Landsc8pe Studio is a Montréal-based mastering and production studio run by Jesse Osborne-Lanthier. As a mastering engineer, producer, and mixing engineer, Jesse works across recorded music, performance, and installation, supporting projects that move between intimate listening environments and large-scale presentation. Each collaboration is approached with discipline, responsiveness, and a commitment to preserving the inherent structure and character of the work.
The studio was founded from lived experience — years of being a self-funded musician navigating limited budgets, self-released records, and independent production realities. That background continues to shape how I approach mastering today: not as a detached technical service, but as a collaborative and attentive final stage of listening and diffusion. I aim to offer fair pricing while remaining thorough and closely involved in the work. I understand what it means to stretch resources to bring a project into the world, and I believe strong, detailed mastering should be accessible to artists from all backgrounds.
Practice
While I specialize in left-field, experimental, electronic, and hybrid practices, my work is not genre-bound. I am proficient across a wide range of musical styles — from delicate acoustic recordings to dense electronic productions, from heavy and saturated textures to minimal and dynamic work across pop and experimental spectrums. Mastering, for me, is musical before it is technical.
Coming from an embedded and music-driven background, my understanding of sound is shaped by composition, performance, production, and critical listening. I treat each project according to its inherent, core structure rather than applying a fixed aesthetic. I can be heavy-handed when a record needs extensive correction, impact and density, or extremely light when preservation, space, and subtlety are essential.
The goal is always the same: to help artists finalise and optimise their work while maintaining its integrity.
Approach
With over 15 years of experience, entirely self-taught and developed through hands-on practice, I’ve built a workflow grounded in precision and versatility. My work is meticulous and professional, with attentive revision when needed, direct communication, and deliberate decision-making at every stage.
Landsc8pe Studio operates in a semi-unconventional setup — a hybrid environment that reflects how I work creatively but also how I listen to music, rather than how a traditional commercial studio is structured. This approach has proven to be the most effective and focused way for me to deliver consistent, high-quality results. The setup is refined and built around listening above all else.
Mastering & Finalisation
Preparation for digital, vinyl, CD, performance and installation contexts. Format-specific considerations are integrated into the decision-making process rather than treated as an afterthought.
Mixing & Sound Direction
Mixing approached as a structural and musical discipline, in dialogue with the artist and aligned with the project’s intent, form, and eventual context.
Restoration & Repair
Audio repair, distortion correction, cleanup, and preservation for contemporary and archival material.
Production Support and creative-consulting
Targeted support for artists seeking honed-in refinement and guidance — including structural edits, sonic adjustments, arrangement input, creative direction and feedback, and engaged critical listening throughout the procedure is available upon request.
This work is quoted on a per-project basis.
Equipment & Monitoring
Many studios foreground extensive equipment lists. I don’t. I’m a firm believer that gear, on its own, is often overstated — even fetishized — within audio culture. Mastering is not about spectacle, and it isn’t about accumulating hardware as proof of legitimacy. The real work happens in listening, judgment, and critical musical sensitivity and taste.
Landsc8pe Studio operates through an integrated hybrid analog–digital setup that is adapted per project. The chain is not fixed; it evolves depending on what the material calls for — whether that’s transparency, density, restraint, character, or precision. Tools are selected deliberately, not ceremonially.
I work with a very wide array leading digital and analog equipment that is carefully calibrated and maintained, but the emphasis is always on how it is used rather than what it is. My monitoring system — built around PMC reference loudspeakers and Audeze planar headphones — allows for both accurate translation and microscopic detail work across all stereo playback contexts.
The studio operates in a semi-unconventional configuration compared to large commercial facilities. It reflects how I think and work creatively. It may not resemble the traditional high-gloss mastering room, but the results speak for themselves. The proof is in the work. This is a purpose-built and carefully calibrated environment — not an improvised or bedroom producer setup. At the end of the day, equipment is only meaningful if it serves the music. The priority is clarity, depth, impact, and integrity — not the mythology surrounding the gear.