Mixing & Mastering

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

A: I have recorded symphonic orchestra for several albums, by local composers. One was a greek opera that was composed in the late 19th century and then lost. We only new it was once performed in 1903, but had no other information. The handwrittten score was found accidentaly, restored and digitalized. Then the opera was performed only once, at our National Opera Hall. I was privileged to be the only engineer in history to ever record and mix it. I felt I worked on something larger than me, and a part of history.

Q: What are you working on at the moment?

A: Mastering a traditional Greek album based on dances from all the country, and lyrics based on traditional fairy tales from the villages. The artists are very talented. I am also recording a baroque ensemble this week. Meanwhile, I am working on my personal project: Shoegaze/cinematic instrumental music, based on solo guitar and synths.

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

A: Unfortunately not. I just started, but I am excited to meet the community!

Q: Analog or digital and why?

A: Both. And it depends on the job. Usually analog pre-eq-comp going in. Then I stay in the box. Too many conversions can deteriorate the sound quality. Also, in the box I stay flexible when the artist wants something changed. I have studied excessively about the analog signal flow and I have emulated it in the box in detail. My artists give me very positive feedback about my warm mixes. They say I could fool them and say they were analog. So I am happy they are happy.

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

A: I promise to do my best to serve their message and communication to their fans. And I promise to be honest. There are always limits to what we can do. If I am not right for the job, I will say so myself. It has happened only once in 24 years, with an album I could not relate to. We recorded and edited the vocals on a hip-hop album. The result was great. But when we started mixing, I felt I wasn't the right one for the job. I told the guys: "I can do this right, but I can't make it beautiful and unique. It deserves someone who knows the genre better and will be creative". Indeed they mixed at a studio specialized in hip-hop, and the result was amazing. I am proud for withdrawing at the right moment. I enjoy the album and I am glad I was a small part of it.

Q: What do you like most about your job?

A: The creative process, when we try something and it works, beyond the basic procedure. After all, music should speak to the soul. Recently I mixed a slow, sensitive song with a female singer. Before the first note, she took a deep breath. The arranger asked me to edit that out. Instead I raised its volume and high frequencies. We listended and it felt really powerful, like an ASMR experience, like the singer was about to whisper a secret to our ears. We were thrilled and kept it like that.

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

A: Usually the ask for my suggestions on their sound. Then I try to find a balance of offering advice, but not too much. It is still their creation. I help them present it, but I must respect the message. Each project is an opportunity for me to learn new ways of thinking and listening.

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

A: Maybe that production is just mixing, missing the creative side of it. But I discuss everything with my artists and we usually are on the same page all the way.

Q: What questions do you ask prospective clients?

A: How their project sounds in their head. What mood they want to achieve. Some examples of productions they feel would compliment their material. Then I make some different suggestions and see how they feel about them. So we choose a path and follow it.

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

A: Talk to many people. The artist - producer/engineer relationship must be built on trust and common vision. Don't choose the most famous or most expensive or affordable one. Choose the one you feel understands what you want and can share your dream and make it happen.

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

A: Too little! Well, my laptop, my trusted studio headphones, a couple of good condenser microphones for stereo recording, and one of my guitars. I hope we have electricity there!

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

A: My first professional release was a 7" vinyl single in 2004, that Iplayed the drums, keyboards, recorded, mixed and mastered. Since I have gathered experience, improved my equipment and worked as much as possible with several artists and genres. Now I am the Technical Director of Athens Conservatoire, where I record classical orchestra. I edit and mix based on the conductor's, score. This was my dream job and I feel so lucky to finaly do it!

Q: How would you describe your style?

A: Warm, flexible, 3-dimensional I think.

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

A: So many! Tool, Pink Floyd, Aphex Twin, Amon Tobin, The Pixies... Each artist is like a new world to explore. I've been lucky to work with some younger artists who are really talented. I hope they get the recognition they deserve in this saturated market. But in any case, it has been a pleasure that they shared their vision with me.

Q: Can you share one music production tip?

A: Don't use presets, always start from scratch as if you have an analog console with no save & load features. Let your ear - hand coordination work freely, trust your instinct. And listen to what the artist wants. The music is theirs, not yours. You are there to serve the message, not hijack it.

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

A: Classical, World, Soundtrack, Cinematic, Jazz, Rock, Heavy Rock, Punk Rock, Post Rock, Shoegaze, Metal, Electronic

Q: What's your strongest skill?

A: My passion for analog sound and to make each project sound unique and relatable.

Q: What do you bring to a song?

A: I love music. I have been listening to albums all my life, on headphones, speakers, in the car and at concerts. I have the experience to find and suggest the sound that will compliment the artists' ideas, and give the album and band a unique sound identity. You know how you can listen to the first note of a track and you instantly recognize the band? That's what I want to achieve. Also I am fluent with several instruments, so I can often suggest ideas to give the track some extra dimension. A small riff here, a small effect there, to make an intresting melody even more memorable, to make the listener instantly relate and want to listen again. I try to translate the message of the artist, so as many listeners as possible can feel it speaks to them and establish a connection.

Q: What's your typical work process?

A: I start by discussing with the clients about their artistic vision. We suggest specific albums and productions as reference of what we want to achieve. Based on that, we create our own unique recipe, that best suits the sound we are after. When we have set our goal properly, we start recording the sound. Either in my studio facilites, or remotely if we have to. I recently recorded a very talented young musician who is a hotel receptionist on a remote island. I instructed him how to properly record his guitar and bass with a quality sound card, and his vocals at a local recording studio. Then I reamped all his stems through my tube amplifiers and recorded several demo sounds for him to choose. We discussed what he liked and what would work well in the mix. Finally I arranged and performed the drums for the album and proceeded to the mixing process. After capturing the sound, I mix mostly in the box, to keep the project flexible. I have emulated the analog signal flow with proper gain staging: Preamp, console, tape, console, buss, summing to master. This way I get a consistent warm sound that my clients like, and I am always ready to make changes according to their comments.

Q: Tell us about your studio setup.

A: I am located in a historical stone house at the center of Athens, Greece. I have kept the natural acoustics of the stone and renovated the building to house my professional needs. I record with a combination of close and room miking, to always capture the natural acoustics of the space and get the sound more 3-dimensional. I also mix with the same mindset, creating a broad soundstage for the elements to sit in their own spaces and compliment each other. I work with a hybrid setup of analog and digital equipment. I have a variety of guitar tube amplifiers, high quality analog pedals, bass amplifier and studio quality recording drums and cymbals.

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

A: Andrew Scheps, Rick Rubin, Steve Albini, Danny Carey, Dave Lombardo, Ross Daly, Richard Wright, Aphex Twin, Amon Tobin.

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

A: Mixing and mastering music albums.