It’s now been 20 years since Prodipe set the standard for affordable studio gear. There was a time when sound engineers had to choose between classic brands like Neumann and AKG—at prices that made you think twice—or poorly made entry-level models. Prodipe is one of the brands that worked hard to blur the line between these two extremes, offering microphones that hold their own in professional recordings at very reasonable prices. Twenty years later, Jean-Luc Masson, the brand’s founder and president, is still striving to find the best balance between price and quality.
Can you tell us about your role at Prodipe?
I am the president of Prodipe, which was founded in 1996. Prodipe means “production by IPE music.” At the time, we were distributors of brands like Teratec, M Audio, and many software products, and we were also software publishers. By 2000, distribution had become very complex, and many brands’ retail prices were no longer being respected. I already had strong knowledge of China, so I went there with Ludovic Lanen, an extraordinary sound engineer who worked with Francis Cabrel, and Claude Salmiéri, a famous drummer who played with Michel Berger and Johnny Hallyday. We visited the factories producing for all the big brands and went straight to the heart of manufacturing, meeting the world’s number one supplier of capsules. Some brands are still made in Europe, but most American and Japanese brands have their products manufactured in this factory. With Ludovic Lanen, we began defining the character we wanted for our microphones, which led us to create an entire range—from the TT1, a microphone used in professional backlines that can easily be compared to competitors’ models selling for over 100 euros, to our range of studio and ribbon microphones. Our goal has always been to be cheaper than the rest, making professional quality accessible to all.
How long does it take to develop a new microphone?
It takes about a year to finalize a product. We started with monitoring speakers, then gradually added more products. It took us nearly fifteen years to build our current catalog, which now covers all types of products.
Until now, Prodipe has been known for studio products. Have you never wanted to branch out into instruments?
It’s a very interesting field. We first launched into drums with a brand called Salmiéri Drums, but unfortunately in 2010, following the death of one of our financial directors, we hit a difficult patch and I had to make choices. I couldn’t handle two brands, so we decided to put Salmiéri Drums on hold. We had made some beautiful, well-regarded acoustic drums. In January 2016, I took over a company called Music Leader International, which owned the J.M. Forest guitar brand, existing for over 20 years. We revived the brand with the same strict specifications we applied at Prodipe. I brought together a team of luthiers and professional guitarists, as well as the best luthiers we could find in Asia. If a guitar doesn’t sound good, it doesn’t make it into the catalog. The craftsmanship must be meticulous and of high quality, and we select the wood based on the target retail price.
How do you explain the renewed popularity of ribbon microphones?
I don’t think they were ever really forgotten. Back in the 90s, brands like Royer and AEA were already offering ribbon mics, but they often cost more than 2000 euros. At that price, they weren’t exactly accessible. Many people simply couldn’t afford them. Ribbon mics are also very fragile, and a single mishandling can damage the ribbon. Plus, you need to know how to record with them. Our range includes the dual-ribbon R.S.L. and the single-ribbon Ribbon 1. Our ribbon mics are less sensitive, but they still deliver that typical warmth of the vintage sound. Drummer Loïc Pontieux, for example, uses them to capture the ambience of his drums. The result is very natural.
Are your microphones only aimed at home studios?
All Parisian studios have an R.S.L. and a Ribbon 1 in their inventory. These microphones are used by bands or engineers recording ambiences. They’re not the typical choice for home studios—they require some skill and good recording knowledge to get the best results out of a ribbon microphone. Being a sound engineer is a profession—people study for it!
What are the next challenges for Prodipe?
We aim to make products that last in our catalog. Whether it’s the TT1, the MC1 that Francis Cabrel used throughout his In Extremis tour, the ST1, or the STC-3D, all these microphones remain central to our range. We maintain quality standards and ensure consistency. Ludovic Lanen and Claude Salmiéri accompany me on every trip to China—we go two or three times a year, staying 10 to 15 days. This is how we control production quality. We are distributed in 45 countries with strong market penetration. By the end of the year, we’ll launch an acoustic guitar amplifier, priced under 500 euros, comparable to models from AER or Acus. It will be called the Natural 6.
Are you a musician?
I studied trumpet at the Geneva Conservatory of Music. I started as a classical musician, then moved to Paris where I founded my first company. That’s where I met Maurice Perrin, father of Philippe Perrin, president of Music Leader, with whom I got along very well. He taught me the ropes of distribution. I gained 30 years of experience thanks to him sharing his knowledge!
What are your favorite albums?
I love all kinds of music. In classical, I enjoy Maurice André, and Augustin Dumay on violin. I like all musical styles—from Michel Berger and France Gall, to Stromae, who is extraordinary, to Brel. I like lyrics, beautiful melodies, and well-crafted works.
