Before the departure with the factory and the arrival in the vats, it is an essential stage in the completion of an album, very often ignored, Mastering. A trade carried out in the shade by a man more than discrete: Michel Geiss.
Far from us the idea to fall into the self-satisfaction and to make a portrait of each member of Musicrun, but the interview of Michel having been realized before his participation in the site and the interest of the remarks which results from this push us to diffuse it now. If moreover, I do not reveal you later that immediately that it worked during nearly 20 years at the sides of Jean-Michel Jarre, that at the time of our interview it the last album of Laurent Voulzy April, I completed put all the chances on my side to draw your attention!
Mastering: definition
Best is initially well to include/understand than is the mastering. “The mastering intervenes at the end of the mixing, this one being the reduction in 2 tracks, sometimes in 6 tracks for the versions 5 + 1, but generally in 2 tracks - i.e. a channel for the left and for the line. One calls that of stereophony. All the separately recorded tracks are thus reduced in a pair of channels, intended for the two loudspeakers. But a mixing left a studio of recording can still be improved, instigated, be corrected. One can make it more pleasant to listen, even with reduced volume. That implies to treat the reports/ratios of levels of the mixing,” to compress “dynamics, but also to modify the low registers, the acute ones. Compensations of listening can be necessary, when the sound engineer had with the mixing a a little false impression of what will be heard on average by the public. Indeed, an ideal work in studio should theoretically imply a perfect knowledge of” returned 'acoustic private individual of the association of the loudspeakers with accoustics of the part of work. It is possible, but requires a great practice of the place especially, which is not easy, when the engineer works there for the first time.
In fact, the mastering consists in restoring this balance of frequencies, but also to embellish the mixing, giving him the final profile. After having listened to the version left the studio of mix, it rather often arrives that an artist says to me: “What a difference! It is incredible! ”. It is also necessary to think of returning the listening of the “compatible” album with the other discs so that a realization and the sound profile of a disc is in a certain “standard”.
Another objective of the mastering: that more delicate to rectify on the request of the customer of the errors of mixing: when for example one must resort to artifices to make “leave” the voice more or less when it under-was mixed, or to modify moreover or in less the presence of such or such instrument.
It also falls on the engineer of mastering to eliminate the possible parasites, various clicks, breaths, whirrs, which could have escaped vigilance during the mixings, or which were not easily reparable with this stage, just as to improve the beginnings, or ends of pieces, in particular the “insipid ones” (progressive falls of level).
Sometimes one asks for the engineer mastering of carry out assemblies, i.e. more or less complex assemblies of various parts of a song. The objective is often to shorten a version album a little too long to satisfy the criteria of radio diffusion or clip, where the limit not to be exceeded is generally the four fateful minutes! Another function of the assembly, much more delicate and difficult: it arrived several times that one asks me to take in a version of one a mix verse, the refrain in another, part of the verse following in another version, the continuation of the verse in the first, a word of the refrain in another mix, by assembling the whole in such way that nothing be noticed! Great obligatory vigilance! Without speaking owing to the fact that when these mixings were made at days or weeks of interval, compatibility is far from being guaranteed! '
M like modesty
“It is a very technical, and a little artistic trade insofar as one is a judge of a certain esthetics of the sound, but which asks for a large amount of humility. One should not lose sight of the fact only above all, which one hears in an album, it is not the mastering itself, but especially its design, of course, the quality of interpretation vocal and instrumental, but also its arrangements, its mixing, etc the mastering is only one finalization, and on this level, the engineer of mastering that I am depends completely on all that was already made upstream. That encourages with really recognizing and respecting the work of the others, even if per moments one would like to be able to solve such or such problem of mix… In mastering, it is necessary to agree to make only as much as possible the things pleasant to listen.”
And since one speaks very little about the mastering, one does not speak either about the person which is occupied some, general public knows hardly his existence… This “large amount of humility” arises with each sentence of Michel. 'Some are creators and contractors. But they need people to their service. One speaks more of the realizer and sound engineers, but it is normal. I acknowledge objective being by saying that the mastering is not the most important work, even if I very take that with serious when I occupy myself some.
In fact, a bad mastering can “ruin” the work of a whole artistic team, and even compromise the chances of an album. I think in particular of the abuse treatments like the compression multibandes, which tends to imitate the sound of the radios FM, with like result a tiredness with listening, the opposite of the musical pleasure. What, in my opinion, tends to degrade the sound of the discs of today it is the race on the level. It is wanted that its CD appears “stronger” than that of the others, but one often does not know that beyond some limit, more volume about CD, it is less quality with listening.
However, apart from these technical considerations, I like to be with the service of the others, even if my work is done in a certain discretion. One finds the equivalent in many trades, in F1 for example, where one speaks much more of the pilots that technicians who are around…
I add a last point on this subject: certain engineers of mastering in the United States received rewards, for the mastering of such or such album. In the passing, that shows which importance one grants to this stage of a disc in addition to the Atlantic. However, I discussed it with Greg Calbi whom I know rather well to have worked with him on several albums of Jean-Michel Jarre, when I did not do yet this work myself. It humbly admitted having received Award for an album on which it had practically not intervened, so much the sound of the mixing was good! If I tell you this anecdote, it is to voluntarily position back the things. When a mixing is correct, there is not few things to make in mastering. In which case, it is not to better intervene, rather than to seek to justify its trade while treating what does not need to be it. Consequently, initially respect of the work of the others, humility, and as in the Hippocratic oath, firstly, not harming. '
In April confidence shines
Now that we assimilated the definition well and “to be to it” mastering, question our man on this project which is due to him in heart and which one feels that it wants to speak: the album April of Laurent Voulzy. It did not arrive there by chance, not. Michel Coeuriot trusts him and it is not the first time. 'One learned how to trust each other mutually. I respect enormously not only the character, but also his musical culture.
Concerning the conditions under which April was carried out, and about my intervention, there was a problem to manage which was not the least. The project proceeded in circumstances, say… exceptional insofar as Laurent Voulzy is a very large perfectionist, and… practically waits until one tears off his “baby” of the arms to him to consider that its work is completed! From where the situation of great urgency for the remainder of work! It spends a time on its recordings and its mixings completely apart from the standard in the trades of the disc… until entering danger zones with regard to the end of work!
But the houses of discs have requirements of exit. The exit of a disc, especially when it is about a major artist like Laurent Voulzy, it is a little like the launching of a rocket. There are crenels. If that does not leave at a quite precise time, that must be deferred to much later. In what relates to me, that finished in an extremely tight and tended way. The house of discs (BMG) awaited the mastering finished and delivered in Paris for November 15 at midday, whereas me, to do my work, I received the final elements at midday even! Fortunately, I had already quite upstream advanced. But nevertheless the last day was very intense all the same!
Apart from the fact that this mastering was entrusted to me for technical and artistic reasons, it seems to to me that it would have been improbable to be able to work with another person receiving benefits, with a precise appointment fixed in advance, in Paris or elsewhere. Michel Coeuriot knew perfectly that that was going to finish this way. I placed myself at the disposal of the project, practically day and night. Certainly a good solution, taking into account the context. Always it is that I finished a first mastering which left in a first factory by a taxi come to recover it on the spot… and while this taxi took it along, another was sent at BMG for the second master that I carried out in the tread, two factories having been mobilized to work in parallel, to be able to provide in time the stores! And the next morning, a motor bike arrived at home to recover the master cassettes! '
Everyone with work!
A project of album, as any other ventures creative, links its small world. Confidence is born complicity… 'On this album, my work was unusual, Michel Coeuriot having as requested me to finalize the mixings, and in particular the treatment of the voices, knowing as I had already done it on Live of Patrick Bruel. The sound of the voices, in my opinion, is essential. For different masterings, in particular for Michel Coeuriot, I had already exceeded the usual role of engineer of mastering, which in theory intervenes only on one finished mixing, and I separately worked the voices and the music in Pro Tools, adjusted the levels, compressions, equalizations… But this time, I did it almost systematically on all the pieces. I thus could work accordingly and even in a way even more useful, since the last week, I was with the studio of Laurent Voulzy to intervene directly on the mixing, upstream and more only at the moment of the mastering. Obviously, it was more effective, because I could refine the effects of réverb, the echoes, equalizations directly with the source. It was for me very appreciable, even artistically, and I could put pursuant to the principles much more difficult to implement at the mastering itself.
Whereas Laurent worked in the day with Hubert Salou, the sound engineer of the project since the beginnings, I arrived myself worms 22 hours to connect. There was only Laurent to sleep 4 hours per night! For my part, I am not at all night usually, I however was very astonished to note several times that it was already 6 hours of the morning… I lived one magic moment. Certain interventions were very long and meticulous, on the voices for example, but at one time, it was him which said: “Good, I believe that it is necessary that one will sleep!”
Following my work on mix, I could mastériser certain titles practically without modifying the sound of the mix, simply by regulating the levels. Besides one needs masteriser much today than in the Eighties. One doubled! One realizes well there to the listening of Hidden Behind. The standard changed, the tools evolved/moved. And since the sound volume is a factor of competition between discs, it is necessary to be compatible for the standard. But I remain vigilant on this point. I have a certain ethics of my work and I go the least possible against my idea of the esthetics of the sound of a disc, where an excess of level, due for example to inappropriate compressions, can harm the qualité'
A history of men
During this interview, one feels that Michel Geiss prefers speech of Michel Coeuriot and Laurent Voulzy… Spontaneous words, filled of respect and admiration.
Michel Coeuriot
'My collaboration with him is initially professional, even if there is a share of friendship. But it is so professional, that it would not call upon me if he were not satisfied with my work. I consider that it is a true realizer as there does not exist about it any more much. It is somebody who has very varied musical tastes and very rich person, and who is able to adapt to many artistic concepts, to push them until their ends. Moreover, I think that it is not a chance only somebody of as talented as Laurent Voulzy called upon him once again. While at the same time Laurent is already an accomplished artist and of a rare musical inspiration, it calls upon Michel nevertheless. It is a sign! We had before worked each one on our side, it is the first time that I found myself with him in studio. It really impressed me by its artistic direction, its perception of the style of play of the musicians, and his accuracy of sight on the influence of the various elements of a mixing on the spirit of a song. It learned to me enormously. An example: it distinguishes perfectly if a beater plays in a way suitable compared to the style of a piece. For me which comes from an electronic universe of music and a different culture, it was a very rich experiment.
Michel is a true realizer, insofar as it is able “to manufacture” a complete album, on the basis of simple melodies and of the texts. I speak there about his artistic profile, but obviously, with Laurent, his role was a little different, in particular for the orchestrations, arrangements and various musical interventions. With Laurent Voulzy, it seemed to to me that it was acted in fact of a kind of “artistic partnership”. Michel Coeuriot is somebody of very important in the trade of the disc in France. '
Laurent Voulzy
“I was fascinated by the character of Laurent Voulzy. It is somebody of extremely deep and sensitive, a true artist, but also somebody of very soft. I appreciate also his great simplicity. I saw it several times being used the meal to us for the studio! And I even was entitled to song and champagne the day of my birthday! It is very attentive with all the details in the process of realization of its album, and especially the relationship between the voices and the musics. Even if he is very a musician in his step, he also pays great attention to the comprehension of the texts. He spends the hours to listen to the pieces with an astonishing acuity, with all to check on small loudspeakers, and to detect and correct certain words which” would be buried a little 'in the music.
He says not to want which Alain Souchon is disappointed if his texts well were not included/understood, but I suspect it especially of taking care that its discs are closest possible to an absolute perfection. It is all with its honor, more especially as it puts at it much more energy, of will and patience that the majority of the other artists. He does not rest only on one sound engineer to do the work. He solely did not sit beside him to ask him “Hold, you could put to me a little more or a little less that or of that…”. Not, it is able to him often to do it itself. It is implied completely in what it does, in a very serious way. It is also its way of respecting its public, but above all to imply itself in its “work”.
Of course, these adjustments of voice ratio/music are very delicate, very pointed, since with an excessive level of voice, one is likely to have a song less interesting to listen, and the music would lose of its importance. But at the same time, a voice a little in withdrawal in a mixing makes lose impact and presence with a song. A simple half-dB of level of voice changes the perception of a song! To return from there to Laurent Voulzy, it is clear that it does not count his time with work! It is felt that its passion, its life, it is to create its disc. '
And Michel Geiss then?
One knows now how much Michel Geiss appreciated to work with such concerned people of quality and details. But when one points out to him that also is to him a perfectionist, here are his terms: “Yes, of course… but perfectionism is not enough to obtain good results… I was an initially electronics specialist, before interesting me in the music and the sound, and making my occupation of it. Thanks to that, I know that certain treatments sound, when they are made in a certain manner, can give results different from those which one has the practice to hear.” Yes, of agreement, without comment!
Michel likes to only work for masteriser and us explains the reasons of them: 'Yes, for this final and crucial stage, I work isolated and without the presence from the artists. For me, the mastering is a work which still requires much more concentration than all that is made upstream, including the mixing. The least details, the tiniest defects must be supervised and cured as much as possible. In one moment of concentration like that one, in addition to the problem of time that I evoked a few moments ago, the presence of inattentive somebody. It is inevitable. Some make a point of attending the mastering, and I respect their attitude of course, but I avoid it to the maximum.
Moreover, I am accustomed to my installation, and I can hear exactly on my loudspeakers what I must do. On this subject, there is an illusion in which certain artists still believe: that while going to the studio of mastering, they will take part, control the process. But in fact, apart from the assemblies and of the choice about the titles, which today are done very often upstream on an ordinary audionumerical station, such a participation of their share on the sound treatments is practically impossible. They do not know accoustics of the place, nor the always particular sound of the loudspeakers on the spot. In addition, they are flattered, and I include/understand them, by sumptuous technical installations. But when they return to their usual systems of listenings, when they their references and, disappointment can compare finds is sometimes with go, whereas it is too late to return on what was made.
There is of course a great part of psychology in the fact of accompanying its “baby”, before it is released in the company and that it lives his life. But what counts above all, it is that the parents of this baby are proud! It would be good that mentalities change on this subject, and that the idea is accepted that the engineer of mastering is that which, in fact, controls the sound of the album, for the good of the final result.
I will tell you an anecdote which shows it well. I had mastérisé there is some time a MINOR ROAD 2 titles for Marc Lavoine intended for the radios. But for the mastering of the album itself, the house of discs had decided to go to Metropolis to London, studio of mastering unanimously considered as the reference in Europe. The two titles in question thus were also masterisés by the their engineer, and not of least, since it was about Tony Cousins. But with the return of London, they compared the two versions and noted a true problem… my version was definitely better! One thus asked whether I would agree to remake work on the totality of the album 7th Sky, to me which I did. It is besides following this adventure that Didier Lozahic called upon me for the album of Patrick Bruel! '
A strange meeting
It is difficult not to evoke Jean-Michel Jarre when one meets Michel Geiss, since it worked with him during almost 20 years, even if this period is completed today. It brings back their meeting here to us.
'I already was very attracted by the electronic music when I was an electronics specialist. For me to bring some closer, I contacted the Parisian antenna of the Audio Engineering Society, organization American internationnal which is devoted to the techniques of the professionals of the audio. The AES diffuses in particular its review, a very pointed publication, moreover rather complicated to read, on the evolutions and the new concepts of the audio and the electronic music, the perception of the sound. I proposed a conference on the analogical synthetizer in 1974. Vis-a-vis engineers of the radio and TV, that was a first public experiment which required large efforts of me. But at the end of my presentation, for which I used a ARP 2600 to illustrate my remarks, somebody came to see me: “I know a musician who would certainly be interested to meet you. He is called Jean-Michel Jarre.”
Good, that did not tell me large thing. Me, I knew the name of Maurice Jarre…! A few days later, Jean-Michel Jarre telephones to me at home (I lived in my parents) (!), and texto said to me: “One told me that you are the best specialist in the synthetizer in France and I would like well that one meets!” I thus went to see it and delivered some explanations to him on its synthetizers. It was a very interesting meeting. Time passed, I started to work with the Barclay Studio, then pointed out it. At this point in time it announced to me its great project, an instrumental album. And during three weeks, every evening, I worked on Oxygène. '
The continuous adventure
But that did not stop there. Listen rather: 'The years were passed, then there was the Equinoxe project in which I was implied much more. One worked all the two full-time ones there, then on other albums, and the concerts in Houston or Defense, the round in Europe. I even went to mixer Chronologie and the Hong-Kong album… I lived a fabulous adventure, a kind of fairy tale. I had completely astonishing working conditions, and a total confidence of Jean-Michel Jarre. And then, I lived all the same a period of success a little graying.
I also specify that at the time of our meeting, I had published an article on the synthesis of the sounds (analogical at the time!), based on the ARP 2600, a synthetizer which started with really interesting the type-setters. It was a rather new concept compared to that developed by simpler Moog of use, more intuitive.
Moreover, for Jean-Michel Earthenware jar, I could into practice put my trade of electronics specialist to develop certain instruments. I built a sequencer, on an idea of him, about which one lengthily spoke in the press, that which I had called Matrisequencer. It had had the occasion to work on instruments a little esoteric with the GRM - Group of Musical Research - Radio France, of which a sequencer based on a matrix, and it was interested by this concept for its studio. On the basis of this idea, I designed and produced a complete instrument. It was used as a basis for many pieces during very a long time. I must acknowledge well that Matrisequencer was determining in the style of many pieces of the albums. I also manufactured a box at rates/rhythms, Rythmicomputer, which was used in Equinoxe. I also modified certain instruments.
I built besides a little later a console of mastering automated for my fellow-members DYAM Music in Paris, before adopting myself this trade… This various technical work for Jean-Michel Jarre belonged to my overall collaboration, which included/understood a great musical part, and many exchanges of ideas, including on the concepts of concerts. In short, an exceptional professional experiment and of a very great richness! '
Michel, the Researcher
Michel is not satisfied to be a simple executant in mastering. He seeks, invents, develops… One is not astonished any more that it was of an invaluable help with Jean-Michel Jarre, and this, always in all simplicity. 'I for some time have a collaboration with G2SI, a Canadian company which developed a processing circuit of the really revolutionary audio, the MCAPS. It is not a question of a DSP, but of a technology allowing to generate and treat many sounds simultaneously. I had proposed besides the name of Neuronal Synthesis for the technique of production of sounds, which calls upon many independent cells but interconnectables the ones between the others at will and instantaneously. It has possible applications in many fields, not only in music, but also in telephony, Internet…
At the beginning, this company had a project of musical instrument in which I took part narrowly. I defined the concepts of the instrument, the DIGITAL Versatile Synthesizer, in particular conceived to produce the sounds into multichannel, not only with one spatialization before/back, but also of the modulations of the stamp according to the position in space. Curiously, I have just seen that a German company, Hartmann Music, prepare the exit of a similar instrument! I have as some other ideas as I could make realize or propose at companies which make musical software. '
All similar…
What Michel describes us now is completely striking. Where will technology stop? 'Alain Daniélou was a musicologist who had made studies on the reports/ratios height of notes. Following its research on the Indian music, it made produce an electronic musical instrument, S52, to apply its concepts. It wanted to further go, with an instrument having more sound possibilities. I thus proposed ideas and a technique of keyboard to him which could be appropriate for this type of instrument. The result of my discussions with him, it is Semantic, instrument with microphone-tonalities which comprises 36 notes per octave instead of 12 (the usual octave moderate), therefore 3 possible notes per semitone instead of only one. There are a central note, a note slightly higher and less high. That makes it possible to the musician to exploit intervals which express different feelings, according to choice's of the notes. These feelings were described very precisely by Alain Daniélou. While playing such and such note together, that gives such feeling, of joy, sadness or erotism, etc Normally, to reach that point, our Western musical culture rests only on the choices of harmony as a minor or major, just as on the rhythmic one (a very rhythmic music releases in theory more optimism than of sadness, whereas a slow tempo contributes to more introversion or a certain sadness). In the scale of tonalities of Alain Daniélou, the variety of feelings which can express the music is based much on the reports/ratios of notes, which give very different feelings. To briefly summarize, because there would be to say much on this subject, Alain Daniélou estimated that our brain can only analyze and admit reports/ratios of frequencies based on numbers 2, 3, or 5, or their multiples, such as for example 16/12. On the other hand 7 or 11, for example, are not very assimilable by the brain. Very many notes of a complete musical scale are obtained by this principle. Alain Daniélou wrote a book on this completely attractive subject, Musical Semantics (ED Hermann), where it describes the perception of the brain as the unconscious vision of geometrical forms which it analyzes with more or less facility. In fact, its theory is based on this simple perception of the reports/ratios of notes.
For example, if between a note and another there is a ratio of 3 out of 2 in frequency, it is known that the brain can analyze it in a certain way. When one is close to this report/ratio 3 out of 2, but always while using inside the fraction only figures 2, 3 or 5, one manages to have very close reports/ratios, but not inevitably exactly the same ones. Example: between two notes whose frequency is given one by the report/ratio 16/9 and the other by 9/5, the difference in height is very weak, but the two notes are useful in the range of Daniélou. In this last example, while taking as reference to 440 Hz, the first note would be to 440 Hz X 16/9 = 782.22 Hz, and the second would be to 440 Hz X 9/5 = 792 Hz. There is here a variation of 1.3% between the 2 notes. If one or the other is played with 440 Hz, one will have a different feeling, even with so close intervals; from where the principle of an instrument based on these observations. It should be noted that in the usual moderate range, between a note and the adjacent semitone, the variation is 5.9%. The heights of Semantic, this instrument which was designed on my idea starting from the principles stated by Daniélou, are based on these report/ratio of simple frequencies.
What is enthralling in this concept, it is that I see there the concept of a certain universality of perception human being… That an Indian culture is had, African, European, American, etc, this theory tends to prove that the way of perceiving the musical intervals contains a share of universality. Ca proceeds of a certain logic some share. All the human beings have five fingers with the hands, two eyes… one would thus have identical assessment bases.
Semantic exists in the form of prototype. Its system of generation of sounds includes/understands a K2000R Kurzweil because it was more usable than others with such a concept. Without being absolutely ideal for this use, Semantic constitutes a base of work, that musicians can use. Considering the richness of expression of this type of range, one could dream of richer sounds, different from those of the K2000R, say more adapted. But it is already about a great evolution compared to the preceding attempts, in particular that of S52, where the sounds were really too simple and not very musical. '
Technological projections
Ten years ago, Michel Geiss said that what had revolutionized the music since the Sixties had been the synthetizer and the electronic music. What does it think about it today?
'I believe that now, this revolution of the synthetizer is not any more one. Its electronics entered our culture. The synthetizer does not play the same surprising part any more that it had at its beginnings. It was integrated, standardized. However, in a particular sound universe, it could still surprise and could even go still much further in the imaginary one than than one currently hears. Moreover, the synthesis is still very far from to have said its last word, and one will see it in the next years! In fact, since the appearance of the synthetizer, the other large revolution was musical data processing. It radically transformed the way of composing the music for a whole category of type-setters. It is really another means of making music, and which even brought new styles, this having had a major impact on the music in general. The sequencer and work in “loops” in particular brought the techno. When it is the tool in itself which determines musical forms, the least which one can say, it is that it has a major impact in creation!
In fact, after the arrival of the synthetizer which was traditionally an autonomous instrument, it is the computer which became the revolutionary instrument. Today, as regards sonorities, there is not even more difference between a virtual instrument on computer and an instrument in the form of metal box! The virtual instrument resides in the computer in software form… Only 10 years ago, one could not have imagined it. And ten years, it is so much little in the history of the music! “Festival of artists to conclude, we ask Michel to speak to us a little about the work which it carried out for Daniel Balavoine, because, here with the drafting, it is an artist whom we miss… We will not lose an occasion to refer there, it is clear?!!!
“At the time, I had deviated a little from my usual occupation, I worked for Fairlight France. OJ Hammer, which was implied on the Sauver album the Love of Daniel Balavoine, had asked to me whether I knew a means of making function together celebrates it sequencer of Fairlight, known former users under the name of” Page R”, and a box at rates/rhythms, Linn Drum. Fairlight was a really fabulous instrument at the time. It made it possible to work in sequence on the music, with patterns which turned in loop, and in which people placed notes on the screen with a luminous pen - in English, a “light PEN”. Moreover, at this period, one liked much the sound of the boxes at rates/rhythms, in particular that of Linn Drum. Normally, both could not function together. OJ Hammer thus required of me to study the question: when one started, the other was to be able to follow the same tempo, they should be synchronized and to play at the same time. I thus carried out a special electronic circuit. I went to the studio of Daniel Balavoine to bring it into service. Thus I met it. 'Very recently, Michel worked on Bruelive - Nothing is erased, after having previously masterisé the album Front Juste studio. There still, a meeting and an enriching experiment which has it agreeably surprised.
“Curiously, as for my mastering of the album April of Laurent Voulzy, that occurred within the extreme limits! There too, a taxi awaited the master to carry it to the factory! Like Laurent Voulzy, Patrick Bruel has a great auditive acuteness, it hears very fine details. One could think that somebody like him, with such a practice of the scene and levels of very high returns, would have less of capacity to hear the smoothnesses. It is not at all the case. With my astonishment, I intended it to say to me: “Such place, the sound is a little bit different from what you had done the last time…”. And I answered him: “Good of agreement, you proved to me that you have very of course!” In fact, it knows perfectly what it wants. Somebody of very demanding him too!. He has particular waitings. He asked me modifications until the last minute. Of course, it is completely its right and quite legitimate! On Live, it even succeeded in making me work 36 hours of at a stretch!
That it is Jean-Michel Jarre, Laurent Voulzy, Patrick Bruel or Daniel Balavoine, I realized that they are artists who in common had perfectionism in their work, a very great requirement with themselves and with the others. Even if the characters and their songs are very different, they have an identical professionalism.”
