Engineers

Marc Thériault is establishing himself as one of the industry’s most promising mastering engineers, redefining boundaries with innovative techniques and approach. Thériault’s keen ability to grasp the essence of a project combined with his technical expertise allows him to develop the final creative touch for any musical genre.

As Chief Engineer at Le Lab Mastering, Marc is involved in all aspects of the studio design, calibration and gears sonic character. His Bachelor's Degree in Electrical Engineering, combined with over 25 years of experience in the audio industry, is the culmination of his art as a master in audio.

Already associated with eight Juno Awards as well as multiple Felix’s Award, Gold and Platinum records, Marc’s philosophy is to truly understand the relation between audio and emotion. With a solid reputation in live sound reinforcement that made him travel around the globe several time, Marc understands the moment that needs to be translated to any kind of media format.

Marc-Olivier started to play violin at the early age of 9. His love for music definitely helped him find his path as a mastering engineer. Asked by Alain DeRoque to join SNB Mastering team when he was 19 years old, he received an intensive training and became one of the youngest mastering engineer who ever worked at this facility. After moving SNB to Pure Mastering, Marc-Olivier was asked to rebuild the critical monitoring with a team of professionals.

With mastered gold discs such as Annie Villeneuve and IMA, he proved that his knowledge helps artists to achieve their sonic goal in this critical last step. For Marc-Olivier, mastering is more than just an audio project to master. It’s putting breath and life into it and making sure that the vision of the artist and producer is well respected.

After a few years behind the mastering console, Marc-Olivier joined Le Lab Mastering in 2010. His assurance and approach are still appreciated by the people who have been working with him in the studio. His musical background leads him to work in many musical styles with different artists such as Anne Bisson, Gregory Charles, Ima, Zachary Richard, Michel Rivard, Anodajay and many others.

From a young age, Philip starts experimenting with his very first microphones and instruments lying around the house. Wanting more than what his basement had to offer, he decides to study electroacoustic music composition at Concordia University where he gains musical and technical knowledge. During his studies, he is also involved in several independent music and film projects, working both on the production and post production side of things.

Deciding to pursue his studies further, Philip proceeds to a masters in sound recording at McGill University where he receives the John Bradley award for his outstanding work.

In 2014, he participates in a recording program at the Banff Centre for the Arts where he works with artists such as Daniel Lanois, Reuben and the Dark, The Wooden Sky, Coeur de Pirate, Year of Glad and many more.

Now part of the team at Le Lab, Philip brings his capacity to outline the driving elements of a project, and to collaborate with the artists to value the unique characteristics of each project. With a growing vinyl collection, Philip is fascinated by the listening experience that this medium brings as well as the mastering process involved to craft it.

Cristobal spent his summers from the age of 13 on assisting his uncle who was a sound editor for film. He became fascinated by all things sound, the tape machines, mixing boards and microphones which he learned to use at very young age, this led him to work as a sound recordist for several years traveling and recording for film and documentaries in Guatemala, Mexico and Cuba.

Ultimately his work as a record label owner and DJ led him to his mastering and vinyl cutting focus and specialization.

In 2015 he moved to Berlin to learn how to master and cut for vinyl with Stefan Betke at Scape Mastering Berlin. Working in this prolific studio for three years, he spent most of his time cutting mainly dance, electronic and ambient music 12 inches on the infamous Neumann VMS70 record cutting lathe, focusing on deep and bass heavy sound for underground electronic music.

He has worked, mastered and cut thousands of tracks over the past 6 years and is focused on giving the artist the closest possible experience when moving from the audio mix down to mastering stage. Always respecting contemporary loudness standards, while not losing the most important thing, the essence of the music.

Carl Talbot, recording producer and sound engineer, is a well-established audio professional in his community. His productions have received nominations, honours, and awards across the globe: Grammy, Juno, Felix, Gramophone Critics’ choice awards, Diapason d’Or, and many more. His 20 years of experience have led to hundreds of albums and films. Known for his musical approach and aesthetics, he benefits from having the rare qualities of being at ease artistically and technically in many genres of music. Starting in 2008, this strong experience led to a premier position with Kent Nagano and the Orchestre Symphonique de Montréal as sound recording engineer, and, in 2009, to a new collaboration with Montreal-based state-of-the-art mastering studio ‘Le Lab Mastering’.

Carl is currently the leading producer at Analekta, Canada’s largest classical label. He worked as well for Effendi Records, Justin Time Records, Sony-BMG, EMI, Virgin Classics and Radio-Canada.

Talbot holds a Bachelor‘s Degree in Piano and a Master’s Degree in Sound Recording from McGill University. He is a guest lecturer at the Banff Center for the Arts and at McGill University.

Eric has been involved in the professional audio production of the arts throughout his 25+ years career. His experience encompasses all of the live performing arts: musical production, concert, theatre, dance, etc. Working for organizations such as MTV Asia, Cirque du Soleil, Laservision and many others who demand the highest level of professionalism, he has engineered many musical genres from pop to hard-rock both from a concert and studio production perspective and handled live broadcasts for Jason Mraz, Robin Thicke, Justin Bieber, Neon Trees among others.

Hard rock and high energy musical style remain his favourite framework in which he strives to maintain the artistic intention while formatting the product for final release.

He has several hundreds of hours of broadcast material ranging from sitcoms, live quiz, talk shows and musical mixing. He did the surround sound design for the Singapore water show "Wonder Full" seen by over 2 million people since February 2011. He can offer expertise on the various audio level requirements for broadcasting such as R-128, BS-1770 et ATSC85.

He was the Chairman of the Audio Engineering Society (Singapore) from 2011 to 2013. He has been solicited as an audio lecturer by prestigious institutions such the Hong Kong Academy of Performing Arts and the LaSalle College of the Arts in Singapore.

Alexis Pilon-Gladu has discovered turntablism and electric bass in 1996. A passion for scratching, beat-juggling and low frequencies was born. In 2004, he begins studies in upright bass, jazz interpretation at CÉGEP Marie-Victorin and then at Laval University (2008). Quickly, he works on stages and composes film scores. In 2012, he does an internship as an assistant re-recording mixer.

Since then, he has been associated with many film productions as a re-recording mixer and sound editor or composer who was nominated for or won awards in the movie industry . APG continues to specialize himself by pursuing graduate studies at UQAM (2018) specifically in 3D sound.

These broad experiences have given him an understanding of the language of sound immersion and music, allowing him to define a custom-made craft for your 3D sound projects. Further more, he also participates in research on ambisonic sound and other 3D architectures in order to use loudspeakers array systems as an interpretive instrument for different VR, MR or AR contexts. It is in the use and design of new technologies that combine musical, cinematographic and immersive language that APG participates in the development of emerging sound approaches.