Could you describe what you do as a musician in plain words that are understandable to a non-musician?
I'm a classical musician and I play the piano. My main work is performing classical music, and I also specialize in working with opera singers. I accompany them in a special kind of music called "Lied" or "mélodie," which is classical music written for voice and piano. It's like telling a story through music and poetry, with the piano and the voice working together as equal partners. I also teach my art at the Conservatory of Brest (CRR de Brest), where I help students grow as musicians.
When and how did you decide to become a professional musician? Did you understand what you signed up for back then? Did it turn out the way you had imagined?
I decided to become a professional musician almost as soon as I discovered the piano. I started playing when I was 13, and it quickly felt natural, like something I was meant to do. Of course, at that time, I didn't really understand what I was getting into. I just knew it wasn't about money or making a living — it was about something deeper. Things didn't turn out exactly the way I imagined, because being a musician is a very hard and complex path. Along the way, you realize that talent has many levels, and you might not reach the place you first dreamed of — but you might end up somewhere just as good, or even better. For me, that place was the world of Lied. Working with singers has been incredibly fulfilling, maybe even more than playing solo piano.
What are some works of music that are in your personal sacred shrine?
Some of the most sacred works for me are the great song cycles, like Winterreise, Schwanengesang or Die schöne Müllerin by Schubert, or Dichterliebe by Schumann... These works hold a very special place in my heart — they are deep, emotional journeys that I never get tired of exploring.
What are some recordings that you were inspired by, and why?
I will always remember the first CD I ever bought — it was the complete 32 Beethoven sonatas played by Daniel Barenboim. It had a big impact on me, because that's how I truly discovered Beethoven. I also remember one of the very first CDs I listened to: Wagner: Tannhäuser Overture; Siegfried-Idyll; Tristan und Isolde, conducted by Karajan. It was given to me, and it was the first CD I ever played on a CD player. That experience really stayed with me — it's how I discovered the world of classical music through recordings.
How important is the presentation of sound to you in a recording? Do you believe a recording can be either "musical" or "sterile"?
Sound quality is extremely important to me — both at the source, meaning from the musician, like in a live concert, and also in the way it is captured in a recording. A truly musical recording is one that carries the sound and all the subtle intentions and emotions of the performance. Some recordings can feel sterile — too analytical — and in those cases, something essential is missing: maybe the soul.
How does audio playback gear, especially headphones, influence the way you perceive recordings and music in general? Does it inform your own performance? Have Hifiman headphones brought any revelations to your creative work?
Listening through high-quality headphones connected to a good audio interface feels like opening a window into the musical world — it's like entering another dimension. Of course, this influences how I experience music and even how I perform. Having that kind of detailed and emotional feedback helps me grow as a musician. And since headphones are portable, it means I can carry that open window with me wherever I go. The HIFIMAN Arya Stealth Magnet headphones truly revealed something special. As someone who works closely with singers, I felt that these headphones had a unique ability to reproduce the human voice — something I haven't experienced even with other high-end or standard studio headphones. The first time I listened through the Arya, I felt like I could recognize the exact voices of the singers I work with and have recorded. It was a real revelation.
What was your proudest work or moment you could share with us? Proudest recording?
One recording I'm especially proud of is a CD of Winterreise that I made with a singer. It was a very important step in my journey with this song cycle. Winterreise is such a deep and emotional work, and recording it was both a personal and artistic milestone for me.
Could you describe what you do as an audio engineer in words that are understandable to an audiophile?
As a sound engineer, my work starts when a musician or client contacts me for a project — usually to create a recording, a CD, or sometimes a film or video. I help plan the recording with them: what kind of instrument or ensemble is involved, what acoustic space we'll use, and what kind of sound we want to capture. Then I choose the most appropriate microphones and set up the full audio chain to reproduce the sound as faithfully as possible. But sometimes, it's not just about being faithful — it's also about enhancing the sound and shaping it into something beautiful and engaging. The goal is to create a listening experience that is both true and inspiring.
Were you an audiophile before you became an audio professional? What led to this career choice?
Yes, absolutely. I've always been fascinated by sound quality, even though I couldn't always afford the equipment I wanted. I remember, as a kid, visiting a friend who had Cabasse speakers, and I was amazed by the sound they produced. I knew then that one day, I would want to own great speakers and high-end headphones myself.
I've always been fascinated by sound. From the very beginning, I tried to record the piano with whatever tools I had. I experimented with MiniDiscs, tape recorders, and every new camera that promised "musician-friendly" audio. I tried all the Zoom recorders too — but there was always a feeling of frustration because I couldn't get the beautiful result I was hoping for. That's why, for me, it became almost a necessity — even a kind of personal mission — to be able to invest in high-quality gear and finally record music myself, at a professional level. It felt like a real liberation to be able to do it on my own terms.
Do you still enjoy listening to music for leisure these days?
Yes, I still really enjoy listening to music. I love discovering new recordings, comparing different interpretations, and listening through different setups, especially on my HIFIMAN Arya Stealth Magnet headphones, or on my Amphion One18 speakers with a Neumann subwoofer. I also enjoy listening at a friend's place who has an amazing vintage Yamaha high-end system. Listening to inspiring recordings — both for their sound quality and artistic value — remains one of my greatest pleasures.
What are some of your favorite works that inspired you when you were an aspiring audio engineer?
One of the recordings that truly fascinated me was Glenn Gould's Goldberg Variations. I once heard it on an incredible speaker system, and it had a powerful effect on me. It wasn't a clean, sterile, or overly polished recording — you could hear small noises, details that made the piano feel alive and present, as if it were right there in the room. That rawness gave it a sense of sincerity and realism that really stayed with me. It felt human, honest — and that made it unforgettable.
All audio professionals use headphones at one point or another in their workflow. How do you use headphones?
I use headphones in many different ways throughout the production process. Often, I use them during the actual recording sessions. Sometimes there isn't enough time or space to set up studio monitors, especially if the control room is far from the recording space, or if I have to set up the control station inside the same room where the musicians are playing. In those cases, I use closed-back headphones to monitor, which isn't ideal, but it's often necessary in real-world situations.
Later on, I use headphones to listen while traveling or when I don't have access to my studio monitors. But I also use them for mastering — I want to know how my recordings sound on high-fidelity headphones. Many people listen exclusively on headphones, so it's important for me to make sure the final product sounds great that way. I even check the sound on lower-end headphones or earbuds, like AirPods, to make sure the mix works well across different listening environments.
Headphones also reveal certain details differently — especially reverb — so it's crucial to compare what I hear in headphones with what I hear on speakers, and adjust accordingly. This back-and-forth is an essential part of my workflow.
Have Hifiman headphones informed your production decisions or the way you listen/mix/master?
The HIFIMAN Arya Stealth Magnet headphones have definitely influenced some of my production decisions. With them, I can hear details that I simply don't notice with regular headphones. The level of definition — especially in the acoustics of the room, the reflections, and the spatial sense — is incredibly precise. They reveal things that would otherwise be hidden, which helps me make better adjustments and corrections in the mix. It's a tool that really allows me to work with a higher level of accuracy.
What are some of the exciting upcoming works you would like to share with us?
In August 2025, I'll be producing the new album of the amazing pianist Amiel Bouchakevitz. The recording will take place in a beautiful hall, and I'm really looking forward to capturing his artistry in that setting. It's a truly exciting project, and I can't wait to share the results soon.
Another important use of the HIFIMAN Arya Stealth Magnet headphones in my work as a sound engineer is sharing the listening experience with my clients. During a recording session or in post-production, I sometimes let the musicians or producers listen to the material through these headphones. It's a great way for them to hear the fine details of the recording and be part of the sound evaluation process.
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