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Promotion Parfum Bowling Green de Geoffrey Beene Eau de toilette 120ml chez mon-parfum-pas-cher. CODEa€™s Kerri Mason had the rare chance to speak with Daft Punka€™s Thomas Bangalter last week for an extended feature in this weeka€™s issue of Billboard.
The online extension of Billboard Magazine, billboard.biz is the essential online destination for the music business.
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Is there a particular track that took on the characteristics of the various places it was recorded, in a perceptible way?
The whole starting point of that record was to somehow question the magical powers of recorded audio at a time when pop music is mostly recorded on laptops with a small microphone and a pair of headphones in airport lounges and hotel rooms.


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Wea€™re part of the previous generation, where a studio was a collection of hardware and electronic components assembled in a discreet way to try to create a unique global system in a home environment; somehow a distinctive system.The idea was really having this desire for live drums, as well as questioning, really, why and what is the magic in samples? Why for the last 20 years have producers and musicians been extracting these little snippets of audio from vinyl records?
Because harmonically the samples are just an F minor or a G flat, something not so special.
It occurred to us ita€™s probably a collection of so many different parameters; of amazing performances, the studio, the place it was recorded, the performers, the craft, the hardware, recording engineers, mixing engineers, the whole production process of these records that took a lot of effort and time to make back then. It was not an easy task, but took a certain craftsmanship somehow cultivated at the time.We started to say, a€?OK, leta€™s see from a production standpoint, also in terms of performance, whether we could create records that embed this level of production and craftsmanship, and see whether the culture would allow for records like this to be produced.
All the places we recorded have been tested and tried on many classic recordings, and it seemed to be a good foundation for a project of that scope and that vision.A lot of young dance producers cite you as their primary influence. The problem with the way to make music today, these are turnkey systems; they come with preset banks and sounds.
Theya€™re not inviting you to challenge the systems themselves, or giving you the ability to showcase your personality, individuality. Theya€™re making it as if ita€™s somehow easier to make the same music you hear on the radio.


Then it creates a very vicious cycle: How can you challenge that when the system and the media are not challenging it in the first place? We really felt that the computers are not really music instruments, and we were not able to express ourselves using a laptop.
Ita€™s mostly a question: Is it still possible to have this dream of looking at the way music is made like movies are made? Wea€™re not the best-selling artists in the world, but we have this dream; this ability to try to do this project and see if it we can make it happen.What classic albums were you looking toward? It doesna€™t prevent them from creating larger than life spectacles as well.Now you can create very successful records on a laptop with very little money; what would prevent us from experimenting?
We think there is a strong level of experimentation in alternative musica€”a lot of new artists who actually dona€™t have a lot of resources pushing the envelope as well. And youa€™re back to a vicious circle: the insecurity to push the envelope linked to the current collapse of the recording industry.



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