Weekly no-bs episodes for self-recording musicians. Brought to you by full-time engineers and producers, working on hundreds of songs every year. No hype, no fluff. Not trying to make brands happy, not being paid for an opinion. Simply sharing what has worked for us and the artists we've worked with. Listen now and approach your next DIY recording project like you're a seasoned pro!
Site
RSS
Apple
Données mises à jour le 13/10/2026
Classements récents
Dernières positions dans les classements Apple Podcasts et Spotify.
Liens partagés entre épisodes et podcasts
Liens présents dans les descriptions d'épisodes et autres podcasts les utilisant également.
324: Capturing The Band vs. Producing The Band - And Getting Better With Every Record | fourcitycolony
Saison 1 · Épisode 324
dimanche 11 octobre 2026 • Durée 01:44:58
What happens when you compare the record you’re making now to the one you made a few years ago... and your first reaction is:
“What the fuck? We sent this to our mixing engineer?”
That’s exactly what happened to Stefan Thoms and fourcitycolony. And honestly, that’s a pretty good sign. It means they got better. A lot better.
Want to make incredible-sounding records yourself, without having to figure everything out alone? → https://theselfrecordingband.com
In this in-person episode at our studio, Stefan joins us to talk about how fourcitycolony have developed their approach to making records over several releases.
They record most of the music themselves, but they don’t insist on doing absolutely everything themselves. Instead, they’ve landed on a hybrid approach: DIY recording, combined with outside help for mixing, mastering and feedback when it makes sense.
And that opens up some bigger questions:
Should a record simply capture what your band sounds like... or should you use the studio to create something bigger than what you can reproduce live? How much do influences from other bands matter? What's the vision for the project? Should you try to recreate sounds from a reference?
For fourcitycolony, the starting point was their live identity. They already knew how the two guitars should interact and what they wanted the band to feel like. Their goal was to get that sound and energy onto the record, while still allowing themselves to add things that wouldn’t necessarily happen on stage.
We also get very practical.
Stefan talks about having to re-record guitars because of tuning problems, changing the way they structure recording sessions, renting a better room to track drums, separating loud guitar cabinets from the musicians during recording, and learning when another take will genuinely improve something versus when you’re just doing it again because you can.
And once again, one of the biggest reoccurring lessons from making records yourself:
Knowing when something is good enough.
Don’t rush the beginning of the record. Set the standard. Don’t get lazy toward the end. Don’t leave the hardest songs until everyone is exhausted. And if something simply isn’t happening that night, come back tomorrow.
We also talk about why bringing in a professional mixer can be useful even when you know exactly how you want your own music to sound like:
They’re hearing the song for the first time, without hundreds of rehearsals and demos shaping their expectations. That outside perspective can reveal things the band simply stopped noticing.
Pair that with professional feedback, coaching and guidance during pre-production and the recording sessions and you have a bullet-proof, no-compromise approach.
In this episode:
Capturing a band vs. producing a band
Getting better from one record to the next
The guitar tuning mistake they won’t make again
When re-recording is actually worth it
DIY recording + professional mixing and mastering
Why they rented a better room to record drums
Making a studio record that truly sounds like your band
Adding parts you can’t reproduce live
Knowing when a recording is “good enough”
Why an outside mixer hears things you don’t anymore
Vocal recording, pitch correction and keeping imperfections
Songwriting, emotional lyrics and ridiculously catchy choruses
If you’re recording your own band and wondering what you should do yourself, what you should get help with, and how to make every record better than the last, there’s a lot to take away from this one.
If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com
323: What It Takes To Make A Record Feel Alive - Garreth Tackney
Saison 1 · Épisode 323
dimanche 4 octobre 2026 • Durée 01:36:55
What makes a record feel alive, not just polished? Producer Garreth Tackney shares how he keeps modern productions sounding real, human and exciting.
Want to make your own recordings sound professional without losing what makes your music yours? → https://theselfrecordingband.com
--
What makes a record feel alive?
Like real people are actually in a room making music. While still getting the quality, size and impact we'd expect from a modern production?
That’s something producer, engineer and Self-Recording Syndicate member Garreth Tackney thinks about a lot.
His philosophy is simple: “It has to sound real.”
That doesn’t mean rejecting modern production. Garreth still wants clarity, punch and impact. He uses modern tools, amp sims when they make sense, editing, samples and everything else available to us.
But he doesn’t want the process to remove the character that made the performance exciting in the first place.
In this conversation, we get into what that looks like in practice:
Making drums feel like an actual kit in a room, capturing guitars through real amps and cabinets, knowing when not to edit something, leaving natural details in vocals, using room mics to create energy, and even keeping a technically “wrong” guitar sound because it simply felt better.
We also talk about Garreth’s development as a producer and engineer. He came into The Self-Recording Syndicate with plenty of recording experience, but over time his ears, methods and approach to the entire process changed significantly. One of his biggest realizations was that great results have much less to do with owning more gear than with developing the skills to make good decisions with what you already have.
And because Garreth does all of this alongside a regular job and family life, we also talk about finding the time to actually make records, improving through periods of intense creative work, and putting in the hours when music isn’t your full-time job.
322: This Music Producer Is Covering The Entire 400-Song Catalogue Of One Band - Samy Braysel
Saison 1 · Épisode 322
mercredi 23 septembre 2026 • Durée 01:21:32
🚀 Want our personal help with your next recording project?
If you want to learn to listen in a completely different way, and get the production skills to finish songs consistently...
We’ll listen to your music, look at your current situation, create a custom plan for you and figure out if you're a good fit for our coaching inside The Self-Recording Syndicate.
If you are, we can help you make records you're truly proud of and give you the skills and confidence to do it over and over again.
--
About this episode:
What kind of person decides to cover the entire ~400-song catalogue of one band?
Someone like Tobi Seitz, aka Samy Braysel.
His ongoing project is to cover every original song by German punk legends Die Ärzte. He’s currently around 10% of the way through and estimates that finishing the whole thing could take 25 years or more. His reason for starting such a ridiculous project is simple: if an idea is crazy enough, you sometimes have to start immediately before you overthink yourself out of doing it.
But that project is only one part of what Samy does.
He writes and records his own music, plays multiple instruments, produces other artists, teaches guitar and songwriting, repairs and restores guitars, and is building Hitzen Audio, where he helps artists take songs from the initial idea all the way to the finished production.
In this episode, we talk about the philosophy that connects all of those things.
Samy deliberately creates challenges that force him to move quickly instead of overthinking everything. He has written and recorded songs within a few hours, captured one new musical idea every day for a month, resurrected unfinished songs from ten years ago, and learned when to accept that something is done and simply good enough to release.
321: Why Creative Constraints Can Make You A Better Songwriter & Producer - Bryan Hinerdeer
Saison 1 · Épisode 321
mercredi 16 septembre 2026 • Durée 01:32:35
🚀 Want our personal help with your studio or your next music project?
If you want to explore the full potential of your creations, learn to listen in a completely different way, and get the production skills to finish songs consistently...
We’ll listen to your music, look at your current situation, create a custom plan for you and figure out if you're a good fit for our coaching inside The Self-Recording Syndicate.
If you are, we can help you make records you're truly proud of and give you the skills and confidence to do it over and over again.
--
About this episode:
What if the thing limiting your creativity is actually what helps you become more creative?
That’s one of the big ideas in this conversation with Bryan Hinerdeer.
Bryan is a songwriter, guitarist, live musician, and longtime member of The Self-Recording Syndicate. He’s also spent the last few years diving deep into sync licensing and writing music to briefs for film, TV, and other media.
At first glance, writing to a brief can sound restrictive.
You’re given a genre, a purpose & references.
Sometimes specific instrumentation.
Plus a deadline.
And then you have to create something that fits.
But Bryan found that those constraints can actually force you to be more creative, because you can’t just fall back on the same habits every time. As he puts it, you’re already “in a box” with your own music, even if you don’t realize it.
320: From Second-Guessing Every Mix To Finishing & Releasing Songs - Thomas Hauenstein
Saison 1 · Épisode 320
mercredi 9 septembre 2026 • Durée 01:09:22
🚀 Want our personal help with your studio or your next music project?
If you want to finally finish songs and make them sound so good that you can't wait to share them with the world...
We’ll listen to your music, look at your current situation, create a custom plan for you and figure out if you're a good fit for our coaching inside The Self-Recording Syndicate.
If you are, we can help you make records you're truly proud of and give you the skills and confidence to do it over and over again.
--
About this episode:
What happens when you stop second-guessing every mix and start actually finishing and releasing your songs?
That’s a big part of Thomas Hauenstein’s story.
Thomas is a solo artist, songwriter, and longtime member of The Self-Recording Syndicate. He writes and produces his own music, plays multiple instruments, programs and records drums, mixes his songs, and also collaborates with other musicians.
For a long time, one of his biggest challenges was simply not knowing whether what he had made was actually good enough.
He could write songs.
He could record them.
But evaluating his own mixes, knowing what needed to change, and deciding when something was finished was much harder.
In this episode, we talk about how that changed.
Thomas shares how developing his ears, getting consistent feedback, and finishing more projects helped him build confidence and actually release music instead of leaving ideas unfinished on a hard drive.
We also get into his very hands-on approach to recording:
Creating fuzzy rock tones, programming realistic drums, experimenting with acoustic guitar mic setups, sampling his own drum kit, collaborating with other musicians, and learning when to let go of control.And underneath all of it is one idea Thomas comes back to:“It has to be heard by other people.”In this episode:
319: What Mastering Actually Does To Your Music - Maor Appelbaum
Saison 1 · Épisode 319
mercredi 26 août 2026 • Durée 01:49:18
🚀 Want our personal help with your studio or your next music project?
If you want to produce your songs in a way that gets the emotion across and makes your vision for the music come out of the speakers...
We’ll listen to your music, look at your current situation, create a custom plan for you and figure out if you're a good fit for our coaching inside The Self-Recording Syndicate.
If you are, we can help you make records you're proud of and give you the skills and confidence to do it over and over again.
--
About this episode:
What does mastering actually do to your music?
It’s easy to think of mastering as the final technical step. Make it louder, maybe add some polish, export the final files, done.
But for mastering engineer Maor Appelbaum, the job goes much deeper than that.
Maor has worked with artists including Faith No More, Sepultura, Dream Theater, Yes, Meat Loaf, and many more. And in this episode, he explains mastering as a form of presentation: shaping the tone, focus, contrast, texture, dynamics, and overall feel of a finished mix so the listener connects with the music more deeply.
We talk about why mastering isn’t just about loudness, why tiny changes can matter, how transient response changes emotional impact, when a mastering engineer should leave a mix alone, and why there is no universal mastering chain that works for every song.
Maor also shares his thoughts on collaboration, AI mastering, hearing health, learning through mentorship, and why the human connection around music still matters so much.
In this episode:
318: What Artists Actually Need From A Modern Music Producer - Pablo Lopez Figueroa
Saison 1 · Épisode 318
mercredi 19 août 2026 • Durée 01:30:53
What do artists actually need from a modern music producer?
Not just someone who can hit record, choose microphones, or make a mix sound polished.
A great producer helps turn a rough idea into a finished record. And a huge part of that work happens before the final recording even starts.
In this episode, we talk with Spanish producer, guitarist, songwriter, and engineer Pablo Lopez Figueroa about what modern production really looks like.
Pablo works with artists across the entire process: songwriting, arrangement, pre-production, recording, performances, editing, mixing, mastering, and bringing in additional musicians when a song needs them.
A big part of the conversation is about pre-production and why decisions about structure, tempo, key, dynamics, instrumentation, vocal melodies, and contrast often matter more than the plugins or gear you use later.
We also get into collaboration, making faster creative decisions, keeping ego out of the production process, creating a studio environment where artists feel comfortable, and why working around other ambitious musicians can accelerate your growth dramatically.
Pablo is a member of The Self-Recording Syndicate and also part of our Studio Growth Mastermind, where studio owners meet weekly to exchange ideas, solve problems, and grow their creative businesses together.
In this episode:
What artists should actually expect from a modern producer
Why so much of a great record happens before you hit record
What good pre-production really includes
Building contrast into songs and arrangements
Why better production starts with better decisions
Helping artists turn rough demos into finished records
Why the producer’s ideas don’t always need to win
Working with bands and choosing a musical director
Avoiding endless revisions and creative indecision
Creating a studio environment where artists can do their best work
317: Sounding Professional Doesn't Mean Generic, Boring, Or "Overproduced" - Domi Schreiber (MyKungFu)
Saison 1 · Épisode 317
mercredi 12 août 2026 • Durée 01:33:54
Can your music sound professional without becoming generic, boring, or overproduced?
That tension is the main theme of this conversation with Domi Schreiber, the Swiss artist behind MyKungFu.
Domi has a very specific artistic taste. He likes warm, organic, slightly imperfect productions with unusual textures, sparse arrangements, and a strong emotional identity. But for a long time, sounding different from other artists made him wonder whether his music simply wasn’t good enough.
In this episode, we talk about the difference between sounding professional and sounding polished into sameness.
Domi shares how he developed his own sonic identity, why he prefers character over perfection, and how learning the technical side of recording and mixing gave him more creative freedom instead of less.
We also talk about unusual instruments and textures, working with real studio musicians, keeping imperfections that add emotion, building a live show that feels different from the studio recordings, and learning to promote your own music without handing everything over to someone else.
In this episode:
Why professional doesn’t have to mean generic
The difference between polished and overproduced
Finding your own sonic identity
Why sounding different can feel uncomfortable
Keeping warmth and character in your productions
Knowing when imperfections make a song better - and when they make it worse
Why sparse arrangements can be more powerful
Using unusual sounds and non-traditional instruments
Learning the technical side without losing creativity
Working with other musicians while protecting your vision
Translating studio productions into interesting live performances
Why self-recording can give artists more freedom
Learning music promotion and advertising as an independent artist
316: What Great Drummers Do Differently - Michi Dreilich
Saison 1 · Épisode 316
mercredi 5 août 2026 • Durée 01:47:27
What separates a good drummer from a great one?
Most people would probably think it's timing, technique, or playing everything perfectly.
But the biggest difference is:
Great drummers make intentional choices. They understand how dynamics, tuning, feel, sound, and even small imperfections can change the emotion of a song.
In this episode, we talk to professional session and touring drummer Michi Dreilich about what great drummers do differently and how musicians can create drum parts that truly serve the song.
Michi spent ten years playing with Blackout Problems and now works as a touring drummer for different artists. He also teaches drums and records custom drum tracks remotely from his own studio, Container Drums. He was previously a member of The Self-Recording Syndicate and worked with us through 1-on-1 coaching to further develop his recording setup, workflow, and drum sounds.
In this conversation, Michi explains why good drum performances are about much more than hitting the right drums at the right time. We discuss the balance between precision and feel, what a real drummer can add that programmed drums cannot, and how to make bold creative decisions without losing sight of the artist’s vision.
We also listen to three versions of Manel’s song “Lágrimas de Sal”: The original phone demo, a full production demo with programmed drums, and the finished version featuring Michi’s live drums and Benedikt’s final mix.
In this episode:
What great drummers do differently
Why every drum choice should serve the song
The difference between feel and sloppy playing
When imperfect timing makes a performance more exciting
How dynamics create emotion in drum tracks
How to program more realistic drums
What real drummers add that samples cannot
Balancing the artist’s ideas with a session drummer’s creativity
Choosing drums, cymbals, heads, tuning, and dampening
315: Why Most Bands Never Finish Their Album - Fabian Valentini (Max im Parkhaus)
Saison 1 · Épisode 315
mercredi 29 juillet 2026 • Durée 01:33:06
Why do so many bands never finish their album?
For German indie rock band Max im Parkhaus, it wasn’t a lack of ideas or inspiration.
It wasn’t a lack of talent.
It wasn’t even a lack of opportunities or budget.
After two failed attempts with professional #1 producers, years of frustration, and almost giving up completely, guitarist and songwriter Fabian Valentini decided to take control of the process himself. The result was the band’s first album they were genuinely proud of.
In this episode, Fabian shares what finally made the difference, why trusting yourself as a producer matters, and what he learned from spending years chasing the wrong version of success.
We also talk about perfectionism, finishing creative work, balancing music with a full-time career, and what happened just one week after the album’s release.
Along the way, we discuss:
Why most bands never finish their album
The biggest lessons from producing an album three times
How to build confidence as a self-recording artist
How Fabi built the skills to do it himself - and what he needed help with
What helped them rebuild trust in themselves and the process
The danger of perfectionism
Learning to trust your creative instincts
Self-producing while running a full-time business
Why sounding like yourself matters more than sounding commercial
This is an episode about the hardest part of recording music: Finishing it.
--
If this episode helps you, we’d really appreciate it if you left a rating/review or shared it with another self-recording artist. It helps us reach more musicians, invite exciting guests and keep the podcast going.
--
For links to everything we've mentioned in this episode, as well as full show notes go to:
In this episode:
What makes a recording feel “real”
Modern polish vs. sounding manufactured
Capturing drums that feel like a real kit in a room
Real amps, amp sims and knowing when each makes sense
Why you shouldn’t automatically edit every imperfection
The room-mic approach that transformed one of Garreth’s drum mixes
Why a phase problem became a sound worth keeping
Getting better without endlessly buying more gear
How Garreth’s ears have changed over the last two years
Making meaningful audio progress with a job, family and limited studio time
--
If you’re trying to make your own records sound professional without sanding away everything that makes them feel human, this conversation is for you.
If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com
We also get into his approach to production: making records polished without making them robotic, recording real instruments, keeping human imperfections, using references early in the process, and knowing when the last 10% of "perfection" simply isn’t gonna help the song.
And we talk about “Always Smiling,” the first official Samy Braysel release: a fast, loud song about unexpectedly finding a sense of freedom after AI takes away a job you didn’t particularly enjoy in the first place.
--
In this episode:
The 25-year mission to cover every Die Ärzte song
What recreating hundreds of songs teaches you about arrangement and production
Why Samy deliberately sets himself creative challenges
Moving fast without sacrificing quality
Why 90% can sometimes be good enough
Recording real drums and keeping productions human
Polished vs robotic
Knowing when a song is actually finished
Using reference tracks before you start recording
Producing your own songs vs producing other artists
Translating someone else’s ideas into a finished production
Why Samy enjoys restoring and building guitars
Finding time for music alongside work and everything else
Being a generalist instead of specializing in only one thing
Building Hitzen Audio as an end-to-end production service
If this episode helps you, we’d really appreciate it if you left a rating/review or shared it with another self-recording artist. It helps us reach more musicians like you, invite exciting guests and keep the podcast going.
--
For links to everything we've mentioned in this episode, as well as full show notes go to:
If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com
In this episode, we talk about how writing for sync pushed Bryan to grow as a songwriter, producer, and self-recording artist.
We get into learning to interpret briefs, figuring out what “contemporary” actually means, hearing production choices more critically, collaborating with other musicians, improving timing and drum programming, and developing the kind of ears that let you recognize problems before someone else points them out.
We also talk about the balance between polished and organic production, why collaboration can unlock better results, and how Bryan went from simply “listening to drums” to hearing whether a snare, reverb, arrangement, or performance actually fits the song.
In this episode:
How sync licensing and music briefs work
Why constraints can make you more creative
Writing inside a genre without copying references
Learning to interpret vague feedback like “sounds dated”
Why reverb can make a production feel tied to a certain era
Developing your ears through repeated feedback
Improving timing without over-editing
Why drum programming is such a steep learning curve
Making programmed drums feel more human
Bryan’s punk collaboration with another Syndicate member
Why complementary collaborators are so valuable
The difference between being a good musician and a good recording musician
How recording improved Bryan’s live performances
Why production choices need to fit the genre
Bryan’s acoustic guitar recording approach
Organic vs polished production
Using modern tools without losing feel
Why pre-production matters
The value of honest feedback
Why collaboration can take your music somewhere you wouldn’t reach alone
If you’re a self-recording artist who keeps defaulting to the same sounds, the same habits, or the same way of writing, this episode is a great reminder that sometimes a few limits are exactly what you need.
--
If this episode helps you, we’d really appreciate it if you left a rating/review or shared it with another self-recording artist. It helps us reach more musicians like you, invite exciting guests and keep the podcast going.
--
For links to everything we've mentioned in this episode, as well as full show notes go to:
If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com
Going from uncertainty to actually releasing music
Why finishing songs matters so much (beyond the obvious)
Learning to trust your own ears
The value of outside feedback
Why chasing perfection can keep songs stuck forever
Producing both full rock arrangements and stripped-back acoustic songs
Making programmed drums feel more natural
Building unique guitar and bass tones
Thomas’s acoustic guitar recording setup
Using modeling microphones creatively
Sampling your own drum kit
Why unique sounds make productions more personal
Collaborating with other musicians
Learning to give up some creative control
The challenge of doing everything yourself
Managing expectations when music is not your full-time job
If you have a hard drive full of unfinished songs and keep wondering whether your mixes are good enough, Thomas’s story will probably feel very familiar. And it might inspire you to finally take action.
--
If this episode helps you, we’d really appreciate it if you left a rating/review or shared it with another self-recording artist. It helps us reach more musicians like you, invite exciting guests and keep the podcast going.
--
For links to everything we've mentioned in this episode, as well as full show notes go to:
If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com
What mastering actually does to a finished mix
Why mastering is about presentation and emotional impact
How EQ, compression, limiting, saturation, and width change how music feels
Why tiny mastering moves can still matter
When more processing makes a master worse
Why there is no universal mastering chain
What artists should expect from a professional mastering engineer
Why mastering can reveal problems you missed in the mix
Whether you should mix into a limiter or mastering chain
The difference between a “loud mix” and a true mastering process
Why collaboration and outside perspective matter
How Maor developed his ears, taste and skills
Protecting your hearing as an engineer or musician
Maor’s perspective on AI mastering
Why keeping people involved in music matters for the future of art and the community around it
If you’ve ever wondered what mastering really adds after the mix is finished, this conversation gives you a much deeper answer than “make it louder.”
--
If this episode helps you, we’d really appreciate it if you left a rating/review or shared it with another self-recording artist. It helps us reach more musicians like you, invite exciting guests and keep the podcast going.
--
For links to everything we've mentioned in this episode, as well as full show notes go to:
If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com
Why acoustics matter more than expensive monitors
Building a professional studio on a realistic budget
The value of community, accountability, and learning from your peers
Pablo and Manel’s journey from music students in Dublin to professional producers
If you think a producer’s job starts when the red light comes on, this episode might change the way you look at the entire record-making process.
--
If this episode helps you, we’d really appreciate it if you left a rating/review or shared it with another self-recording artist. It helps us reach more musicians like you, invite exciting guests and keep the podcast going.
--
For links to everything we've mentioned in this episode, as well as full show notes go to:
If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com
Why finishing and releasing matters more than chasing perfection
Domi was also a member of The Self-Recording Syndicate and worked with us through 1-on-1 coaching to improve his recording, mixing, and production skills while staying true to the sound he wanted to create.
If you’ve ever worried that making your music sound more professional might also make it sound less like you, this episode is for you.
--
If this episode helps you, we’d really appreciate it if you left a rating/review or shared it with another self-recording artist. It helps us reach more musicians, invite exciting guests and keep the podcast going.
--
For links to everything we've mentioned in this episode, as well as full show notes go to:
If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com
Getting great drum sounds in an imperfect room
Why room-mic placement can transform your recordings
Comping and editing professional drum performances
How Michi developed his remote recording studio
The evolution from phone demo to finished production
Whether you play drums, program them, or record a drummer in your own studio, this episode will help you think more intentionally about the performance and sound your song actually needs.
--
If this episode helps you, we’d really appreciate it if you left a rating/review or shared it with another self-recording artist. It helps us reach more musicians, invite exciting guests and keep the podcast going.
--
For links to everything we've mentioned in this episode, as well as full show notes go to:
If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com
Podcasts Similaires Basées sur le Contenu
Découvrez des podcasts liées à The Self-Recording Band. Explorez des podcasts avec des thèmes, sujets, et formats similaires. Ces similarités sont calculées grâce à des données tangibles, pas d'extrapolations !
