Mixing & Mastering for Pop-Rap

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

A: The biggest misconception about mixing and mastering is that it’s just about making things louder or adding effects. In reality, it’s about precision, balance, and making every element of a track work together seamlessly. Many people think mastering is a ‘one-size-fits-all’ process, but each track requires a tailored approach to make it shine in its unique context—whether it's hip hop, rock, or electronic music. Another misconception is that mixing is just about adjusting volume levels. It's much more than that—it’s about bringing out the right textures, enhancing the emotions of the track, and ensuring that everything sits perfectly in the mix without clashing. My job is to make sure your vision is realized with industry-standard quality.

Q: What questions do you ask prospective clients?

A: 1. What is your vision for the track? What mood or feeling are you trying to convey? 2. Are there any specific references or examples of songs that have the sound you're going for? 3. What is the main goal of this project? Are you aiming for radio play, streaming, or something else? 4. Do you need mixing, mastering, or both? 5. What is the genre of your music, and do you have any particular style or sound you're aiming for? 6. Do you have any notes on how you want your vocals, instruments, or specific elements to be treated in the mix? 7. Are there any specific technical requirements or deliverables for your project (e.g., file formats, track sequence, etc.)? 8. Is there a particular deadline or timeline you’re working with? 9. Are you looking for any additional services, such as vocal tuning, arrangement changes, or sound design?

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

A: o know what they want to hear in their final outcome and to trust me.

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

A: A water mill, a laptop, an M-Audio sound card, a Korg Triton, and an SM57.

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

A: I prefer sound engineering as a profession because I believe it takes a lot of courage to evolve and constantly create music. I've been involved in sound engineering for 9 years, started professionally releasing my work at the age of 16, graduated from two sound engineering schools, and have a satisfactory resume in the Greek music industry

Q: How would you describe your style?

A: I find it strange and alternative since I enjoy experimenting and not limiting my sound palette.

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

A: With Ice Cube, because he's my childhood superhero.

Q: Can you share one music production tip?

A: Of course! When I create an album, I choose certain elements from the beginning that will be heard throughout the entire album. For example, I will use the same kick drum and piano sample throughout the album.

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

A: My biggest influence growing up was M.O.P and araabmuzik. Concurrently, due to my studies at the conservatory and in classical music, I was exposed to various music genres that piqued my interest

Q: What's your strongest skill?

A: To achieve a pleasing aesthetic mix with subpar execution and strive to make it the best it can be

Q: What's your typical work process?

A: Coffee, listening, work.

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

A: Usually on Rap / Trap Genres

Q: What do you bring to a song?

A: I typically provide clarity, intensity, and spatial dimension. I tend to increase the LUFS (Loudness Units Full Scale) without introducing distortion.

Q: Tell us about your studio setup.

A: My setup is both straightforward and complex. I have a space that acoustically performs very well with an excellent monitoring system. It has great accuracy and translates well to other sound systems without issues. Additionally, my space is creatively inspiring. I have four workstations and two synths on standby, along with a microphone. I also have various outboard gear that aids in inspiration and the creation of unique distorted sounds.

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

A: he most common type of work I do for my clients involves crafting professional mixes and masters that bring out the full potential of their tracks. I typically work with artists who need clean, polished mixes with clear separation, punchy transients, and a balanced sound that translates well across all platforms.