“I was always that kid recording my voice and layering sounds on tape,” he recalls. “By the time I hit secondary school, I was already hooked, learning piano, DJing, buying records.” He rode the first wave of electronic music in the UK, with early influences ranging from the raw intensity of acid house to the transformative experience of hearing Jean-Michel Jarre’s Oxygène on the radio.

 

 
Today, Ramirez balances creative and commercial work from his custom-built home studio. “It’s a hybrid setup, great acoustics, top of the line monitoring, and a clean, simple signal path. It’s a space that helps me focus, whether I’m producing, mixing, writing, or mentoring.” That simplicity is deliberate. “In this industry, gear can become a distraction. But I’ve learned to trust my ears and choose the tools that make things easier, not harder.”

 

 
One of those tools is his Prism Sound converter. “I remember the first time I heard Prism Sound, it was a mastering session at Wired Masters, and I just thought, that’s it. No colouration, no hype, just incredibly detailed, transparent sound. Since then, I’ve always wanted that kind of clarity in my own space.”
 
He finally got his wish. “I now use Prism Sound as the heart of my studio because I need absolute confidence that what I’m hearing is accurate, otherwise I can’t trust the decisions I’m making The conversion is so clean that it actually makes my other gear sound better.”

 

 
Asked if he has a favourite studio moment, he laughs. “Too many. But one that stands out was an immersive mix where everything just locked in, you felt like you were inside the track. That’s the kind of experience I want to keep creating.”
 

 
 

Ramirez is currently working on a series of new electronic releases, while continuing to mentor artists and engineers through his online platform. “For me, it’s all about helping people develop their own voice. The gear should serve the idea, not the other way around.”