{"id":5540,"date":"2020-05-29T08:41:50","date_gmt":"2020-05-29T07:41:50","guid":{"rendered":"https:\/\/www.sonarworks.com\/soundid-reference\/blog\/?p=5540"},"modified":"2020-05-29T08:45:57","modified_gmt":"2020-05-29T07:45:57","slug":"aamir-yaqub-on-calibrating-a-room-of-ones-own-for-reference-sound","status":"publish","type":"post","link":"https:\/\/www.sonarworks.com\/blog\/studio-stories\/aamir-yaqub-on-calibrating-a-room-of-ones-own-for-reference-sound","title":{"rendered":"Aamir Yaqub on Calibrating a Room of One\u2019s Own for Reference Sound"},"content":{"rendered":"\n

GRAMMY award\u2013winning mix engineer wades into creative flow in any room with Sonarworks Reference 4<\/h4>\n\n\n\n

San Francisco, California \u2013 May 29, 2020 \u2013 Before he became a GRAMMY Award-winning studio engineer and producer, Aamir Yaqub honed his professional chops at London\u2019s famed Metropolis Studios, which has earned a reputation as Europe\u2019s No. 1 independent recording studio. He first got his foot in the door at Metropolis in an administrative role, then worked his way up from an intern before landing a role as an assistant engineer \u2014 then, finally, as an engineer. Since that time,\u00a0Yaqub has worked with a long list of artists \u2014 including, Alicia Keys, David Guetta, Migos, Rihanna, J Cole and Sia. Now, working in high demand as a full-time freelance studio engineer and record producer, whenever he takes a mixing assignment, he might decide to mix in either The Bison Room or The Aquarium \u2014\u00a0two production rooms in East London he completed in December last year. Or, he may start working \u201cin the box\u201d remotely, from anywhere convenient, with his favorite pair of monitor headphones. Or \u2014 like a growing number of music industry professionals today \u2014\u00a0he could also just stay home for as long as he needs, mixing records in a makeshift studio he has set up in his home.\u00a0\u00a0<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Wherever he decides to work, though, Yaqub relies on Sonarworks Reference 4 studio calibration software to provide balanced, flattened equalization, whether on his calibrated headphones, or in any room where he has tuned the monitors in his workspace using the Reference 4 Studio Edition calibration microphone. Now, whenever he starts a new mix, in addition to having more confidence in the accuracy of the mix he hands off to be mastered, he can also ensure he gets full value of studio equipment he has invested in already himself \u2014 from studio monitors, to effects pedals and software plugins. <\/p>\n\n\n\n

\u201cBecause I cut my teeth in one of London\u2019s best studios, I had been spoiled.\u201d Aamir said. \u201cWhen you\u2019ve worked in-house in a complex like Metropolis \u2014 which has four rooms you can track in, all of which were designed by an acoustician \u2014 but then, later, when you decide to become a freelance engineer, you find you start working in a lot of different rooms from the kind you\u2019re used to. Metropolis had such a high level of clientele coming through, and I\u2019d gotten used to being around high-end preamps and large, expensive consoles. I\u2019d also gotten used to the way that the rooms sounded \u2014 which was, of course, amazing. So, when I started working in some of the other rooms, I would think to myself that these other rooms didn\u2019t sound the way they needed to sound. That\u2019s when I began searching for solutions.\u201d<\/p>\n\n\n\n

Finding fast-tracks to creative flow<\/strong><\/h2>\n\n\n\n

In addition to the experience and expertise he accumulated during his previous tenure at Metropolis Studios, another reason Aamir Yaqub continues to be widely requested by both world-renowned artists and independent up-and-comers alike perhaps has something to do with his respectful recognition for the potential number of work-hours that might have been devoted to a record before it even hits his studio monitors for mixing. \u201cIt\u2019s very important, I think, that mix engineers don\u2019t take a record and say, \u2018I\u2019m going to completely reinvent this for you,’\u201d he said, \u201cbecause the artist and the label may have listened to that song for a year before they got it into the form they\u2019ve asked you to mix.\u201d<\/p>\n\n\n\n

In order to achieve the same high-caliber results that he learned to get while working in an acoustically designed and treated studio room, Aamir breaks down the full scope of work required for completing studio projects into a system of separate tasks lined up one after the other. These tactical habits have helped him to maintain a steady pace and productive workflow, as well as to overcome any external distractions \u2014 or any internal resistances. <\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

When he agrees to mix a new project \u2014 no matter where he decides to work \u2014 he always starts his process with a series of steps that provide him with potential entry points where he can find himself seemingly swept up into a familiar state of creative flow. Once he\u2019s found his way into this flow state, he\u2019s better able to tune out  distractions, internal or external, and take each incremental task to completion. He explains that by breaking each project up into a series of smaller, sequential tasks, then making a habit out of working on one task at a time from start-to-finish, he maintains his ability to keep multiple ongoing projects moving forward.<\/p>\n\n\n\n

\u201cBasically, every time I start mixing, I begin by first creating a static balance, which could take me a half-hour, maximum.\u201d Once a static balance has been created, he then mutes everything, except for the vocals \u2014 which he says are \u201cthe star of the show\u201d \u2014 making sure they glisten and shimmer before he adds any instruments back in. After he\u2019s pleased with the vocal mix, he starts in on the rhythm section, paying particular attention to low-end thumps, while making sure the vocals don\u2019t lose any of their sparkle under any of the instrumental tracks added back in. Then, once he finishes mixing the rhythm section and any additional instrumental tracks, he\u2019ll start to finesse the reverbs and delays, adding sonic space and depth, adding any finishing touches to the mix, before reminding himself to listen once again with the big picture in mind and, finally, sending it off to be mastered.<\/p>\n\n\n\n

Investing in added value<\/strong><\/h2>\n\n\n\n

Over the course of Aamir Yaqub\u2019s years working as an engineer at Metropolis Studios, and ever since, he\u2019s perused, tested and professionally employed countless studio equipment products \u2014 from hardware, to DAWS, to software plugins and everything in between. Metropolis was also where he was first introduced to the concept of tuning the room by performing a series of measurements, using a reference microphone, throughout a room. But, it wasn\u2019t until he started working on his own as a full-time freelancer that he began to wonder whether Sonarworks Reference 4 studio calibration software could help him to improve the sound in studio rooms outside of the ones he was used to working in.\u00a0<\/p>\n\n\n\n

Now, even when working from home \u2014 which he\u2019s been doing a lot more lately \u2014 he says Reference 4 has given him confidence that every mix he sends off to a mastering engineer will be as accurate as if he\u2019d mixed it at the studio he came up in. As an example, he cited his pair of Genelec 8040 monitors, which he bought when he first started his career in recording. Ever since calibrating his Genelec monitors with Sonarworks Reference 4, he reports that it now makes no difference to his mixing process whether he worked on it in a state-of-the-art commercial studio or at home using the studio monitors he\u2019s had since graduation. <\/p>\n\n\n\n

\u201cI love the Genelec sound,\u201d he said. \u201cSo, I already trusted them \u2014 but I trust them even more now, since I installed Reference 4. I had used those speakers for so long, but they had never been in a tuned room, or an acoustically treated room \u2014 so, when I first installed Reference 4, I thought to myself, \u2018These speakers have never sounded this good!\u201d<\/p>\n\n\n\n

Going further, he says that any studio owners looking for the simplest surefire ways to guarantee a higher return value on their existing equipment investments, when it comes to potential sound quality, should start using Sonarworks Reference 4. <\/p>\n\n\n\n

\u201cIf you paid $3,500 for a pair of speakers, you want to get $3,500 worth of sound-quality coming out of them,\u201d he continued. \u201cIf you don\u2019t use Sonarworks Reference 4 studio calibration on your monitors, you\u2019re not going to get that full value; but, with Reference 4, you definitely are.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

GRAMMY award\u2013winning mix engineer wades into creative flow in any room with Sonarworks Reference 4 San Francisco, California \u2013 May 29, 2020 \u2013 Before he became a GRAMMY Award-winning studio engineer and producer, Aamir Yaqub honed his professional chops at London\u2019s famed Metropolis Studios, which has earned a reputation as Europe\u2019s No. 1 independent recording…<\/p>\n","protected":false},"author":14,"featured_media":5545,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_improvement_type_select":"improve_an_existing","_thumb_yes_seoaic":false,"_frame_yes_seoaic":false,"seoaic_generate_description":"","seoaic_improve_instructions_prompt":"","seoaic_rollback_content_improvement":"","seoaic_idea_thumbnail_generator":"","thumbnail_generated":false,"thumbnail_generate_prompt":"","seoaic_article_description":"","inline_featured_image":false,"seoaic_article_subtitles":[]},"categories":[82],"tags":[],"acf":[],"yoast_head":"\nAamir Yaqub on Calibrating a Room of One\u2019s Own for Reference Sound - 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