Audeze Artist Profile: Producer Guilhem "Pone" Gallart

Audeze Artist Profile

Producer Guilhem "Pone" Gallart

Pone is a multi-platinum French producer and engineer whose given name is Guilhem Gallart. Pone is best known for being the producer of his group "Fonky Family", and numerous hits for other artists, including "113", "Diam's" and "Rohff."

"What I find today with the Audeze MM-500 is the precision and quality of the high-end monitors that I used in the past."

- Guilhem "Pone" Gallart

In His Own Words

"Today I have the particularity of being affected by ALS (Amyotrophic Lateral Sclerosis). But that doesn't mean I stopped music. I work with the eyes via an eye tracking device and in 2019 I released the world's first album entirely composed, produced and mixed with the eyes: "Kate & Me." I am also the boss of a music label which produces young artists from Marseille. People tell me that I give a lot of hope by doing everything I do from my bed (I am totally paralyzed, mute, and on heavy respiratory assistance). Helping people today is an immense source of pride, everything is possible."

Notable Works by Pone

Can you pick out any highlights from your work that you're particularly proud of?

I'm not very comfortable talking about myself, especially when it comes to recounting my exploits. But I can't forget our first two albums with my group which were resounding successes, accompanied by New York engineer Mario Rodriguez (The Notorious B.I.G, Mobb Deep, Mary J Blige....) and the gigantic tours which followed. From the “Stade de France” in front of 80,000 spectators, to the Olympic stadium in Montreal. Since I became ill and my condition became stable in 2017, I have taken on projects with the enthusiasm of a teenager. Like the music for the arrival of the Olympic flame between Tokyo and Paris.

My musical work in tribute to my friend Kate Bush: The Guardian

All these events had a worldwide impact with articles in Tokyo, in the New York Times, and of course, in France, on the largest television channel in Europe: The New York Times

The media Brut X devoted a report to me: Brut Media which we are currently discussing a film adaptation of the autobiography that I published in the spring.

How would you define your main role on most of the projects you work on these days?

I would say that first and foremost, I am a producer. Even though I am very involted in mixing and mastering, it must be said that I went to a good school with legendary engineers such as Mario Rodriguez, Chris Gehringer or Tom Coyne.

How did you get started in music?

What kind of music did you listen to while growing up and how has that progressed?

I have to admit that I almost started making music by accident. Like all kids who grew up in the 80s, I listened to pop. Then I had a revelation when I discovered Run DMC. Years later, a friend who had bought a Roland W30 workstation without knowing how to use it asked me to help him understand this machine. I haven't left music since.

Can you name any factors that influenced the course of your musical life?

Heroes, role models, moments, interactions, etc?

Above all, I was influenced by US rap artists in the 90s. More particularly 5 albums. “The Low End Theory” by A Tribe Called Quest, “The Infamous” by Mobb Deep, “Enter the 36 Chambers” by Wu Tang Clan, “Mecca and the Soul Brothers” by Pete Rock & CL Smooth, and of course, incredible "The Chronic" by Dr Dre. Subsequently, I was inevitably influenced by the meeting with the members of my group.

Can you briefly describe a moment of frustration from your past work, and what you may have done to overcome the obstacles?

Would you approach it differently now?

I've never really had any frustration in my career. I consider myself a lucky and privileged artist. I don't know how to play any instrument, I don't know how to read music theory, and yet I have a great career when I think about it. On the other hand, following the illness, I had a lot of difficulty making music again. Besides, at the start, I didn't even think about it, ALS is a tsunami. Then I thought it wasn't possible. And one day I tried. And I realized that it was possible, with a lot of patience but possible. That’s good, the illness made me a black belt in patience. :)

Is there any gear you find yourself turning to most when working on a project?

What are some of your favorite tools/instruments recently?

I don't really have a choice from my bed. I have 3 headphones, Ableton Live with a million plugins, and a Cabasse sound system in the bedroom. But I'm not complaining, it suits me very well.

Do you have any words of wisdom for people who might aspire toward a similar path for their own careers?

Let's say that I don't wish them exactly the same journey that I had :) The illness remains a difficult stage. But I am happy despite everything and even if I am not very good at advice, I will say that everything is possible, despite the prognoses and the diagnoses.

How long have you been working with headphones, and how do you typically use them in your workflow?

I have no choice but to work with headphones all the time. But I like it, it allows me to create a bubble of concentration.

How have your Audeze headphones affected your work?

Can you tell us what you've been working on with them recently?

First of all, I should point out that I have worked with high-end monitors for around twenty years, both at home and in world-class studios. Then, in 2015, ALS invited itself into my life. After a difficult period, I tried to make music again, thanks to eye tracking. But being permanently lying down, I had no choice but to work with headphones. What I find today with the Audeze MM-500 is the precision and quality of the high-end monitors that I used in the past. Like many producers, I am very attached to surrounding myself with the best possible equipment. But no more tons of hardware, I only have a big computer, Ableton Live, hundreds of plugins, my ears... and the Audeze MM-500. I'm on top. Right now, I'm working on my 4th album since I got sick.