Mixing Engineer

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: One of the experiences I'm most proud of is my long-standing collaboration with Duman. I've been their FOH engineer since 2015, touring internationally and sharing countless performances along the way. I've also had the privilege of contributing to the recording of their album Kufi and solo projects by members of the band. What makes this experience truly special to me goes beyond the concerts and recordings. It's the trust we've built over the years and the opportunity to be part of their music both on stage and in the studio. Working with artists over such a long period has taught me that great sound is not just about technical skills. It's about understanding the music, respecting the people behind it and building relationships that last. That's something I'm genuinely proud of.

Q: What are you working on at the moment?

A: I'm currently focused on studio mixing projects from my private mixing suite, alongside project-based recording work at professional studios. I also continue working as FOH engineer for Duman and Kaan Tangöze, and as monitor engineer for Zeynep Bastık, performing at concerts, festivals and international tour dates. I'm always interested in collaborating with new artists and bands, particularly on rock, indie and alternative music projects.

Q: Analog or digital and why?

A: Digital for the workflow, analog for the character. I primarily mix in Pro Tools because of its flexibility, precision and ability to recall sessions exactly as I left them. Having worked in professional recording studios with both analog and digital equipment, I appreciate the character and musical qualities that analog processing can bring. For me, it's never about choosing one over the other. I use whatever serves the music best. The tools are important, but the ears and the decisions behind them matter much more.

Q: What's your 'promise' to your clients?

A: My promise is simple: I'll treat your music with the same care and attention I would want for my own. I'll listen to your goals, communicate clearly, and be upfront about the scope and timeline before we start. Throughout the mixing and revision process, I'll make decisions that serve the song and respect your artistic vision, rather than imposing a sound that doesn't belong.

Q: What do you like most about your job?

A: What I love most is the moment when a mix comes together — when the instruments, vocals, space and dynamics start to feel like one complete musical performance. Every song brings a different challenge, and I enjoy discovering what makes each one special. Even after all these years, that creative process never gets old. The most rewarding part is sharing the finished mix with the artist and knowing we've created something that truly represents their music.

Q: What questions do customers most commonly ask you? What's your answer?

A: A common question is: "What do you need from me to get started, and how does the mixing process work?" I ask for well-organized multitrack files, a rough mix and a few reference songs that represent the sound the artist is looking for. Before starting, we discuss the musical direction, project requirements and delivery schedule. Once the first mix is ready, I share it for feedback. Three rounds of revisions are included, and the final delivery is a stereo WAV file. Additional versions or services can be arranged separately.

Q: What's the biggest misconception about what you do?

A: One of the biggest misconceptions about mixing is that every instrument needs to sound perfect on its own. In reality, mixing is about how all the elements work together. A sound that seems impressive in solo might not serve the song when everything is playing. Sometimes the best decision is to process less, leave space or let an imperfection become part of the character. For me, a great mix is about the whole musical picture, not the individual pieces.

Q: What questions do you ask prospective clients?

A: I usually start by asking the artist to tell me about their music and what they're hoping to achieve with the mix. I like to hear their rough mix and a few reference tracks to understand the sound, energy and atmosphere they're looking for. I also ask whether the recordings are ready for mixing, if any editing or timing corrections are needed, and what their expected timeline is. Most importantly, I want to know what they love about their song and what they feel is still missing. Understanding that helps me make the right musical decisions from the beginning.

Q: What advice do you have for a customer looking to hire a provider like you?

A: Choose a mixing engineer whose work connects with the sound you're aiming for, not simply someone with an impressive list of credits. Listen to their mixes, share your rough mix and a few reference tracks, and talk openly about what you love in your recording and what you'd like to improve. The best results come when the artist and engineer share a clear musical vision. Technical skills are essential, but communication, understanding and mutual trust are just as important.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: My Mac Studio, RME Babyface, my iLok, Sennheiser HD 600 headphones, and a solar-powered generator. Without the fifth one, the other four would be pretty useless! Although, on a desert island, I might spend more time listening to the ocean than mixing music.

Q: What was your career path? How long have you been doing this?

A: I started my professional career in audio engineering in 2007, initially working in recording studios, where I developed my skills in recording, editing and mixing. Over the years, I've contributed to more than 70 albums in various engineering roles, working with independent musicians and established artists across different genres. Alongside my studio career, I've worked on over 1,000 live performances, including international tours, major festivals and arena shows. I've been the FOH engineer for Duman since 2015 and Kaan Tangöze since 2016, and the monitor engineer for Zeynep Bastık since 2023. Today, I continue working in both environments, providing mixing services from my private mixing suite, recording at professional studios and engineering live performances.

Q: How would you describe your style?

A: My mixing style is natural, dynamic and musical. I like mixes that feel open and three-dimensional, where every element has its place without losing the energy and emotion of the performance. I don't believe in imposing the same sound on every project. Whether it's an intimate acoustic recording or a powerful, guitar-driven rock song, I adapt my approach to bring out the unique character of the music.

Q: Which artist would you like to work with and why?

A: I'd love to work with artists like Fink, José González and Queens of the Stone Age. What draws me to their music is how each has such a distinctive sonic identity. I love the intimacy and organic textures of Fink and José González, as well as the raw energy, depth and character of Queens of the Stone Age. I'm particularly inspired by artists who aren't afraid to let their music breathe and have its own personality. Being part of that creative process, while preserving what makes their sound unique, would be incredibly rewarding.

Q: Can you share one music production tip?

A: Don't be afraid to EQ your reverbs aggressively. I often shape the reverb returns to remove unnecessary frequencies, allowing the listener to feel the space and depth without hearing an obvious reverb effect. For me, reverb should create dimension and support the emotion of the song without sacrificing clarity or drawing attention away from the performance.

Q: What type of music do you usually work on?

A: My main areas are rock, indie/alternative and jazz, with extensive experience in pop, singer-songwriter and acoustic music. I work on both studio recordings and live performances, adapting my approach to the artist, the arrangement and the musical character of each project.

Q: What's your strongest skill?

A: Balance — both technical and musical. I believe the key to a great mix is knowing what needs to stand out, what should sit back, and how every element can work together naturally. My strength is finding that balance while preserving the energy, dynamics and emotional character of the performance.

Q: What do you bring to a song?

A: I believe every artist has a vision of how their music should sound, and every song has its own unique character. My role is to find the balance between the two. I bring clarity, depth and musical perspective to a mix, while making sure the emotion and intention behind the music remain intact. For me, a great mix isn't about changing what makes a song special. It's about helping that character come through as naturally and powerfully as possible.

Q: What's your typical work process?

A: I start by listening carefully to the song, the artist's rough mix and any available references to understand the musical direction and expectations. I then prepare and organize the session, check gain staging and identify any editing or timing issues that need attention. From there, I build the mix around balance and musical feel, refining the sound through EQ, compression, effects and automation. Once the first mix is ready, I share it with the artist and work through their feedback. My mixing service includes three rounds of revisions, allowing us to refine the details while staying true to the original vision.

Q: Tell us about your studio setup.

A: My private mixing suite is built around a Mac Studio running Pro Tools, with an RME Babyface audio interface, Neumann KH 120 studio monitors and Sennheiser HD 600 headphones. Pro Tools has been my primary DAW throughout my career, and I regularly use plugins from Soundtoys, FabFilter, Universal Audio (UAD) and Slate Digital. My setup allows me to focus on what matters most: clarity, depth, musical balance and preserving the natural character of each recording.

Q: What other musicians or music production professionals inspire you?

A: I'm inspired by Tchad Blake's unconventional approach to sound and his ability to create mixes with depth, character and emotion. Rick Rubin inspires me through his focus on the artist's vision and the emotional core of a song. His philosophy reminds me that sometimes less is more. Both have influenced the way I think about music: technical decisions should always serve the song, not overshadow it.

Q: Describe the most common type of work you do for your clients.

A: My work focuses on studio mixing and live sound engineering. For studio projects, I specialize in rock, indie and jazz, creating natural, detailed mixes with clarity, depth and musical balance while preserving the character of the music. I also provide recording engineering at professional studios, as well as editing and timing correction when needed. Alongside my studio work, I have extensive experience as a FOH and monitor engineer for concerts, festivals and international tours.