Sonic Vista Studios – On The Cover of Sound On Sound Magazine For David Guetta’s Interview

We are on the cover of Sound on Sound Magazine for David Guetta’s Interview! Click here to read the full interview.

David Guetta is the global superstar who brought EDM out of the underground and into the mainstream.

With two dozen Top 10 hit singles and three number-one albums since his international breakthrough in 2009, and 40 million record sales, David Guetta has an incredible track record. He’s been called “the godfather of EDM” and he’s played a crucial part in the genre’s staggering rise from underground and rather uncool origins to its status as one of the music industry’s main money makers: in 2017, the entire EDM market was worth an amazing 7.4 billion US dollars.

One explanation for its huge success is that it has crossed over into other genres, a development in which Guetta played a central role. Billboard called him “the man who almost single-handedly resurrected dance music in America”, and his influence is all over the amalgamation of pop, hip-hop, R&B and EDM that occupies a large part of the charts today, with instrumental, EDM-style drops often replacing the chorus as the main hook. Guetta once aptly remarked in an interview: “Not only did I cross over, my entire scene did.” [...]

We are on the cover of Sound on Sound Magazine for David Guetta’s Interview! Click here to read the full interview.

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Sonic Vista Insights: Chris Hinze

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Chris Hinze is a world renowned Dutch Jazz and New Age flute player. With a career spanning over four decades, he’s played with legends such as Peter Tosh, Gerry Brown, John Lee and was awarded the best soloist prize at the Montreux Jazz Festival. He also incorporates New Age elements to his music and his particular fascination with tibetan sounds led him to meet and record the Dalai Lama. Since he lives in Ibiza, we took the time to sit down with him and ask him some questions about his music.

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Zahira’s new reggae track “Mystic One” Mixed and Mastered at Sonic Vista Studios

“Propelling this accessible sound is the top-shelf production found on “Mystic One.” Recorded at Grammy-nominated B-Side Studios in Portland, OR under the guidance of producer Avi Brown (Stephen Marley, Bill Kreutzmann, Soulstice) and later mixed and mastered by Spanish [mistake, he's swedish] engineer Henry Sarmiento (Lady Gaga, 50 Cent, Tower of Power), Zahira’s new single carries her audience into a well-balanced soundscape, with thick vocal harmonies and synth pads washing over the listener, leaving them cleansed and open to the message.”

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Avid Interviews Henry Sarmiento About Bringing Pro Tools | HDX to Ibiza

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“I woke up from a dream and knew I had to build a studio in Ibiza. I fell in love with the island after a visit the previous year and it was clear to me I needed to make a leap,” Sarmiento explains.

Three weeks later, Sarmiento moved to Spain and launched Sonic Vista. It was the first studio to have Pro Tools | Ultimate and HDX on the island. “I’m always evolving the studio, but one thing remains: it will only ever be Pro Tools for me. I’ve tried other DAWS, but the stereo outputs sound terrible. I can’t go there. It’s HDX or nothing.”

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“Speak Heartz” Interviews Henry Sarmiento

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How did a 16 year old from New York get into the music industry at such a young age? Was it a matter of your own ingenuity or were you just at the right place and right time?

I had decided to hitchhike to a Max Creek concert whilst in high school, but managed to get a ride on the way there, so I arrived 5 hours early. I happened to sit myself down in a sunny spot that I didn’t know was the loading dock for the venue, when a huge truck pulled in unexpectedly that was full of the band’s equipment. Since I had just been sitting there waiting for the show to start, I offered to help out the crew, and got to see how a live production was set up. They gave me a stage pass and I got to see the whole show from the side of the stage, much to the surprise of my friends who were in the audience.

After the show, the band told me that they were headed to New York, which is where I was from, so they took me with them and we did that show as well. Following that, they said “When we do any future shows, if you want to come early and help with the set up, you’re welcome to do that“. So I would spend hours of my high school years driving to shows to help them out.

After having gained more experience with working at live shows, I moved to California at 17, with $200 in my pocket. Since I had roadie experience at that point, I would ask the reggae bands in Santa Cruz if they needed any roadie help. Most of them said “maybe“, until I asked a friend of mine who was a live sound engineer for a reggae band if they need help and he said “Yeah, tomorrow“. So I started gigging with them as a roadie, until 6 weeks later my friend left his job, and made me the new engineer. It was a serious thing for me because my friend hadn’t told the band that he was leaving. He brought it up the day before he left because he knew they would flip out. So I had to learn everything about live sound in that 6-week period. That’s why I don’t buy it when young people today say that they don’t have the time to learn how to do technical things. I already know it’s possible if you really want it. Anyway, the band was obviously nervous about having the roadie kid who had been pushing equipment take over sound duties. In reggae music, the sound engineer is like a band member because using reverb, delay and EQ to tailor the final sound for the audience is a part of his job. But I managed to do my first Sacramento show without any problems. The band even had their friends in the audience listening to my mix to see if I could pull it off, and they were surprised at how well it sounded. They even said I mixed bigger than the last engineer. So from there I did a lot of shows with them for the next 3 years, and started getting paid for it.

Why did the band feel like your live mixes sounded bigger than their previous engineer’s?

Because I wasn’t afraid of emphasizing bass, and I wasn’t timid about using the effects on the board. I found that using reverb on the snare and delays on vocals to be exciting.

For live sound, I’m all about analog sound boards because you have all the auxiliary channels in front of you. With digital mixers you have to find where the banks are and press twice as many buttons, and I never liked that because my hands need to be able to move quickly. So in the studio, I don’t have any mixing boards, but for live sound, which I don’t work with anymore, I preferred analog boards.

(…More) click here to read full interview