Approach
What we mean by creative sound engineering, and how we work.
Creative sound engineering means not splitting the technical decisions from the artistic ones.
In most productions, the vision and the execution go through different people at different moments. At every handover, some of what was meant gets lost.
We hold both. An arrangement, a texture, a silence: those technical choices answer what the song is trying to say. And the artistic choices are made knowing how they'll be built.
The result is a record where nothing happens by accident.
Listening
We start from what already exists. Demos, references, half-finished ideas, the things you say between tracks. Nothing is produced yet. We're looking for what the project already knows about itself.
Framing
Together we work out what the project is, and what it isn't. A format, a sound to aim at, references, a deadline. That's the frame we'll measure the next decisions against.
Production
We build. Sessions in Angers, Brussels or Berlin, where direction and recording are the same conversation. We work in concentrated blocks, because momentum counts.
Finishing
The unglamorous part, the one that separates an idea from a release. Final mixes, running order, masters, deliverables. A project leaves the studio when it's properly done.
Artist development is the long version: several releases, an identity that sharpens, a career taking shape.
Most of our collaborations run past a single release. We work with a small number of artists over several years — the direction of their projects, the release calendar, how they come across live, and the slow build of a catalogue that holds together.
Our role changes along the way. Early on we shape the sound. Later we defend the unity of everything that comes out. Nothing is imposed; the work sets the pace.
“Most of our artists have been here for more than one release.”
Tell us about your project.
We take on a limited number of projects each season. We read everything that comes in.