My work is guided by musical versatility and respect to the vision of the artist. When mastering or mixing I seek out to accentuate the character of the piece, rather than impose a predetermined aesthetic. The aim is to please the ears of the artist and their audience.
Since 2007, I have been working out of the Stereotype Studio based in Thessaloniki, Greece.
It is a warm intimate space, with two rooms, balanced acoustics and handpicked equipment. The control room is designed as a mastering room incorporating a 5.1 PSI Audio system. Burl and Merging converters, make out the backbone of the signal chain along with microphones and preamplifiers that cover a spectrum of multiple sonic flavours from accurate and realistic to spiced up and vintage, both tube and solid state.
I claim versatility rather than specialisation. I approach sound as malleable medium that constantly evolves. It is important to establish a understanding relationship with the artist to achieve the desired outcome. To me it is more important than any knob pushing skills that one might have.
While I started out to work in the music domain, I have found myself working also on film-tv projects, be it production or post.
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Interview with Tasos Karadedos
Q: Can you share one music production tip?
A: Keep an open ear, please your musical senses first and worry about what the industry things later, if at all.
Q: What type of music do you usually work on?
A: As already stated I prefer variety over specialisation.
Q: What's your strongest skill?
A: As boring as it may sound listening is my strongest skill in and outside of work.
Q: What do you bring to a song?
A: Both mixing and mastering are about uncovering details in the composition, albeit in a different way. I strive to shine light on elements that deserve to be heard, while keeping the balance. If I feel that a specific part needs some kind of change I will propose it to the artist.
Q: What's your typical work process?
A: Listen, discuss, work, discuss. Repeat until everyone is satisfied.
Q: Tell us about your studio setup.
A: I am lucky enough to work in a spacious control room with the PSI full range system as well as the Ensemble Elysia set up in the midfield. This gives me great width and depth in my monitoring, something I consider essential. Burl and Merging converters ensure that I get the full detail of the signal. Having solid monitoring is fundamental. Not that the rest of equipment is not important. Both my analog and my digital chain are there to give me what I want to achieve without degrading the signal at any point. Unless I need to of course :)
Q: What other musicians or music production professionals inspire you?
A: Virtually every piece of music that makes it to my collection is a source of inspiration. Obviously I have been a music lover since a young age, but it was when I actually started making records that I appreciated the dedicated teamwork that it takes to produce a recording that stands through time. At the end a record is really that. A moment in time captured on an artificial media. It can never be replicated even if you meticulously recreate all the conditions, because the point in time itself can never be repeated. Its a shame that time travel is impossible, thankfully records are the next best thing.
Q: Describe the most common type of work you do for your clients.
A: Since 2014 I have been engaging more with mastering, often for remote clients that release on Vinyl, CD and Digital. I do however still mix, record and produce in general.