The Mansion

Although the manor house was built as a residential building, one of the main living areas was known as the Salon de Musique, and had hosted many chamber concerts in its time. It took almost two years to convert the house into a fully operational recording venue.

At first, a control room was installed in the garage for Bloch-Lainé’s film work, and subsequently the 180-square-metre basement of the main house was remodelled. The ceiling height was lifted to 3.5 metres, and then a room-within-a-room construction was installed on floating concrete floors, with space enough for the control room and several live areas.

“We turned the original wine cellar into a clear-sounding stone vault, and the rain water tank into a drum booth,” recalls Bloch-Lainé. Later, the large living rooms upstairs as well as the tiled staircase were tuned and wired up, and today they are connected to the control room with 48 mic tie lines.

The studios

Though La Frette was originally conceived as a private studio for Olivier Bloch-Lainé, word quickly spread, and the studio became a popular choice for many French and international artists. One of the first outside clients was Jon Anderson, for the recording of the Yes reunion album Anderson Bruford Wakeman Howe. Bloch-Lainé remained active in the film business until 1997, and after that he focused on independent music and album production at the studio. Today he runs the place with a team of six people, including engineer/producer Nicolas Quere and maintenance engineer Olivier Bolling.

Downstairs, the 36-channel custom Neve desk, loaded with 1081 preamp/EQ modules, is still the heart of the operation, and is accompanied by a large array of vintage outboard gear. Endless Analog’s CLASP system is used to integrate a Studer J37 tape recorder into modern recording projects, and engineers can also call on a Fairchild 670, a pair of ADR F700 limiters, Telefunken V76 preamps with unusual orange paint and a rack of eight Langevin AM16 preamps, as well as racked input modules from a Studer 089 console. Reverb duties are handled mostly by the EMT 140, 240 and 246 units, and the mic locker holds Neumann classics such as the inevitable U47, U67, U87, KM84 and KM88. La Frette also plays host to many sought-after instruments, including a 1904 Steinway B, Bösendorfer upright, Hammond B3, Wurlitzer 200 Suitcase, Fender Rhodes, Fairlight CMI, EKO ComputeRhythm, Linn LM1 and more.

About half a dozen of the actual studio rooms are professionally treated and soundproofed, based on designs by Tom Hidley, yet over the years the team have found good uses for almost all the rooms in the building. With around 650 square metres of floor space in total, there are plenty of opportunities to get creative! La Frette’s client list includes names such as Feist, Pat Watson, Charlie Winston, Detroit, Zaz, Gabriel Yared and Salif Keita, and recently Nick Cave and the Bad Seeds have been working there. And with ample daylight in the rooms upstairs, La Frette has made its mark not only as a sound studio, but also as a film set.


As a residential studio, La Frette offers six bedrooms in the main house, as well as additional space in another house nearby and on a houseboat.