After many years of working in the field of ​​monitors, it is evident that Prowda has experienced momentous changes in technology: the change from analog to digital, from floor monitors to personal monitors, and others. “I simply embraced technology. I tried to evolve with it. A long time ago I realized how monitoring was going to progress and I evolved with the technology. It was about making a good sound and a good mix and giving the band something nice to listen to. I feel that the floor monitors were, and in fact still are, a kind of guessing game, because although sometimes it can go very well and I can do a good mix, there are other times in which I simply have no idea how it might sound for the musicians. It’s true that one can use aids to know the balance of each instrument in general, but when you are not in the middle of the stage, it’s impossible to know exactly how everything sounds.”

Most monitor engineers working at this level emphasize the importance of the relationship they build with musicians, precisely because of the closeness of their work to one another. Prowda comments, “The relationship we have established is really great. Off the stage we rarely talk about work, it’s more about joking and talking about other things, but I’m convinced that helps a lot with what we do concert after concert. If you are not able to establish that kind of relationship, your work will probably be affected.” For Prowda, Avid is not new. In fact, like Jim, he has been working with Avid since 2005, but he confesses to being impressed by the performance of the S6L system. “The preamplifiers are really advanced, which makes it a pleasure to listen to. On the other hand, I agree with Jim about the plug-ins. In 2005 everything was plug-ins, now I think the trend has shifted more towards what the console itself has to offer. Of course I use them, but to a lesser extent.”