Audio Restoration & Mixing

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

A: I am most proud of a project where I restored a 30-year-old recitation that was buried under heavy tape hiss and electrical hum. As the Lead Restoration Engineer, I successfully removed the noise and added modern spatial depth, making it sound like it was recorded yesterday.

Q: What are you working on at the moment?

A: I am currently focused on expanding my portfolio in 'Historical Audio Revival'—restoring damaged vintage tapes of famous reciters to ensure their legacy is preserved in high-fidelity for future generations.

Q: Is there anyone on SoundBetter you know and would recommend to your clients?

A: Actually, I don't know anyone yet; I'm new here.

Q: Analog or digital and why?

A: Digital, specifically for restoration. The tools we have today, like SpectraLayers and iZotope RX, allow for surgical precision that was impossible in the analog world. It gives me the power to 'un-mix' sounds and fix errors bit-by-bit.

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

A: I promise absolute precision and respect for the source material. I won't deliver a 'plastic' or artificial-sounding result. My goal is always a clean, warm, and natural sound that meets professional industry standards.

Q: What do you like most about your job?

A: The 'revelation' moment. I love taking a recording that was considered unusable and turning it into something beautiful and clear. It feels like uncovering a hidden treasure, especially when working on historic Quranic recitations.

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

A: Question: Can you save this recording that was made in a very noisy environment? Answer: Yes, as long as the voice is audible. Using spectral repair, I can isolate the vocal frequencies and significantly reduce or eliminate background interference.

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

A: Many people think that noise removal is just pressing a 'de-noise' button. In reality, it is a surgical process of identifying artifacts in the spectral domain. My job is to remove the damage while preserving the natural life and harmonics of the original voice.

Q: What questions do you ask prospective clients?

A: What is the primary goal for this audio? (Podcast, YouTube, etc.) And are there specific noises or 'artifacts' that bother you most in the original recording?

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

A: Always provide the highest quality raw recording you have. Even if it's damaged, the more 'information' in the file, the better the final restoration and mix will be.

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

A: My 5 essentials would be: A high-performance laptop, my licensed iZotope RX suite, a pair of Beyerdynamic DT 770 Pro headphones for accurate monitoring, a Universal Audio interface, and a Shure SM7B microphone.

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

A: I’ve been an audio engineer for year, focusing on the intersection of technology and art. My path led me to master specialized restoration tools to solve the most difficult audio challenges for my clients.

Q: How would you describe your style?

A: Clean, transparent, and resonant. I aim for a 'crystal-clear' sound where every nuance of the voice is heard without any artificial artifacts or distracting background noise.

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

A: I would love to work on archival recordings of legendary reciters. My passion is taking historical audio and using modern technology to make it sound as if it were recorded in a high-end studio today.

Q: Can you share one music production tip?

A: In restoration, 'less is more.' Instead of using a heavy noise gate that cuts off natural vocal tails, use spectral editing to remove specific noise frequencies. This keeps the performance breathing while making the background dead silent.

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

A: I primarily work on vocal-centric projects, including Quranic recitations, spiritual chants, podcasts, and voice-overs that require a high degree of clarity and professional polish.

Q: What's your strongest skill?

A: My strongest skill is 'Spectral Repair.' I can identify and remove specific noises (like clicks, wind, or hum) that standard filters can't touch, all while keeping the original voice sounding natural.

Q: What do you bring to a song?

A: I bring clarity, depth, and professional polish. I don't just 'clean' audio; I enhance its emotional and spiritual resonance. My goal is to make every vocal sound warm, intimate, and ready for a global audience.

Q: What's your typical work process?

A: I start with spectral analysis using SpectraLayers Pro to clean the audio layer-by-layer. Then, I move to Cubase for mixing, applying EQ and compression to enhance warmth. Finally, I master the track for industry-standard loudness.

Q: Tell us about your studio setup.

A: My studio is built for precision restoration and mixing. I use Cubase Pro as my main DAW, with Steinberg SpectraLayers Pro and iZotope RX Post Production Suite for surgical audio repair. I rely on Waves and FabFilter plugins for high-end tonal shaping and mastering.

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

A: I am inspired by the precision of engineers at iZotope and the clarity found in world-class Quranic recordings like those of Mishary Rashid Alafasy. I strive for that same 'expensive' and crystal-clear sound.

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

A: I specialize in surgical audio restoration and high-end mixing. I frequently rescue damaged recordings, remove complex background noise, and provide professional mastering for Quran recitations and podcasts.