The Belle Adventure debut album

Belle Adventure Studio 001


I have known Kate and Simon from The belle Adventure for a while now as we met on the "Grease UK tour". We quickly became friends as we share the same passion for music. They first came to the studio to do a live session video and as they really enjoyed it, they asked me to help them make they first studio album.



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This is how Kate describes it: "We're doing this in a really homegrown, grassroots way, trying to catch a balance between live demos and a full band sound. As we don't have a full band (yet) we don't think that would be a genuine way to record this album. So, think of it as an enhanced version of our live sound. Just the 2 of us and our good friend Christophe Bourgouin, in his home studio. He's an incredibly talented producer, teacher, sound engineer and audiophile. We've known him for several years now, so we trust him with our sound and maintaining our integrity whilst pushing us to produce something that will turns heads and perk up ears".





Belle Adventure Studio 003B

















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Producing T O D "Demain Dès l'Aube" album


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When I first listened to the demo versions of the tracks that Régis the singer-songwriter gave me, everything had been programmed in Cubase. The music was good but I really felt I wanted to go for a more "rock" feel to give the album more energy. So I called in some great musicians friends of mine who I knew would be able to help me achieve this: Eric Varache on drums, Claude Thiebault on bass and Didier Paupe on guitar. I had done studio sessions with them in the past and I was confident they would give me the type of sound and groove was after.


Because everyone involved was living in France apart from me, we decided it would be a lot more convenient to record in a studio I knew near Paris.
I choose the studio because of its location but also because it has a fairly large live room and two isolation booths which are both fitted with big sliding glass doors. As I was really keen on recording drums and bass together, it enabled me to have Eric playing in the main live room and Claude with his bass amp in one of the isolation booths so they could see each others really well.


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When the drums and bass were done, we recorded all the guitar parts with Didier sitting next to me in the control room, having his guitar amps in one of the isolation booth.
It gave us two advantages: 1. it was much easier to talk to each other when crafting the various guitar sounds and 2. we could easily crank up the volume of his vintage tube guitar amps while still maintaining a comfortable listening level in the control room.

Didier is a fantastic guitarist and a fun person to work with. He is also very creative and came up with some cool guitar parts which really took the album to the next level.




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I was really pleased because even though we had done it with studio musicians, the end result sounded like a band playing together which was exactly what I had in mind in the first place.

I then took the Pro Tools sessions back to my studio in Kent where I did some premixes for Régis so he could record all the vocal parts in his home studio.






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Classical recordings for Philia Production with musical director Sophie Boucheron



Choeur Phronesis 100317 - 77

I have worked on many projects for Philia Production, the latest of them was to record two albums of their classical concerts in Paris.
Each album was with a different choir depending on the musical style but both were playing with the Coruscant orchestra.
We made the choice to record in multitrack to have more options at the mix stage but capturing a live performance is always tricky as there is no possibility for overdubs or re-recordings later. So the trick was to records all 3 versions of each show: the rehearsal, the first concert and the second concert. We could then choose the best version for each piece and do some editing to put everything together.


Coruscant Paris October 2017


"I have the pleasure to work with Christophe since 1997 on most of my live and studio recordings. Christophe is an accomplished sound engineer who masters perfectly the tools of his trade. His real value, beside his very open personality, lies in his artistic side: I call him a "sound artist". He knows how to make you forget about the technical aspects of the job so we can focus on what matters the most to me, the artistic content. He has all my trust and has always exceeded all my expectations."
Sophie Boucheron -Musical Director-

Listen on Sound Cloud: https://soundcloud.com/philia-prod/boreale






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Recording "Gang H"


Gang H - Studios Palis 003

I had already been working with jazz-blues band Gang H for a while, mixing the sound of their shows, when they asked me to join them to record an EP.
The only “studio” project I had done with them so far was recording and mixing their live concert at the famous New Morning jazz club in Paris, so I was excited at the opportunity to do a full studio production with them.

Gang H - Studios Palais 002



The band was based around Jean-Marie Honnet, who played the Hammond organ, and his two sons: Davy on drums and Anthony on Rhodes piano, plus additional musicians on bass, sax and percussions.
We were lucky to have the great drummer Moktar Samba (Joe Zawinul, Patty Smith, Carlos Santana, Eddy Louis, …) overseeing the project as artistic director. We met at Studios de la Grande Armee in Paris as the plan was to record everyone playing together like it’s usually the case with a jazz band.


To make it easier we ended up recording drums, bass, Hammond and Rhodes together but left the sax and percussions for later overdubs thus minimizing the risk of having to redo a take because of someone’s mistake.
It all went fairly smoothly and I managed to get a great sound from the Hammond and its Leslie rotating speaker, using some of the techniques I had developed during my live work with them.





Gang H - Studios Palais Mix 001




When all the recordings were done, all we had to do was move to the SSL mix room down the corridor!
Even though we recorded on Pro Tools, the mix was done mainly in the analogue domain and I used most of the built-in compressors and gates on the SSL channels to control the dynamic for each instruments.
As it was still the early days of plug-ins, we had to rely on outboard processors for good reverbs, delays and modulation effects. Luckily the studio rack offered a great choice from the likes of AMS, Eventide, Yamaha and Lexicon.