[W] Release Julien Doré's album

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PostPosted: Mon 11 Feb - 05:57 (2008)    Post subject: [W] Release Julien Doré's album Reply with quote…

Julien working with Cocoon & Nataf
09-02-2008 22:39 | 0 reaction(s) | add reaction | add news
It's official, Julien Doré will release his first album on June 16. According to "Le Parisien", Nouvelle Star winner, 5th season, was helped by JP Nataf (Les Innocents) & the band Cocoon. Julien Doré's fans will have to wait... 4 months before buying the first album of "Nouvelle Star" winner, 5th season, who faced Tigane (anyone has news about him ?).

According to newspaper "Le Parisien", the album will be released on June 16 on Jive/Epic. JP Nataf, from Les Innocents, & the band Cocoon, who just released their album, participated to it. The album will be produced by Renaud Létang (Feist & Beni Snassen).

A commercial operation will be launched : Julien Doré's music has been chosen to be included on a new portable phone, launched by Sony Ericsson, just like in summer 2007 with Bob Sinclar...

Another gold disc for mobile music ?

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PostPosted: Mon 11 Feb - 05:57 (2008)    Post subject: Publicité

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PostPosted: Mon 11 Feb - 06:02 (2008)    Post subject: About Renaud Letang, sound engineer Reply with quote

Here, some informations about Renaud Letang who will work in the album of Julien Doré

Renaud Létang The stars' favourite producer

Paris  27/12/2006
It's official. Renaud Létang is one of the most sought-after French producers on the current scene with a whole list of famous albums to his credit including Katerine's Robots après tout, Manu Chao's Clandestino (the first he produced entirely on a computer), Abd Al Malik's Gibraltar and more recent work with Feist and Gonzales. Since the early '90s, Létang has been manning the decks at "Studio B" at Les Studios Ferber, a recording studio set up in the 20th arrondissement of Paris in January 1973.

Making a date to see Renaud Létang requires a lot of forward planning because to say the producer's schedule is hectic is one of the biggest understatements of the year. On the day we finally hook up with him in the studios tucked away in the Rue du Capitaine Ferber, Létang is busy with Mickaela, a top model from Australia, the latest in a long line of artists whose record label has called upon Létang's services. And it is Mickaela's French record label that will foot Létang's personal bill as the producer works on a completely independent basis and is not employed by any one particular studio.

The producer as advisor and guide

Létang's reputation in the music world has spread by word of mouth, record label directors and artists passing on his phone number between themselves. Questioned about his 'man of the moment' status, Létang says he believes his popularity is based on the atmosphere of mutual trust he tries  t o instil in the studio. "My role is to accompany the artist I'm working with and come up with what she or he wants. The artists are always the boss. It's up to me to make them feel comfortable once they get behind the mic. My role is not to judge, but to advise - and to guide them towards a final version of their work which is as effective and accessible as it can possibly be for the public."
Since he began making a name for himself in the early '90s, the thirty-something studio whizz has worked with the 'crème de la crème' of the French music scene. "The first time I set foot in Studio B was to work on Alain Souchon's Foule Sentimentale," Létang says, and since that momentous day he has stuck to the same studio producing some of the most significant albums in recent years. As Jean-Christophe Le Guénnan, the studio manager, notes, "The main reason musicians come to Ferber is for the atmosphere. But our clients, the artists and the record companies, also choose to work here because of our traditional 'savoir-faire'."
When working on an album Létang becomes a veritable studio mole, spending entire days and nights underground, rarely surfacing to see the light of day. In between takes, you'll find him wedded to his treasured Neve analog mixing console, "an English make - the best in the business!" Once he's finished the job in hand, he's already on to the next, long before the previous album he worked on ever hits the stores "Recording is just one phase in the process of making an album," he says, "Take Philippe Katerine and his album Robots après tout, for instance. Things moved along at a pretty cracking pace on that. Katerine came along to the studio with a demo already made for the entire album. It was full of barely sketched-out sounds you could hardly hear at times, but the majority of the musical 'climate' he wanted on the album was already there." Létang  invited Gonzales, a musical acquaintance of his based in Berlin, to come along and help out at recording sessions for Robots après tout. "What I tried to do with Gonzales," he says "was to reinforce the musical aspect of the album because the whole thing was a bit raw at first. We tried to make it as clear and accessible as possible."
Robots après tout, as any self-respecting French music fan will know, includes the massive chart hit Louxor j’adore. "The song revolves around the concept of this loser DJ working in a nightclub in the provinces. I wanted the track to sound upbeat, but a bit ironic. So we used this '60s-style rock riff and this sort of annoying strident voice. We started the song off pretty softly with two drum beats, one quite cold attacking the track, the other booming deeper to create the ambience of a club. And then we added in a series of "claps" that went "tcha-tchap… tcha… tcha-tchap… tcha ." Then we brought in the bass riff, backed by a synthesiser imitating the sound of an overloaded bass…" And the rest is history - Katerine stepped up to the mic in between breaks in the music played by Létang and Gonzales and metamorphosed into the loser DJ, shouting "…Et je coupe le son!… je remets le son!… ("Let's turn off the sound!" "And bring it back again!")

1, 2, 3, testing…

Létang's work also involves "fabricating different sounds before the mix and testing them out in the studio… judging how long they last and how strong they sound." Each sound is then played through a range of different speakers in the studio to check whether it can be heard in speakers in shops, televisions and car radios. Once this practical test has been effected, Létang can then begin his creative mix, weaving the sounds together in different harmonies, but always respecting the overall 'climate' desired by the artist. His mix does not always meet with approval. On one memorable occasion, Létang says "I had mixed an entire Higelin album live in concert and I had to wipe the whole thing because Higelin didn't like what he heard!"
Once Létang has finished his mixes, an executive decision has to be made as to which of the different versions will be kept, "whether you want to use the one with more backing vocals or a bit less bass…" At the final stage, when the album is "mastered", Létang hands the work over to a specialist studio where, like a cabinetmaker carefully varnishing a freshly sandpapered piece of furniture, experts will hone things to final perfection, harmonising the different tracks on the album between one another.

Albums fall into one of two categories: those like Manu Chao's Clandestino which was produced digitally and those like Katerine's Robots après tout, which was produced digitally then re-recorded on an analog deck "to add a bit of texture and a bit of warmth, just like in the film world where analog is used once a film has been digitally edited to improve light contrasts and colour variation."
Back to the job in hand at Studio B and Mickaela has already flown back to Australia, leaving Létang to attack the final mix alone. This should be ready within a week, at which point Mickaela will return to give her verdict – and, if all goes according to plan, Létang will not need to activate the "wipe" button this time round!

David  Glaser
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