Testimonials

»Freund­schaft ist, wenn jemand zu dir sagt: ›Fühl dich wie zu Hau­se!‹ – und dir das auch sofort gelingt«. Das soll­te man wis­sen, bevor man die nach­fol­gen­den Tes­ti­mo­ni­als liest. Denn in den Dierks Stu­di­os wur­de der Wohl­fühl-Fak­tor immer

groß geschrie­ben. Alle Musi­ker erin­nern sich ger­ne an die Koch­küns­te von Mut­ter Dierks – und auf unzäh­li­gen Album­co­vern ist ihr Name untern den Thank you’s gelis­tet. Herz­lich­keit, Gast­freund­schaft, feel at home – das gilt bis heu­te!

testimonial_dee_snider

While Die­ter Dierks is a bril­li­ant pro­du­cer, having put toge­ther some of the grea­test rock/metal albums, even more impres­si­ve is that he is tru­ly a musician’s fri­end. He under­stands the crea­ti­ve pro­cess and the needs of the artists, and goes out of his way to crea­te an envi­ron­ment that will help crea­ti­vi­ty flow. Not­hing shows this more than the con­struct of the legen­da­ry Dierks stu­dio. Built “out back” of his child­hood home (with his mother still living the­re as of the 80’s), so much thought was put into every detail of the stu­dio in an effort to offer artists a tru­ly com­for­ta­ble, crea­ti­ve and invi­ting envi­ron­ment in which to work. Unfor­tu­n­a­te­ly, Twisted Sis­ter never got to record the­re, but I remem­ber during a much nee­ded break from a long tour, Die­ter invi­ted the ent­i­re band to come and stay in his beau­ti­ful stu­dio resi­den­ces and took to the time to enter­tain us the ent­i­re time we were the­re, hel­ping us to rech­ar­ge our bat­te­ries befo­re hea­ding back out on the road. Die­ter is a true fri­end and an ama­zing talent”.
Dee Sni­der (Twisted Sis­ter)

Michael Prince

”Die­ter Dierks – a visio­na­ry, a per­fec­tio­nist, a geni­us, an engi­neer, a pro­du­cer, a men­tor. His name alo­ne is syn­ony­mous with all that is exem­pla­ry in the enter­tain­ment indus­try, brid­ging and con­nec­ting the audio and visu­al arts, and taking them to new levels, to whe­re they must go in the future. I am hono­red to call him a fri­end, and for­tu­n­a­te to know, that with him invol­ved in the art and sci­ence of media, we are, all of us, on a jour­ney that will con­ti­nue to beco­me more and more ama­zing each and every day”.
Micha­el Prince (sound engi­neer of Micha­el Jack­son, com­po­ser)

testimonial_bornemann

”Die Pro­du­zen­ten­sze­ne war hier­zu­lan­de noch nicht rich­tig ent­wi­ckelt – es gab Con­ny Plank und Die­ter Dierks”.
Frank Bor­n­e­mann, Pro­du­zent und Inha­ber des Horus Sound Stu­di­os in Han­no­ver (aus: Hen­ning Dede­kind, Kraut­rock, Höfen 2013, S. 173)

testimonial_rarebell

”Neit­her I, nor anyo­ne in the band rea­li­zed it, but Dierks would beco­me just as important to the Scor­pi­ons as any of the more public mem­bers. A pro­du­cer, a good one, is perhaps the most vital ele­ment in the deve­lop­ment, pro­duc­tion and sound of a group. (…) Die­ter was the right man in the right spot for the Scor­pi­ons. As his influ­ence grew wit­hin the group, so did our sales”.
Her­man Rare­bell (Schlag­zeu­ger, Kom­po­nist, Band­lea­der)
(aus: Her­man Rare­bell, …And Speaking of Scor­pi­ons, S.56/57)

testimonial_person

”One must remem­ber also, that Die­ter is a man full of humour and he loves prac­tical jokes. I remem­ber a lunch at an Asi­an place on Haupt­stra­ße. When the food was ser­ved, I took just a litt­le tas­te befo­re going ahead. I said to Die­ter that I fea­red it would be too spi­cy. But Die­ter (who had some­thing less spi­cy on his pla­te, of cour­se) just said “I can recom­mend it” as I went through the cei­ling with a bur­ning head…”
Rof­fe Pers­son (publisher)

testimonial_mercury_records

”Short­ly after I beca­me Pre­si­dent of Mer­cu­ry Records in 1979 the bril­li­ant and tas­te­ful A&R exec Cliff Bern­stein com­pel­led me to sign The Scor­pi­ons who were avail­ab­le for North Ame­ri­ca. – I did and it began a won­der­ful rela­ti­ons­hip with the ama­zin­gly talen­ted Die­ter Dierks which con­ti­nues to this day. Reg­rett­ab­ly, short­ly after our hap­py con­tract-signing pho­to we were at war. Unfor­tu­n­a­te­ly, we recei­ved the typi­cal­ly crea­ti­ve Hyp­no­sis LP cover art for our initi­al release “Love­d­ri­ve”. It fea­turing a coup­le in the rear seat of a Daim­ler with the man in din­ner atti­re loo­king strai­ght-for­ward while stret­ching a wad of gum from the unador­ned bre­ast of his fema­le com­pa­n­ion. Abso­lute­ly impos­si­ble to mar­ket at gene­ral retail in the US in 1979. – Die­ter was bril­li­ant in initi­al­ly fighting for his artists’ posi­ti­on but smart enough to relent when he rea­li­zed that we’d lose enor­mous sales if we couldn’t get posi­tio­n­ing bey­ond Tower Records. For­tu­n­a­te­ly we had pre­pa­red for the worst and had desi­gned an alter­na­te album cover. Not gre­at but we were ulti­mate­ly able to regain in-store posi­tio­n­ing. Cer­tain­ly lost a coup­le of hund­red thousand in sales but regai­ned cri­ti­cal momen­tum for the band. – Over the years I’ve heard many of Dieter’s pro­duc­tions from his superb stu­dio and all – from hea­vy metal to solo fema­le voca­list – reflect qua­li­ty”.
Bob Sher­wood (music indus­try vete­ran)

team_nico

”Die­ter Dierks’ record as pro­du­cer is exem­pla­ry and his ent­i­re body of work attests an extra­or­di­na­ry alche­my bet­ween crea­ti­vi­ty and tech­ni­que. Die­ter is also a entre­pre­neur and as such I expe­ri­en­ced the ener­gy he deve­lo­ped to con­vin­ce the record indus­try to use DVD+, at the time, a new tool com­bi­ning sound and image… The indus­try remai­ned deaf to that sug­ges­ti­on – and to its own evo­lu­ti­on! I am hono­red to have been able to be a part­ner and rep­re­sent some of Die­ter Dierks’ pro­duc­tions in our ter­ri­to­ry”.
Jean Davoust (publisher)

DD, Pal Gongaware & Dave Natal_1

”The thing about Die­ter is, he’s always way ahead of ever­yo­ne else. In tech­no­lo­gy. In art. In life”.
Paul Gon­ga­wa­re (Co-CEO AEG Live/Concerts West)

0_Die Toten Hosen_2015_1_credit_Paul_Ripke_verkleinert

”Am Anfang war es für uns selt­sam, in die­ses gro­ße 80er-Jah­re-Rock­stu­dio zu kom­men. Da haben wir ein­fach den Regie­raum umde­ko­riert, mit Gir­lan­den aus Klo­pa­pier­rol­len, einer For­tu­na-Fah­ne und Pos­tern unse­rer Lieb­lings­bands – so haben wir uns dann wohl gefühlt.

Der Weg aus dem Auf­nah­me­ra­um in den Regie­raum kam uns kilo­me­ter­weit vor. Schließ­lich haben wir die Back­li­ne im Auf­ent­halts­raum direkt neben der Regie auf­ge­baut, so haben wir nur einen Bruch­teil der Räum­lich­kei­ten benutzt.

Schon als wir das ers­te Mal im Dierks-Stu­dio auf­kreuz­ten, haben uns alle dort pro­fes­sio­nell und freund­lich behan­delt – das war zu die­ser Zeit noch längst nicht über­all so. Des­we­gen sind wir über die Jah­re immer ger­ne wie­der­ge­kom­men.

Ein Stu­dio, wo man in der Küche ein­fach etwas bestel­len konn­te, hat­ten wir bis dahin noch nicht gekannt. Jeden Mor­gen einen “Stram­men Max” zu bekom­men, ohne dass man sich sel­ber dar­um küm­mern muss­te, erschien uns als purer Luxus”.

Die Toten Hosen

Foto: Paul Rip­ke

team_nico

”Wenn ich so an das Jahr 1971 zurück­den­ke, über­kommt mich schon ein etwas eigen­ar­ti­ges Gefühl: Soll das alles real gewe­sen sein? Ich hat­te mei­ne zehn Jah­re Klaus Dol­din­ger Quar­tett hin­ter mir, diver­se rocki­ge Pro­jek­te, Paul Nero – mei­ne ers­ten Film- und Fern­seh­mu­si­ken, ins­ge­samt ca. 20 LP-Ver­öf­fent­li­chun­gen… Dann eine neue Band: PASSPORT, neue Auf­nah­me-Bedin­gun­gen wie 24-Spur etc..

Das ers­te Pass­port-Album ent­stand zunächst in dem Münch­ner Tri­xi Stu­dio, denn ich war 1968 vom Rhein­land nach Bay­ern umge­zo­gen. Völ­lig neue Situa­ti­on: Mei­ne frü­hen Alben waren ja alle von Sig­gi Loch in diver­sen Stu­di­os in Ham­burg, Köln und Ber­lin pro­du­ziert wor­den. Plötz­lich muss­te ich selbst ent­schei­den: was, wo, wie??? Die Zahl der stim­mungs­mä­ßig pas­sen­den Stu­di­os (denn man befand sich irgend­wie in einem gesell­schaft­li­chen Umbruch: 68er, Hip­pies etc.) war doch recht begrenzt und irgend­je­mand gab mir dann den Tipp: ›Versuch’s doch mal in Stom­meln beim Die­ter Dierks!‹ Somit hieß es dann für den 2. Teil unse­rer 1. Pass­port-LP: ab ins Rhein­land. Welch’ eine Über­ra­schung: abseits von all dem, was man bis zur Stund’ so als Stu­dio kann­te: Auf­nah­me­ra­um zunächst ein­mal rela­tiv klein in einem Hüh­ner­stall-arti­gen Schup­pen, angren­zend an einen Gemü­se­la­den, Betrei­be­rin: die Mut­ter unse­res Ton­meis­ters. Vie­le klei­ne Lecke­rei­en inklu­si­ve ”Klei­ne Reb­laus“. Wenn wir dort tafel­ten, wur­den wir durch eine glä­ser­ne Trenn­wand von Dorf­be­woh­nern, die sich die Nase platt drück­ten, vol­ler Belus­ti­gung und Neu­gier beob­ach­tet. Das trieb die Stim­mung gleich nach oben. Und dann erst unser Ton­meis­ter Die­ter Dierks: immer leicht geis­tes­ab­we­send, aber den­noch immer voll dabei. So einen hat­te ich in der Bran­che noch nicht ken­nen­ge­lernt – voll mein Typ! Woh­nen konn­ten wir fast im glei­chen Gebäu­de. Alles wun­der­bar, eigen­ar­tig, skur­ril. Das Album wur­de sehr schnell fer­tig – alle hap­py! Aller­dings trenn­te sich die Band – damals bestehend aus Udo Lin­den­berg, Olaf Küb­ler, Lothar Meid und Jim­my Jack­son – kurz dar­auf. Irgend­wie muss­te auch das sein!

Nächs­te Beset­zun­gen stan­den schon auf der Mat­te – Die­ter bau­te sei­ne Loka­li­tät gewal­tig aus, auch tech­nisch. Oben­drein fuhr er dann einen Jagu­ar E Type. Die nächs­ten fünf Alben ent­stan­den dann alle­samt in Stom­meln: SECOND PASSPORT, HAND MADE, LOOKING THRU, CROSS COLLATERAL und INFINITY MACHINE. Es hat­te sich mitt­ler­wei­le eine wun­der­ba­re Beset­zung mit Curt Cress (Die­ter hat­te mich auf ihn auf­merk­sam gemacht), Kris­ti­an Schult­ze und Wolf­gang Schmid her­aus­ge­bil­det. Aber der Die­ter blieb immer der glei­che unver­fälsch­te Typ – mit leicht rhei­ni­schem Akzent, spor­tiv (zumin­dest dem Anschein nach), freund­schaft­lich und immer offen­sicht­lich etwas suchend .… und das selbst, als ich ihn 2013 dann wie­der ein­mal traf.

Klaus Dol­din­ger (Musi­ker, Band­lea­der, Kom­po­nist, Saxo­fo­nist)

team_nico

”I have known Die­ter sin­ce 1979 when we first met and he asked me to rep­re­sent him with respect to nego­tia­ting a record­ing agree­ment bet­ween Mer­cu­ry Records (sub­se­quent­ly re-named Poly­gram Records and now part of the Uni­ver­sal Music Group) and his Com­pa­ny, Bre­e­ze Music for the Scor­pi­ons. Sin­ce the very first time we met, the­re was a gre­at bond bet­ween Die­ter and mys­elf on both a pro­fes­sio­nal as well as per­so­nal level. Over the years, I not only worked clo­se­ly with Die­ter on a num­ber of pro­jects as his attor­ney but both I and my fami­ly had the gre­at pri­vi­le­ge on spen­ding time with him when he visi­ted New York City. I also had the oppor­tu­ni­ty to visit Die­ter at his stu­dio eit­her on my own or toge­ther with U.S. seni­or record com­pa­ny exe­cu­ti­ves who wan­ted to meet Die­ter per­so­nal­ly and also check out his ama­zing stu­dio. I also had the pri­vi­le­ge of mee­ting Dieter’s mom while at the stu­dio and she was extre­me­ly warm and gra­cious to me (in addi­ti­on to being a gre­at cook).Dieter is a gre­at talent, pro­fes­sio­nal, busi­ness per­son and most of all, a true fri­end”.

Mar­vin Katz (attor­ney)

Carl Carlton 2_[KLEIN]

Die­ter Dierks picked me up at Colo­gne air­port in his Fer­ra­ri 512 BB. I knew of his repu­ta­ti­on as the one and only Ger­man Rock pro­du­cer with a set of incredi­ble musi­cal ears and a skill for paving a talent’s road with fame and for­tu­ne. Cove­r­ed by the roaring sound of the – what? – 12 cylin­der 512 BB heart, we tried to lis­ten to my cas­set­te with demos of my new rocking out­fit with no name yet. He must have lik­ed it. After that Die­ter took us in and chan­ged my life in many ways. He beca­me my pro­du­cer, god­fa­ther, patron, musi­cal coach, spi­ri­tu­al guru and more a caring father figu­re than, let’s say – a bro­ther that I never had.

I had been a pro­fes­sio­nal musi­ci­an for alre­ady 15 years and belie­ve me, been around the uni­ver­sal block a few times. But it took Dieter’s heart­felt lec­tures that chan­ged me from a talen­ted drug­gy whip­per snap­per into a some­what “serious” muso and song wri­ter. Doubt-less Die­ter has the grea­ter visi­on that we weren’t able to com­pre­hend for some and many times. My advice – if you reco­gni­ze a geni­us – a litt­le civil dis­obe­dience can be healt­hy, but at the end of a day, in a nuts­hell, trust him uncon­di­tio­nal.

Working with him was such a plea­su­re and his won­der­ful good vibes stu­dio beca­me our home for at least a coup­le of years. We lived, worked, cried, laug­hed, rocked and cele­bra­ted under his roof. Wan­na know? – I miss tho­se days. Sin­ce then I worked with many a gre­at pro­du­cer, be it Bob Clear­moun­tain, Robert Pal­mer or Lar­ry Camp­bell, but somehow and without com­pa­ring them in all their own inge­nious ways – Die­ter rules in a dif­fe­rent hemi­s­phe­re.

You will not hear “ I’m not worthy” from me – but I take my hat off and, much obli­ged, hope that our paths will cross and we will work toge­ther again some­time soon.

Carl Carl­ton (gui­tar play­er, song­wri­ter, musi­ci­an)

Michael Souvignier

Die­ter ist immer ein her­aus­ra­gen­der Mensch, Part­ner und Freund. Auf ihn ist immer Ver­lass, auch wenn das Wort alt­mo­disch klingt: Die­ter ist ein Ehren­mann. Wir haben vie­le Pro­duk­tio­nen gemein­sam gestemmt, ein Hand­schlag von ihm reicht, der Deal steht. Wo gibt es das sonst noch?

Sein Leben ist beein­dru­ckend, unglaub­li­che Höhen und Tie­fen, manch­mal eine Ach­ter­bahn. Ein­fach kann jeder: Die­ter lässt sich nie unter­krie­gen, sei­ne Krea­ti­vi­tät und sein Per­fek­tio­nis­mus sind uner­schöpf­lich.

Ich bin stolz Die­ter ken­nen zu dür­fen.

Micha­el Sou­vi­gnier (Film­pro­du­zent Zeit­sprung Pic­tures)