{"id":49997,"date":"2023-04-28T17:50:47","date_gmt":"2023-04-28T16:50:47","guid":{"rendered":"https:\/\/www.synthax.co.uk\/latest\/?p=49997"},"modified":"2025-05-23T11:41:59","modified_gmt":"2025-05-23T10:41:59","slug":"stevan-krakovic-dynaudio-core-series","status":"publish","type":"post","link":"https:\/\/www.synthax.co.uk\/latest\/2023\/04\/28\/stevan-krakovic-dynaudio-core-series\/","title":{"rendered":"\u201cAnother level of precision\u201d | Stevan Krakovic on the Dynaudio Core 59s"},"content":{"rendered":"\n

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\"Stevan<\/p>\n

Stevan Krakovic is a Recording Engineer and Music Producer whose two-decade career spans a huge variety of popular styles and genres.<\/h2>\n

You name it, chances are he\u2019s recorded and mixed it: Grunge and alternative rock? Check. German electronic music? Check. Underground UK Hiphop? Check. Jazz? Classical? Cabaret? Check, check, check.<\/p>\n

Having first moved to the UK from Germany to study music technology in London, Stevan got his start engineering in studios like the legendary Cowshed Studios<\/a>, whose hallowed halls are responsible for releases from the likes of Boy George<\/em>, Carl Barat<\/em>, Charlotte Church<\/em>, Jamie Cullum<\/em> and The Blockheads<\/em>.<\/p>\n

These days, Stevan mainly splits his time between the UK and his own Electronic Memory Studio<\/a> in his native Frankfurt (Germany), which he recently upgraded with Dynaudio Core Series monitors.<\/p>\n

We caught up with Stevan to find out what gear he uses in the studio; his tips on recording with vocalists; and what he feels is most important in sustaining a lasting career as an audio engineer.<\/p>\n

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\"RecordingWu-Tang Clan Ain’t Nuthing ta F’ Wit<\/h2>\n

\u201cI\u2019ve worked with many different artists over my roughly 20 years as an engineer,\u201d Stevan tells us. \u201cBands like Wolf People<\/em> – who are good friends of mine – Danny Toeman<\/em>, Phoebe Katis<\/em>, Monelise<\/em> amongst many others.\u201d<\/p>\n

\u201cI am also known for my work in the UK and German electronic music and underground Hip-Hop scenes – recording, mixing and producing for artists like Jehst<\/em>, Skriblah<\/em> and Kyza<\/em> (Terra Firma<\/em>). Then there\u2019s the long list of alternative rock and folk records – Ramshackle Union Band<\/em>, Paul Mosley<\/em>, The Din<\/em>, as well as a number of Jazz records and film soundtracks.\u201d<\/p>\n

As someone who\u2019s dedicated his life to the pursuit of recording and mixing, we wanted to know what keeps Stevan motivated after so many years?<\/p>\n

\u201cWorking with a wide range of different and interesting people, and helping them make great music!\u201d Stevan exclaims.<\/p>\n

\u201cFor me it\u2019s all about listening to the artist\u2019s goals, and helping them make the strongest record possible. I\u2019ll guide them in the process, helping them to use their strengths and overcome any weaknesses. I also have a strong network of many great session musicians I can call upon when needed, to help artists get the sound they want on their record.\u201d<\/p>\n

Stevan’s ability to capture the distinctive style of each artist is evident throughout his work – no surprises therefore that his studio talents have been sought after by such a diverse collection of artists.<\/p>\n

This includes Katie Birtill<\/em>, whose jazz album Baby, Dream Your Dream<\/strong> (mixed by Stevan) went straight to number one on the iTunes Jazz charts.<\/p>\n

Another name that caught our eye on Stevan\u2019s client list was Wu-Tang Clan<\/em>\u2019s Ghostface Killah<\/a><\/em>. Essential listening for any hiphop fan, the group\u2019s debut studio album Enter the Wu-Tang (36 Chambers)<\/strong> is regularly cited as one of the best rap albums of all time. What was it like to hear the unprocessed, raw vocal tracks of a hiphop legend through his own speakers?<\/p>\n

\u201cYes that\u2019s definitely one of my highlights!\u201d Stevan reminisces. \u201cI am a big Wu-Tang<\/em> fan, so when another client of mine put me forward for the job I was obviously very happy about it.<\/p>\n

\u201cHonestly, never in my wildest teenage dreams would I have imagined I would one day get to work on vocals from the real GFK<\/em>! He has such an incredible energy to his voice, and it was amazing listening to the raw vocal stems and beginning to apply EQ and compression. Is that even allowed? Haha!\u201d<\/p>\n

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\"ThreeFrom clients to long-lasting friendships<\/h2>\n

Stevan attributes much of his longevity in the industry to the long-standing relationships he\u2019s developed over the years, seeing many of the musicians he\u2019s worked with going from clients to people he now calls friends.<\/p>\n

In an industry that can be notoriously cut-throat, he sees this as a key part of the engineer\u2019s role. \u201cFor me, longstanding friendships have led to work on multiple records, as well as various side projects,\u201d Stevan continues.<\/p>\n

\u201cBack when I was studying at Thames Valley University I managed to get a job as a technician for Ealing Studios, so I had the keys to the studios. I used to invite all sorts of artists to record there after hours, which turned into many legendary late-night sessions.<\/p>\n

\u201cThat was very much the start of my career. Albums by Jehst<\/em>, Skriblah<\/em>, Tommy Evans<\/em>, Sona Family<\/em> and IRS Kru<\/em> were recorded there by myself and what would eventually become Wolf People<\/em>.<\/p>\n

\u201cI also met my now long-term friends Tom Mansi & The Icebreakers<\/em> there – we started a studio in Barnet (Shock & Awe Studios<\/em>) together, and founded our label Metric Acorn<\/em>.<\/p>\n

\u201cThen there\u2019s the Cabaret acts I\u2019m lucky enough to have worked with, some of London\u2019s finest – Polly Rae<\/em>, Dusty Limits<\/em>, Champagne Charlie<\/em>, Tricity Vogue<\/em> and Tom Carradine<\/em>.<\/p>\n

\u201cMost of that came through another good friend and long-time musical collaborator Michael Roulston, who is a gentleman and a scholar. A great writer and arranger, as well as a strict and meticulous taskmaster, who brings in the best session musicians only.\u201d<\/p>\n

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\"Recording\u201c150% on it\u201d \u2013 Recording and mixing Cabaret <\/h2>\n

Cabaret is perhaps one of the more unusual styles we\u2019ve come across in our user stories. A genre that encompasses a wide range of influences, the instrumentation can also be quite varied – piano, brass and strings, to guitars, clarinets, flutes, harmonicas and accordions – not to mention the often unique theatrical vocal performances from its stars.<\/p>\n

We were keen therefore to find out what it\u2019s like to work in this disparate and often tongue-in-cheek style of music.<\/p>\n

\u201cWorking in cabaret is a joy but also hard work, partly because everyone is so 150% on it,\u201d Stevan explains. \u201cThere\u2019s no room for mistakes. You also need to be able to read scores, so you know exactly where to punch in if someone says \u2018the horns want to do bars 68-72 again\u2019 etc.<\/p>\n

\u201cI don\u2019t think I\u2019ve ever done more than two takes of anything on a cabaret session. These guys and girls usually get it on the first or second take – even if they have never heard or played the song before!<\/p>\n

\u201cNot only technically perfect, but also with feeling and groove. Maybe we\u2019ll patch in a couple of bars here and there, and we\u2019re done. We once did all 18 songs of a musical in one day. Astonishing.\u201d<\/p>\n

Working with a vocalist can be a challenging task. Communication is obviously important, with singers often having a particular way of expressing themselves, and it\u2019s the engineer\u2019s job to understand their musical vision. What tips does Stevan have for working with a vocalist?<\/p>\n

\u201cI would say the most important thing is to make them feel comfortable and secure, ready to perform and let go,\u201d Stevan says. \u201cVocals especially are a very intimate thing, and singers often feel vulnerable.<\/p>\n

\u201cFor the vocals on the Wolf People<\/em> album Fain<\/strong>, Jack wanted to record them in a more comfortable setting then a studio. So I took an SM7, my little Rupert Never 5012 preamp and my RME Fireface 400 home, and recorded them in my living room in Muswell Hill (London).<\/p>\n

\u201cWe had plenty of cups of tea between songs, and we\u2019d chat about the meaning behind each one, to get Jack into the right vibe and mindset.<\/p>\n

\u201cFunnily enough, I remember the (very positive) Mojo<\/em> review at the time giving special mention and praise to the vocal sound and production of the album!\u201d<\/p>\n

\"Musicians <\/strong><\/p>\n

Location Recording and Career Highlights<\/h2>\n

Whilst Stevan is obviously highly-experienced in traditional studio recording, his flexible skills mean he\u2019s not averse to alternative techniques, or recording in other locations when it suits the material.<\/p>\n

\u201cI do enjoy recording on location, as well as old school recording techniques,\u201d he explains. \u201cMuch of Fain<\/strong> for example was recorded with a mobile setup, in an old gatehouse near the Yorkshire Dales.<\/p>\n

\u201cThen for renowned folk and jazz collective Whiskey Moon Face<\/em>\u2019s first album, that was all live in one room, with no headphones and no overdubs.<\/p>\n

\u201cI think it\u2019s an amazing record, and the recording of it is also quite a story, as it was initially only meant to be a trio EP, with up to six songs recorded over two days.<\/p>\n

\u201cThe band had originally wanted to record it live at a gig, but my friend and collaborator Rory Carlisle and I persuaded them to record live in the studio – in a circle and without headphones – to get a live as possible feel, but with some control over the sound.<\/p>\n

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Whiskey Moon Face – So Long (Arena Sessions)<\/h4>\n