Posts Tagged ‘alternative rock’

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 a really interesting song, that was brought to me after the loss of a close friend of the artist. This tragic event is the inspiration behind this piece of music.

The intro solo was recorded one-take at my studio with a cool-sounding Fender guitar. Acoustic guitars were also recorded for the outro and as a layer on the main section of the song. Everything else was brought to me already recorded, so I just reamped and mixed the whole thing in 1-2 days.

First time using Slate drums here, blended with my own samples of course.

Really went crazy with reamping here, 2 spot mics and 2 room mics. Didn’t phase align everything, instead I decided to use some out-of-phase mics to favor the vibe of the guitar sound.

Some cool things as well, for example I added white noise every time the snare is hit (it is pretty audible now that I told you, isn’t it?) Went for an out-of-the-box direction here, combining elements from other genres, like electro. The weird sound layer towards the end is a sample of a female exhaling. I twisted the sound through multiple delays and automated parameters, which added a cool effect to the song.

A great song, for a great cause. Recorded, Mixed and Mastered during April 2017.

Long time no see once again! There are literally 6-7 bands that I have produced/mixed lately, but summer is not the best time to release music, so expect heavy traffic on September for this blog!

Anyway, first time working with Lunar Cycle, an alt-post rock band from Athens. The guys contacted me for a single after listening to my production for Forsaken Memoriam, I believe.

The impressive thing about this band is that every musician can REALLY play! For example, the tracking session for the bass guitar lasted for about 10-15 minutes, including tuning! Despite having a somewhat busy and instrument-heavy song, the recordings didn’t take that long: Preparation is half the battle!

Real drums on this one as well, that were tracked at my home studio with 10 mics. The captured audio was more than great (this guy also knows how to hit, which made my life easier) and there was no sample replacement involved. Everything went on from there, with many layers of guitars, synths, vocals and other elements like violin and piano.

First time using my new AKG condenser mic, with great results on both vocals and acoustic guitars. For violin recording I chose an XY technique with 2 small-diaphragm condenser mics. All synth parts is actual audio signal coming from a Roland Phantom 6  straight to the PRE73 (no MIDI information was used).

One of the things that I have really improved on, is the “Mix-As-You-Go” philosophy. In other words, after recording each instrument, I will take 2-3 minutes to EQ/compress it if needed, so that it sounds nice with the other elements. This can save time when mixing, and can help you decide whether each instrument will sit in the final mix or not.

A really nice and smooth session, and a pleasant experience.

Produced, Mixed and Mastered on June 2015.

First time working with Head On for their self-titled EP. The guys initially sent me live versions of the tracks, so we did everything from scratch including pre-production and arranging.

I also made sure to watch the band performing live before we hit the studio so I could have a clear picture of their style.

Drums are 100% natural and were recorded with the room acoustics in mind. I based the overall sound on the room mics, a heavily compressed stereo pair of condenser mics. Absolutely no sample replacement as well.  As for the guitars, effects are a basic element of Head On’s music so I decided to record everything real-time with most of the reverb and delay fx printed on the sound . A nice Blackstar head was used for the recordings miced with a single 57. Vocals are slapped with saturation and heavy filtering and both tracks are literally one take.

What I also noticed is that the music itself pushed me towards a more spontaneous mix with a garage vibe to it, so lots of delay throws and a bassier overall approach. Mastering-wise, I decided to take it easy and not brickwall the tracks completely. 2 more tracks from previous recordings were added, which I gladly mastered to suit the rest of the EP, volume and EQ-wise.

Recorded, mixed and mastered during Winter 2015.