Beginning with piano lessons at the age of six before moving into percussion, Sergio Peiró’s subsequent career in music production has brought him to Pentasonic Studios in Valencia, Spain, his dream studio.
The facility comprises three recording rooms with sufficient space and flexibility to accommodate a wide range of projects. Recently equipped with PSI Audio loudspeakers and subwoofers, the control room is centred on an Avid Icon controller and Pro Tools, accompanied by racks analogue outboard. Beyond the music production facilities, Pentasonic has a lot else to offer – including a swimming pool…
‘I’ve always been obsessed with the idea that the studio has to be a comfortable place that encourages creativity with rest areas, outdoor spaces, and yes, the pool, too,’ Peiró explains. ‘Although, honestly, we don’t use the pool much. There’s usually not enough free time during recording sessions for that long-awaited dip.’
Even without the swimming, however, the terrace has its purpose: ‘Being able to step out, get some fresh air and disconnect is fabulous. There are also spaces for meals. When I have time, I like to cook typical Valencian dishes like paella. That dish in particular culturally brings people and friends together.’
Peiró’s first studio was in his parents’ garage. He then trained with and learned from producers and engineers including Caco Refojo, Oscar Vinader, Chris Lord-Alge, Manuel Tomas, Lulo Perez and Rafa Sardina.
This experience gave me the ability and confidence to literally tear down the studio that I had, and to build the dream of my life, Pentasonic Studios.’
It was no small undertaking: ‘It was absolute madness in terms of design, wiring, and execution,’ he says. ‘My acoustic engineer, Imar Sanmartí from Acousthink, did impeccable work. I handled the management and coordination of all the other companies involved in the project, as well as all the design and installation of audio, electrical, video and data wiring in the studio.’ A lot of work that paid off – the studio is beautiful and sounds great.’
On working practice he says: ‘If I can’t hear it, I can’t equalise it. It may seem like a cliché, but now that I have this workspace I realise how important acoustics and good speakers are. A good listening set-up helps determine if the mic position needs to be changed, or the mic itself. No need to imagine what the result will sound like in the end.’
After some extensive testing, Peiró chose PSI Audio A25-M as his monitors: ‘First, the speakers don’t cause auditory fatigue in long recording, mixing or mastering sessions. Second, they offer the flat response even at low sound pressure levels, a fundamental aspect if we want to take care of our ears. Finally, the definition in the musical elements lower in the mix is astonishing.’
Gone are the days when cross-listening on other systems was a necessary step in the creative process. ‘It was impossible to make a proper judgment. Once I left the studio and listened on my AirPods or in the car, I wanted to go back to the studio to make changes. I had to watch peak meters to know if I was overdoing the bass or treble. Fortunately, all of that is now history. My ears and I are grateful for it.’
More: www.psiaudio.swiss
