring and really demanding. But acoustics is going to affect your real speed, objectivness and precision, not the gear. As an audiophile when it comes to that, after a lot of experimentation and research, I came to a conclusion I need the best possible acoustics and reliable, fast and great sounding hardware/software. Almost 90% of my mixing is done via hardware controller Softube Console 1. It is really, really fast and effective. A lot faster than any analog desk I've been working with, but also it has really nice saturation options. So I'm completely covered. Speed (in workflow) = objectivness = quality.

  41. Q: What other musicians or music production professionals inspire you?

  42. A: I always try to be original but can't escape some musical moments or sound that win me over when I listened to the different musical styles. That means, sometimes I hear Gilmour guitar solo, Eddie Kramer late 60s fat, saturated drum sound, Hooverphonic string section or just modern floating synth pads or warm piano. A bit of everything from everyone I encountered while listening.

  43. Q: Describe the most common type of work you do for your clients.

  44. A: Arrangements and music production. By saying that I mean literally everything from recording the info track with only one instrument to the point where hundred tracks of audio is mixed and then mastered. Most often, every instrument in the song is played by me.

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Rijeka Života by Josip Ćulumović

I was the Producer and mixing engineer in this production

Terms Of Service

If there are some minor corrections, I offer two revisions with every service I provide. For the production of whole song, I require at least two weeks from the day I start.

GenresSounds Like
  • Lauren Daigle
  • Hooverphonic
Gear Highlights
  • Professionaly acousticaly treated control room
  • RME Fireface 802
  • Dynaudio BM12A monitors
  • Intel i9 powered workstation
  • Softube Console 1 and Console 1 Fader
  • N.I. S88 MK II MIDI controller
  • guitars
  • bass guitar
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