Interview with David Perreau

– First of all we would to know more about mastering. Related to JEAN MICHEL JARRE, what is exactly your work?

Well, my work is to optimise the sound sedign of the sound mix that did JMJ, to optimise the loudness witch is an very important key, and to increase and optime warmless, deepness on the sound.

– How did you meet JARRE?

I met him just after the mix he did for Geometry of love. After the mix he did, he tried 2 different mastering studios, and he was not happy with the result. Joachim Garraud witch was working with Jean Michel and me told to Jean Michel to call me to do a try:)

Your collaboration with JEAN MICHEL JARRE began in 2003 with “Geometry of Love”, and a year later in “AERO” with a great mastering of “the first album recorded note by note in 5.1”: “AERO”. Tell us more about this special mastering.

Aero was a big challenge, because JM mixed everything in 5.1, so the challende was to adapt he porcessor we were using for stéreo to 5.1! The processor we were using had an algorythm dedicad for the Jean Michel! I was working with the US Omnia audio company for many years, and we decided to adpat 3 porcessors to mastered 5.1!One year working on that before the validation!

– “Aero” comes in two different sound formats, 2.0 stereo and Dolby 5.1. Did you have to make two different masterings?

Yes the 2.0 was realized with the original Processor with its dedicated algorithm, and the 5.1 with the custum processor that we realized during one year! A new algorithm had been developped too, because loudness and perception in 5.1 for listeners is very different that Stéréo.

– You also made the remastering of the tracks included in “Rarities” compilation. We know this was a hard work, because you used the old original tapes. I mean those tapes were the original masters or the separate tracks of each song?

Separate track, we did a dedicated mastering for each track!

– Some of them are 40 years old. In what conditions were those tapes?

Tapes conditions were good, but because you need to increase a lot of loundness, and because yo want to create someting more “warm” and because the processor chain had a lot of power, denoïsing had been a lot of work:)

– Did you mastered more tracks out of “Rarities” final tracklist?

 I don’t remember.

 

– Which was the most difficult challenge to overcome with the remastering of “Rarities”?

Denoïsing, because it is a big compromise between cancelling hiss, and creating bad artifacts.

After this point OK, you can start work be our dedicated and custum processor:)

– Are you mastering the works for Jarre in his Bougival studio? What gear have JMJ for this comminment?

 Yes for 5.1 and 2.0, it had been always realized in Bougival. We always work with Jean Michel with the direct multi track output instead of bounce mix. With that we can move some level on some tracks to improve and optimise better the final mastering!

– Did JARRE mentioned any intentions of remastering “Deserted Palace” complete album?

 Not yet.

– We know you’re currently remastering “Zoolook”. Please, could you explain if this is because of the next anniversary of the album (30 years in 2014) or part of a remastering of JARRE’s complete back catalogue for Sony Music?

 I can’t tell you all the secret, but yes a lot of things are going to be realized. You will need to check my Yakuda’s facebook site

– Related to the previous question, if the complete catalogue is going to be remastered, when will it be release?

 Yakuda’s web site and facebook

– “Zoolook” was released in two versions in 1984 and 1985. The second one came with “Zoolookologie” and “Zoolook” remix versions. Could you tell us which are included in your mastering (original or remix tracks)?

 Original for the moment.

– Is expected to include more tracks (demos, vinyl’s extended versions…) in this remastered version?

 Not Yet.

– As you should know in 1997 SCOTT HULL from Masterdisk NY remastered the complete JARRE’s catalogue. What is your opinion of that work?

 It was the best with he technology witch was used in the 90’s! All the Jarre’s songs had been a sound reference all over the world!

For me, who was working on processing stuff for many years, he 2 references for the sound quality was Michaël Jackson and Jean Michel Jarre!

– What is the finest master you made for JMJ in your opinion and why?

 Very difficultto answer! Aero was an amazing challenge because all the developments we did before starting the mastering, but the remastering we did with Oxygene 30 years was amazing too because this album!!!

Was we are doing now with the new remastering of Zoolook is another challenge, because we are using a very new processor with a dedicated algrithm than is 50% more powerfull that the other we were using before!!!

– Which is your favorite album and track of JEAN MICHEL JARRE?

Oh this is a very difficult question!! I love oxygene, but when he did zookologie i was very fan when i was young, because the sound he did!

– As you now Jean Michel Jarre is currently working on a new studio album. Are you going to master this new work? Have your heard some of the new music?

Yes we start discussing with Jean Michel about this new album and the final type sound that he wants to create! Jean Michel and are on he same way, on the same line! He knows so much on sound technology, that is very easy with him to understand what exactly he wants!! We talk exactly the same language. Sound is so virtual and averything is based on sense and perception, so is difficult to explain to somebody else what you want exactly, with Jean Michel we have the same perception, so very easy to created the final result we want.

 – You have your own mastering company, DPMS. In which other projects are you currently involved?

About DPMS, i sold this company for many years now, and i created another one witch is called Yakuda (www.yakudaaudio.com) this company is specialized on audio processing for TV, HD TV 5.1, and FM radios, because this is agin audio processing!

I have many customers witch i work with this company as audio consultant to create and design them their strategic sound color.

This sound color is what is going to be perceived buy the listenners!

As mastering for an album, that is the DNA of your TV or your Radio!