Artist/Producer/Sound Engineer

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I’m proud of every project I’ve worked on, but my debut album, “Night City,” stands out. I became the first electronic artist to release an album on a major label (Warner Music) through a MyMajorCompany crowdfunding campaign, supported by 952 contributors. During the production, I had the opportunity to work with iconic Crydamoure-era gear, including Rico’s mixing console, an SP-1200, TR-909, TR-808 and Minimoog. My first single, “High Future,” was also remixed by Play Paul, Guy-Manuel de Homem-Christo’s brother, who released music on Crydamoure. It was a unique experience that connected my own work directly to the French Touch scene that inspired me.

Q: What are you working on at the moment?

A: I’m currently working on my next album and developing new releases, while also working with other artists on mixing, mastering, and production projects. I also teach music production and sound engineering at Abbey Road Institute Paris, which keeps me closely connected to both the creative and technical sides of music. I’m always looking for new sounds and interesting projects to dive into.

Q: Analog or digital and why?

A: Both! I love analog gear and still use my SP-1200 for sampling, but with today’s technology, you can achieve amazing results entirely “in the box.” It’s practical, flexible, and makes recalls much easier—while still sounding great.

Q: What's your 'promise' to your clients?

A: My promise is simple: I’ll take the time to understand your vision, bring my experience and musical perspective to the project, and give your track the attention it deserves.

Q: What questions do customers most commonly ask you? What's your answer?

A: "How involved can you be in the creative side of my track?" As involved as you need me to be. I can focus purely on mixing and mastering, but if you’re looking for more input, I’m also happy to help with production, arrangement, sound selection, drums, basslines, or other elements that could take the track further. I’m happy to work within a specific direction, but I especially enjoy projects where the artist gives me some creative freedom. That allows me to bring my own musical perspective and experience to the track and explore ideas that can take it somewhere unexpected.

Q: What's the biggest misconception about what you do?

A: The biggest misconception is that I only work in House music. In reality, I love exploring new territories and drawing inspiration from many different genres to keep my productions fresh and unique.

Q: What questions do you ask prospective clients?

A: I usually ask clients: What are your goals for this project? What do you expect me to bring to the music? Can you provide reference tracks that reflect the sound you’re aiming for?

Q: What was your career path? How long have you been doing this?

A: I discovered filtered house music as a teenager, and it was a true revelation. Influenced by funk, disco, and composers I admired such as Vangelis, Jean-Michel Jarre, and Giorgio Moroder, I started producing my first tracks at the age of 10 in 1992 with a simple synthesizer, recording on an Amiga while trying to recreate the sounds I heard in their music. The rise of MySpace played in my favor: hundreds of thousands of plays helped me gain visibility on house music forums. I was discovered by My Major Company and became the first electronic artist signed by the crowdfunding label. After a well-received single “High Future”, I released my debut album “Night City” on Warner Music in 2010. Mixing the hedonism of the early French Touch era (Crydamoure, Roulé) with more saturated sounds of the second wave, I aimed to bridge mainstream techno beats with underground 80s-inspired electro aesthetics. Two videos from the album aired on MTV, MCM, and French TV. In 2019, I graduated from the Abbey Road Institute with an Advanced Diploma in Music Production and Sound Engineering, after a year of intensive training at “Studio Omega”, one of the biggest studios in France.

Q: What type of music do you usually work on?

A: As an Electro producer, I’m known for my signature French House, Nu-Disco, and Deep/Funky House sound. I often incorporate elements from various genres, including soul, R&B, disco, electro, techno, rock and pop, to create tracks that are both unique and danceable.

Q: What's your typical work process?

A: I usually start by understanding the artist’s vision, goals, and references for the project. Once I have a clear direction, I dive into the track and focus on what it needs musically and sonically. I then share a first version with the artist, discuss any feedback, and refine the track from there. I like to keep the process collaborative, adapting to each artist’s needs and bringing my own musical perspective when it can benefit the track.

Q: Tell us about your studio setup.

A: My studio is equipped with Focal monitors, with an Apollo x16 as my main audio interface, alongside an SSL 2+. I compose on a Komplete Kontrol S49 and use an E-MU SP-1200 for sampling. I work primarily in Ableton Live for composing and beat-making, and Pro Tools for mixing. I rely on a wide range of plugins from FabFilter, Acustica Audio, UAD, SoundToys, Waves, iZotope, Arturia, U-He, and Spectrasonics to shape my sound… but most importantly, I trust my ears to deliver the best results.

Q: What do you like most about your job?

A: What I love most is being able to do something I’m truly passionate about. Knowing that people connect with my music and trust me to help take their tracks to the next level is the most rewarding feeling.

Q: What advice do you have for a customer looking to hire a provider like you?

A: When explaining your vision, don’t rely only on words, use commercially released songs as references. Choose tracks with a similar vibe, tempo, and overall sound to what you’re aiming for. And always aim high: pick the most successful and best-sounding examples, as they provide the strongest guidance for achieving a professional result.

Q: How would you describe your style?

A: My style is heavily influenced by the funky and pop music of the early ’80s, blended with electronic elements. It’s often described as French House, with a groovy, danceable vibe.

Q: Which artist would you like to work with and why?

A: I would love to work with artists like Alan Braxe, Disclosure, Oliver, Breakbot, and many others whose productions I admire. I’m also a huge fan of Jay Kay from Jamiroquai—I’m sure we could create an amazing track together!

Q: Can you share one music production tip?

A: There are no rules in music production. Never stop experimenting. Trust your ears: if it sounds good, it works!

Q: What's your strongest skill?

A: My strongest skill lies in crafting the perfect sound—finding the right samples, designing synths, creating fat, groovy basslines, and shaping the mix with precise compression and EQ to make every element shine.

Q: What do you bring to a song?

A: I bring groove and energy to every track, with funky basslines, punchy kicks, and dynamic drum compression that makes people want to dance.

Q: What other musicians or music production professionals inspire you?

A: I draw inspiration from Daft Punk and the entire French Touch scene, including pioneers like Alan Braxe and Cassius. I’m also inspired by legendary producers and artists such as Quincy Jones, Michael Jackson, Jamiroquai, Cerrone, and Jean-Michel Jarre, as well as a wide range of funky and disco music that shapes my sound.

Q: Describe the most common type of work you do for your clients.

A: Music production is my daily practice through my own projects, but for clients, I primarily focus on remixing, mixing, and mastering tracks. I work closely with artists to bring out the best in their music, ensuring clarity, balance, and impact in every project.