Félixe is a big fan of textures, going for long slow walks to take it all in, her three sisters, Czech Mliko beer pours that are all foam, hanging at a hot pot cookout with friends, cheap-ish 70s horror flicks. She will rejoice at any occasion to go watch a movie in the theatres, thinking things like 'Wow! That door sound! The reverb on that dialogue!' Etc.

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She graduated with a B.A. in Music at McGill in 2024, taking classes that include introduction to electronics, introduction to electroacoustics, physics of music, introduction to digital audio, production for digital media and audio production essentials, along with the program's rigorous classical music theory and ear training requirements. Although schools are institutions and she learnt to think about them + everything else critically thanks to Indigenous scholars like Alfred Taiaiake, Aaron Mills, gender theorist + ethnomusicologist Althea Sullycole, it was, overall, a thrill + a thoroughly invigorating experience.

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Since 2022, she's been working with Montreal established composer and re-recording mixer Daniel Toussaint, with whom she learnt how to use Pro-Tools, perform basic sound effects editing, and has since worked her way up into doing more complex foley, pre-mixing her ambience layers and sound effects in 5.1, and composing music cues for various film and television projects. 

 

She's since evolved into taking on sound design + composing work for screen-based projects on her own, including doing the sound design, dialogue editing and music supervision and composition for the CBC's first season of Les Faillites d'Astrid and full composition and sound design work for the 15minute short Catalogue, which was also her first foray into completing a mix for theatre release. 

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From high school jazz band to performing at Pride Winnipeg and the Winnipeg International Jazz Festival with CEC, her primary performance instrument is the drums. She's performed as a vocalist and synthesist on more than a dozen stages in Montreal and Toronto with STOYLOV, and composes and records her own music using synthesizers, electric guitar, voice, field recordings and digital sound processing. She shares space and regularly records in the Good and Plenty Producer's Club accredited studio in the Exchange District—The Clubhouse—and is always keen on opening up projects to include musical collaborators of various backgrounds.   

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She's available to work creating the sound from start to a finished mix on smaller projects, and can be hired more specifically as a sound designer (creating a distinct sonic world using foley, sound effects, and ambience layers), dialogue editor, or composer for larger scale projects involving many collaborators.