{"id":3415,"date":"2022-05-26T07:48:00","date_gmt":"2022-05-26T07:48:00","guid":{"rendered":"https:\/\/byta.com\/blog\/?post_type=methodtomymusic&p=3415"},"modified":"2022-05-26T12:48:49","modified_gmt":"2022-05-26T12:48:49","slug":"stelios-vassiloudis","status":"publish","type":"methodtomymusic","link":"https:\/\/byta.com\/blog\/methodtomymusic\/stelios-vassiloudis\/","title":{"rendered":"Stelios Vassiloudis"},"content":{"rendered":"\n

Where are you based?<\/h2>\n\n\n\n

I\u2019m based in Athens, Greece.<\/p>\n\n\n\n

How, when and where did you start making music? Are you primarily a musician or a producer, or do something else?<\/h2>\n\n\n\n

I\u2019ve<\/a> made music for as long as I can remember – I started playing instruments at an early age and would often try to emulate my musical heroes (or so I\u2019m told). It wasn\u2019t until I was in University that I decided I wanted to be a professional. Luckily, I got my first big break(s) not long after! These days, I\u2019d describe myself as more of a producer (or a composer) than a musician, as I rarely have the time to sit down and enjoy playing.<\/p>\n\n\n\n

Who would you consider some of your biggest influences when it comes to your \u201csound\u201d?<\/h2>\n\n\n\n

I\u2019ve stolen, copied, been influenced by and paid tribute to more artists than I care to mention. I feel it\u2019s generally part of the trade, especially as a large part of the modern (electronic) artist\u2019s job description is also being an enthusiast, collector and performer of other people\u2019s music (commonly referred to as a DJ). Of course, not every artist or track\u2019s influence carries the same amount of impact so it\u2019s generally my more formative references that have shaped my sound. Artists like Photek, Boards of Canada, Aphex Twin, Squarepusher, Radio Slave, Basic Channel etc. <\/p>\n\n\n\n

Explain your creative process? Do you have a routine?<\/h2>\n\n\n\n

The older and more mature I get, the more I\u2019ve been able to \u201cwork smart\u201d and refine my creative process. That\u2019s not to say that I\u2019m not prone to the odd studio marathon if divine inspiration strikes! The kind of music I write is generally more focused on sound design and development of repetitive, functional rhythmic patterns, so my starting point is usually a 16-32 bar loop of anywhere between 4-12 channels of instruments and sounds doing their thing. Once I feel comfortable jamming on this loop and envisaging some sort of narrative for (the core) instruments I can move on to the arrangement. <\/p>\n\n\n\n

To answer your question, there\u2019s no telling how much time these stages take – sometimes it can drag on for weeks and sometimes things will click a bit faster. My routine is pretty standard – I work on material every single day for a minimum of 2-3 hours and always have a multitude of projects on the burners that I can switch to, to keep things fresh and fun.<\/p>\n\n\n\n

What is your setup?<\/h2>\n\n\n\n
\"Stelios<\/figure>\n\n\n\n

What is your process when working with other people? How is collaboration different in the studio vs working remotely? <\/h2>\n\n\n\n

Apart from the odd vocal contribution here and there, I try to steer clear of collaborations with other producers nowadays. I guess you could say that I\u2019m too stuck in my ways and I find remote working to be very stressful. Another inescapable and inconvenient truth is that while it is widely acknowledged that 2 heads are better than 1, achieving synergy between artists isn\u2019t always as certain. <\/p>\n\n\n\n

To my mind, you should always strive for a result that is greater than the sum of its parts but I\u2019ve repeatedly found that (for various reasons) this is often not the case. <\/p>\n\n\n\n

At what point(s) are you comfortable letting other people hear what you are working on?<\/h2>\n\n\n\n

For the sake of a succinct answer, I\u2019ll define \u201cother people\u201d as NOT trusted colleagues or collaborators (mix and master engineers, label A&R etc). In which case, I\u2019d say after the mixing \/ mastering is complete and as close as possible to the release date.<\/p>\n\n\n\n

Do you share your work in progress (streams or downloads)? Any technical frustrations? <\/h2>\n\n\n\n

Never, unless I\u2019m actively seeking advice or someone\u2019s professional<\/strong> opinion. I just don\u2019t see the point, otherwise. <\/p>\n\n\n\n

Byta delivers fast and secure audio sharing<\/h3>

With Byta you are in control of your music. <\/p>\n Read More<\/span><\/a><\/div>\n\n\n\n

How do you know when a track\/album is finished?<\/h2>\n\n\n\n

It\u2019s hard to tell and there\u2019s definitely a clear distinction between the two. For me, tracks are generally finished after you\u2019ve played them to death, taken a break from them, come back and tweaked them, tried them out, taken a small break and then deemed them fit to mix\/master. The album is an exponentially more complicated situation, as there are all sorts of balances and nuances you have to consider between the tracks themselves. <\/p>\n\n\n\n

How do you listen to the final mixes\/mastered work?<\/h2>\n\n\n\n

All the engineers I work with live abroad so I get sent masters. Over the years, I\u2019ve developed my own weird amalgamation of reference monitoring – my studio, a certain pair of headphones, car speakers, a club setup etc. It\u2019s a little unconventional but it\u2019s worked so far! <\/p>\n\n\n\n

How important is pre-release security when sharing new work? <\/h2>\n\n\n\n

I\u2019ve been lucky enough to have very few \u201cleaks\u201d in my career – although there was a crucial point when the industry was weaning itself off vinyl in the mid 2000s and mp3 piracy was a real threat. It\u2019s interesting to see how much of a paradigm shift streaming technology has encouraged – artists and labels have now embraced behaviours and practices that were once unthinkable, in terms of access. Having said that, it\u2019s always nice to be able to have some sort of strategy in place, in terms of building anticipation and marketing your project in a proper and orderly fashion. So, pre-release security<\/a> is fundamental to ensure your strategy can be implemented.<\/p>\n\n\n\n

Who on your team gets to hear the final versions first and why, what formats do they each need?<\/h2>\n\n\n\n

Apart from the people I work with at a record label and agents I work with in certain territories, I don\u2019t really have what you\u2019d call a \u201cteam\u201d. The only people that really need <\/em>to hear anything are the labels, as far as I\u2019m concerned. If they\u2019re going to partner with me, own part of the rights and invest their efforts to bring it to market, they\u2019re the ones that need to hear it first and decide whether or not it\u2019s for them.<\/p>\n\n\n\n

Outside of your inner circle who are the people that will need to hear the new tracks next?<\/h2>\n\n\n\n

Once a partnership is established with a label<\/a>, the groups that need to listen to the music are the DJs, radio and press<\/a> – people who provide feedback, support and coverage.<\/p>\n\n\n\n

Anything you are working on, anyone you are working with and want to share? <\/h2>\n\n\n\n

I\u2019ve got a slew of releases<\/a> planned for the next 6 months – a few EPs on some great underground techno labels as well as a followup album to \u201cAll Else Fails\u201d.<\/p>\n\n\n\n

\nhttps:\/\/www.youtube.com\/watch?v=chbVrWoCArQ\n<\/div><\/figure>\n\n\n\n

– Keep up to date with all Stelios Vassiloudis news on the socials buttons below or on his website here<\/a>.<\/em><\/p>\n\n\n\n

<\/p>\n","protected":false},"author":5,"featured_media":3417,"template":"","categories":[14],"class_list":["post-3415","methodtomymusic","type-methodtomymusic","status-publish","has-post-thumbnail","hentry","category-methodtomymusic"],"yoast_head":"\nStelios Vassiloudis | #MethodToMyMusic - Byta Blog<\/title>\n<meta name=\"description\" content=\"Composer, Producer & DJ Stelios Vassiloudis talks to Byta about his creative process, music creation methods and studio setup.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/byta.com\/blog\/methodtomymusic\/stelios-vassiloudis\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Stelios Vassiloudis | #MethodToMyMusic - Byta Blog\" \/>\n<meta property=\"og:description\" content=\"Composer, Producer & DJ Stelios Vassiloudis talks to Byta about his creative process, music creation methods and studio setup.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/byta.com\/blog\/methodtomymusic\/stelios-vassiloudis\/\" \/>\n<meta property=\"og:site_name\" content=\"Byta Blog\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/BytaLtd\/\" \/>\n<meta property=\"article:modified_time\" content=\"2022-05-26T12:48:49+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/byta.com\/blog\/wp-content\/uploads\/2022\/05\/mtmm-Stellios-twitter.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"512\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:image\" content=\"https:\/\/byta.com\/blog\/wp-content\/uploads\/2022\/05\/mtmm-Stellios-twitter.png\" \/>\n<meta name=\"twitter:site\" content=\"@bytaltd\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/byta.com\/blog\/methodtomymusic\/stelios-vassiloudis\/\",\"url\":\"https:\/\/byta.com\/blog\/methodtomymusic\/stelios-vassiloudis\/\",\"name\":\"Stelios Vassiloudis | #MethodToMyMusic - 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