His musical research is based on electronic sounds that he mixes with ethnic instruments, classical orchestras, and vocals. After a classical training in piano, Rousseau tried multiple instruments including bass guitar, drums, electric guitar, and percussions and finally chose the keyboards.
After completing his studies in electronics, he was hired by the Defense Nationale in to work on the final tests of the neutronic head, the detonator for the French atomic bomb. After two years of Frédérick Rousseau - Spirit In The Woods Burt Mackay - Ballad Of Death Valley (Ballade De La Vallee De La Mort), he quit.
Inhe met Francis Mandina young electronic music fan, who convinced him to become a partner in Music Land, a music store in Paris and a laboratory for future electronic instruments. Inafter working on the finalization of the first polyphonic sequencer MDB Polysequencerhe met Jean Michel Jarre who was looking for a musical programmer capable of manipulating this instrument for his China Tour, that would be seen by 60, people .
Rousseau was able to reproduce on stage all the sequences that Jarre had taken months to record without having to use playback tapes. This experience marked a turn in his career. Returning to Paris, he continued to participate Frédérick Rousseau - Spirit In The Woods the recording of the live album Concerts en Chine. The following year, Frédérick Rousseau - Spirit In The Woods was called back to London by Vangelis for the recording of the music score of Ridley Scott 's Blade Runner.
He was responsible for programming all keyboards except the Yamaha CS . This was the start of a complementary work relationship that was to last over twenty years.
The result was not immediately liked by Dreyfus Records . All is linked to two Yamaha O2R digital mixing desks.
The studio has recently been updated to work only with digital equipment. Rousseau is controlling all from his Macintosh system, connected to two high end monitors. He is working on his next project, and is doing some sound tests with a guitarist. The music we hear is strong in rhythm and tasteful.
The sound quality is impeccable. A trademark for Rousseau. The guitarist performs some licks while Rousseau twitches the sound and settings to prepare for recording. After all is set up, it's lunching time, and we join him for some informal conversation. We chat about our upcoming interview, the music of Vangelis, Jarre and himself, but also about the football world cup which was recently won by the French.
Full of conviction he explains his wild plans for the near future, and his motives to go this way. Every subject reveals his passion for Frédérick Rousseau - Spirit In The Woods things he does.
He isn't just messing about, working for a living. He is a true Frédérick Rousseau - Spirit In The Woods who puts his hart into things and knows what he wants.
Back in the studio the guitarist has finished recording his sessions. Rousseau plays them back and looks delighted. He should be, as the guitar sounds put a very special touch to this music.
Rousseau is ready for the interview. He is, as it turns out, every interviewers dream. He has a lot to tell and knows how to bring it. After mention of just a word he tells you everything you wanted to ask about the subject.
So, how did he meet Vangelis in the first place? I was working as a demonstrator in a music store. Vangelis, as he explains, was working on his See You Later album which he recorded mostly in London's Nemo studio, but partly in Paris as well, doing a few overdubs. And that was the first time that I met him.
Cairo" and "Private Collection" with Jon Anderson. He was just calling and saying 'I have to use these instruments, could you come to "Nemo"? The Ambience Frédérick Rousseau - Spirit In The Woods always fine. And then in he just arrived to my studio that I build in Paris,with a friend, Thierry Rogen, and he said 'I am in Paris for few weeks and I want to finish my next album "The City" come to the hotel to talk about it'.
We The Rock - Atomic Rooster - In Hearing Of Frédérick Rousseau - Spirit In The Woods full album and at the end he just asked me to join the crew and stay with him most of the time.
The credit Rousseau mostly gets is "Engineer" but Frédérick Rousseau - Spirit In The Woods has also been labeled assistant producer. What kind of work does he do for him? Taking care of the sound library, synths and updates and see if new technology can fit with the 'Vangelis way' of composing.
So, Rousseau started to work regularly for Vangelis on which he spends 5 or 6 months per year. Vangelis passed about 3 years in Paris and after that he went to Greece for a show, making occasional trips to Paris. Rousseau travels between Greece and Paris to work for Vangelis on one hand and live his life and own projects on the other hand.
Does he Watusi Strut - Various - Spirit Of The Street Vol 1 (11 Urban Jazz Flavours) there especially for a specific project? If he has a project or a Frédérick Rousseau - Spirit In The Woods mastering to do, a remastering for a special country or something like that And of course, all the new recording projects.
Sometimes certain projects can take a long time to be completed, but others are done very quickly. It was real quick.
The work was done in a rush,we had a limited date linked to the Columbus event: October 4, It's not a special pressure. It Coppola 13 - Dementia Precox - SCHP a normal pressure for these kind of movies. It's a kind of pressure that I have with Vangelis and with different French artists making movies.
The sound of Vangelis changed a lot at a certain period. When he left Nemo studio's and recorded his Direct album in he suddenly started using a lot more digital synthesizers using new systems like the custom developed Direct box.
Rousseau started to appear in the credits a lot since that time, together with Philipe Collona. When asked why they changed to more digital instruments he reacts slightly defensive. Vangelis started to have his proper technique in term of live performance with synthesizers.
Meaning not using any computers playing sequence. Then we designed a machine especially for him. He was able to play absolutely live any kind of Cloud Nine - Temptations* - Greatest Hits II. It's a real pleasure to see him playing with a kind of impressive interactive Midi orchestral set up.
Vangelis is using cleverly designed midi setups combined with the DIRECT-box system, a huge set of foot pedals and a number of huge keyboards surrounding him.
Using arpegiators, adding sounds by pressing the pedals and switching sustain pedals he can vary his output enough to give the illusion of a complete orchestra - or synthesizer combination - by playing directly Intro - Stert - Feelings EP he wants to play.
Thereby avoiding using sequencers. Rousseau continues: "Fully live means 2 things: 1. If you are making a two minute scene, it takes just two minutes to do it. You have to execute the scene absolutely perfectlyor redo it Vangelis is pretty unique in his technique.
I think he is a rare artist. He Frédérick Rousseau - Spirit In The Woods using synthesizers as a human and not as a robot But the sound changed a lot, and although Rousseau and colleague Philipe Collona don't appear in the credits for Direct, the album first introducing this new sound to the audience, it is hard to believe they didn't have input in that. That's what I think. For me it's not only Vangelis. I think that the Jarre sounds changed too.
I think that the Klaus Schulze sounds changed Frédérick Rousseau - Spirit In The Woods. But does he think the sound would have been different if he and Collona had not been involved in the technique? My work is respecting the Vangelis work. My One Night - Billy Burnette - Billy Burnette is not to put my touch in his music.
He is unique by himself. He doesn't need anyone. I am just there to help him to go through his project as simply as we can. Most of my job is to make Frédérick Rousseau - Spirit In The Woods feel safe.
I made an impressive work for Zoolook. I knew that the Jarre sound was changed with this album. Zoolook is different. It's the most important album that I did with him. It was very technical. So, he worked for Vangelis and For Her Ache - Art Of Simplicity - When Fables Have A Bitter Taste worked for Jarre. But he has a much wider background than that.
Murat, Indochine, Jean Louis Aubert. Was there a big difference in working with them? Firstly because you don't have voices on instrumental music. It means that each instrument could be considered as a lead, as melody. It's always more complicated than making a playback for a singer.
I now work only on my music. I try to make albums now that I have pleasure to listen to. Please, email us to describe your idea. Lettris is a curious tetris-clone game where all the bricks have the same square shape but different content.
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