Our approach is fundamentally different:
The "olfactory Score" (since it represents here an element as fully part of the spectacle as the musical score), is elaborated from the beginning  of the project and even often constitutes its starting point, because it proves the least flexible media due to its basic inertia .
Indeed, if it's relatively easy for the soundtrack to bring up instantaneously musical events linked to the image, but that would be impossible for odors due to the slowness of fragrances' molecular diffusion and their sporadic persistence.

Thus, in the case of our multisensorial ballets, musical and visual elements are "synched" to this olfactive framework which no longer plays just a side-role but also develops its own esthetics.

There is, between this creative idea of the olfactive score and a  mere fragrant illustration, the same difference as between original film music and simple background noises.

Furthermore, it's a continuous evolutionary process of "timed scents" which triggers and fades in & out odors on cue, to respect very strict rules of harmony and compatibility.

In these conditions, the usual problem of evacuating preceding scents no longer holds because this persistence is taken into account in the whole composition process. It even becomes an essential esthetic factor contributing to the wealth of the olfactory perception.

Finally, it is crucial to underline the importance of the olfactory dimension in such a spectacle when it is made perfectly coherent with the other sensory stimuli:
Indeed, by its direct action on our limbic system, the perfumes increase considerably the emotional impact of sound & light, even if sometimes in an unconscious manner.

Concerning the techniques referred above, we offer you three important guarantees: