www.psneurope.com


May 2013 l 25


studioreport


I tried, the ADAMs I preferred,” he emphasises.


Maria Luisa and Bruno Mercère at Sledge, Colombes


fighting the big production houses.” And that philosophy has worked so far. For instance, five cinema releases were mixed in the studios in 2012; and when PSNEurope visited, Mercère was halfway through his sixth season of mixing a forensic


detective show (yes, it’s CSI, Paris-style) for the main commercial TV station TF1. They’re not short of work. The two smaller mix rooms


feature Avid 32-fader ICON D-Show desks driving PT HD3 systems, while the centrepiece


Studio 4 features S3A monitors in a 5.1 configuration


of the cinema room is a Euphonix/Avid System 5. You’ll find ADAM Audio monitors in every room. Mercère is a big fan. He has used other brands – and he names them, though we won’t – and says he “hated” them. “Of all the ones


In the TV mix studio (‘4’) he has an ADAM S3A 5.1 set-up with an ADAM Sub. In the cinema room, there may be JBL cinema speakers clearly visible, but he prefers to set up the S3Xs and work with those. “I just mixed for three weeks [solid] on ADAM for a small budget movie – and they were completely transparent. That’s very important, that’s the main thing,” he says. “You can use them for every application, and you hear what you’ve done.” Several users have told PSNEurope how easy ADAM boxes are to listen to for prolonged periods: does Mercère find this? “Yes, because of the ribbon


tweeter. It’s a smooth sound and you can work 12 hours without any problems. With JBL for movies: no. With ADAM, I can work with one project during the day, and another at night… sometimes I have to do that!


“Another point,” he offers. “Musicians or producers or directors who work with me, they find them really beautiful. Some composers and musicians have bought ADAM speaker after they’ve heard mine!” Mercère is presently working with Michel Gondry, mixing the music for his next movie project. “But I don’t want to mix a lot, that’s not why this place exists,” he remarks. “This place is here because I want to give people ‘atmosphere’. When I was a freelance, I was not happy with all the places I worked.” Projects in studios in Paris,


he says, were all about price rather than comfort. Hence he found a base for Sledge outside the city, where it’s cheaper – and where he and his staff are more than happy. “For the same price we can


have somewhere comfortable with people smiling!” n contact@studio-sledge.com (Facebook: studio-sledge)


Photos: Louis Austin


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