François Baurin is a sound engineer, mixer, and producer. For nearly thirty years, he has recorded, mixed, and supported artists both in the studio and on stage. He honed his skills at the Recall studio in La Plaine Saint-Denis, then at Warner during the golden age of French rap, before setting up his own studio about fifteen years ago. Today, he works notably with Francesco Tristano, Blick Bassy, and Bachar Mar-Khalifé, moving seamlessly from rock to electronic, from classical to jazz.
In this episode of Tales, he reflects on his teenage years with a guitar in hand, caught between Depeche Mode and Nirvana, his almost accidental discovery of the studio, his years at Warner recording Kery James, and his encounter with the trio Aufgang that changed his path. A conversation about the profession of sound engineer, listening, and the simple idea that always comes back to him: putting yourself at the service of the project.
François Baurin
His recording studio in Paris. Instagram: @hinterlandlab
The Tales Interview
Do you remember the first moments when you knew music was going to matter?
Do you want me to remember the very first moment? That’s really, really far back. I have childhood memories, but it was when I started playing guitar in high school, in tenth grade. I did pretty much that for about three years. I spent my high school years learning to play. And for me, it was obvious that music was, of course, pretty much the most important thing in the world for the 15-year-old boy I was.
What were you listening to at that time?
I was listening to 80s rock, a bit of electronic too: Depeche Mode, The Cure, U2. Then in the 90s, grunge arrived — Nirvana, Alice in Chains, Pearl Jam. The beginning of hip-hop as well. And then the crossovers, with Cypress Hill, and later Korn, Death Tones. I really took it all in with great appetite. And by the late 90s, it was electronic music, techno. All that in about ten years. It was crazy.
Did you play as well?
Yes. Discovering the instrument, the references… And of course, I immediately think of Jimi Hendrix, who was for me the ultimate reference in handling this instrument. It’s incredible. In fact, for me, without any doubt, he’s the best guitarist who has ever existed — electric guitar, of course — for his inventiveness, the madness he had in his playing style, which, to this day, has never been matched.
How do you go from there to your current profession?
I passed my baccalaureate and ended up at university, somewhat by chance. I thought, quickly, I need to figure out what I want to do. And since music was very important, I thought about the profession of sound engineer.
Back then — I’m talking about 93-94 — there were very few options to study this profession. There were three audiovisual BTS programs in France, and three private schools in Paris. I tried the BTS programs but was rejected because my academic record wasn’t good. I had spent too much time on guitar in high school. I hadn’t worked enough. So I turned to a private school called Novocom at the time.
And that’s when the studio comes in?
Yes. In my final year, I was looking for a qualification contract, aiming for cinema. I found absolutely nothing. One day, a friend said to me: “I have a buddy who set up a recording studio, you should call him.” I called, and started the next day. It was Recall, in La Plaine Saint-Denis. As soon as I stepped into that world, I said to myself: this is for me. It’s what I dreamed of doing, even though for years I thought I couldn’t.
Did you stay long in that studio?
Almost three years. I also worked on the side in a rehearsal studio, the Auditorium de Saint-Ouen, and did some live shows. But whenever I could, I was in the studio. I learned a lot there. Then I was called up for military service. I dropped everything overnight.
And after?
I went down to Bordeaux, to Alexis Bardinet at Globe Audio. Then I came back up to Paris, and found a job at Warner. They had just created a small production studio. It was a time when there was still a lot of money in music. Records sold, streaming didn’t exist yet. Things were done with time. Record labels invested.
What exactly did you do at Warner?
We received demos, artists came into the studio, we re-demoed, tested things. I did a lot of vocals. At the time, it was the golden age of rap and R&B too.
A memorable memory from that period?
Yes: Kery James.
I discovered him at the Warner studio. He came regularly. I recorded a bunch of rappers at that time, and he was by far the one who always impressed me the most behind a microphone. Whether it was his message, his way of delivering his flow. It was often one-shot. Very impressive.
You left Warner afterwards?
Yes. And I started working with musicians I had met there: Francesco Tristano, Rami Khalifé, and Aymeric Westrich. They formed a trio called Aufgang. Working with them was a real school. I learned a lot about the studio, mixing, piano, drums… With them, I grew a lot.
Is that when you set up your own studio?
Yes, that’s when I was able to settle into a place of my own. I’ve been working in this studio for about fifteen years. I do mixing, recording, multichannel, Atmos… with artists I meet or have known for a long time.
What does a good sound engineer mean to you?
It’s someone who listens to the musical project they’re working on, and to the collaboration that arises with the artist or artists. Being available, being there to serve a project. Trying to put ego aside. It’s not always easy, but you learn with the years.
You move from one genre to another, is that part of the job?
Yes. That’s always been something I wanted. I have very eclectic tastes. I learned to love styles I didn’t necessarily like at first, by being exposed to them in my work. I enjoy working on different projects. Rap, rock, electronic, jazz, classical… even unclassifiable things.
You recently worked with Blick Bassy, right?
Yes. He’s a Franco-Cameroonian artist, with very modern music but rooted in his culture. That kind of project is what I find super interesting. Trying to understand music that isn’t necessarily part of your universe at first. It enriches me enormously.
You also do live shows with Francesco Tristano?
Yes. I accompany him on stage. I handle the piano sound reinforcement, the effects… He mixes classical and electronic. He invited me. I had kind of put live shows aside, but with him, I rediscovered the spontaneity of concerts. It’s a very different format from the studio. You have to be quick, efficient. But I really like it.
An album you would have dreamed of mixing?
Violator by Depeche Mode. It’s an album I discovered as a teenager thanks to my brother, and rediscovered later with a band doing industrial rock. It still fascinates me. Also In Utero by Nirvana, with Steve Albini. I would have loved to be part of that session.
And a dream project today?
Postcards, a band from Beirut I discovered when I went there for a project with Bachar Mar-Khalifé. I met them, I love their music. They already have a great sound engineer, Fadi Tabbal. So it will probably never happen. But if they came to Paris and needed to record, I’d be up for it right away.
A piece of advice you would give your younger self?
Don’t be afraid to knock on doors. Even if you get a no, it’s not a big deal. There are other doors to open. That’s something I didn’t really do back then, and I regret it a bit.
