Mixing and mastering

Yunus Cimen started making music back in 1998. At first, just rapping with some friends, Yunus soon realized that he was more interested in creating beats and recording. Although the first attempts were far from successful Yunus was not discouraged. In fact, it had the opposite effect. He dug deeper into sound production, and with some help from his partner at that time, Eko Fresh, Yunus started to make his living with recording and mixing. His breakthrough came in 2005 when the rapper Bushido invited him to mix his album. It turned out to be the most successful rap release in Germany that year. “At that time I found that my real passion was mixing music,” says Yunus. Since then, his career has developed successfully, resulting in 15 x #1 charting albums in Germany in 2014, 2015, and 2016.

Yunus now runs a studio in Düsseldorf. While focused on mixing and mastering, he also engineers occasional recordings for a few select artists. His rap background logically leads him to work mainly with Hip Hop, but more often now he is dealing with some pop and even rock productions. Yunus is also busy mixing and mastering commercials – a relatively new field for him, but as he says: “it brings great fun and a different perspective”. Among his latest projects is Rin’s ‘Eros’, which recently was awarded “Best Album 2017” in Germany.

According to Yunus, a project becomes successful only when he is able to perceive the feeling of the music he is mixing or mastering, and then import his emotions and ideas to make the project “complete”. To accomplish this, Yunus says: “I need a reliable and great sounding system.” In his case, this is a UA Apollo 16 and Crane Song Avocet IIA for conversion and monitoring, in tandem with a pair of Focal Twin6 Be and Amphion Two18 studio monitors with a BaseOne25 system. “First of all I have to rely on my room and monitor setup since the translation of my mixes and masters is one of the most important things,” says Yunus. Sometimes mixing even up to 40 songs a month, Yunus needs to trust his system and be able to switch fast from project to project. “That’s the main reason I would never work completely analog,” he says. The limited analog hardware in Yunus’ hybrid environment are Rupert Neve Designs Portico II MBP, a couple of API 550A and a Tubetech CL1b.

When his last studio partner left with most of the gear, including the monitors, Yunus was in the middle of a project and did not have time for trialing different options. “I did some research and couldn’t miss Amphion speaker hype,” Yunus says. This is how he decided to buy the Two18 studio monitors and BaseOne25 system. “When I first unpacked the Two18’s I was like ‘yikes, these are small’. I was used to large ATC 150’s. However, after I set them up and heard them for the first time I was blown away. They worked so much better in my room and didn’t sound ‘smaller’ at all,” Yunus recalls.

Yunus describes Amphion’s imaging as ‘razor-sharp’.

“I can hear every element in its place from left to right, front to back, and even bottom to top. I haven’t experienced this before! The combination of the fast-responding Two18’s and the tight BaseOne25 system gives me a revealing picture of what I am doing, and helps me to achieve my goals faster,” shares Yunus and continues: “

Another very important fact for me is that they are great fun just to listen to some music. They have just the right combination of being analytic and a little hifi-ish.”

Yunus says that his main principle is “in mixing, less is more”. Now with Amphion studio monitors, he can really implement this.

“I recognized that now I am using less tools than before and I am finishing the projects faster. When I heard my first mix made on the Amphions in my car I realized that this speaker system is translating way better than my old one,” concludes Yunus.

Read the story in German >>>