Lost count on how many times I’ve worked with these guys. One of the most promising thrash metal bands, Chronosphere, are about to release their 3rd full length album, called “Red’n Roll”. The guys contacted me for vocals recording and general guidance on various subjects like mastering advice and cd image of their upcoming album.

The recordings took place some time ago, so I didn’t have the chance to use my newly acquired Shure SM7b. A nice sounding AKG condenser mic was used eventually that really flatters the vocals of Spyros. Add to that the Golden Age PRE73 preamp set almost to extreme, and you can imagine the amount of coloration in the final result. During some loud passages I could here a nice saturation that really helped the vocals to cut-through. Single takes on most of the tracks, a decision that allows all the fine details of each vocal take to be perfectly audible.

As a finishing touch, I also created the CD image for the factory. It’s really weird that many cd duplication factories have only recently started to accept .ddp file formats. But that’s another topic!

Always a pleasure to work with these guys. Recorded during 2015, released in 2016.


I am really happy and proud to present to you one of the best moments of my career as a musician and audio engineer. Greek people surely know this guy, but for those of you who don’t, Vasilis Papakonstantinou is one of the best and most famous greek rock artists with a big career starting from the 70’s and still going strong.
For his new release, I was asked to reamp the guitars for the whole record as well as perform the electric guitars for a song called “Nama”. The main engineer is George Archontakis, a famous artist with countless releases under his belt, and a guy I really look up to.
Production-wise, the reamping process took place at Vintage Studios, with George giving the general guidelines and reference for the desired sound. I brought an ENGL Fireball connected to a 2×12 Vintage-30s loaded guitar cabinet. A single SM57 mic was used, on the right spot. Depending on the song/part, we changed mic placement, EQ settings, even adding my trusty Maxon OD808 in front of the amp where needed. The final result was more than pleasing and everyone was happy with the high-gain sounds.
Playing-wise, I used my Hagstrom EMG-loaded guitar, using mainly the bridge pickup, except from the guitar solo. I was free to add some ideas, but the main structure of the song was already decided.
Some trivia about the song:
*)The main “hook” lead was initially meant to be played with a whammy pedal. I decided to try a double bend (bend->slide->bend) to imitate this sound and turned out great, so we doubled this part with a lower octave and kept that!
*)The guitar solo is one-take, first-take, without me knowing that I was being recorded. George asked me to “try some things” but he was secretly recording me, in order to play freely and spontaneously. After listening to it, we decided to keep it!
Working with these guys is a life and career milestone and a dream come true. I feel I learnt more from this experience than a year to any music school.

Recorded/reamped during Summer 2015.

Here is the first song that I produced and mixed for Panos Smyrnaios, since he participated in the “Rising Star” TV show and got nationwide recognition.

The initial idea was just an acoustic guitar and vocals. We set up the guide track with Panos and begun building the main structure of the song. Intro is a typical “spotlight to the singer” approach, while the full production kicks in at the first chorus, with drums and electric guitars (played by me). I suggested some production ideas, for example backing vocals in the chorus and an acoustic outro, which really made a difference to the track.

Acoustic guitars were played by Panos, who (as always) did a great job with groove and dynamics. Bass duties were handled by John Grigoriou, a musician that has participated in countless recordings and who gave an interesting twist to the song.

I also had the pleasure to work with an exceptional clarinet player, Mr Petros Halkias. Petros is a well known traditional player here in Greece an the grandson of Petroloukas Halkias who, more or less, established the sound of the clarinet here in Greece, as we know it today. He came over to my studio and did a great job.

Recording wise, both acoustic guitar and clarinet were recorded with an ORTF mic placement and a condenser mic, a combination I frequently use lately. I used my AKG for the vocals and decided to keep just the DI of the bass blended with a mild overdrive for the chorus. I mixed the whole thing until I was 100% happy with the way it was sounding. Had a tough time removing the harshness of some elements (including the vocals) without making it sound dull, so countless instances of multiband compression came to the rescue.

Last but not least, I sent the mix to George Archontakis, the bass player for Magic De Spell and a famous sound engineer, to master it. (George is also the guy who called me to play and reamp for the one and only Vasilis Papakonstantinou.) He once again nailed it, adding extra depth and extra glue to the track, through various outboard and in-the-box tools.

Produced and mixed: early 2018

First time working with Jagertees, a jazz pop/rock band from Athens. 

Here is a mini-diary of the recordings:


The guys sent me a rehearsal of their song in order for me to get the general direction and vibe. I instantly decided that the final mix should give the impression that the whole band is playing together, in the same room.

First day: Drums!

The drummer of this band is a brilliant and a creative musician. I set up a Yamaha Stage Custom drum set and really took my time to tune it to perfection. The snare on this recording is a Mapex Black Panther 13′ snare tuned low, in order to get rid of its aggressive rock character. Rack toms were tuned pretty high, while the floor tom pretty low, in order to maintain the low end of the drum kit. Two Overhead mics and two Room mics in ORTF position, and there you have it: a great overall drum sound even without enabling the spot mics. This guy practically “mixed himself” as he had steady dynamics and a great laid-back groove that allowed me to turn off (and forget) about the metronome during the rest of the recordings.

Second Day: Guitars and Bass

These guys can really play, so we only did a couple of hours to finish the other instruments. The general sonic direction was decided from the very beginning, but I kept a DI signal to reamp later. Most of the layers are one take, including the main and outro solo. I also suggested adding an Ebow during the acoustic bridge which worked really nice with the track.

Third Day: Vocals

Vocal tracking was once again an easy task for Jagertees, so I mainly concentrated on the feeling, expression and dynamics. I chose my trustworthy AKG condenser mic, directly into the Golden Age PRE73. A bit of improvisation on the bridge and…Done!

Editing and Reamping:

Editing on this track was kept to a minimum, due to the quality of the takes. So, only basic editing, mainly to remove unwanted noise and headphone leakage.

Reamping was done on my Bugera 333XL, with 2 microphones perfectly in phase with each other. I even added some reverb on the way in, to give more body to the guitar sound. Lead guitars were treated with a Maxon OD808, a great addition to the sound.


My biggest doubt was how “much” should I mix? Mainly because it is supposed to sound natural but not messy. So I decided to make a lot of small and subtle moves, instead of major and bold ones.

EQing with multiband compression is a great way to have an ear-pleasing mix and a natural result so there are MANY instances of multiband compression on this session. A bit of compression on the room mics, but nothing fancy, the source was great to begin with, so this made my life easier.

FX-wise I had mainly 3 buses with 3 different types of verb to choose from and a basic filtered delay.


It’s always tough to master your own mixes, isn’t it? So, once again, I introduced my mastering chain early on and mixed through it. Some multiband compression, a bit broadband compression, a tiny bit of EQ and a limiter, made the track to sound the way it is.

It’s always a pleasure to work with skilled and dedicated musicians and this track is the proof that mixing begins from the musicianship and creativity.

Produced, Mixed and Mastered: January 2018

Here is my first production for 2018. This track came to me on a basic format, so all I had was just an acoustic guitar, a basic drumbeat idea and vocals.

The real challenge for me was to give a vintage twist to the song without making it sound old-fashioned or outdated. So, the recipe was simple: 80s, almost disco feel to the drums, slap back delay on many elements, a heavily saturated bass guitar played with a pick, compressed vocals with (you guessed it!) slap back delay and various filters.

After listening to bands like Last Shadow Puppets, I also decided to add a Tarantino-style guitar and some backing vocals to compliment each chorus. A tambourine was also recorded, to add more groove to the whole song.

This is one of those times that I used multi band compression instead of just lazy EQing. This is a great way to achieve instrument separation without making everything sound small.

Recorded, mixed and mastered: December 2017-January 2018

This is a very interesting project, as it comes from an artist with a classical background.

In other words, the original composition was just a score written for some basic instruments, like the bass and the violin. The real challenge for me was to turn that “lifeless” score into a vivid, finished song.

The main work began with the drums, and then came the bass, the guitar and all the other instruments (vocals, violin etc).

I recorded a tambourine to compliment the snare hits and also added a bendir as a MIDI instrument.

Another challenge for this particular mix was to get rid of the rock philosophy! No punchy drums, no subtle saturation on bass, just a clean approach with lots of reverb and gentle sounds. Doing that, without ending up with a dull result was something I had in mind from the very beginning.

Once again a great project! Produced, Mixed and Mastered during late 2017.

Here is another one that I had completely forgotten to upload. No surprise actually, as I start to believe that only a small percentage of everything I have done is actually uploaded to this blog. Gonna try to change that. Anyway…

This is my guest appearance for Amken, an upcoming thrash metal band from Greece. Vanias, a member of Amken (and a great guy btw) was my student for a small period of time. If I recall correctly, we were working on some parts for him to play tight. The band eventually asked me to participate on their record as a guest, a proposal I gladly accepted.

You can listen to my solo around 02:44. This is something I could write for my band, Revolted Masses, and I am very happy that they liked what I did.

Recorded during 2016.

This one is very special for me, as Angelos is my beloved brother and a great guitar player.

We discussed many things about this series of videos and we managed to record a bunch of them with great success.

The challenge for me was to combine audio with video in order to have both an eye and an ear pleasing result. Everything was recorded real time (one take).

Audio wise: I used two small diaphragm condenser microphones in a placement known as the ORTF recording method. Problem was that the center of the audio image seemed to suffer a little bit, so I placed another condenser mic (a large diaphragm this time) between those two. The result was REALLY nice, the audio image was fully covered and only minor EQ tweaks were needed to make it sound the way I wanted. Careful compression, a touch of reverb and..done!

Video wise: I have done various projects that required video editing, bit I have little to no experience when it comes to video shooting. I used DSLR cameras (initially one, but on some videos there are two) and tried to make the lighting as interesting as possible. Of course, there is ground to be covered on this aspect but I am still learning and enjoying it.

Recorded during Autumn of 2017.

This song was featured on Metal Hammer’s GREEK MASTERS OF PUPPETS: 30th Year Anniversary Tribute Album”.

George, our drummer from Revolted Masses, played the drums while members from Chronosphere, Rotting Christ and Exarsis also participated.

This one was brought to me for mixing/mastering with a REALLY strict deadline. I believe I recorded the drums AND mixed the whole thing in just a couple of days. 100% natural drums (no triggers) and ampsims were used, mainly because of time limitations.

Recorded and mixed in January 2016.