LOUD MUSIC SPECIALIST
Working with Eddy Dorigny is an experience since
he just aims at perfection. If you want to stay in your comfort zone, do not contact him. Eddy won’t compromise on artistic values or leave anything
to chance. His only is goal is to make the most of a song.
Eddy has grown a passion for music and sound techniques since he was a young boy. Naturally enough, he became a sound engineer and producer, relentlessly seeking to meet and surpass his goals while perfecting his skills.
A creative and digging mind, he will not hesitate to break the routine and explore new sonic or musical forms.
Eddy disposes microphones with the utmost care and captures the source sound in the best possible acoustic conditions.
His uncompromising ear and studio all-rounder experience will accompany you all along the music-making process, from the first rehearsals to the mastering - this being one of his specialist areas.
Revealing the unique
potential in your songs
Refining and normalizing your songs
‘I learnt over time that there was no magic formula to produce a band. Careful listening and adjustment are central. You have to find a subtle balance between technique and music. I get the best results doing a pre-work along with the band, starting from their first demos. I have a spot-on approach: I always begin with short 2-day pre-prod sessions every 2 or 4 weeks. These are meant to determine each musician’s ideas and influences. We are searching for the tracks’ core substance. It is crucial during this phase to remain spontaneous, demanding, and to let go. When this is over, the band will basically be ready for recording.
This pre-prod step is key to a quality recording as it highlights the strengths and weaknesses in your music. When you come out of it you will be more relaxed and sure of your direction. Your album will reflect your personality.’
‘My method and my studio are crossbred. I intend to make the most of each link in the audio chain, without bias or any compromise as to the final quality and musicality.
Digital techniques have grown mature. They have got a versatility, tremendous ability and artistry which have become crucial to a nowadays mixing engineer. As for analog devices, they provide “instant access” and a unique liveliness that adequately completes the picture.
My conception of the sound is uncompromising during the whole mixing process. All is “world-class” in my studio, be it AD/DA conversion, monitoring or peripherals. I am dedicated to helping you attain the perfection you are looking for using the tools, experience and culture I have grown and gathered over the years. In the end, a good mix will display the sole personality of a song, and of an artist.’
‘Mastering is a crucial step that requires the engineer to listen, stay open-minded and have full technical mastery, as is the case for recording or mixing. Mastering your tracks will allow you to play them on any medium, whether physical or digital.
It is also a very creative phase that allows one to chisel the work previously done by the studio team (producer, arranger, mixing engineer). I’m often in contact with them during these first stages, before the definitive mixes are issued - I can help define proper mixing orientations, and discuss the impact of such artistic choices on the final result. Mastering is mainly about refining, adding swift brushstrokes, but never about transforming or “correcting the mix”. As for the other stages, technologies combine and mingle to supply elasticity, organic qualities, warmth and precision to your sound material.’
‘As the technical level of home studios has been dramatically improving over the past few years, it has become common for artists to make the most of this technicality and reach a fairly good level of production by themselves. Consequently, I have been brought some really astonishing and rather well-mastered projects. Yet the mix will not match that of a professional studio. Why is that so? Because every link in the sound chain has lower standards. Hence weaker, less finalized mixes.
That is why I offer my customers a stem mixtering or mastering solution. Stems (stereo mixes) allow you to cluster the main instruments in several groups and to apply a middle mixing treatment before we tackle the mastering process. Thus I have a more precise control over the instruments/voice balance up to the end; I can reach a level of detail such as I could never obtain with a plain stereo mix. Be careful, still: once again, we do not want to “correct” a mix but rather access an extra stratum in the treatment. Also, some rich, multi-layered productions will appeal to mixtering to be able to dissociate the various sonic parts in the track and control them in a better way.'
A new version
a new song
‘What's old is new again: isn’t remixing somewhat about it? Whenever I’m asked to remix a song, I first make sure my client has a fair understanding of the notion. For it is a total re-creation that may bear little resemblance to the original tune. It may vary in tempo, key or structure - in anything. Remixing is no exact science, and there is no safety net for it. Therefore, the idea of a good mix, and one that will satisfy the artist, tends to be very subjective. There are no rules but the ones dictated by the inspiration of the moment.
I am very fond of this exercise, since it requires all the studio resources just to meet a musical idea.’
‘A rework generally brings about many issues and induces much pressure. As a matter of fact, artists are often unsatisfied with the type of production they obtained from the original team which worked on their songs. The result differs from what they initially had in mind. Therefore they come to people like me to save their tracks.
Reworking differs from remixing. This is neither a “patch-up” of the old version nor an exact copy of the demo with a bigger sound. Reworking must convey the band’s true identity while picking interesting elements in the current production.
On the other hand, the rework doesn’t have to perfectly stick to the spirit of the original demo. It is a tricky balancing act that will constitute a real plus if properly executed, and improve the overall quality of arrangements as well as the musical and sonic relevance. The time required may vary widely, ranging from a couple of hours to several days.’
Régis Morin, Sunshadows
‘Our album Red Herring received rave reviews. Eddy crafted a massive, powerful sound that was instantly reminding of the genre masterpieces.’
[Producer, Rec, Mix, Master]
Quintana Dead Blues eXperience
‘This is my 10th record! Eddy greatly contributed to make it one of the best! He could beautify our mix, give substance to the voice and do justice to this enormous guitar sound.’
Axel Bizel, Innerty
‘From recording to mastering, Eddy left nothing to chance to shape a sound matching our music perfectly.’
[Producer, Rec, Mix, Master]
PMC iB1S AIII
AKG C414 XLS (x 4)
AKG C414 B-ULS
ALTEC 633 A
AUDIO TECHNICA ATM-25 x 2
AUDIX D6 / D2 x4 / D4 x2
AUDIX SCX-1 / SCX-25 x2 / ADX-51 x 3
BRAUNER Phantom AE
CHARTER OAK SA538B
SE Electronic RN-17
Workstation Windows 10 Pro 64 bits
Quad Core i7 8700k / 16Go RAM / SSD + HDD Backup / NAS RAID 1
ACER 32” Ecran 4K
UNIVERSAL AUDIO Apollo x8p x 3
UNIVERSAL AUDIO UAD2 Quad Pcie
STEINBERG Cubase Pro 10
AVID Protools HD Native 10
AVID Protools 2019.6 Ultimate
AL.SO Hi-Z Interface (reamp 500 module system)
BBE 882i x2
FOCUSRITE Blue 330 Mastering
GML 8200 série II
KUSH UBK Clariphonic M/S
NEVE 33609 J/D Custom Olivier Bolling
RUPERT NEVE DESIGN 5012 x 2
SPL Pass EQ
TC ELECTRONIC M6000 Mastering x 2
+ Icon Remote
UNIVERSAL AUDIO LA610 Putman Signature
DARKGLASS Super Symmetry
HORIZON Apex Preamp
HORIZON Precision Drive
HUGHES & KETTNER Tube 100 Custom
MARSHALL JCM 800
TWO NOTES Torpedo Studio (x 2)