Meet Haziq Bin Ahmad Farid, a talented Malaysian mix engineer, Audio editor and sound designer. Haziq’s artistry is fueled by a profound conviction in the universality of storytelling. Through the symphony of sound, he bridges distances and crafts connections within the realms of cinema, podcasts and music. Haziq’s forte lies in collaborating with writers, producers and artists, as he channels his expertise to animate their narratives through sound. He has had his hand in albums like Music for Pixie Grit Circus by Ellen Warkentine and Psychopath by Li-Anne Kong, Zeke AFR, and Jayce Payackapan. In the world of podcasts, Haziq is currently the mix engineer on 99% Invisible and the editor and sound designer for Immigrantly, a podcast which explores immigrant life in America through first-person accounts. 

In this interview, Haziq spoke about the various responsibilities in the audio post production world, how he “paints” narratives with sound, and his experience working in podcasts.

You wear quite a few hats in your career! Can you walk us through the distinguishing features of a mix engineer, audio editor, and sound designer?

Certainly! A mix engineer is like the conductor of an orchestra. They bring all the different instruments (sounds) together and make sure they play in harmony; using different techniques like dynamic processing, stereo placement, and adding effects to create a beautiful and balanced mix. 

Imagine audio editors as storytellers with a red pen. They go through audio recordings like editors reviewing a book. They remove parts that don’t fit like background noise, long pauses, clicks and pops, to make the story flow smoothly and polished. 

Sound designers are like painters for your ears. They create sounds that fill the world of a story, like adding colors to a canvas. Whether it’s the rustle of leaves or the roar of a dragon, they use their creativity to make the story come alive with sounds.

Can you tell us a bit about how proper sound adds texture to podcasts?

To me it deepens the immersive experience of the story. Podcasts being entirely auditory means each person will visualize it in their own way, which is really fascinating to me. Having the right sounds is akin to providing the listeners with more colors on their palette as they paint the pictures in their minds.

With podcasts being entirely auditory, your role in sound must be especially significant in the creation of a project. What is the collaboration like with the director/producer/writers?

It’s very personal in my opinion, like all things in the creative industry, it comes from the heart. Taking time to work closely with directors, producers, and writers is important to get a full grasp of a project’s identity so you can cater your work to their vision.

In addition to your podcast work, you have also had your hand in several music singles in the capacity as assistant engineer and producer. How is this work different from your podcast work?

I’d say podcasts and music are like two different dance styles. In podcasts, music plays more of a supportive role, setting the mood for the story. But with music singles or albums, the music is the star, akin to a lead dancer stealing the show. Both involve working with producers, writers,and artists, just with a different spotlight.

To a layperson listening to their favorite podcast or music, how will they spot the work of a good audio post expert?

That’s a very good question! As audio engineers, we often approach mixes from a very technical standpoint, focusing on even the most subtle details. From a layperson’s perspective, I’d say it’s about noticing that nothing is accidental; everything is deliberate. That’s because what sounds good is subjective. Take for example, XXXTentacion’s distorted drums, and the metallic synth sound playing throughout Tyler the Creator’s ‘Yonkers’. While it may seem unusual, in context, it doesn’t sound out of place. As the listener, if you can hear the audio engineer’s sense of purpose and ability to blend all elements into a cohesive mix, that’s how you identify great work.

You have several ongoing projects right now. How do you juggle them and manage your schedule?

Handling multiple projects is a bit like juggling balls in the air, but it’s fun! I make my own mini deadlines everyday, which are like checkpoints to keep everything on track. Even though it might sound like a challenge, I’m lucky to be doing what I love. Being a part of so many stories is like having a collection of adventures.

Have you cultivated a signature style in your work? Or is the audio more influenced by your collaborators and their vision?

I try to bring my own style to every project, but it’s like cooking with friends who have great recipes too. Each project is a different dish we’re all creating together, and it’s about creating something that everyone enjoys. As part of the post production team, you must be able to adapt to each project’s requirements and maintain the soul of each story.

Keep up to date with Haziq’s work via his website.