The Life of a Nomadic Recordist – with Stephane Fufa Dufour of Articulated Sounds

Ever return home from a vacation feeling like you need a vacation? For nomadic recordist Stephane Fufa Dufour – creator of independent sound libraries and owner of Articulated Sounds – ‘home’ is wherever he is. For years, Dufour traveled light, taking only the essentials for living and recording, and has made a career of capturing sounds from around the world and creating libraries. He’s learned a lot the hard way – like prioritizing his health when traveling, staying in one place longer than just a few days, finding the lightest-weight gear (for traveling and recording), balancing work/life/travel, and so on – and shares his insights on how to truly make this lifestyle a success.

He talks about his adventures in recording sounds, about creating a Sound Map, Daily Journal, Instagram stories, and blog posts so others can follow along on his journey. He discusses his newest sound libraries, plans for future libraries, and so much more!

How did you get started in sound? And what types of experiences did you have in the industry before you decided to embrace the nomadic life and record sounds around the world?

Stephane Fufa Dufour (SF): Well, if we want to go back in time, I got a cassette recorder when I was four and started playing with it. I was doing my own show, actually. That was really funny. I was banging on all the stuff in the house, making some type of musique concrète.

Growing up, I had access to a computer at a time when there weren’t many home computers because my father was a researcher/professor at the University of Mathematic in Montpellier (France). He was doing research and had access to a computer, so I got my hands on a computer at an early age. I was able to manipulate media and see all the possibilities with computers. It ignited a passion in me.

When I was a teenager, I went to a school for music. My teenage years weren’t a great time for me, so I found refuge in music. I listened a lot to music and I started to create my own using a DAW on the computer. I produced some crazy stuff. At that time, I didn’t know anything. I was just doing it by myself. Looking back, it was funny. Then, I played in a band and recorded other people’s bands. My first business was a recording studio that I started myself. And it was a real laboratory of sounds. For five years, I did a lot of editing, mastering, and recording voices and bands. I was an autodidact; I learned a lot by myself. My brother is a sound engineer and he also helped me a lot.

After five years of doing that, I decided I needed to learn more about life, to have a bigger aspiration, so I moved from France to Canada. I wanted to learn English, learn multimedia, visual animation, and programming. I was really motivated and had so many interests.

I attended the university in Montreal and studied Computation Arts (a mix between computer science and fine arts). This was really interesting with a lot of interactive art installations. (It was taught in English, so I could learn English because my English was really bad before.) During that time, I worked in web development. I started as an integrator, then went to digital artist, and then technical artist and animator. I was a jack of all trades. In the meantime, I was still creating my own projects in music and learning more about sound design.

At that time, I was still working in the studio, sitting all day long, and I developed an allergy to staying indoors.

After graduation, I worked in video games. This was really fun. In Montreal, they have great game studios. I started as a technical artist – not very related to sound – but I found that my passion for sound was too great and so I started to get into sound design. I got a position as a sound designer. I did that for a little while. Around that same time, I started to get inspired by the community of independent sound libraries — places like A Sound Effect. I thought it was really nice. So, I started to record and create my own sound library. I released my library and it was kind of a revelation – I discovered my new true identity. This was something that I was meant to do.

I started by recording sounds around Montreal, where I was based at that time. I tried small field recording travels to Central America. I visited there and came back to Montreal. At that time, I was still working in the studio, sitting all day long, and I developed an allergy to staying indoors. I had to do something.

Before that, I had not traveled much in my life. I didn’t have this chance because I was too busy working, but I had the urge to discover the world, and so it became a life goal.

…I had the urge to discover the world, and so it became a life goal.

I was really looking into people who were traveling and lived a nomadic lifestyle. And this was something I wanted to do. So, after my contract with the game studio ended, I decided to leverage my sound library, Articulated Sounds.

I laid my ambitious project on the table and got accepted to an entrepreneur startup program that helped me to quick-start my journey. Thankfully, I had the help of Vincent Fliniaux, a wonderful sound artist. He’s a great guy. I also collaborated with various professionals and was lucky to be able to bring my project to life.

After more than a year, I felt Articulated Sounds was strong enough to be my main source of revenue. I decided to jump into the adventure of travel and recording. So I left everything behind me and I was ready to explore the world. That was a big decision.

That’s a pretty tough decision to make – to just pack all the essentials into a backpack and go wherever your ears take you. Can you talk about that decision? What was the hardest part? Scariest part? The most rewarding part of that decision?

SF: The hardest part was the logistics of it — decluttering what I owned and amassed for years, making the selection of what to bring with me. I left with just a backpack so I had to carefully select what to bring with me.

The scariest part was the fear of the unknown because I just decided to leave. I bought a one-way plane ticket to Iceland. That’s it. I didn’t know what came next. This was it.

The scariest part was the fear of the unknown because I just decided to leave.

Also, leaving my friends and family was hard. But because I already had this experience leaving France, it wasn’t as hard this time. I know I still can connect with people through technology.

The most rewarding part is the feeling of freedom. You’re free to go wherever, whenever. It’s just nice. Also, because I choose to be minimalistic and travel light and not have many belongings, for me that’s freeing. I’m more productive and happier. It’s a dream life. I think many people are envious of my lifestyle, but it’s taken a lot of serious thought and planning to arrive at this decision, and a lot of work to make it possible.

For me, traveling is a great fit for my endeavor to create sound libraries. I can explore new cultures, new landscapes, and it coincides very well with the mission of Articulated Sounds to provide rare and highly valuable sounds that can inspire people, and be used in movies and games. So, I believe all the roads came together to make this possible.

What are some of your favorite places that you visited? What did you record there?

SF: There are so many places I like. It’s very difficult to choose favorites. I’ve just created a Sound Map for my website Sound Xplorer. It’s an interactive map of some of my favorite sounds and where they were recorded. For example, I recorded a hot air balloon in Luxor, Egypt. So on the Sound Map, you can click on the soundwave icon in Egypt and it will play that sound.

Deciding on my favorite sounds is very subjective. Sometimes it’s related to emotion and my own feelings. Everywhere I’ve recorded had some good and some bad experiences. I wouldn’t say that one place is better than another because when I travel, I explore many aspects other than sound. I discover culture, language, food, etc. There’s so much to take into account; sound is just one part of the experience.

In recording sound, there are a lot of technical aspects to take into consideration. Sometimes my approach to recording was technically bad, so that’s why I don’t like the recordings. I did too much trial and error.

I believe the most interesting opportunities are extreme situations or locations – for example, the extreme south, the extreme hot, the extreme tropical, extreme elevation, extremely remote, or the extreme desert. This is where we can sense the boundary of the planet and understand it better. This is where you can capture the wildest sounds, the wildest wind, the richest soundscape, the quietest ambience, and the weirdest animals. For example, I was in Tierra del Fuego (they call it the End of the World) in the south of Argentina and it was really interesting. I went to the desert of Morocco, to the ancient tropical forest in Malaysia, to the lush, high forested area in Kenya, to the quiet soundscape of Canadian wilderness. I captured the crazy energy and cacophony of densely populated areas such as Cairo, Bangkok, and New York.

The extremes are really interesting. Iceland has a really alien landscape; it’s so weird. It looks like Mars. It’s very, very interesting for sound.

What was the most challenging location you visited, and would you go back? What did you record while there, and did the recordings make the trip worthwhile?

SF: The most challenging places were probably Brazil and Morocco, mainly because I did not plan correctly. Usually, when I go to a place, I try to plan ahead of time. Also, I felt sick while visiting Brazil. I arrived there in transit between Paraguay and Bolivia, and I wanted to record The Pantanal – a natural region encompassing the world’s largest tropical wetland area. I didn’t plan correctly for that because this was a last-minute decision.

I didn’t plan correctly for that because this was a last-minute decision.

In Brazil, they speak Portuguese, and I don’t speak Portuguese. The barrier language can be really troublesome when traveling. This part of Brazil, Mato Grosso do Sul, is a remote area, so they do not speak English. Hence, it was very difficult for me.

I was also sick while in Morocco. But it was a different situation because I understood the language but I would have preferred not to. I didn’t really like how intrusive people were. It was really difficult in Morocco because people were very curious and very inquisitive. So, this was not the best place for me to record. I liked it; it was interesting, but it was a challenging place to record.

I plan on going back to Brazil, to The Pantanal, because it was very promising. The circumstances of my first trip were very bad. There were a lot of mosquitoes and insects. It was terrible. I have to be prepared for that.

I decided health should be my number one priority now, above everything else, thus allowing me to travel smoothly long-term.

I want to point out that health is actually very important, and can really impact the overall trip. In Morocco, which was one of my first destinations, I was feeling very sick for a couple of weeks. It was really bad. Because I travel alone, it was really difficult.

So because of that, I decided health should be my number one priority now, above everything else, thus allowing me to travel smoothly long-term. I’m alone, so if something goes wrong, I’m by myself. That’s very difficult mentally, and physically. So I really take great care of my health. I put in place a daily routine for me to be 100% operational. It has become a pillar of my lifestyle.

Do you typically learn a language (or some of the language) before you visit a place?

SF: I think it’s very important to know at least a little of the language in most places. So, I started to learn different languages. And personally, I like it. It’s an introduction to the culture, and it’s important to be able to communicate with locals. So, right now I’m learning Bahasa, which is the main language in Malaysia and Indonesia. It’s actually the same language but with some differences. I’ve been learning Spanish also. I tried to learn Russian but Russian is very difficult.

One thing that works for me is to listen to media – like the news.

I’m bad at learning quickly. It took me five or six years to learn English. I’m really slow at learning languages. I think the best time to learn is when you’re young. But I’m 40 now, so my brain doesn’t want to learn new words. I learn something and the next day it’s gone. It’s difficult.

One thing that works for me is to listen to media – like the news. When I was learning English, I would listen to the news every morning. That makes you aware of the sound of the words. The best thing to do is to be immersed in the language and to speak the language. If you’re obliged to use it, you learn it faster. If you meet someone who speaks the language, make friends with them, and they will teach you everything.

Do you have a bucket list of places to visit and sounds to record?

SF: I have a list of projects – ideas for sound libraries – and I have a list of things I want to record. But I never know for sure if I will be able to capture those specific sounds when I get to a location. It’s very unpredictable.

Sometimes I have a mission – my own mission or a contract to record specific sounds. I do all I can to record those specific sounds. Typically, I give myself some leeway to be able to record any kind of sounds that I find in that location. It’s surprising what you can find in different locations. You never know.

So I have a bucket list of places. And, I have a bucket list of sounds. But the two lists don’t necessarily coincide.

What advice would give to someone thinking about taking on a nomadic recordist lifestyle?

SF: I would say the most important thing is to know the purpose of your choices, traveling and recording without purpose will rapidly become meaningless and the energy and ambition will vanish. The more defined and focused your purpose is, the more gratifying this lifestyle will be.

There are so many ways sounds can play a role in a project; so it is important to extra-define: why you are doing this, for whom, and how it will be used.

Also, I truly believe there is no right or wrong. The possibilities are infinite, in my opinion. It is great to try something different and to be curious. However, if you do something too different you may garner criticism. So it’s great to be able to filter the opinions of others. There is a ton of bullshit out there, so it is a good virtue to be skeptical and question the validity of any affirmation. The most important is to listen to your own voice and follow your ambition.

Another suggestion, on a more ‘situational’ scale, is: if you’re doing stealth recording (capturing the natural, casual sounds of crowded places), you can attach a small mic to your backpack. No one will notice. What they’ll notice is you. So, if you are in a crowd in a foreign country and you don’t look like the local people, they’ll behave differently. That’s something to take into account. You have to blend in. During Covid, everyone was wearing a mask, so I could wear a mask and a hat, and I felt like a local everywhere I went. Now, I feel weird wearing a mask because not many people are doing that anymore.

A lot of blending in comes from body language. Someone who is not used to a place has a different body posture and a different behavior. I try to imitate the body language of people in particular places. I try to imitate the flow and the energy of people. There’s a different energy in different places and people behave differently. I try to blend in just by the way I move. It works. People can very quickly pick out someone who doesn’t fit in. I had one of those experiences in Morocco. I was imitating the way people walk and someone came up to me and asked, “Are you from here?”

Let’s talk about your recording gear. What are your must-haves for living a sonic nomad lifestyle?

SF: Wherever I go, I have a computer with me at all times. This is for editing sounds, or listening to/reviewing recordings, or uploading/downloading. So it’s nice to have an internet connection, but that can be difficult to access in many places. That’s another story!

As far as recording gear, that has always been a puzzle. I’m still researching. I try to choose versatile mics, so I can record many different types of sounds. For me, it’s really important to capture the highest quality recordings that I can.

After the first year of travel, I learned so much. I redid my backpack because I found that I needed to travel lighter; I needed my gear to be more lightweight. I had too many things, even though I lost some gear and broke some. I found it really cumbersome to have a surround kit for recording ambisonic tracks. It was just too much gear and I needed to pare it down. I thought about it a lot and tried different setups. At that time, there wasn’t a small device that worked well and provided phantom power. I hate cables. XLR connectors are so heavy. I get it; they were made for live performances and so need to be durable. Performers are singing and dancing while holding the mic. I don’t dance with my microphone, so I don’t need a big XLR connector. I need something small and light.
I’m really frustrated about this aspect of recording, so when I redid my backpack, I made my own stereo custom kit, which I talk about on my blog. I used it for 2-3 years along with another Sony A10 and external, small omni-type Mikrousi or Clippys.

In the end, my main custom kit was a little too custom. It sounded really great but I had some trouble because it was fragile. So, I don’t use it anymore. The Zoom F3 is now more suited and robust for the same kind of configuration.

Lately, I decided to come back to surround recordings. For this, I am using the Zoom F8n Pro and Schoeps surround ORTF-3D. It has 8 channels, the same number of channels as ambisonic, but the way the mics are placed, they’re spaced apart from each other. It creates a better image, and a more aesthetically pleasing sound.

The F8n has a double SD card, so I can record on two SD cards and I copy those to an external drive. Yes, it is kind of a big setup, but only in size; the weight is very manageable.

I am still a big user of the Sony A10 (with or sometimes without external mics). It happens that I use the Zoom F3 with the small shotgun Sennheiser MKH 8070 and Ambient Emesser ATE 308 for specific missions, or still again using my favorite Sennheiser MKH 8090 at times. I also tried various hydrophones. Now, I keep the Ambient ASF-2-MKII in my bag along with a contact mic. I like to record with the Metal Marshmallow Pro contact mic, allowing me to find hidden sounds. I tried some ultrasonics solutions in the past, but it is not easy to incorporate them in a traditional kit, so now I am trying the Sonorous Objects mic for this purpose.

I’m really obsessed with the weight of everything. I weigh every single piece of gear that I bring with me. I want it to be as lightweight as possible. One piece of gear that is important is the bag itself. I had trouble with the airline companies. Sometimes they want to check my bag in the cargo hold of the airplane, even if it’s small. I always try to avoid that and keep all my gear with me in the cabin as I had bad experiences whenever I have checked bags. Sometimes it’s not small enough for them, and also it’s too heavy. I tried different possibilities. At one point, I had a hard suitcase but it was not the right size.

The solution I use now is a super-lightweight small suitcase (which can convert to a backpack using shoulder straps), and I also pack another ultra-lightweight trekking backpack inside of it so if I want to trek out to a remote place, I can leave the suitcase at the place I’m staying and just use the backpack. It’s more comfortable.
But the suitcase is great for protecting the gear while traveling because it’s a semi-hard shell case. It’s important to protect your gear while traveling. The luggage gets piled on top of each other when you take a bus, or a van out to a location. They just cram it all in there and they don’t really care.

As for my ‘go-to’ gear, I really love the color the the Sennheiser MKH-8000 series. Those mics just sound great and are immune to humidity. Another go-to is the Sony A-10; it is so small that I can always keep it with me at all times, even when jogging. The quality is not on par with premium gear, but it is quite acceptable. It makes a perfect on-the-go solution when you stumble on interesting sounds by surprise and need a super-quick, easy capture.

Also, it is important to note that even though I am still traveling/nomading, last year I started using a ‘semi-temporary base’ in Asia. I am renting a place there for 2 years, so I can come back and store some of my stuff. In fact, after five years of wandering around with no home at all, I needed to have this solution, at least to breathe a little and plan better for the future. It allowed me to redefine the gear I use and the way I travel, so I could work out my new carrying solution too. It was something that was much needed because I found myself throwing things out and then buying them again just because I wanted to travel light. That was stupid. So, now with this temporary base, I can at least store some of my gear. That gives me more possibilities. I can adapt my kit. I am planning on continuing to have a temporary base in the future, something like 6 months to 1 year at each base. And from each base, I can explore around. I really feel this way of traveling works better for me.

Let’s talk about creating your sound libraries. This is a time-intensive venture; you have to go through all your recordings, find the best ones to curate into a library, and then master them. How do you find time and space to do that – by staying in one place longer?

SF: This is related to the work/life balance. It’s one of my biggest struggles. It’s difficult to find time when you’re traveling to do something that is not related to travel.

And you are right, I found time by staying in places longer! This was something I discovered the hard way. I am still experimenting with the schedule to find the most optimized planning. I am still trying to understand myself and how I function the best.

In the beginning, I was traveling so often – staying in places for only a few days. After a while, I just got so tired. It was impossible to do it all while on the go. I was oversaturated. So, I decided to stay an entire month or two in one place, just to be able to get into a routine, maintain my health, and be productive professionally by editing sounds and releasing new libraries.

In the beginning, I was traveling so often – staying in places for only a few days. After a while, I just got so tired.

This lifestyle was new for me and I think each person is different, as well as each place, and each project. They all have their particularities that will affect the schedule. Hence, honing the skill of adapting is primordial in my opinion.

Working involves more than just editing sounds. I’d say 40% of my work time is spent on planning new travel. It’s very time-consuming to plan all these trips. But I believe it is part of the work. It’s enjoyable though, but it requires time. So, I have to find the time to do this, plus the time to curate a library.

I have subcontractors who help with the work. That’s difficult – giving your sounds to someone else – because they didn’t record the sounds themselves and it takes time to explain what you did, and what you want. Honestly, in the end, I’m never truly satisfied. Some people do this work very well, but I can’t afford them, unfortunately. I wish I could afford to pay someone to work. So, for now, I’ve decided to do it by myself. I have collaborated with other people in the past, and it was enjoyable, so maybe I’ll explore that again in the future.

It must be challenging for the subcontractors to receive this huge collection of recordings, go through it, figure out what exactly they’re listening to and listening for, and then decide what the best chunks are to turn into tracks. If you’re recording a bird in the rainforest, they have to figure out what bird that is. Or, if it’s actually a monkey but it sounds like a bird, they have to figure that out somehow…

SF: Identifying wildlife is another world. I’m not qualified for it. You need the help of a biologist or someone who knows the local wildlife because it’s always different from one place to another.

Whenever I give sounds to the subcontractors, I usually take time to identify what’s in the recordings as much as possible. So, I do a pre-identification pass before I hand the recordings over, even though I usually slate each recording with my voice at the beginning, but it happens sometimes I speak in French, other times in English; if the subcontractor does not speak one of these languages it makes it complicated.

So each time I hand over recordings, I also have to review the work afterward and resend for any modification inquiries. All of this back and forth is very time-consuming in fact.

And even though I do all that pre-identification, the sounds might not be understood correctly. For example, I remember one recording had really specific frogs from a night Buddhist temple recording, and my subcontractor thought they were hearing dogs, but it was not dogs.

So each time I hand over recordings, I also have to review the work afterward and resend for any modification inquiries. All of this back and forth is very time-consuming in fact. So, for now, I prefer to just do all the work myself. But from time to time, I like to get others to test/preview the library and assess the quality.

What library are you most proud of so far? Why?

SF: The sound library I’m most proud of might be one of the latest I released, it’s called Born Wild. It’s a massive library of wild animals. The recordings span seven years, but I’ve done the most recordings for this library in the past two years.

It’s a very unique yet very useful library. It’s probably one of the largest libraries of elephant sounds and hippo sounds. It also has very good lion sounds. I’m so proud of this library, probably because it’s the newest one. It’s very personal because of the sounds I tried to record. They were recorded in wild environments so I spent a lot of time editing and cleaning them because there were so many birds, and so much noise. I tried to just deliver really interesting wild animal sounds.

I’m also proud of the Rare Winds library – a library of winds. It’s very intriguing and very special. It’s a very well-done library. I did this one in collaboration with Vincent Fliniaux, which includes some of his recordings. You can get a good result by creating a library with two people.

There’s also Traffic Tones, which I released last year. It’s not the most glamorous library, but it’s very useful. It’s a library of tones and backgrounds for cityscapes. You can layer the sounds. They’re not intrusive. It’s very easy to use in a project, so it’s very useful. It didn’t have a great impact. I didn’t see a lot of people buying this one, but I think it’s a great one.

The traffic sounds are from different cities in different parts of the world. There are sounds from Cairo, which is chaotic. There are motorcycles from Bangkok. There are city sounds with rain, with snow, and with gravel roads. The traffic speeds vary, from fast highways to small streets. In addition to those backgrounds, I included specific sounds, isolated sounds of horns, brake squeals, and other sounds you can layer on top of the backgrounds to make a unique cityscape.

What are some of the sounds that you’re grateful to have captured?

SF: I’m grateful for all the sounds I captured because I don’t own the sounds, actually. I feel like I’m taking the sounds from somewhere else, and so I’m very grateful for all the places I’ve visited, and all the people I met.

The sounds I’m most grateful for are the ones that other people found useful. When someone reaches out to say that they’ve used a sound I recorded in their project, it makes me feel like I have a purpose. It inspires me to keep going. It’s the best feedback I can get.

Are you working on a library now?

SF: I’m always capturing sounds for potential future libraries all the time. It’s such a coincidence that you’re interviewing me about my travels because I’ve just released a collection of ambiences from around the world, called Soundscape Odyssey 1. It’s a new collection of new sounds that I’ve never released before, and it brings together a lot of great ambiences. Instead of focusing on a particular location, as I have often done in the past with Morocco or Ecuador, this new one is more like a melting pot of sounds.

I am working on future releases that include surround ambiences. One future project is about pipes. I also have a room tones library that will be released soon.

I’ve also just released Quiet Streets 2. This is a follow-up to the first library, Quiet Streets. Vol. 2 features quiet streets from around the world.

Furthermore, I am working on future releases that include surround ambiences. One future project is about pipes. I also have a room tones library that will be released soon.

Additionally, I have this big project I’ve been working on for years. It’s a collection of bells and gongs. I am creating this along with a virtual instrument library, so this library will also cater to musicians. It’s a massive project, and a little different from the others but so interesting.

And there are many, many, many more libraries in the making.

So what’s next for you? Where are you off to? And what do you hope (or plan) to record?

SF: As I’ve said, I now have a ‘temporary base’ in Asia. So I travel from there to many places in Asia, capturing sounds around this area. My travel plan right now is to stay in this region. I love it. It’s really rich and there is so much to explore here – culture-wise, and nature-wise. Since I learned the Bahasa Melayu/Indonesia language, I can go to more remote places. So, I’m going to a small island that is very remote. It’s very adventurous, but I love it. The people here are very friendly, just beautiful.

I’m getting back now to recording in surround sound. I’d done a lot of stereo recording lately because I wanted to be lightweight, as I said. But I put together this new kit so I can get back to surround recordings.

This is actually my first love – my primary passion with sound effects – to record immersive sound, particularly nature sounds. I see so much destruction right now. It’s heartbreaking. Nature is being destroyed by human development. It’s terrible. I want to work more on capturing nature sounds, to preserve sounds that might not exist in one or two years. You look at the map and see so many mining sites and other projects that are destroying the forests everywhere. In this region, in particular, they’re creating plantations of palm trees.

So, I hope I can do what I can to have a positive impact. Beyond capturing sounds, I’d like to help make people aware of what’s happening, and maybe sound can be used for this purpose. People everywhere are concerned about this and aren’t sure what to do about it. I don’t know the best plan for the future either, but we need to talk more about it. We need to do more. We don’t have a second planet. In the virtual world, it’s easy to ‘undo’ an action. But in the real world, in reality, that’s not easy to do. The planet is not a computer program.

I also have more bell sound recordings coming up, some other projects are also based on designed sounds, and so more work in-the-box. I have also some specific objects and actions I am keen to record, sounds that would be interesting for sound designers.

What are the best ways for people to follow you on your journey?

SF: You can go to my blog: Soundxplorer.com. I have a Sound Map there. I have articles and I share my thoughts in a Daily Journal that I started last year. You can follow my Instagram. I post short videos so you can follow exactly what I’m doing on my stories. On SoundCloud, I post some of my sounds – not all. You can check out and purchase my sound libraries on my website, Articulated Sounds or on A Sound Effect. You can find my contact information on the contact page too. I am open to chat with anyone interested; it is always great to share ideas and feedback.

A big thanks to Stephane Fufa Dufour for sharing insight on the nomadic recording lifestyle and to Jennifer Walden for the interview!

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