Mixing - Mastering - Producing

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

A: The debut album of Saturday Night Satan was a great project for me. I worked as a sound and mixing engineer and as a producer. We recorded in my studio and got great sources which led to an awesome mix. Another project is Black Soul Horde's "Horror From The Void" album. I did everything except from the mastering. I am proud of it because I managed to capture the dark and foul atmosphere we were after and translate that into the mix.

Q: What are you working on at the moment?

A: I am currently working on the next full album of the alternative rock/doom n gloom band Night Resident and planning for the production of another album by a hardcore/punk band called Censored Sound.

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

A: Yes. My good friend Chris Kollias, an amazing session bass player who has worked in many projects and has excellent reviews. He is also a Darkglass Electronics endorsed artist.

Q: Analog or digital and why?

A: Kinda moved on from that. In this age I believe the combination of the two is best. For going full analog, you would need so much money, that is unreachable for common people. Also you would be missing on some great advantages of the digital domain especially in workflow and versatility. Going full digital would, for me, strip the joy out of a lot things. I want my tube amps, my cabins, my pre-amps and my controllers. I want to set up the mics and experiment. I want the natural sounding drums and I want to be able to mix with my hands. So yeah, the combination is the best in my book.

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

A: I will not miss the deadline. Let's start from there, cause it's important. I will not treat you like a number, but as a person, provided you do the same. I will do my best to achieve the outcome you are looking for or at the very least get very close to it.

Q: What do you like most about your job?

A: Listening to so much music, ideas and the opportunity to be a small part in forming the outcome. Being the "translator" from the thing in the head to the actual thing you will listen to. One of my favorite things in this job is looking for tone.

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

A: What gear I use or how long it will take. I will provide a list of my gear or refer to the specific gear they ask about (eg Amps Heads, re-amping) and I will give them an estimate of delivery based on their ask and my workload.

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

A: That it is simple and easy, because you know, you just press a few buttons - it is not - and that it is not a real job - it is. It has taken more than two decades of practice, trial and error, disappointment and success to reach where I am at now. A lot of money and even more time. Still learning, still trying new things, just with more patience and certainty. It is a constant struggle and it can drain you as much as it can reward you. It is a very real job and it has no weekends, holidays and specific hours. But I chose this. So I am happy here.

Q: What questions do you ask prospective clients?

A: If they are looking to record in my studio, I will have a chat and ask about their thoughts, references and goal. If it is a remote client for mixing or mastering, I will ask about the quality of the material they will provide, make sure we have a good base for a solid mix, and then ask about a deadline, so that I can plan accordingly.

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

A: Sometimes in this digital age, one's qualities and skills are not obvious due to restrictions by the platforms and the lack of a better spot. Start a conversation, say your thoughts and ideas and what you are looking for, get a feel and take it from there. Not all that shines is gold.

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

A: Well gear without power wouldn't be much. So, if we assume there was power somehow, monitors, computer, guitar, bass and a mic.

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

A: I started in 1999 in a home studio, doing music, recording my own stuff and a few friends here and there. At the same time I went to study in the UK and got my BA(Hons) in Music Technology. In 2005 I opened a recording and rehearsal studio, where I spent 10 years before taking a detour focusing on live sound for 3 years between 2015-2018, as a house engineer in a live venue in Athens, whilst running the studio part time. In 2018 I got back in the studio where I remained until 2023 when I had to move. Had to work different jobs while I was building my new studio, "Nasty Frequency Recording" which was finished in early 2025. I am now working full time in and from my studio. So I'd say I've been doing this for a little more than 20 years.

Q: How would you describe your style?

A: Focused, down to earth, patient and willing. In mixing that translates to being creative, exploring ideas and having a (sound) goal in mind.

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

A: Tobias Forge (Ghost) because I admire his work ethic his music and the way he orchestrates his songs.

Q: Can you share one music production tip?

A: Don't over-process. Most of the times less is more. Also, make sure you get good sources. A good recording/performance is more than 60% (or more) of the road to a good production.

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

A: Metal, Rock and all the sub-genres (heavy metal, punk, alternative, death metal, black metal, stoner, doom, occult, 70s, progressive and more)

Q: What's your strongest skill?

A: Keeping the character of a song, respecting the material. Also, a clean and warm mix.

Q: What do you bring to a song?

A: Well if I am the mixing engineer, I bring balance, clarity, warmth and respect for the material. If I am a mastering engineer, clarity, loudness according to the release medium, ensuring it sounds good anywhere. If I am to do the midi drum tracks, it will feel like you had a drummer all along.

Q: What's your typical work process?

A: For an album: Record - Edit - Mix - A couple Days Off project (depending on deadline) - Final Mix - Mastering For a mixing project: Layout of tracks - listen - edits - mixing

Q: Tell us about your studio setup.

A: I own a recording studio, with a recording/play room, a control room and a small lounge. I mix in the box, using Cubase 14 Pro and some of the best original plugins in the market, such as Slate Digital, Waves, Softube, Universal Audio and IK Multimedia. I also use Softube's Console 1 ecosystem with Channel III and Fader III. My main monitors are the Barefoot 02 and my backup and double checking ones are the Genelec 1031A. I also have a variety of tube amps (ENGL, EVH, Orange etc.) and digital amps (Neural DSP, Darkglass, SLT Tones). My mic pre-amps consist of Manley, RME, Black Lion and Tascam and the AD/DA is the Antelope Orion 32.

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

A: James Hetfield (Metallica), Gunship, Tobias Forge (Ghost), Andy Jackson, Nolly Getgood, Jens Bogren, to name a few, in no particular order.

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

A: Mixing and recording, multi-track sessions for songs or full albums.