'Colombia has a cultural movement that few countries can match.'

If you've ever belted out a Morat concert, danced to the rhythms of Yatra, or thrilled to a festival in Bogotá, there's someone behind the perfect sound you probably didn't see, but you did hear: Johans Díaz. A sound engineer and entrepreneur, he's spent over two decades fine-tuning every detail so artists can shine on stage. The truth is that behind every note lies 22 years of experience, 2,000 shows, and a passion that began in high school.

Today, Díaz has not only worked with some of the most recognized names in Latin music, but has also consolidated his own company, Mediacoustix, with which he produces tours inside and outside the country .

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How did you get to where you are today?

Since I was a child, I was passionate about everything related to events. In school, I started my first company, creating mini-clubs, sweet 15s, proms, etc. Later, I studied sound engineering, and during that process, I met people in the industry and began to develop my skills as a live sound engineer. Before finishing my degree, I began working with Morat, Sebastián Yatra, Cali, and El Dandee, among other artists. During that time, I also had the opportunity to work with Mojito Lite live as a technical producer, sound engineer, and recording engineer on two of their albums. One of them was nominated for a Grammy, so I was also nominated for being part of that recording. I've been in the industry for 22 years, 12 years as a sound engineer, and we're celebrating 2,000 shows where I've participated, or my company, Mediacoustix, has been involved in the technical production of those artists.

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How is the company consolidated?

Starting in 2017, we were very busy, averaging 120 shows per year; today, we're at 100. I couldn't keep up, so in 2019, I decided to formalize the company. We offer technical personnel services for artists. We have a well-established team of professionals in every area: video, lighting, cameras, sound, monitors, the room, technical production, and tour managers. We offer complete solutions tailored to the client's needs. We strive for this so that artists can develop their tour or concert in a professional manner.

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Which artists have you worked with?

I've worked with artists like Morat, Sebastián Yatra, Jowell & Randy, Beéle, and Mojito Lite. We're currently touring with Omar Courtz and Beéle. Last year we toured with Tokisha, Lunay, and others. We've also been working with Alejandro González, from Bonka, for 10 years, and this year we're doing a Movistar Arena. These artists have become almost like friends with a very long working relationship. We've been in different venues, countries, and contexts, which inevitably lead to closer ties.

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What is the importance of the sound engineer?

It's just as important as the singer having a singing voice; that's exactly what it is. I've been to concerts where many people don't believe me when I say the artist has no voice, that they can't sing. We have a team behind us that ensures that this is perfect and minimizes the risk as much as possible. Our goal is to ensure that our artist always shines much brighter than they could possibly give at that moment.

How are you seeing the development of events in Colombia?

The movement in Colombia, not just Bogotá, is enormous, so much so that it's hard to find it anywhere else. We have a vast cultural offering for all audiences. For example, Bogotá has a very specific characteristic: the city isn't just for vallenato, because there are people from all over the country. If you do vallenato, it works; if it becomes popular, it works. The greatest example of this is that an event as rolo as Bonka at the Movistar Arena, a group that ended 20 years ago, sells out and opens a second date. That speaks precisely to the audience's capacity to consume all genres. The important thing here is the curation and what's offered. What's happening here in Colombia is impressive; it doesn't happen anywhere else.

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Is it a profitable business?

Yes. The industry moves too much money; the figures are astronomical. Recently, news broke about how much money Bad Bunny moved in Puerto Rico, which is a very small island next to a country like Colombia, and basically during those times, he moved a significant percentage of the GDP. What Bad Bunny just did there, we've been doing here for a long time. I had clients like Hombres a la Plancha and Mujeres a la Plancha from the National Theater; each of those projects alone moves more than 100 concerts a year. I worked with them for five years, and they're still going strong and still generating the same amount of traffic. That speaks volumes for the country's economy, the cultural offerings, and what's happening. The fact that it's achieved this way speaks volumes for the economic side of our industry.

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How do you see the rise of festivals in the country?

In Colombia, these types of events are starting to gain a lot of traction. The work Páramo has done at festivals like Estéreo Picnic and Cordillera has been spectacular. When they started, they showed the lineup and ticket prices, making it difficult for people to switch. That's why their numbers were negative in the first few years, but managing to sustain the product over time and reaching a three- or four-day festival with a lineup worth millions of dollars is impressive. I feel like part of the Colombian economy hasn't realized the importance and relevance of the cultural offering, and especially of companies like them that have helped grow this industry. There's nothing to envy from a festival abroad; we're in a very good position.

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What is your company's balance sheet?

Today, Media Acoustics is established in the United States and Colombia. The entire country is managed from here, and the rest of the world from the U.S. In Colombia, we have an annual turnover of around $480 million, with an average of 90 to 100 shows per year. We currently have local clients like V de Vinilo, Alejandro González, and rotating artists who travel throughout the year. In the United States, we're making around $90,000 a year, because only the summer and end-of-year seasons are active. From June to August, we're working very hard in Europe with various artists.

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What message would you give to those sound engineers who are training today?

If your goal is to continue working independently, which is the case for most people, it's very important to learn about business, finance, and accounting, and to have a good accountant to guide you so you don't make mistakes. This is essential to leveraging a business and ensuring its sustainability over time, especially in this industry.

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DIANA K. RODRÍGUEZ T.Portfolio Journalist