Acoustic designer.
Audio software developer.

Where it started

Acoustics was never just a job. It started with a question that still drives everything: why do the same monitors sound different in different rooms? Not slightly different — profoundly different. Two engineers, same speakers, opposite conclusions about the same mix.

The answer is the room. Not as an inconvenience, but as the central variable in the entire monitoring chain. Once that clicked, it became impossible to work on audio without thinking about the acoustic space it happens in. I trained as an acoustic designer and spent years building control rooms, mastering rooms, and listening spaces — always with the same goal: a completely neutral point of listening in a physically comfortable, natural environment.

"Listen to the music, not the room." — Dr. Peter D'Antonio, Trevor Cox

The acoustic work

Under Neutral & Natural Acoustics, I design studios where the monitoring environment is as transparent as the monitoring system itself. The approach is technically demanding: control rooms are measured quasi-anechoically at the listening position, with early reflections suppressed to beyond −20 dB across the full spectrum. No coloration, no guessing, no acoustic furniture as a substitute for genuine treatment.

The work covers control rooms, mastering suites, tracking rooms, and high-end listening spaces — across France and beyond. Every project is designed from first principles: room geometry, modal distribution, isolation, and treatment calculated before a single panel is hung or a single screw is turned.

A few of those rooms are now used by serious engineers and artists. That matters more than any specification.

Why software

Designing studios every day gives you a different relationship with monitoring tools. You stop accepting what exists and start thinking about what should exist.

The specific frustration: loudness compensation. Every studio I design gets calibrated to a reference SPL. But engineers routinely mix at lower levels — and at lower levels, equal-loudness contours shift dramatically. The low end disappears. Decisions made at 3am at 60 dB don't translate. Hardware monitor controllers costing thousands of euros ignore this entirely. The solution — ISO 226 compensation tied to a calibrated monitoring chain — was available in physics textbooks but nowhere in the tools engineers actually use.

So I built it. That first problem became the Monitoring Controller. The next problem — routing audio between DAWs without system-level drivers and their latency and compatibility headaches — became AudioBridge. Each tool starts from a real problem observed in real studios, not from a feature list.

The software is built in C++ with the JUCE framework. Everything compiles natively for Apple Silicon and Intel. No Electron, no web views in audio threads.