South of France,
after several years based in Berlin.
“Groove, texture and happy accident.”
I am drawn to machines that create movement, accidents and physicality.
VIEW IMAGEThe studio is built around a handful of essential machines, kept simple enough to work almost as a single instrument.
VIEW IMAGEDigital, edgy and raw. A closed ecosystem that still surprises him more than ten years later.
VIEW IMAGEPatient, methodical sampling and the classic Roger Linn groove.
VIEW IMAGEA portable tracker that became the backbone of his next album.
Several machines from the same working area, grouped as one compact studio block instead of repeating the same image.
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First monophonic analog synth; favourite electronic bassline machine.
Rawer, darker, more techno-leaning; direct and slightly dangerous.
808/909 DNA with its own identity; rhythmic skeleton of the next album.
Simple, unglamorous, and works on absolutely everything.
“A real game changer.”
A French-made warming unit that adds warmth, control and a tape-like, record-ready quality.
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VIEW IMAGE“More poetic, more pop, maybe more delicate.”
His beloved polyphonic synth, MIDI-modded in Berlin.
“I completely trust what I capture.”
UAD Apollo Twin MkII, Lucid Audio 88192 ADAT converters, Universal Audio processing and Ableton as a flexible capture system.
VIEW IMAGERelationship to machines, workflow, habits and how the room evolved.
Elektron Monomachine. The one machine he could never let go of.
Also the Monomachine, bought second-hand in 2012.
Hardware slows the process down in a useful way.
From a more open Berlin setup to a smaller, more intentional collection.
Gather living material, then assemble and merge the strongest ideas.
VIEW IMAGE“I resample almost everything.”
Sounds are sent back out through machines and returned with a new attitude. Unfinished ideas become future sample packs.
A living space for ideas rather than a perfect studio.