GRAND HOTEL MASTERING
ALEXANDRE
DUNO
Mastering engineer / composer / Independent researcher and theorist
Like many engineers, my sound experience began with composition and instrumental practice. It also involved sound synthesis, a fascination with acoustics, years of mixing, and eventually led to a specialization in mastering.
My musical journey started in 2012, alongside my theoretical research work. I am focused on psycho-optical sound, which refers to an experimental methodology for representing sound during analytical listening through mental imagery. This approach aims to open new perspectives for sculpting sound material with precision.
I have always felt the need to explore areas of knowledge that seem crucial to me, at a time when the idea of specialization in a single field appears to deprive us of the analogies and enchanted echoes that interdisciplinary knowledge can create. I am particularly inspired by the great scholars of history who were both scientists, philosophers, and renowned artists. These three disciplines form, for me, a trilogy at the foundation of all knowledge.
Therefore, I made sure to enrich my approach to sound engineering with studies in science, philosophy, and art. This has allowed me to develop a sharp ear as well as an original approach to listening and my mastering engineering work.
"Sound is pure abstraction, and mastering is a gateway to its immediate perception. That’s why it’s essential to be able to capture it in mental images and to have more than just audio knowledge to master it effectively."
- Alexandre Duno
Mastering
Mastering represents, for me, our material approach to sound. It is responsible for determining our direct perception of sound. Indeed, during mastering, we work on the entire track at once: all the elements pass through the same peripherals or plugins. This is akin to constructing a uniform skin for the track. Whether for the purpose of standardization or enhancing the mix, without necessarily being aware of it, the ear first engages with the mastering of a track before reaching the other elements. Mastering can be seen as the boundary that physically separates us from the sound. That is why it is a very delicate, subtle task that requires surgical listening precision and an intimate understanding of the artist's vision.