Staying Human in a Digital Studio: ATB’s Approach

For more than three decades, ATB has been a defining voice in electronic music. From the early success of “9 PM (Till I Come)” to his new collaboration with Shaun Farrugia on “Believe in Love,” he has kept one goal in focus: to connect emotion and energy in equal measure. His music still carries the same DNA that made his early work resonate, but the technology and collaborators around him continue to evolve.

 

 

Speaking from his studio, ATB reflects on what it means to stay current while staying true to himself. He discusses intuition, imperfection, and the evolving nature of collaboration in a world where producers can share projects from anywhere. For him, software such as Kontakt, Playbox, and FM8 serves as a creative accelerator rather than a shortcut, helping him turn instinct into structure.

What follows is a rare look into ATB’s mindset as both a veteran producer and a student of new ideas. His reflections reveal how technology, collaboration, and emotion have remained linked throughout a career spanning generations of electronic music.

Collaboration has always been important to your career. How do modern tools make it easier to bridge the gap between your sound and the younger artists you work with?

For me, collaboration has never really been about specific tools; it’s always been about people. I find it fascinating to work with younger producers who approach music with such an unfiltered, fresh mindset. When I’m in the studio with them, I notice how differently they think. I’ve been doing this for a long time, and when I start an ATB track, I naturally think about my signature elements... what makes it sound like me. But they bring fresh perspectives and ideas that sometimes push those boundaries in the best possible way.

A great example is “Believe in Love,” which I created with the Late9 team, led by Max Riehl. Max is not only a close friend but also part of the extended ATB family.

He’s worked on numerous high-level productions for artists such as Hugel, Topic, ALOK, and even on a David Guetta record. One of the most successful tracks he was heavily involved in was “Adore U,” which became a global hit last year. Working with people like that is incredibly inspiring... not just because of their skills, but because their speed, energy, and way of thinking often remind me of why I started making music in the first place.

Do you have a philosophy for balancing precision with imperfection, especially in electronic music, where tools can make everything too clean?

Over the more than 30 years I’ve been making music, I’ve learned that the tracks polished down to the very last detail often lose their soul. When I listen back to 9 PM (Till I Come) today, I can hear things I’d probably change - it’s a bit mid-heavy, the highs could be brighter, the kick could have a little more bottom end. But that roughness, that imperfection, was exactly what made it stand out. It had its own character... not just because of the guitar, but because of the whole mix and feel of the track.

That’s something I still believe in today. Many times I’ve re-worked a song for hours, only to realize the next day that it had completely lost its soul. Then I go back to the earlier version, maybe a bit rough, maybe not perfect - but it has emotion. Sometimes that’s what makes a track special.

I think imperfection can come from letting certain elements breathe, maybe the vocal is a little too loud, maybe one sound sticks out more than it “should.” That’s what gives it personality. I love using Ozone and its new AI detection features to check a mix or get a quick reference point, but from there I always take it back into my own hands. I am starting to shape it creatively again, giving it a human touch. I’d rather have a track that sounds alive and slightly imperfect than one that’s technically flawless but empty.

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Are there specific Komplete instruments you reach for when you want to experiment outside your comfort zone?

I really love working with Kontakt 8, because it lets me switch between sounds so quickly; it’s an absolute powerhouse for that. Another one I’m obsessed with is Playbox. It’s incredibly inspiring, and it often creates sounds I’ve never heard before, the kind of textures you’d normally have to build from several synths layered together. For me, that’s just amazing and a huge source of creativity.

I also really love Una Corda. When you need a deep, emotional piano tone that feels different from a standard piano, that instrument is just outstanding. And Ethereal Earth is fantastic for building deep pads and atmospheric layers that add real depth to a track.

Another favorite is FM8, which has been part of my setup for years. One of my signature sounds—a tone you’ll hear in many of my tracks—actually came from FM8. It’s those kinds of tools that keep my sound evolving while still feeling like me.

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Would you say intuition is more important to you than technical knowledge in the studio?

For me, intuition has become more important over time. At the start, you need technical skills just to reach a professional standard. But once you have that foundation, intuition is where the value is created.

I’m usually more impressed by a track with a bold, unique theme than one that’s technically flawless but uninspired. Technical knowledge gets you to “good,” but intuition is what makes something unforgettable.

When you’re working on multiple projects at once, how important is it to have a consistent, reliable toolset like Kontakt?

When I’m working on an album, I really love jumping between different tracks. It’s something I do a lot, because when you listen to one song on repeat all day in the studio, you start to lose perspective. Switching between ideas helps me stay fresh and keep the right feeling for each track.

That’s also why I love working with Kontakt - I have such a huge range of sounds available instantly, they load fast, and the quality is always top-notch. It’s highly stable, which I really appreciate, and it keeps evolving with new updates and sound packs. I love it when new tools or libraries drop.

Many already come with built-in effects and sound that are inspiring right out of the box, so ideas flow. And if I want to change things up, like switching from one piano to another, I can do it in seconds and instantly find a new vibe.

For me, that flexibility is a big part of staying creative. Because honestly, there’s nothing worse than unreliable, slow-loading, or overcomplicated tools when you’re in a creative flow.

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What would you tell a younger producer about using plugins not just as tools, but as ways to connect their own identity to the music?

I always tell younger producers that plugins are just tools — they don’t make you a great artist on their own. What really matters is how you use them to express who you are.

Many new producers try to sound like someone else or use the same presets their idols do, but it’s often the little imperfections, the things that don’t quite fit, that make your music unique.

For me, plugins are more like a language than a goal. It’s about how you use them to translate emotion into sound. I work with tons of instruments from Komplete and Kontakt, but it’s never about using presets straight out of the box; it’s about shaping, layering, and transforming them until they feel like me. That’s when your identity starts to shine through.

And you don’t need to be a perfect piano or keyboard player to write great songs. What really counts is musical understanding.. knowing how melodies, harmonies, and emotions connect. If you have that sense and the vision for where you want a song to go, you can create something powerful even without being a virtuoso.

At the end of the day, it’s all about emotion and honesty in what you create. The tools are just there to help you tell your story.

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Our Big Takeaways

After thirty years of evolution, ATB still approaches music with curiosity and honesty. From the warmth of his early records to the precision of “Believe in Love,” his process remains rooted in emotion. Technology may have changed, but his goal has not—to capture energy, melody, and human feeling in the same frame.

As he looks toward his 2026 double album, ATB’s connection to his audience remains the thread running through it all. Every tool, every collaboration, and every choice in the studio points back to that shared experience. In his words, “At the end of the day, it’s all about emotion and honesty in what you create. The tools are there to help you tell your story.”

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