Références récentes & Historiques

Studio Grande Armée



Our studios were specifically designed to satisfy the needs of recording and mixing movie soundtracks. The Studio A was commissioned by JC Dubois, a musician reputed for his great career at the Opera de Paris and the Republican Guard with an exclusively musical approach. The response of the acoustician, Tom Hidley, was to create a studio with controlled acoustic (a surface area of 250m2 and 5.90m high) which still represents a reference after more than 45 years. We welcomed a large number of famous composers, requiring the efficiency and precision necessary for their pieces of work, all types of classic orchestras, jazz and contemporary, from the Count Basie band type to the Ennio Morricone’s strings ...from deep themes on our Steinway D piano to our celestas’ ethereal melodies ... the Studio A resounds with those magical moments which create a pleasurable moment of cinema.


Surround 5.1 is a particular format for the cinema field. Standardized in the late 90’s, a new studio designed was required. Once again, Tom Hidley was the one who responded to that particular request by designing a specific studio for 5.1 Cinema. The Studio C is the first and one of the only French studios designed and built for music in 5.1. It was not adjusted for the kind; it is actually designed for it. The Studio C is equipped (among other devices) with TAD monitors, a digital console reputed for its musicality, 2 PT HDX Stations in order to record 9 stems 5.1 in one time and a NEVE 5.1 surround compressor ​​for the best sounds.

The combination of our services and both studios allows us to share a strong experience of over 700 movies to our credit.

*Controlled Acoustics

The Studio A has been designed to insure as great musicality as possible, record any sound nuance of each instrument and the most beautiful resonance of a large orchestra.

1/3 of the studio A’s stage is dedicated to acoustic treatment, allowing it to accommodate up to 90 musicians while keeping developed, stable and extremely powerful basses, a full and rich medium sound along with an ethereal high-pitched one.

If one of the controlled acoustic secrets is the 1/3 permanent empty space of the room behind its acoustic sides, the other one would probably be the absorbents balance along with a threshold calculated so that the notes can be created and played without encountering any obstacles.

It is on both this basis and some other secrets that controlled acoustics offer a room in which pianissimos’ notes or fortissimo’s sounds can get played and recorded to perfection.

Thus, sound engineers can choose the color and the grain of each instrument, going from a natural, full, clear and warm sound