For over four decades, Fernando Díaz has turned his passion for sound into a masterpiece that echoes across stages worldwide. In this intimate conversation, he unveils the secrets behind his success, the challenges he overcame, and the experiences that shaped him into a legend in professional audio.
In the peaceful city of Palencia, Spain, the passion for sound was awakened early in the life of Fernando Díaz Martínez. From his earliest years, the murmur of a valve radio ignited a fascination in him that would only grow over time.
What began as a childhood curiosity was transformed into a passionate career, full of experimentation, creativity and dedication.
This is the story of how a young Spaniard, a fan of Real Madrid, went from listening to the nuances of sound in his home to becoming a leading figure in the world of professional audio.
Fernando Díaz Martínez, born on July 26, 1961 in a quiet city in the autonomous community of Castilla y León, remembers his childhood with great clarity and recognizes how it influenced his professional future. From a young age, his passion for electronics and sound began to take shape naturally. “I remember that my grandfather had a Philips valve radio at home, where I lived for several years, and I was passionate about listening to it and feeling the bass, the ‘thickness’ of the announcers’ voices,” says Fernando, recalling the fascination he felt for that device.
However, his interest in sound equipment did not stop there. He saved up everything he could to buy his first radio receiver construction kit, and he still remembers that experience: “The excitement I felt when I put the battery in and saw that it worked was indescribable.”
Later, already in school, he began to experiment with the voice equipment. Thanks to his curiosity and in exchange for taking care of it and helping at school events, he could use it on weekends for his own experiments.
His attraction to this world was such that, together with some friends, he formed a music band with the aim of learning to mix. He even went so far as to make his own equipment. “I made some huge, horrible boxes, but they allowed us to do amateur concerts,” he says with a laugh, remembering those first self-taught steps in the world of sound.
At 17, while working and studying, he was able to acquire his first more professional system: an AEQ system, an HH console and some microphones, with which he began to “get experience” towards the end of the 70s. And so, with a mix of passion, curiosity and creativity, Fernando began to pave the way that would lead him to become a reference within this captivating industry.
FAMILY
As his career became established, Fernando Díaz Martínez faced one of the deepest challenges of his professional life: the balance between his family and work on tour. Although his passion for audio and music led him to travel the world, it also separated him from his home, a sacrifice that would not have been possible without the unconditional support of his wife and daughter. “I only have words of gratitude for their love, patience, support and understanding in enduring very long periods of separation, some exceeding three months away from home,” shares Fernando, reflecting both gratitude and admiration.
Times were different when he started in this profession, and long absences were made even harder by the technological limitations of the time. “It is very hard, and even more so in those times when the internet was very rudimentary. There were no apps like Skype, Facetime or Whatsapp, so all contact was reduced to, if lucky, just a few words on the phone weekly,” he explains, remembering how the distance seemed endless. Life on tour was intense, and managing the balance between his passion for music and family responsibility was not easy.
Despite everything, Fernando has always felt the unwavering support of his family, who not only understood the nature of his work, but accompanied him silently and constantly. “I wouldn’t be able to find an adjective that would define my gratitude for both of them,” he confesses, and the crucial role that his wife and daughter played in his success meant that although physical distance was sometimes inevitable, the emotional bond remained unbreakable.
ROOTS
Fernando Díaz Martínez’s Spanish roots have been a fundamental influence on his career, and his passion for quality music has been the guiding thread of his professional life. Although he does not have a clear preference for a particular style, Fernando grew up listening to the best of national music, especially during the 80s, in the midst of the “movida madrileña”. “I was always a fan of quality music,” he says, mentioning iconic Spanish bands like Pegasus, Triana, Guadalquivir and Alameda, who defined an era and deeply marked his love of rock and fusion.
Although he also found favorite sounds in international music, especially symphonic rock and jazz fusion. Legendary names like Genesis, Yes, Supertramp, Queen and Pink Floyd became a critical influence. ucial: “Symphonic rock, along with early high-level pop bands like Level 42 or Mezzoforte, always fascinated me,” says Fernando, adding that he was also captivated by North American jazz fusion by bands like Steely Dan, Donald Fagen and Weather Report, as well as classical music, Latin jazz and Brazilian fusion. “I think the common point is based on the quality of their recordings, which are still a reference for me today, especially when I compare the purity of analog recordings with today’s digital technology.”
At a time when technology and access to information were not just a click away, Fernando Díaz Martínez had to forge his way in the sound industry through perseverance and dedication. To keep up to date in a field as changing as professional sound, he turned to an experimental methodology. “It was based on a lot of practice, a lot of trial and error, a lot of experimenting, a lot of improvising, many sleepless hours in the adventure of learning by myself. Access to resources was limited, so I looked for specialized publications in the United Kingdom, France, Germany and other nearby countries, to expand my knowledge. What I observed and experienced day by day, I complemented with any material I could find.”
Although Fernando describes himself as self-taught, he recognizes the value of education: “Any training is essential, as it helps with understanding texts, interpreting computer programs (especially in the last decade) and becoming fluent in formulations. Unfortunately, in my time there was no engineering degree like there is today,” he says.
Since he was 17, he had been working as a sound professional, which made it almost impossible to dedicate time to formal training. “It was very difficult to combine both activities,” he admits.
Although he was not able to pursue a formal degree in sound engineering, Fernando considers that the years he was immersed in intensive work were crucial to his professional development. “I really couldn’t tell you if having done the degree then would have improved my progress, I don’t think so because those years were the most intense on a professional level that I remember,” he says, adding: “The experience accumulated during that time, working on more than 200-250 shows a year, allowed me to acquire a deep and practical knowledge of the field, something that, in my case, turned out to be more valuable than any academic training.”
Fernando details a fundamental milestone in his path: “My (very crazy) emigration to Madrid, and each of the decisions I have made, which fortunately the vast majority of In my opinion, they have been quite successful.” Without a doubt, the ability to adapt to changing circumstances played an essential role in his career, consolidating him as one of the most outstanding professionals in his field.
BEGINNINGS
Fernando Díaz Martínez’s beginnings in the audio industry were as bold as they were unexpected. After acquiring his first equipment with considerable effort, he embarked on an adventure that would change his life. “When I acquired that first little piece of equipment, I moved from Valladolid to Madrid in 1979,” recalls Fernando, and says: “It was in Madrid where, thanks to a contact from a colleague, I had the opportunity to speak with Oscar Astruga, drummer of the band Suburbano, known for their work with renowned artists such as Joaquín Sabina and Luis Eduardo Aute. The same night I arrived in the capital of Spain, they offered me the job of doing the sound for their concert the following day, and despite my inexperience, I accepted the challenge with overwhelming enthusiasm.” And it was a success, and it wasn’t long before he was hired on a permanent basis.
His talent did not go unnoticed. The first major audio company in Spain, Ptolomeo, and later Berenice, noticed his potential: “I was hired as an audio engineer for more than 12 years,” shares Fernando, noting that the demand for sound technicians exceeded the supply: “I found myself immersed in a whirlwind of work, alternating between 8 and 10 different artists a month and facing work days that sometimes included up to three events in a single day.”
At the end of the 80s, Fernando received a call that would mark a major turning point. Ana Belén and Víctor Manuel, two of the most famous artists in Spain, offered him the opportunity to tour America and Europe. This period allowed him to work with big names such as Miguel Ríos, Joaquín Sabina, Miguel Bosé and Joan Manuel Serrat, expanding his experience and visibility on the international stage.
In 1995, Díaz Martínez founded SONNANDO, marking a new chapter in his career. Wanting to expand his horizons, he decided to become a freelancer in 1991 and set up his own company, where he offers a range of services covering three main areas: consulting and design, recording and mixing live and in the studio, and, most requested, live mixing engineering.
The next big milestone came with a call from Julio Iglesias. “My leap into the world market was consolidated with the very long Tango Tour, which took me across five continents,” reveals Fernando.
This experience allowed him to be part of a select group of audio engineers from around the world and significantly expand his knowledge and skills. “After that, Alejandro Sanz arrived, with whom we have been on the road together for 25 years now.”
As FOH engineer for Alejandro Sanz, Fernando has had the opportunity to perfect his technique in the context of large productions. “They are all different and I could say a thousand things about each one of them because I am one of those who thinks that you learn from EVERYTHING and EVERYONE, both the good and the bad,” reflects Fernando.
And he especially highlights his work at jazz festivals, such as those in Vitoria and San Sebastián, which he considers key moments in his career. “For me, practically all current genres come from the roots of Jazz,” he comments, emphasizing how these events have allowed him to work with legends such as Al Jarreau, Miles Davis, Jaco Pastorius and many others. “I have had the privilege of mixing artists and bands of the stature of Oscar Peterson, Sonny Rollins, Ron Carter, Weather Report, Ella Fitzgerald, Sarah Vaughan, Paco de Lucía, Herbie Hancock, Steve Winwood, Bobby McFerrin, Richard Bona, Chick Corea, BB King, Dr. John,” Fernando lists with pride.
Each of these encounters has enriched his training: “A large part of my techniques and tastes come from their immense musical quality, where I have learned to listen to and respect their instruments to apply it in all my productions,” he confesses.
Working with Alejandro Sanz for almost 25 years has been, for Fernando Díaz Martínez, both an honor and a privilege. “Not only because he is musically passionate and his innumerable collection of Grammy awards confirm this,” says Fernando, “but also because he is an artist who cares in an exquisite way about the quality of his musicians, the parity (currently there are 5 girls and 5 boys in the band) and the perfection of the sound. The demand is high but I have the greatest freedom to develop my profession.”
CURRENT
The philosophy of “less is more” is a fundamental principle for him, this maxim is both a motto and a work guide in the world of sound. “The expression defines itself, and it is my basis since I began to travel through this wonderful world.”
And he has this in mind when he observes young mixers who, when trying to perfect the initial balance, tend to overload the mix. “They add an instrument that perhaps needs that little push, but at the moment they feel that the first good mix is unbalanced and they add other elements, reaching a point of noise and lack of control that is difficult to solve” he analyzes.
Fernando prefers mixes to have air, “headroom“, which sometimes, in order for an instrument to stand out, it is better to reduce or accommodate the rest, giving it its natural space. “I like mixes to have natural dynamics,” says Fernando. “Obviously there are many current techniques, especially digital plugins such as compressors, which for me destroy more than help since they alter the real sound that the musician provides. The key is in the delicate use of these tools, avoiding abuse that can deteriorate the authenticity of the original sound.”
As in every industry, there is a separate paragraph for human relations. “That they care as I do about the entire process is what I expect from a team, that they make the project their own whatever their responsibility in the show. If there is something that worries me most in my productions it is the configuration of the staff, far above the equipment,” says Fernando, while warning: “It is important that the team understands that they are representing an artist or event, and that their performance leaves a significant mark. A single member of the team with complicated or conflicting social skills can negatively affect the whole.”
But there is also room for personal reflection: “The qualities necessary for a sound engineer in charge of the FOH are without a doubt patience, education, honesty and love for the profession. The technical part, I increasingly realise, is behind the human part.” This perspective undoubtedly reflects his belief that success in the world of sound is not only technical skills, but also the ability to work harmoniously with others.
DAY TO DAY
When Fernando Díaz approaches sound design, his main concern is to guarantee a homogeneous quality throughout the venue. “The distribution of sound is fundamental, for those in the front row or the furthest back in the stands” explains Fernando. And as for the essential equipment and brands in his technical rider, he maintains and a flexible attitude. “I believe that there is no bad equipment, only inexperienced technicians (no offense intended)” he emphasizes with a smile.
However, he mentions some products that he considers essential. “If I have to name a few devices, I love the Avalon 747, which I use inserted in the general master, or the TC 6000, which I have yet to find a more subtle reverb effect than it.” He also highlights his preference for Digico consoles. “I was a pioneer and almost a ‘lab guinea pig’ and today they are essential for me,” he reveals.
His choice of equipment reflects his constant search for tools that allow him to offer the best possible sound, while maintaining an open mind towards new technologies and methods. Fernando approaches the integration of analogue and digital equipment with a balanced perspective. “Of course, I don’t actually like my entire environment to be digital… Analogue is the real thing, what you breathe, what you see and hear, and digital is an incredible approximation of this world, but that’s it, a very precise approximation.”
For Fernando, there is nothing like the adrenaline of live sound: “I always live, or at most, live concert mixes in the studio. “I really enjoy the adrenaline and immediacy of a live show,” he confesses.
But his beliefs about mixing leave no room for improvisation. He emphasizes the importance of highlighting the main instrument: “I make the main instrument prevail and that’s where I concentrate all the energy to enhance it. Normally it’s the voice, so it’s the one that rules and the one with which you have to start building and then the rest of the furniture in the house.”
And although mixing is sometimes a slow task, he tries to do it with a minimalist approach: “I think that the purer the mix is, the more authentic it is, so I ‘perfume’ just enough with 3-4 types of hall-type reverberation with different times for voices, choirs, brass, guitars and percussion.” And he confidently expands: “Anyone who has seen me mix will agree that I hardly touch the EQ. I try to filter out with high-pass all the dirt that the microphones can pick up and that is not interesting, for example, below 100Hz few things generate it except a kick drum, bass or keyboard… and for the brights the same technique: for example, a chaston sounds better filtered at 500-600 Hz than boosting in the high zone, which is generating more dirt.”
The combination of a conservative approach to effects and equalization with meticulous attention to the authenticity of the sound reinforces his commitment to quality in every performance.
THE INDUSTRY
The current trend of separating the work between a PA technician and a mixing technician has become increasingly common, especially on large tours with stadium or arena audiences.
“A systems technician is an incredible help,” confirms Fernando.
He points out that in these scenarios, a meticulous distribution and control of numerous clusters and sound sources is required, which not only involves taking precise measurements, but also interpreting and applying the data in a way that adapts to the show, “and if you are also lucky enough to have a technician who knows your way of mixing, your tastes and ‘quirks’, the result is great, four ears are better than two.”
Fernando firmly maintains that the technical level of Spanish speakers in the audio industry is outstanding, “I have been preaching this for years. I firmly believe that we are the best in the world because of our way of being, our ability to improvise and the need to bring shows to a successful conclusion.” Although he recognizes the rigor of Saxon standards, he believes that, “we come from another school in which there has always been a fight to get the jobs done no matter what.”
But Fernando is a world professional, and has found inspiration in the North American industry, admiring its maturity and professionalism. “They have been here longer than us, more professionalized and even unionized. The protection of the worker there is a maximum in terms of security, salaries, coverage, etc. Although that does not indicate that they sound better, they are clearly better organized than we are.”
But if there is something that is globalized today, it is the advances in the audio industry, and Fernando is not oblivious to the changes, “Everything changed a lot, in fact those of us who came from the analog world had to reconvert and adapt to the new world. Some fell by the wayside, but those of us who continue forward are responsible for keeping that technology alive, which continues to be crucial to understanding and teaching modern audio. In addition, I am greatly surprised by the “beam steering” technology, such as that developed by the German manufacturer Fohhn. This technology is taking sound to another dimension, improving every aspect of current line array systems, which in my opinion have already reached their ceiling. It is comparable or superior to the change we experienced when moving from one place to another from conventional trapezoidal equipment to in-line technology many years ago.”
He knows well that everything evolves, but he does not dare to venture a premonition about the future of technologies: “As my career progresses, I feel that although I have had the privilege of dedicating myself to what I like most, the future of the professional audio industry presents great questions. I don’t know if it’s by luck or misfortune, but I’m already 63 years old, and although I look healthy and fit, and I think I still have my hearing, maybe I have a few more years left in the profession, but I couldn’t tell you where this is going today,” he reflects.
The industry is constantly changing, and one of the most obvious changes is the growing concern about environmental and acoustic impact.
“I see that sound pressures are being limited more and more, we are moving towards a ‘greener’ culture, less polluting even in acoustic terms,” he says, adding: “The new generations of professionals will have to adapt to this trend, looking for techniques and procedures that align with a more sustainable vision of sound. At the same time, the dizzying pace at which technology advances and the demand for complete sensory experiences suggests a future full of immersive shows, such as what is being seen with the innovative Sphere in Las Vegas. There will be a tendency towards more sophisticated shows in which more senses are attended to.”
FUTURE
In an unexpected change of pace, the experienced sound engineer is enjoying a longer period of rest: “For the first time in my life I can rest for a longer period than usual. I have been touring and doing shows for almost 45 years almost uninterruptedly so a little break will be great for me.”
The last tour with Alejandro Sanz, which was extended due to the pandemic, was extended for almost four years, a challenge that led the professional to decline an attractive offer from Luis Miguel.
“This last tour by Alejandro Sanz, and due to the damn pandemic that did so much damage to our profession, became two in a row so it was extended by almost four years… So much so that I received a very tempting offer from the Mexican artist Luis Miguel and unfortunately between commitments and accumulated fatigue I finally decided not to do it.”
However, the future is full of new projects. Soon, he will begin working on the design of Sanz’s new world tour and is also considering returning to the teaching field, sharing his experience with the new generations. “I had an experience years ago and it was very positive. I have seen that people are very grateful for this type of initiative.”
With a message of encouragement for young people in the industry, Fernando concludes: “From here I encourage all the new generations to take this job very seriously, which despite being tiring, sacrificial and sometimes thankless, brings you a lot of satisfaction and stimulates your artistic ability by offering you a lifestyle full of sensations.”
He says goodbye to this incredible talk with a “sounding” hug, a reflection of a profession that is in his blood and that has defined each of the years of his career. His cheerful and tenacious personality is a true Spanish hallmark, and makes it clear that the art of sound is not only his job, but a deep-rooted
