November 5th 2025: For composer, producer and audio preservationist David Hadzis, a lifelong passion for music turned into a mission to protect it.
From saving discarded master tapes to restoring the sonic legacies of legendary artists, his journey has been defined by one thing above all, respect — for the music, the artist, and the history behind every note.
“I wrote my first song at 14,” Hadzis says, “and I was hooked. That early curiosity led me to work briefly as a recording artist, where I had the chance to collaborate with Bernard Estardy and learn from the artist’s side of the glass.”
But it was a conversation with Claude Nobs, founder of the Montreux Jazz Festival, that became the turning point. Nobs introduced him to a collection of Petula Clark master tapes on the verge of being discarded. “I managed to save them, and the process of restoring them became my first hands-on experience with audio preservation. It taught me that this work isn’t just technical, it’s historical, and deeply human,” Hadzis reflects.
Today, through his work as Project Manager for the United Music Foundation – a Geneva-based non-profit dedicated to preserving and restoring endangered recorded musical heritage – Hadzis focuses on restoration, mastering, consulting, and preserving endangered recordings. “A lot of the material I handle is decaying magnetic tape. You have to approach it like a conservator, stabilising, restoring, sometimes even reformulating how to get playback safely,” he explains.
His workspace is a purpose-built control room, acoustically tuned and optimised for mastering and archival transfers. “Originally my flat’s living room, it was always intended to become a studio. I live and work in the same space, which gives me the freedom to dive deep into long, uninterrupted sessions, especially valuable when handling fragile media,” Hadzis says.
At the heart of the studio is a Prism Sound Dream ADA, replacing his long-trusted ADA-8XR, alongside PSI A25M monitors and a collection of fully serviced analog machines. “Whether I’m working with ¼-inch mono reels or multitrack formats, I need gear I can rely on, equipment that doesn’t colour the material but reveals it,” he notes.
Hadzis’ relationship with Prism Sound goes back decades. “The first time I heard a Prism Sound AD-2, I was working on Petula Clark reissues in Paris. I still remember the clarity and openness of the sound. That impression stayed with me, and when it came time to build my own studio, there was no question, Prism Sound would be at the centre.”
One key upgrade is the installation of a 24-track analog machine. “I need to integrate a large number of channels without sacrificing quality. The Dream ADA has solved the entire problem, giving me a scalable, unified system that handles both analog and digital I/O, all with the sonic integrity I depend on,” Hadzis explains.
Over the years, his perspective on sound has evolved. “I’ve moved away from embellishment. I now listen for truth, for emotional clarity. Especially with archival work, you realise the importance of patience. You don’t force the sound, you reveal it,” Hadzis reflects.
Among the many highlights of his career, a session with Charles Aznavour stands out. “I was sick with bronchitis and a 40°C fever, barely able to stand, but I knew I couldn’t cancel. I set up the mic in stages between naps. The moment Aznavour walked in, I snapped into gear. He delivered three perfect takes. It was unforgettable.”
Looking ahead, Hadzis is excited to continue leading preservation work through the United Music Foundation and to explore more classical recordings. “There’s a real depth to the repertoire, emotionally and sonically. It requires a different kind of attention, which I’m enjoying.”
Ultimately, his work is about connection. “Whether I’m rescuing forgotten performances or shaping new ones, my goal is always the same, to preserve the integrity of the music and help it reach people, now and in the future.”
