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I'm not very comfortable talking about myself, especially when it comes to recounting my exploits. But I can't forget our first two albums with my group which were resounding successes, accompanied by New York engineer Mario Rodriguez (The Notorious B.I.G, Mobb Deep, Mary J Blige....) and the gigantic tours which followed. From the “Stade de France” in front of 80,000 spectators, to the Olympic stadium in Montreal. Since I became ill and my condition became stable in 2017, I have taken on projects with the enthusiasm of a teenager. Like the music for the arrival of the Olympic flame between Tokyo and Paris.
My musical work in tribute to my friend Kate Bush: The Guardian
All these events had a worldwide impact with articles in Tokyo, in the New York Times, and of course, in France, on the largest television channel in Europe: The New York Times
The media Brut X devoted a report to me: Brut Media which we are currently discussing a film adaptation of the autobiography that I published in the spring.
I would say that first and foremost, I am a producer. Even though I am very involted in mixing and mastering, it must be said that I went to a good school with legendary engineers such as Mario Rodriguez, Chris Gehringer or Tom Coyne.
I have to admit that I almost started making music by accident. Like all kids who grew up in the 80s, I listened to pop. Then I had a revelation when I discovered Run DMC. Years later, a friend who had bought a Roland W30 workstation without knowing how to use it asked me to help him understand this machine. I haven't left music since.
Above all, I was influenced by US rap artists in the 90s. More particularly 5 albums. “The Low End Theory” by A Tribe Called Quest, “The Infamous” by Mobb Deep, “Enter the 36 Chambers” by Wu Tang Clan, “Mecca and the Soul Brothers” by Pete Rock & CL Smooth, and of course, incredible "The Chronic" by Dr Dre. Subsequently, I was inevitably influenced by the meeting with the members of my group.
I've never really had any frustration in my career. I consider myself a lucky and privileged artist. I don't know how to play any instrument, I don't know how to read music theory, and yet I have a great career when I think about it. On the other hand, following the illness, I had a lot of difficulty making music again. Besides, at the start, I didn't even think about it, ALS is a tsunami. Then I thought it wasn't possible. And one day I tried. And I realized that it was possible, with a lot of patience but possible. That’s good, the illness made me a black belt in patience. :)
I don't really have a choice from my bed. I have 3 headphones, Ableton Live with a million plugins, and a Cabasse sound system in the bedroom. But I'm not complaining, it suits me very well.
Let's say that I don't wish them exactly the same journey that I had :) The illness remains a difficult stage. But I am happy despite everything and even if I am not very good at advice, I will say that everything is possible, despite the prognoses and the diagnoses.
I have no choice but to work with headphones all the time. But I like it, it allows me to create a bubble of concentration.
First of all, I should point out that I have worked with high-end monitors for around twenty years, both at home and in world-class studios. Then, in 2015, ALS invited itself into my life. After a difficult period, I tried to make music again, thanks to eye tracking. But being permanently lying down, I had no choice but to work with headphones. What I find today with the Audeze MM-500 is the precision and quality of the high-end monitors that I used in the past. Like many producers, I am very attached to surrounding myself with the best possible equipment. But no more tons of hardware, I only have a big computer, Ableton Live, hundreds of plugins, my ears... and the Audeze MM-500. I'm on top. Right now, I'm working on my 4th album since I got sick.
