Para One

Could you tell us a bit about yourself, and how you became succesful in the music industry? 

I started as a producer for hip hop bands in the 90's. I then met the band TTC when I moved to Paris, and soon became a full-time member of the group. We've released three albums together, and rapidly build up a fan base not only in France but also abroad.
This lead us to a nomination at the Victoires de la Musique (annual French music award ceremony) in 2004. At the same time we created the label Institubes, which became my label as a solo artist. My first solo album Epiphanie came out in 2006, after the release of a few maxis. I also remixed several artists including Daft PunkEllen Allien and Boys Noize before composing the soundtrack of the film Naissance des Pieuvres, selected at the Cannes film festial in 2007. 

How did you discover Jazzmutant's controllers? 

I was looking for something different, something more "visual". I then came across a series of impressing videos on the internet, and also saw it live on stage, as my friends Modeselektor were using it. 

Why did you choose to use it above other products on the market? 

JazzMutant's controllers are currently the only multi-touch controllers available on the market, and the only ones offering the features I was looking for. 

Are you using it Live, in the studio or both ? 

At the moment I use it in my studio, as a Dexter controller for Logic 8. 

How has using the controller changed the way you work? 

I've always been convinced that the future laid in new interfaces, and for me the mouse, though essential, still represents the "stone-age" in that matter. Dexter speeds up the workflow, the instinctive relationship to the material...In fact using the Dexter didn't come as a shock, but rather as a soft revolution. Without noticing it, I work faster, with lesser obstacles... it's like having an assistant. 

What do you find most useful about it in terms of features? 

For me it's definitely Dexter's multi-touch real-time graphical EQ interface. Since I'm a bit lazy, I've always been reluctant to delve into the long and precise process of EQing, and since I'm more of a musician than a technician, I'd rather give up an idea rather than half do it. In contrast, EQing with a multi-touch controller is a real pleasure. Now I'm even looking for stuff to EQ ! 

What would you like to see in future revisions of the software? 

My main feature request would be the ability to draw objects in Logic's sequencer, while managing their lengths, volumes, quantification and position with the fingers. That'd really be a big step forward, and that seems realistic to me. 

What is your overall philosophy or approach when it comes to music (playing, recording, production)? 

I've alway tried to create bridges between imrpovisation and instinct on one side, and writing and concepts on the other side. This takes form on stage where I take a lot of risks and at the end..I always need new systems, new ways of doind things in order to renew my approach to production. I continuously construct and deconstruct my methods, that keeps me awake, and I think one can hear it on my albums. 

What have you got planned for the near future? 

I'm working with a singer from Boston on a band project at the moment. I'm a bit fed up with the prevailing "new electronic scene" which is we've partially initiated with the label Institubes, so I'd like to seek more refinement in the production process, look for less hedonistic concepts, and again, go in the opposite direction.


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