Award winning recording engineer Manon Grandjean reflects on her start in the industry and achieving global recognition for her work with Stormzy. She delves into recent projects with Nao, and shares how she’s kept up her workflow at home during the pandemic thanks to her brand new Genelec monitors.
“It still feels like Groundhog Day most days,” begins award winning recording engineer Manon Grandjean (who is also a mix and mastering engineer) from her makeshift home studio in the UK. “The days are so similar, but I find that I get a lot done from home without having to commute, and I’m really comfortable mixing at home as well. Plus it’s nice to work in your PJs,” she laughs, quickly noting that she did indeed get dressed for our Zoom interview.
Grandjean is from a musical family, (“I used to go to the opera with my mum when I was a teenager, which is unusual!) and first became interested in the technical aspect of music around the age of 18. Moving to the UK, she started out as a runner at Livingston Studios in North London, and remembers the day things changed for her when she was working at State Of The Ark studios:
“We had this band called London Grammar in, and at the time they were unknown,” she recalls. “I’d been assisting in the studio for about two or three years by then, so I knew the studio really well, so it was decided that I was perfectly capable of engineering the sessions. So that was the first album project that I engineered, and that was the first time that people were acknowledging my work.”
Another pivotal moment came when Grandjean met Grammy award-winning writer/producer Fraser T. Smith (Adele, Sam Smith, James Morrison), who she engineers for to this day.
“That was the moment in my career when I went from being half assistant-half engineer, to full time engineering, because he wanted to have an engineer full time, working on projects from the beginning until the end. Working with Stormzy was another one!”