From the heart of southern Venezuela, Francisco “Viper” Díaz transformed technical curiosity into a bridge of knowledge that now crosses borders. His encounter with Marani technology not only redefined the way he works with live audio but also turned him into a reference and a key voice for a growing community throughout Latin America. This is the story of how the precision and power of a DSP can make the difference between an ordinary system and an extraordinary sound experience.
From San Fernando de Apure, in southern Venezuela, Francisco “Viper” Díaz learned to listen before mixing. And through that constant exercise, he built a career that today positions him as a regional reference in live audio, installations, and technical production for broadcasts and audiovisual projects.
“One thing led to another, and vice versa,” he sums up simply. But his story is far from improvised. Although his first contact with technology came from studying computing and networks, the turning point arrived in the early 2000s when he stepped into a local church and understood that the need for technical professionalization was as great as his own vocation. “In 2003 I arrived at a local church and realized that specialized people were needed. I immediately decided to take every distance and in-person course I could during my free time and dedicated myself fully,” he comments.
Since then, his profile has expanded in every direction: FOH mixing, monitors, recordings, radio and television broadcasts, fixed and mobile installations, and sound restorations. “In church, you have to do a little bit of everything — and a lot,” he says. That commitment led him to accompany massive crusades, tour with Christian bands, and take on technical challenges at large-scale events. All without leaving his homeland: “All from here, in the south of the country.”
A persistent search, a revealing discovery
Francisco Díaz’s path toward Marani processors was not linear, but it was inevitable. In his constant search for hybrid solutions that complemented his work with analog systems and limited resources, DSPs became a technical obsession. “I had been using the computer as a tool to complement or improve what I did with analog audio, both for mixing and for the rented audio systems I worked with,” he explains.
Before the pandemic, he was already researching brands, downloading software, analyzing options. But the language barriers, the scarce local presence of certain manufacturers, and the lack of Spanish documentation made him put the topic on pause… until quarantine changed the pace.
“With a lot of free time, I remember and am surprised to notice more information about Marani. I download the programs and, even without having a processor at hand, I immediately realize what I had been missing for so many years.”
The discovery was not only technical but also strategic. When testing a processor from the E series, Francisco became convinced of the brand’s potential. But he didn’t stop there — he became a channel of dissemination. “I decided to make one or two videos in Spanish about the control programs to show a sector of Venezuela the advantages of these processors,” he says. His motivation was clear: until that moment, only videos in Asian languages were available, “and we didn’t understand anything… only what was shown on screen.”
The response came quickly. “To my surprise, the videos were well received and had greater impact, not only in my surroundings but also among several colleagues in other countries.” From that moment on, his connection with Marani became direct: “Gilberto Morejon, Sales Manager for Latin America, contacted me, and he has been a blessing as a channel of information and communication with the brand and all the movement that continues to grow stronger in the region.”
Precision, power, and a new way of listening
For someone who has worked in venues, churches, and tours with all kinds of equipment, the difference does not go unnoticed. Francisco is clear about what Marani processors offered compared to everything he had used before: “The difference is total.”
First, the sound: “For me, I hear it as naturally as the audio that comes in is the one that comes out,” he points out, distancing himself from other DSPs that, in his opinion, color the signal. But the change goes beyond fidelity. “All the available tools are of maximum quality, without loss of signal or processing capacity,” he assures.
And he adds a third key point: user experience. “Everything is visible, everything is at hand, with direct access and immediate response, without interrupting live audio work.”
That level of control and efficiency becomes even greater with one of Marani’s most distinctive technologies: MIR filters. And as a true fan, he doesn’t hide his enthusiasm: “Wow. Regarding the highs and in systems with horns in the mid-highs or upper-mids… simply wow.”
He explains that the difference is noticeable even in older systems that still circulate widely in the Latin American market. “Soon there will be highly revealing videos about the undeniable advantage of implementing them in our beloved point-source systems from the eighties and nineties,” he announces enthusiastically. And adds: “Even in the most modern systems, they offer half the time compared to traditional FIRs, with linear-phase quality versus the lifelong IIR.”
His most striking point comes when talking about NXF filters, another tool integrated in Marani’s latest-generation DSPs: “It’s about resolving systems that once required even considering changing components like midwoofers or drivers. Now, with these filters, there is room for improvement based on the electronics and mathematics of the components you already have.”
In the field, the MIR480i becomes a complete tool. For Francisco, practically all its functions are essential depending on the venue’s conditions. “We can start directly with the AEQ, especially when systems are self-powered or active. There’s already ground covered there.”
That base allows the system to be linearized in speaker mode or adapted to the environment in room mode, depending on the day’s objective. When the system is active but uses external amplification — not necessarily from Marani — flexibility remains intact: “We have the entire crossover arsenal to make the best adjustments,” he assures. At that point, he recommends a duo that, for him, makes the difference: “Working with the FFT that communicates directly with tools like RITA is ideal.”
During a show, every second counts, and according to his experience, Marani processors’ connectivity is one of those silent advantages that make a difference in practice. “Everything in the GUI is visible, at hand, with direct response to the challenges that arise live,” he explains.
Starting with the E series, it is already possible to work with remote, real-time connections with total network stability — something not always available or requiring separate versions in similar-range brands. USB installation is simple, drivers are accessible and up to date, and the entire digital ecosystem — from downloads to firmware — remains active and responsive. “There is real interaction with users. If we suggest improvements or report details, the Marani team takes them into account and seeks solutions.”
From venue to control: how Marani works in the field
For this brand enthusiast, each show is a new sound map to decipher. And when the system is processed with Marani, the route becomes more direct. His workflow starts even before reaching the venue: “Previously, I talk with the owner or person in charge, and between my cabling and theirs, I integrate it into the system.” From there, it’s all about sequence and method. “I adjust input and output gain levels and then proceed with the AEQ as needed.”
If the system is DIY or handcrafted, flexibility becomes key: “It gives me the freedom to adapt not only to the system but also to the event’s audio program.” On the other hand, if it’s a branded system, the adjustments are more specific but just as accessible. Even for broadcast, Díaz trusts the versatility of the MIR480i: “I adjust the multiband DEQ, and in the case of monitoring, the FBK; I go through the process of cleaning stage monitoring by adjusting the pitch shifting.”
And what does he recommend to new users facing a Marani DSP live for the first time?
His advice is simple but crucial: “Just like when you grab a console for the first time — you have to read, take a moment to observe the signal flow on the screen. It’s very simple.” And he concludes with a clear idea: “If there’s a usage criterion for each tool, everything is visible to sound with confidence.”
Precision tricks and contexts where Marani makes the difference
When it comes to operating under pressure, Francisco “Viper” Díaz has more than one proven resource in his toolkit. One of them is the FBK, a function he activates from the plugin insert when he knows the stage will demand it. “Especially when it’s an event with multiple open microphones, different voice qualities, and various microphone types,” he explains.
In Venezuela, conditions sometimes complicate things more than expected: “Here it often happens that performers kneel or crouch with the microphone close to the floor monitors… and our folk music struggles a lot with cupping, that habit of covering the capsule with the hand, which alters everything — sensitivity, polar pattern, and frequency response.” In that scenario, FBK is not a magic solution, but it is a key tool: “It’s a tremendous foundation, it helps the technician in those circumstances.”
His approach, however, goes beyond specific functions. For PA, even without FFT analysis, his principle is order and criteria: “Structuring gain, EQ, and dynamics, I think, is what keeps everything under control to get the most out of any situation.” And if AEQ can be applied, he doesn’t hesitate: “It’s fast, and the difference between a system with and without AEQ becomes more evident among those of us who use it… and we laugh when we compare,” he jokes.
But in what situations does Marani really make the difference? For Díaz, the answer lies in those seemingly impossible scenarios. “There are DIY or even branded systems in venues with very complicated acoustics, where everything requires surgical operation to truly perform,” he asserts. And he sums it up with a phrase that says it all: “You can go from a sound nightmare to a pleasant audio dream with just a few clicks.”
From technical curiosity to his own channel: a story that’s just beginning
Like many Latin American technicians, Francisco “Viper” Díaz began by exploring forums, software, and international brands in search of real solutions for fieldwork. In one of those searches he would leave and resume over the years, he found MARANI. He downloaded the control programs and, even without having a processor in his hands, immediately understood the potential in front of him.
And far from stopping there, his vision now looks forward with clarity and commitment: “I see MARANI increasingly present, more recognized and educating, reaching different user levels across Latin America. It’s a brand that allows us to easily and efficiently answer questions we’ve asked ourselves for a long time. Its acceptance in technical riders keeps growing, and that opens new opportunities for us to work better, with more tools and fewer barriers.”
Thus, what began as technical curiosity ended up opening a path — one where knowledge is shared, and the community grows.
A YouTube channel, yes. But also a human channel of experiences and solutions that today connects Francisco with hundreds of colleagues who, like him, keep seeking the best possible sound. Those who want to follow his work and access his content can visit his YouTube channel: @FVDaudio
In a sector where precision and reliability make the difference between a good result and an unforgettable experience, Marani emerges as a strategic technical ally for those who challenge the limits of sound. Its DSPs not only offer cutting-edge tools but also reconfigure the way professionals approach each system, each space, and each show. For Francisco “Viper” Díaz, this technology became language, method, and bridge — between curiosity and knowledge, between theory and the stage. A bridge that today, through his YouTube channel, continues inspiring an entire generation of Latin American technicians to listen — and work — differently.
