Le marseillais Simon Henner, aka French 79, est un boulimique de travail en collaborant à divers projets. Nous l'avons rencontré pour parler de son studio et de ses machines.
My name is Simon, my stage name is French 79, I live in Marseille. I've changed places several times since 2010. It's been a while since I've been in the same place where I am very well. It has evolved like all studios. I'm not a material fetishist either, so I resell material that I don't use. I prefer it to be used by someone else. And I've mostly worked on the acoustics of the studio. These are things that little by little have become important. At the beginning, less. At the beginning, we accumulate material and everything. And in fact, the acoustics of a piece is still quite important. It has evolved like that. I'm trying to find ways to turn things around for the acoustics. That is to say, spending 20 hours a day in a room surrounded by acoustic elements, it's not very funny. And I think it's still more important to know your piece well already and to want to go there in this room. Because I spend my life there anyway. So there are sometimes little ways to turn things around. A green plant, sometimes it can be used as a reflector. A nice library, it can be used as a bass trap. That's it, things like that. Try to find, or if you really need moss, try to hide them a little. In any case, try to make sure that the piece gives life. So a sofa is prettier than a big piece of moss. Of course, I work on, I don't record on tape, unfortunately. So I still have a Bolton, which is still the nerve center of the studio. And then I have a studio to record, to pass all my synths, my guitars, and also when I have to record drums, things like that in it. And I have all my synths around me. Basically, that's about how it's done. I recently changed my basses too. I have SM9 focals, so it's pretty nice because it's still pretty big. So we can work at low volume, having a good rendering in the bass. It's pretty nice. And then I make it evolve a little. For example, recently I bought myself some good synth feet, which has relatively changed a lot of things. That's it, little by little, like that, we started. But I really think that the most important thing is to know your piece well. And to feel good about it. And not to try to believe it because we have a lot of mess that it's good. I think that, like on synths, two little synths that we don't know by heart, it will be much better than having 150 plugins that we don't master. I'm not a big fan of plugins, but I still use them. But it's true that I have synths that there are a few that I would like to have. But in any case, I don't use the modular Moog plugin, for example. And it's true that I don't have it, but since I have a Moog D, a Juno, a Prophet, a SH-101, a Korg, things like that, it's enough for me to do what I want to do. So I don't use too many plugins. If not, after plugins, EQs, things like that, where I start to put my hand in the mix and the master. But that, in general, my role is not to make the final mix. So that, I leave everyone their job for me. I'm a composer and producer, I'm not a mixer. So I do little things like that. Sometimes I use plugins, but not as much as that. So on stage, on my left, I have a percussion stand, let's say, with tom's that are triggered, with a pad, things like that. Then I have USB controllers, I have little things, a little playful stuff, which are the toys, the little toy controllers, where you can change like that. So it's still pretty nice, where I can type the time of the delay or things like that. I have two Launch Control innovations with faders that control either my drums or my synths. And then I have a Prophet 8, I have an Electron, I have an MS-10 and a second one that is racked on the... So in fact, I have two MS-10s that are racked like that, that need a small modular mini.
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Un ENORME artiste ! J'édore ce que tu fais, surtout "The year after" !
My name is Simon, my stage name is French 79, I live in Marseille.
I've changed places several times since 2010.
It's been a while since I've been in the same place where I am very well.
It has evolved like all studios.
I'm not a material fetishist either,
so I resell material that I don't use.
I prefer it to be used by someone else.
And I've mostly worked on the acoustics of the studio.
These are things that little by little have become important.
At the beginning, less. At the beginning, we accumulate material and everything.
And in fact, the acoustics of a piece is still quite important.
It has evolved like that.
I'm trying to find ways to turn things around for the acoustics.
That is to say, spending 20 hours a day in a room surrounded by acoustic elements,
it's not very funny.
And I think it's still more important to know your piece well already
and to want to go there in this room.
Because I spend my life there anyway.
So there are sometimes little ways to turn things around.
A green plant, sometimes it can be used as a reflector.
A nice library, it can be used as a bass trap.
That's it, things like that.
Try to find, or if you really need moss, try to hide them a little.
In any case, try to make sure that the piece gives life.
So a sofa is prettier than a big piece of moss.
Of course, I work on, I don't record on tape, unfortunately.
So I still have a Bolton, which is still the nerve center of the studio.
And then I have a studio to record, to pass all my synths, my guitars,
and also when I have to record drums, things like that in it.
And I have all my synths around me.
Basically, that's about how it's done.
I recently changed my basses too.
I have SM9 focals, so it's pretty nice because it's still pretty big.
So we can work at low volume, having a good rendering in the bass.
It's pretty nice.
And then I make it evolve a little.
For example, recently I bought myself some good synth feet,
which has relatively changed a lot of things.
That's it, little by little, like that, we started.
But I really think that the most important thing is to know your piece well.
And to feel good about it.
And not to try to believe it because we have a lot of mess that it's good.
I think that, like on synths, two little synths that we don't know by heart,
it will be much better than having 150 plugins that we don't master.
I'm not a big fan of plugins, but I still use them.
But it's true that I have synths that there are a few that I would like to have.
But in any case, I don't use the modular Moog plugin, for example.
And it's true that I don't have it, but since I have a Moog D, a Juno, a Prophet, a SH-101, a Korg, things like that,
it's enough for me to do what I want to do.
So I don't use too many plugins.
If not, after plugins, EQs, things like that, where I start to put my hand in the mix and the master.
But that, in general, my role is not to make the final mix.
So that, I leave everyone their job for me.
I'm a composer and producer, I'm not a mixer.
So I do little things like that.
Sometimes I use plugins, but not as much as that.
So on stage, on my left, I have a percussion stand, let's say, with tom's that are triggered, with a pad, things like that.
Then I have USB controllers, I have little things, a little playful stuff, which are the toys, the little toy controllers,
where you can change like that.
So it's still pretty nice, where I can type the time of the delay or things like that.
I have two Launch Control innovations with faders that control either my drums or my synths.
And then I have a Prophet 8, I have an Electron, I have an MS-10 and a second one that is racked on the...
So in fact, I have two MS-10s that are racked like that, that need a small modular mini.
Merci pour ce formidable concert à Montreal ce printemps! J'adore ce que tu fais, reviens au Canada quand tu veux/ peux!
🤩🤩♥️
Il a tellement raison, il vaut mieux bien connaitre sa pièce et s'y sentir bien, on appréhende mieux le mix
On l'entend tellement le Prophet dans ses morceaux.
Vive le Prophet
French 79 est humain ???