Artists and music scene professionals who had experienced Sonic State, a recording haven in a home somewhere in the middle of Metro Manila, surely witnessed the brilliance of Chrisanthony “Notnot” Vinzons – that studio’s well-loved sound recording engineer who happened to be a rock star himself, in particular, the lead guitarist of the band Letter Day Story.
I can only imagine the shock felt within the music community after the band revealed that Not had passed away. He’s certainly a big loss, considering the magnitude of his role in producing some of the biggest hits in the past decade, and the obvious that a full life ahead of him had been sadly cut short.
The talented instrumentalist and record-mixing expert died last April 16 at the age of 38 due to health problems. His wake was held in Daet, Camarines Norte where he relocated at the height of the pandemic.
Before his demise, Sonic State, which reflected the trained ear and skill of its owner Jonathan Ong, who essentially mentored Not, had already become part of recording lore.
I can attest to Not’s exceptional work, as our group The Pub Forties recorded four songs at Sonic State, including our debut digital single “Road Rage” which we released in 2017.
In late 2022 when I asked him to mix a set of new songs for our band’s EP, he expressed his delight at settling back in his hometown province, where, according to him, access to fruits and vegetables is right in the backyard. Sadly it was his unhealthy routine, apparently exacerbated by chain smoking and fasting, that led to the decline of his health.
“Rock in heaven kapatid! We will miss you and mahal na mahal ka namin Notnot,” expressed his bandmates in the Letter Day Story Facebook page.
The comment section of that post was inundated with messages of sympathy from people in the Philippine music scene, many of whom I know personally. Somehow the pain of losing a friend eases a bit knowing that countless others in some circles you associate yourself with are also mourning like you do.
Letter Day Story frontman Dex Yu, whom I spoke with over the phone, said, “Maraming na-touch sa music scene si Notnot and ang bait niya talaga. To us his bandmates, he’s more than just a guitarist. Legend siya sa music.”
That’s no exaggeration, Not, a perfectionist and principled good-natured fellow, was crucial in crafting several recordings by marquee artists like Juan Karlos, Leanne & Naara, Gloc-9, IV of Spades, among others. He was also the guitarist of an eclectic act called Dhruva Tara.
Letter Day Story (LDS) is planning to release new songs partly to honor the memory of their fallen comrade, including one called “Dahil Sa’yo” which Not wrote.
I first met the guy when I covered the Nescafe Soundskool that gave LDS, which then was also composed of bass player Oli Agustin, and drummer EJ Arabit, their break. The group released an album under Sony Music.
I had watched LDS perform live several times. Part of their act was for the members to suddenly pause at a particular stop when performing an upbeat track. That proved to be effective among audiences.
A few years later I was at a press conference and found Not and Jonathan (Jon) in attendance. They were there as faces of the revered Sonic State.
It’s a big plus that Not was a music major. He, along with Brian Lotho, the studio’s other sound engineer, could read music, employed Jon’s garbage in, garbage out rule to a T, and would break basic rules for the sake of artistry.
Not had a way of engaging clients in good conversation. While listening to The Cure’s “Lovesong” during a break from our recording, he stressed how the keyboard player and lead guitarist were curiously upstaging each other during instrumental gaps, but without ever sacrificing the arrangement flow amid the iconic groove of the bass. I got what he meant. That assessment from him affected the way I positively listened to records.
On another occasion, I dropped by Sonic State and found members of IV of Spades recording their upcoming single at the time called “In My Prison.” Not was proud of what they had done; he asked me to listen to it. He was dancing to the tune and he smiled when I said that the arrangement was reminiscent of Duran Duran’s signature style.
I also remember Not excitedly introducing me to the new band he was working with named Ben&Ben. He was like telling me there was something about the group. Of course, he was right.
With me here in the States, I worked with him remotely for the mix of The Pub Forties EP Escape To Alcaraz.
“Plan ko gamiting layer yung mga lead vocal takes para mag-create ng uniqueness sa vocals,” he said.
That was a reflection of how he cared about every project he handled. His last message after he sent me the EP’s final mix: “All good, Sir! Ingat kayo parati.”
It’s hard to understand why some people die before their time. Yet, somehow, acceptance means embracing wonderful memories. I feel blessed to be a recipient of Not’s extraordinary ability to create finely cut records. Fans and listeners of LDS will always enjoy the music he has made with his bandmates.
