"I have the freedom to work whenever inspiration strikes"

We are delighted to share our conversation with multi-instrumentalist, producer, and songwriter LUDE to chat about music, workflow and studio aesthetics. Dive into the interview to discover how he balances the discipline of classical training with modern electronic production, his philosophy on workflow, and what it takes to build a literal dream studio from scratch.

You started young, learning how to play the guitar at the age of 6. Your journey took you from the Conservatoire straight into the world of electronic music, studying at prestigious places like BIMM Music Institute in Brighton and Berklee College of Music in Boston. How does that classical foundation and specialized training shape your production today?

It shapes my production in a fundamental way.
Learning the guitar at a young age taught me something I still consider essential today: how to physically connect with music. Before producing anything on a screen, I learned how to create sound with my own hands, how to develop technique, emotion and musicality through an instrument.

My years at the Conservatoire gave me a strong understanding of harmony and music theory. For me, learning the language of music was just as important as learning how to play an instrument. It provided a framework to understand what I was hearing and opened up countless possibilities when composing.

As technology has evolved, more and more producers start directly inside a DAW without necessarily going through that traditional musical education. I'm grateful to have built that foundation first, because it still influences every creative decision I make today.

Berklee further refined my understanding of harmony, arrangement and production, while giving me a broader perspective on music creation. Interestingly, I taught myself how to use DAWs, so my journey has always been a combination of formal musical education and self-directed exploration.

Today, I would describe my production style as a hybrid approach. I combine the discipline and musical understanding that come from classical training with the freedom and experimentation of modern electronic production. Whether I start with a guitar, a piano, a vocal idea or a synthesizer, the song itself always comes first.

Guitar, bass, drums, piano - you play them all! When you start a new track, which instrument do you usually reach for first to find that initial spark?

Honestly, none of them!

Most of my tracks actually start in my head. It can be a melody, a vocal topline, a lyric, a theme or simply a feeling. The first thing I usually do is grab my phone and record the idea before it disappears.

Once I've captured it, I might pick up a guitar, sit at the piano, grab a bass or jump straight into the studio to start building around that initial spark.

Most of the time, I already have a large part of the song mapped out in my mind before I touch an instrument. The real challenge isn't finding ideas - it's remembering them all before they vanish!

That's why I see instruments as tools to bring an idea to life rather than the starting point itself. The music almost always begins in my imagination first.

Your live gigs blend energetic DJ sets with live instruments like the electric guitar. Which one feels closer to your heart: the energy of a live performance or the intimacy of in-studio production?

Definitely the energy of a live performance.

For me, that's the ultimate reward for all the hours spent writing, composing and producing in the studio. Seeing people listen, react, sing along and dance to something that once only existed in my head is an incredible feeling. It's probably the reason I keep making music every single day. There's something addictive about that connection.

That being said, live performance only exists because of the work that happens beforehand in the studio. I often compare music production to cooking. As a producer, you're constantly searching for ingredients, experimenting, refining recipes and trying to create the best possible experience. The live show is when you finally get to serve the dish and see people's reactions.

Interestingly, I've also rediscovered many of my songs on stage. Sometimes, while performing a track live, I suddenly understand why I made certain creative choices in the studio months earlier. It's almost like the music reveals a deeper meaning once it's shared with an audience.

So if I had to choose, I'd say live performance wins. But the studio is where the story begins.

 

Let's talk about your incredible studio space: a custom-tailored wooden house surrounded by nature. What inspired you to escape the city and build your creative sanctuary out here?

Like many producers, I started out making music in my bedroom.

Later, I spent years working in various studios around Paris, which was incredibly valuable from both a creative and networking perspective. In many ways, those places helped shape my career, and I still enjoy working in collaborative studio environments today.

The challenge was that none of those spaces truly belonged to me. Time was always limited, sessions had to end, and creativity often had to fit within a schedule.

Then COVID happened. Like many artists, my touring activity and career momentum came to an abrupt stop. Instead of seeing it purely as a setback, I decided to treat it as an opportunity to rethink both my creative process and my lifestyle.

Between 2021 and 2023, I bought a piece of land about an hour outside Paris and built a custom wooden house with a dedicated studio at its heart.

Looking back, it's probably one of the best decisions I've ever made.

Today, I have the freedom to work whenever inspiration strikes, whether that's for two hours or twelve. Every element of the space has been designed around creativity, comfort and focus. Being surrounded by nature also brings a sense of calm and perspective that is difficult to find in a busy city.

More than a studio, it's become a creative sanctuary, a place where I can fully disconnect from distractions and reconnect with what matters most: writing, composing and creating music.

 

The aesthetic of your place is stunning. Would you consider yourself an architecture or design enthusiast? Looking at photos of your studio sessions, it feels like an incredibly welcoming space where guests instantly feel at home! That cozy visual harmony and positive vibe must greatly impact the collaborations and music you create here!

Thank you! I really appreciate that. To be honest, I never set out to become an architecture or design enthusiast. I simply wanted to create a space that reflected my tastes, my lifestyle and the way I like to work.

The whole project actually started with a blank sheet of paper. I began sketching the house and the studio myself, imagining how I wanted the space to feel rather than how I wanted it to look. The concept was quite simple: a U-shaped wooden house built around comfort, light and creativity.

From there, I downloaded a beginner-friendly architectural design software and spent countless evenings teaching myself how to use it. Little by little, I designed almost everything-from the overall layout of the house to many of the smallest details. Once the concept was fully developed, I shared it with a professional architect who helped transform the project into something technically viable and compliant with building regulations.

Looking back, the process wasn't that different from producing music. You start with an idea, refine it over time, obsess over details and gradually turn a vision into something tangible.

I also believe that the environment has a huge impact on creativity. When artists, musicians or friends come here, I want them to feel relaxed and inspired. Some of my favorite sessions have happened simply because people felt comfortable enough to forget they were "working" and just enjoy creating together.

In that sense, the studio isn't just a workspace, it's part of the creative process itself.

 

A special space like this demands unique studio gear, and we are absolutely thrilled to see our Producer Classic 88 workstation find such a perfect home in your studio. Could you take us a bit deeper into your current setup?

First of all, I absolutely love the Producer Classic 88 workstation and I don't regret my choice for a second. It fits perfectly within the studio and has really become the centerpiece of my workflow. What I appreciate most is how it allows me to keep everything within reach while maintaining a clean and comfortable working environment. My MIDI controller sits at the center, while the rack space accommodates my outboard gear, preamps, compressors and hardware instruments without ever feeling crowded.

The studio itself was designed around two main purposes: recording and production. I built a dedicated recording booth for vocals and acoustic instruments, with all the necessary connections running directly to the main room. This allows me to move seamlessly between recording, producing and mixing without interrupting the creative flow.

On the recording side, I rely on a selection of gear that has become part of my sound over the years, including Neve 1073-style preamps, 1176 compression, a Neumann U87, SP-1 standard mics and a collection of guitar amplifiers.

Monitoring is handled by a pair of Focal Trio11 Be speakers, which I use as my main reference system. That being said, I still keep my old KRKs on the desk. I've been producing on them for over ten years and I know them so well that they remain an essential part of my decision-making process.

Ultimately, the goal of the entire setup is simple: to remove technical barriers and stay focused on creativity. Every piece of gear is here because it helps me work faster, capture ideas more easily and bring songs to life.

 

We couldn't help but notice the great layout you have going on. You have the Icon QCon controller sitting right in the center of the desktop, but alongside it you also have a classic Akai 4000DS reel-to-reel tape recorder from the 1970s, and even a turntable for vinyl records. Is it safe to say you love this fusion of vintage analog charm and modern digital workflow?

Definitely.

In many ways, my entire approach to music is built around that fusion of eras. I'm constantly amazed by the technology available today, but I'm equally fascinated by what musicians, engineers and producers were able to achieve between the 60s and the 90s with far fewer tools.

Some of the most timeless records ever made came from that period, and they continue to inspire me every day. There's a depth, character and emotional quality in those recordings that I still find incredibly powerful.

At the same time, I fully embrace modern production tools. Today's DAWs, plugins and digital workflows allow us to work faster, experiment more freely and push creative boundaries in ways that were unimaginable a few decades ago.

For me, the goal is not to choose between analog and digital, but to combine the best of both worlds. I use modern technology for its flexibility and efficiency, while relying on instruments, outboard gear and tape machines whenever I want to introduce character, imperfections and warmth into a recording.

That's why you'll find an Icon QCon controller sitting next to a vintage Akai tape recorder and a turntable in my studio. They each represent a different era, but they all serve the same purpose: helping me create music that feels authentic.

To me, analog and digital aren't opposing worlds, they're complementary tools that become incredibly powerful when used together. But no AI ;)

 

If you could give one piece of advice to producers who are looking to design their first serious studio space to optimize their workflow and take it to the next level, what would it be?

My first piece of advice would be to create a space that reflects who you are as an artist. Design a place that inspires you, a place you're genuinely excited to walk into every day. At the end of the day, you'll spend countless hours there, so the emotional connection you have with the space is incredibly important.

I think many people get overwhelmed trying to build the "perfect" studio according to every acoustic standard and technical recommendation they can find online. Of course acoustics matter, and it's important to learn as much as possible about room treatment, speaker placement and studio design. I personally spent a lot of time researching, talking with mixing engineer friends and gathering advice from professionals.

But the truth is that no studio is perfect-not even some of the best studios in the world.

My philosophy was simple: first create a space that feels right, looks right and makes me want to create. Then optimize it technically as much as possible.

If you enjoy being in your studio, if you trust what you're hearing and if the space makes you feel creative and confident, you're already much closer to your goal than you might think.

 

Finally, can you tell us what you're working on at the moment? Are there any upcoming releases, videos, concerts or collaborations we should keep on our radar?

Right now, most of my energy is focused on a new chapter of my career.

After many years working primarily as a producer, I'm stepping forward with a new artist project where I'm expressing myself more personally as a singer, songwriter and performer.

Over the past few years, I've been writing and producing a completely new body of work that reflects this evolution. It's probably the most personal music I've ever created and marks a significant shift from my previous releases.

What excites me most is that this project goes far beyond the music itself. We're currently developing a complete visual universe around it, combining music, image, fashion and performance to tell a larger story.

Alongside that, I'm continuing to collaborate and produce for other artists, which remains an essential part of who I am creatively.

So if there's one thing to keep an eye on over the coming months, it's definitely LUDE. I'm incredibly excited to finally start sharing this new chapter with the world.