Benedicte Schmitt
I started performing music in the 80’s. In my 1st band, « My Revox Band » ,I used to play bass, guitar, rythm box, cissors and ping-pong !
After getting (by some sort of miracle !) my high school diploma, and studying Art history for a brief moment, I decided to specialize myself in the mysterious field of sound technologies. In order to do that, I seriously needed to adjust my knowledge of electrical engineering.
After a year of assudious studies at the CFPTS (Training Center for Performing Arts Techniques), where I had the chance to meet Thierry Balasse, I started my new career in the ex-Damiens Studios. Quickly disappointed by this barely musical experiment (vacuum cleaner not being my favourite instrument), I decided to go back to live entertainments, more festive and human to my taste. I started making sound creations for theater troops, and thanks to dear A77, i discovered multi-diffusion before the great 5.1 adventure !
After various enriching experiences (private and street theaters, « Menhir FM Astérix parc »Radio, art centers, dance companies…) I got hired as a sound manager at the « Sentier des Halles » concert venue in Paris. I was an usherette at first (didn’t last long with my sense of rebellion !). More seriously, I did front house and stage sound, I even made stage lights with my right foot if my memories of those crazy 1996-97 years are correct !
At that time, I was lucky enough to meet Dominique Blanc-Francard during a show. I was mortified. but to my great surprise he was impressed by my skills and he recommended me to Stephan Eicher , a famous artist who was looking for a sound engineer for his upcoming tour. Knowing Dominique’s exquisite sense of humour, I had a hard time believing this could happen. But after a couple of weeks of sound designing at the mythical Engelburg Kursall, there I was, on the road with the « Backstage Concerto Tour ».
Back to Paris in 1998, I dared to ask Dominique if he could give me some tips on the 02R Yamaha desk. I ended up rewiring up the Labomatic Studio in full evolution the following week. I was integrated in the team very quickly as a second engineer on the recording and the mixing sessions, and I realized how wonderful studio could be. What I had dreamed of did exist : the Labomatic studio .
Farewell to touring and live shows, a new life was starting. Even though I still love being on theater stages today, kind of like being on a boat…
I still record live sessions whenever I get a chance, no mobile studio for the production, just a fitting room.
In 1999, Dominique offers me the job of a resident sound engineer in order to devote himself to his mixes and productions. In parallel, thanks to my technical knowledge, I took an active part in the conception of the Labomatic’s equipements, heating my soldering iron whenever it was necessary.
The following years, my growing experiences brought me to work with Cassius and Sinclair and to mix their live show at the Olympia in stereo and 5.1.
In 2003, we met the artists Benjamin Biolay and Raphael at the studio, the jump start of many collaborations for numerous years.
I've recorded Benjamin Biolay’s album « A l’origine » and mixed 2 songs . I have mixed some of the songs of Raphael’s album « Caravane », still making sound takes and learning the craft by Dominique’s side.
That same year, we worked on Camille’s album « Le fil ». We made 5.1 mixes of the record but unfortunately they never made it on the market…
I also started investing the Labomatic’s second studio, the ex-mythic sound cabin of the Cassius.
During the year 2006, i co-produced Camilles’s CD/DVD’s « Live au Trianon » and Raphael’s live shows at the Zenith and the Théâtre du Châtelet.
I also kept on working with Benjamin Biolay on « Trash Yéyé » , an album that we had started in 2005. I was in charge , the recordings, the programmings and most of the mixes . The album was released in 2007 and praised by criticism. I even had the priviledge of playing guitar and keyboards on his first tour date.
After being on the foreground, i worked on Jean-Louis Aubert’s soundtrack for the movie « Il y a longtemps que je t’aime », the start of a new collaboration.
And then I met Ludo Pin, a very talented artist, I mixed and co-produced his 1st album for Audiogram.
Early 2008 was the beginning of a whole new adventure. I recorded, mixed and co-produced Julien Clerc’s new LP. A great music lesson. At the same time, I recorded Carla Bruni’s latest album, also a very interesting experience. All live studio takes « Comme si de rien n’était ». Beautiful moments between the artists and the « Laboteam » !
After this marathon, I mixed and finalized Coralie Clément’s album « Toy Store ». And then, the band Caravan Palace called me for the mixes and additionnal production of their 1st album. The result is a blend of electro swing, acoustic and synths. Then the independent label « No Format » got in touch with me for the mixes and the additionnal production of Melissa Laveaux’s 1st album. Less tracks but still very interesting, finding the right colors, being at the service of music.
In september 2008, I worked with Jean Louis Aubert again, and finalized his box set « Un tour sur soi même », a beautiful project. In december, Dominique and I mixed and finalized Stephan Eicher’s DVD « Eldorado Trio », I also worked on the recordings of Calogero’s album « L’embellie ».
The year of 2009 started with the recording of Jean Louis Aubert’s soundtrack for the motion picture « Le dernier pour la route », recorded and mixed in 5.1. It was really interesting to work with images, having Jean-Louis in the studio composing in front of the screen. We also worked on his album« Premières prises » featuring the film’s generic song « Jette une pierre ».
Two months after, Dominique and I co-produced Katel’s new abum. Quite a change of atmosphere, live takes with the band, each experience is so enriching.
After that project, we worked with Emmanuel Da Silva for the first time. An artist I had met through myspace a couple of years before. It was his first real studio album, we co-produced « La tendresse des fous » and spent many great moments on this beautiful album.
I also met Cae through myspace, an unsigned singer who had asked me if I could mix her EP. Drawned by her talent, I worked on her project with Denis Benarrosh. We made all the rythmics in one afternoon !
Alternance is one of the particularities of my profession. Now I’m going to start the recordings of Françoise Hardy’s next album with several producers. We will be mixing the project with Dominique in november, it’s an honour for me.
Time flies, I also worked with Julien Clerc again in september, on the mixing of his upcoming live album . It’s always amazing to work with him, after 40 years of career he has so many songs and still so much passion.
Passion, that’s my key word. Patience, respect, tolerence, staying tuned in, generosity, ethic, quality, impetuosity. All these elements which have made, and hopefully will keep on builing the steps of my profession.
And there’s also this mathematical formula i try to keep in mind :
« 1 good instrument + 1 good choice + 1 good mic placement + 1 good preamp choice =
no eq and less stress at the mix stage »…
(Thanks to Constance Amiot for the translation.)
www.myspace.com/benquicky
www.facebook.com/Benedicte.Schmitt
I started performing music in the 80’s. In my 1st band, « My Revox Band » ,I used to play bass, guitar, rythm box, cissors and ping-pong !
After getting (by some sort of miracle !) my high school diploma, and studying Art history for a brief moment, I decided to specialize myself in the mysterious field of sound technologies. In order to do that, I seriously needed to adjust my knowledge of electrical engineering.
After a year of assudious studies at the CFPTS (Training Center for Performing Arts Techniques), where I had the chance to meet Thierry Balasse, I started my new career in the ex-Damiens Studios. Quickly disappointed by this barely musical experiment (vacuum cleaner not being my favourite instrument), I decided to go back to live entertainments, more festive and human to my taste. I started making sound creations for theater troops, and thanks to dear A77, i discovered multi-diffusion before the great 5.1 adventure !
After various enriching experiences (private and street theaters, « Menhir FM Astérix parc »Radio, art centers, dance companies…) I got hired as a sound manager at the « Sentier des Halles » concert venue in Paris. I was an usherette at first (didn’t last long with my sense of rebellion !). More seriously, I did front house and stage sound, I even made stage lights with my right foot if my memories of those crazy 1996-97 years are correct !
At that time, I was lucky enough to meet Dominique Blanc-Francard during a show. I was mortified. but to my great surprise he was impressed by my skills and he recommended me to Stephan Eicher , a famous artist who was looking for a sound engineer for his upcoming tour. Knowing Dominique’s exquisite sense of humour, I had a hard time believing this could happen. But after a couple of weeks of sound designing at the mythical Engelburg Kursall, there I was, on the road with the « Backstage Concerto Tour ».
Back to Paris in 1998, I dared to ask Dominique if he could give me some tips on the 02R Yamaha desk. I ended up rewiring up the Labomatic Studio in full evolution the following week. I was integrated in the team very quickly as a second engineer on the recording and the mixing sessions, and I realized how wonderful studio could be. What I had dreamed of did exist : the Labomatic studio .
Farewell to touring and live shows, a new life was starting. Even though I still love being on theater stages today, kind of like being on a boat…
I still record live sessions whenever I get a chance, no mobile studio for the production, just a fitting room.
In 1999, Dominique offers me the job of a resident sound engineer in order to devote himself to his mixes and productions. In parallel, thanks to my technical knowledge, I took an active part in the conception of the Labomatic’s equipements, heating my soldering iron whenever it was necessary.
The following years, my growing experiences brought me to work with Cassius and Sinclair and to mix their live show at the Olympia in stereo and 5.1.
In 2003, we met the artists Benjamin Biolay and Raphael at the studio, the jump start of many collaborations for numerous years.
I've recorded Benjamin Biolay’s album « A l’origine » and mixed 2 songs . I have mixed some of the songs of Raphael’s album « Caravane », still making sound takes and learning the craft by Dominique’s side.
That same year, we worked on Camille’s album « Le fil ». We made 5.1 mixes of the record but unfortunately they never made it on the market…
I also started investing the Labomatic’s second studio, the ex-mythic sound cabin of the Cassius.
During the year 2006, i co-produced Camilles’s CD/DVD’s « Live au Trianon » and Raphael’s live shows at the Zenith and the Théâtre du Châtelet.
I also kept on working with Benjamin Biolay on « Trash Yéyé » , an album that we had started in 2005. I was in charge , the recordings, the programmings and most of the mixes . The album was released in 2007 and praised by criticism. I even had the priviledge of playing guitar and keyboards on his first tour date.
After being on the foreground, i worked on Jean-Louis Aubert’s soundtrack for the movie « Il y a longtemps que je t’aime », the start of a new collaboration.
And then I met Ludo Pin, a very talented artist, I mixed and co-produced his 1st album for Audiogram.
Early 2008 was the beginning of a whole new adventure. I recorded, mixed and co-produced Julien Clerc’s new LP. A great music lesson. At the same time, I recorded Carla Bruni’s latest album, also a very interesting experience. All live studio takes « Comme si de rien n’était ». Beautiful moments between the artists and the « Laboteam » !
After this marathon, I mixed and finalized Coralie Clément’s album « Toy Store ». And then, the band Caravan Palace called me for the mixes and additionnal production of their 1st album. The result is a blend of electro swing, acoustic and synths. Then the independent label « No Format » got in touch with me for the mixes and the additionnal production of Melissa Laveaux’s 1st album. Less tracks but still very interesting, finding the right colors, being at the service of music.
In september 2008, I worked with Jean Louis Aubert again, and finalized his box set « Un tour sur soi même », a beautiful project. In december, Dominique and I mixed and finalized Stephan Eicher’s DVD « Eldorado Trio », I also worked on the recordings of Calogero’s album « L’embellie ».
The year of 2009 started with the recording of Jean Louis Aubert’s soundtrack for the motion picture « Le dernier pour la route », recorded and mixed in 5.1. It was really interesting to work with images, having Jean-Louis in the studio composing in front of the screen. We also worked on his album« Premières prises » featuring the film’s generic song « Jette une pierre ».
Two months after, Dominique and I co-produced Katel’s new abum. Quite a change of atmosphere, live takes with the band, each experience is so enriching.
After that project, we worked with Emmanuel Da Silva for the first time. An artist I had met through myspace a couple of years before. It was his first real studio album, we co-produced « La tendresse des fous » and spent many great moments on this beautiful album.
I also met Cae through myspace, an unsigned singer who had asked me if I could mix her EP. Drawned by her talent, I worked on her project with Denis Benarrosh. We made all the rythmics in one afternoon !
Alternance is one of the particularities of my profession. Now I’m going to start the recordings of Françoise Hardy’s next album with several producers. We will be mixing the project with Dominique in november, it’s an honour for me.
Time flies, I also worked with Julien Clerc again in september, on the mixing of his upcoming live album . It’s always amazing to work with him, after 40 years of career he has so many songs and still so much passion.
Passion, that’s my key word. Patience, respect, tolerence, staying tuned in, generosity, ethic, quality, impetuosity. All these elements which have made, and hopefully will keep on builing the steps of my profession.
And there’s also this mathematical formula i try to keep in mind :
« 1 good instrument + 1 good choice + 1 good mic placement + 1 good preamp choice =
no eq and less stress at the mix stage »…
(Thanks to Constance Amiot for the translation.)
www.myspace.com/benquicky
www.facebook.com/Benedicte.Schmitt