Charles-Edouard Platel's itinerary stems from his desire for artistic creation by using the knowledge of his craft to make music.
Born in Calais in 1946, he began a scientific course at the University of Lille in 1963. That year, he was enthusiastic about a concert led by Pierre Schaeffer, bringing together the Musical Research Group and the Lasry-Baschet 's Sound Sculptures. The mind and ears thus opened up for research, experimentation and new ideas, he turned towards studies of general physics, then electronics.
A cooperating volunteer in Côte d' Ivoire in 1970-1971, he took advantage of this mission to record traditional African music in villages in the north of the country, especially balafon players. Back in France, from 1972 to 1990 he was IT project manager for several industrial companies in the fields of acoustic signals, automation and telecommunications. He then advised project and corporate organizations to manage their software engineering.
In parallel, from 1983 to 1992, after an training period at the Bourges Experimental Music Group, he built a personal electroacoustic studio and produced his first compositions. He uses analog and FM synthesizers, phonographic capture and practices the montage on a magnetic tape recorders bench.
From 1992 onwards, he added a Macintosh computer to the studio, used as a sequencer and for editing, and then equipped himself with an audio and video production configuration.
During this period, his notes taken during composition work, during the auditioning of musical works from different horizons and during the reading of reference authors are recorded, organized and synthesized in the form of an essay, "Imaginary Music". He published the first version on his personal website in 1997. The purpose of the book is a two-fold one:
- share pedagogically the intuitions and discoveries of this self-taught learning experience,
- capitalize on all these elements to guide his own artistic approach, continuously evolving and building.
Since 2006, music represents his main creative activity.
Today he is engaged in personal musical aesthetic projects and in association with other artists (painters, sculptors, photographers, plastic artists, choreographers). He uses digital audio tools that he appropriates or designs himself if necessary. He is a member of the board of Hélium, a collective of artistic actions in the Chevreuse valley, near Paris.