We offer production and technical assistance on sound projects, working with creators and teams both in-person and remotely over the web.
We can accompany a project either throughout the entire process, or just for a specific part—e.g. recording, editing, mixing, and/or post-production.
Examples of projects
- Sound and music production projects (singles, albums, EPs)
- Dialogue recording and podcast creation
- Audio for video or film projects
- Sample bank creation and post-production
- Audio consultation or collaboration for special projects
Services we offer
- Mobile recording services—we are equipped for live performance captures, and mobile recording sessions in studios, venues, rooms, halls, at home, outdoors... etc.
- Note: For recordings, we do not have a permanent space of our own. We can record in a existing space or venue, or help to suggest or find one for your project, as needed.
- Audio post-production at any stage of the production cycle—editing, mixing, audio repair, audio for video, and mastering.
- Audio library creation and archival work—documentation, archiving, digital restoration, sampling, and field recordings.
- Creative production and sound design—collaborating with creators to realise and diffuse unique sound offerings as part of a creative practice.
- General production assistance—overdubbing sessions, collaborative production, co-mixing, technical/administrative support.
Our work involves an intuitive and embodied craft of audio production, drawing from a study of technical and physical properties, and a careful selection of audio processes that preserve sound in its subtlety of expression... a sound that feels alive, clear, natural, and immersive—resonating the body.
Audio work is a lot about mediation, that is, taking sound and experiences and carrying them to another time and place. In principle working with sound is not so much about what kind of machines and processes we use to make the sound ‘good’, but how to use tools and listening effectively, and in a careful way in order to accompany\ the vibrance and energy that is already present.
When doing this work, it’s important to us to prioritize listening, respect, and providing a supportive space for collaboration—understanding that creative work is so much about being able to trust oneself, be honest, and connect deeply to one’s sources of inspiration, whatever they may be.
We always try to keep and open mind and learn new things from the people we work with, and we are able to move fluidly between very different creative styles and production contexts. Sometimes this means working closely, providing suggestions or input. Other times this means stepping out of the way, being transparent, so the project can unfold in its own way.
Giving our best I can do in that moment
when we're here in this life, sound is such a mystery and to be able to spend some time with other people's sound and try to be genuine and help that genuine in our, in our way of working and also. Be there for other creators while they are doing that deep, mysterious work of music,
There is an aspect of craft to sound recording, a disciplined way of working with sound knowledges and machines and devices. there's a lot of richness and tchnical parameters to be aware of. There's methods of respecting the sound
So yeah, there's this question of like, what are the right practices? And and in some cases there are right practices, like there's practices that will give you a certain results. Very like specific and
wholesome, nutritious, rich enjoyable, clear, powerful experience. Those are the ones we try to prioritize.
When you have a sound that's in life that you're recording, the sound is always going to be more perfect than the tools you're using. As soon as you take a microphone is you take a human device and you try to say, okay, sound, you're going to go in here now into this box. Problem is our boxes. They don't really yeah, they can't, they can't possibly capture everything that's happening in, in that experience of the sound.
The sound is more complete. Embodied and mysterious and
then on another level, you're working with this illusion in a way, because what you've captured, isn't really the sound. It's a. It's a representation of that sound. It's like a encoded version of that sound that exists within its own world. That way it has all the properties and limitations of whatever is holding that sound and preserving it. So for example, you have. The space of the recording. Like the way it's reproduced, if you record into like two speakers, then it's going to be stuck between those two speakers. And there's nothing you can do about it, but you can learn to work with that world in a very effective way as well. Accept it and.
Work with it to try and see what, what can you do with that? And what can that give to someone who's listening later? So, yeah, that's an important aspect of the sound as well as to be able to. On one hand it's about that purity and preserving the natural powers of the sound. But on the other hand, you're working with this technical representation of it and that can get quite creative and quite irreverent to.
there's this whole network of properties that you try to be aware of and know how to navigate
I love recording. I love music and I've always loved that ever since I was a kid
the ability to be useful in someone else's life is the most magical. Aspects of sound recording for us.
You're not all that important.
You're really just someone there to do the job, do the job that needs doing listen to whatever's needed be disciplined, be show up to the work
We're really rigorous about technology and knowledge and trying to do some deep research. If
It's all interconnected. I'm Filli and an artist who can work with these tools.
our speciial traits. and our value:
we know how to break down complex concepts in a way that people can understand.
that can be really great for people. Just to feel that when they're working with us, they can kind of be a part of the process and see how we do it and challenge us and offer different ideas. it kind of invites other people into the process instead of being yeah, like keeping it all hidden and secret. And then at the end of the day, you're wondering what really happened when the song went somewhere and then came back and you're like, oh, I don't know. I don't know if it's better.
I try to be respectful and allow space, allow space for being a lot of space for accepting
a lot of dedication to the work I do. If you work with me, you're gonna feel that I'm there for you.
this work isn't about being perfect either. It's about being able to accept that you're making mistakes.
So our approach is it's about listening. It's about grounding and trying to really see what's needed in the work that we're doing. What is the creation demands? What do the artists need?
What does the sound need? And, and then it's about working with this network of experiences with sound and technology, understanding how different things are connected and. How to keep that sound vibrant when you're
it's about trying to get a very
moving experienced the past, through the. A channel of sound recording and using a whole bunch of knowledge, a whole bunch of experience and listening experiments.
there's a craft knowledge to it, but it keeps growing and it's never still. It's never final and completely never sure of itself. Somehow you have to keep going.
. I learn how to do the work as well in terms of being, being in connection with other beings, humans, which is very intricate and subtle and delicate.
I'm also an artist I'm a music lover, so many styles expressions, and this always been. The way we are. And so we had allows us to, I think, move pretty fluidly between different expressions, different worlds is how. Finding the unifying qualities within each one that can support the work that needs to be done.
And for one style of music that can mean a certain, a certain set of skills, a certain set of workflow and mentality, and for another. It means a whole different thing. And as a plural being, maybe that's something I seem to be able to do. So navigate pretty decently,
So I think what it means though, is that I'm able to, I don't work on the level of. What kind of music are you playing or how good is that music or like whose definition of good. And I don't work on the level of trying to yeah. Like really be
always in the same vibration, the same. Worlds
I think I really need diversity. I need to feel interconnection between different sounds, different feelings, different peoples. And that brings me wellbeing and flexibility in my life. Fluidity.
And I think that can bring a certain fluidity and expansiveness to the work that we do with others. I hope I like to believe that it brings some and brings expensive city and hope and sorry again.
Broadness to the way that music can be received in the microphones.
I'm very dedicated. It's like, I, I work really hard at the work. I always try to focus on how do I How do I support that? And how do I bring my best self into that work? I
I worked to be on your side. Like I really worked be by your side and accomany with humanity, warmth and openness.
Technical Capabilities - Audio
2x Schoeps CMC6 + MK41 capsules
1x AKG C414 XLS
1x Audio-Technica AT4040
2x Neumann KMS 105
1x DPA d:vote 4099 (with cello mount)
1x Shure SM57
// specialized microphones can be rented on request.
RME Babyface Pro
Sound Devices Mix Pre 6
// high channel interfaces / pre-amps rented on request.
Mac M1 Mini 2020 16 GB RAM
Macbook Pro 2018 i7 16GB RAM
2 x Equator D5 Monitor speaker
Sennheiser HD600 headphones
Yamaha HPH-MT8 Headphones
3 x Microphone boom stands
1 x Miniature stand with boom
2 x Manfrotto Manfrotto MS0490A Nanopole stand/boom
1 x 13’ Neewer light stand
1 x 10” stereo bar
2 x Rode SM4-R mounts
2 x Rycote BBG windjammer + fur
3 x Power extension cables
...many XLR, 1/4-inch, and specialty cables
Protools (version 2020.9.1)
Ableton Live Suite (version 11.1.1)
Logic Pro X (version 10.5.0)
Harman / Lexicon: PCM Native Reverb bundle
Izotope: Insight and RX 7
Arturia: Effects Bundle
Wholegrain: DynPEQ Bundle
FabFilter: Mixing Bundle
Eventide: Blackhole, SP2016, Omnipressor, Spring
Valhalla: Vintage Verb, Room, Supermassive
IRCAM: Pure Compressor V3
Melondyne Editor 4
HOFA DDP creator
Listen to past projects:
“je vous recommande amplement notre ami Fili JG . […] vous trouverez non seulement ses habilités techniques, mais aussi et surtout, son approche, son ouverture, sa gentillesse, sa qualité d' écoute et son empathie. Nous avons travaillé ensemble sur plusieurs projets d' enregistrements et disques, et au fil du temps, il ne fait qu' approfondir et élargir sa palette. “ -Géraldine Eguiluz, Montreal / Mexico City
To work with us or to ask about a project, you can get in touch by email, or using the contact form below:
✏️ Contact form
You can also reach us on social media though our response time may be a bit slower: