Blah Blah Cafe, the Jean-Michel Jarre forum

[plate of chips]

Dr Mix mentioning JmJ's polyrhythms in the melodies accompaniments this is something seems natural for JmJ.
Also the subtle changes in time signature.

Pretty interesting Dr Mix said Afro Deep House is represented decades earlier in Equi4 seq pad bass beat.

I was looking forward to but wasn't decoded : Equi3 which is the signature JmJ interlacing weaving synths.
The only other famous person in history of Electronic Music that's been able to do this interlacing weaving is Isao Tomita.

[Dr_Jones]

Oh, user 1906 notified me that Michel Geiss posted a reaction under the Dr. Mix video!

Michel Geiss
4 days ago
I was deeply involved in the making of the album with Jean-Michel Jarre throughout the recording process.

Technically, I had made the sequencer that you hear throughout the album (the Matrisequencer 250), as well as a drum machine (the Rythmicomputer).

I had designed a method of synchronisation that used a track on the tape recorder to record several sequences synchronised with each other, and always locked to my drum machine.

My sequencer drove an ARP 2600. An input for the ARP keyboard allowed the sequences to be transposed in real time, which not only allowed the sequences to be transposed, but also the pitch of the notes to be modulated while the sequencer was running.

In this way we were able to produce the music in a very unusual way.

[Richard-Eastham]

This thread now conjures up evocative images of Jarre and Geiss, in a Parisian suburb, working late... wires, wine, music and machines. Both knowing that Oxygene was a massive hit, but also aware that what was being created here was (I would say) much stronger, more structured, and more melodic.

[Richard-Eastham]

Off the back of this thread, I've just been listening to Equinoxe Pt. 4 (Extended Mix) from the Rarities Vol 3 collection:

Q1: Is the extended mix played a higher tempo than the album edit? It certainly sounds "faster" to my ear
Q2: Was it produced contemporaneously with the album? Did Michel Geiss have a hand in the mix/recording? Or did it come later, some years after the 1978 release?

[Dr_Jones]

The 12" version is slightly faster indeed. If you compare it with the official video, you will notice it too. The CD version of the 12" mix is also faster.
https://vdgeest.net/jarre/mp3/Equinoxe% ... xage).flac

It was recorded a year later, 1 to 5 may 1979 to be exact. This is stated on the sleeve of the 12" single
https://www.discogs.com/release/540576- ... UxNzIzMzA=

[Jote]

Off the back of this thread, I've just been listening to Equinoxe Pt. 4 (Extended Mix) from the Rarities Vol 3 collection:

Q1: Is the extended mix played a higher tempo than the album edit? It certainly sounds "faster" to my ear
Q2: Was it produced contemporaneously with the album? Did Michel Geiss have a hand in the mix/recording? Or did it come later, some years after the 1978 release?

Not just higher tempo, it's also in different key (one semitone higher), so a full-blown "sped-up tape" effect. If you slow it down by approx. 5% it will sound very much like the album version.

[plate of chips]

"To my ear, the transition from Part5 to Part6 and onward to Part7, is one of the most captivating music written.
Up there, with Beethoven's second movement of the 7th... the absolutely perfect Allegretto." Written by liviu2031 on

[shadow]

Not to throw the writer of that comment under the bus, it's legit great they hold it in that high of a regard, but...
I honestly always forget that Part 6 on the albums happens, not to dismiss it outright, it's a decent tracks, but it just feels like a no man's land on the album.
It's simply sandwiched between the very upbeat Part 5 and, the highlight of the B side and absolute masterpiece of, Part 7.

[Dr_Jones]

Oh, I love love LOVE part 6. Firstly because it reminds me of the 8bit MSX game tunes. Secondly because at first listening it is a really simple tune, there is so much happening in that track under the surface. I can play it six times in a row and not get tired of it.

[Kanta]

[Darren P]

Oh, I love love LOVE part 6. Firstly because it reminds me of the 8bit MSX game tunes. Secondly because at first listening it is a really simple tune, there is so much happening in that track under the surface. I can play it six times in a row and not get tired of it.

Part 6 is often sadly overlooked, but I find it a brilliant fun piece. I think that the random "plinks", "plonks" and beeps towards the end of the piece (as it starts to transform into the bassline of Part 7) allude to the sound of rain to tie in with the thunder of Parts 5 and 8.

The Doctor Mix Youtube video about Equinoxe (which was widely shared about a year ago) has made me appreciate Part 6 even more. For me, the whole of Part 5 - 6 and the first (best known) section of Part 7 remain my favourite body of music that JMJ has ever produced.

[Dr_Jones]

The Doctor Mix Youtube video about Equinoxe (which was widely shared about a year ago) has made me appreciate Part 6 even more. For me, the whole of Part 5 - 6 and the first (best known) section of Part 7 remain my favourite body of music that JMJ has ever produced.

Oh yes, for me it's probably not the best, but it's absolutely up there.

[Jote]

I love that 5-6-7 suite as well. As I mentioned at least once JMJ tried to repeat this with Equinoxe Infinity movements 6-7-8, but ultimately failed, as

1) the transitions between tracks are way too short
2) the intro to Mvt7 is missing one 1/16th note, making the next section (00:20) start abruptly and throwing (at least me) off the rhythm. I had to insert that note back so that I can listen to it.
3) for some odd reason Mvt6 has a BPM of 100, while 7 and 8 have BPM of 97.5.
4) in general the tracks are too different

Also Mvt7 was originally conceived as a very different track, much more hypnotic like the original Equinoxe 6/7. You can hear remnants of the original bass sequence (similar to Equinoxe 7 but different enough to hand-wave "self-parody") from 01:38. That bass transitions to Mvt8 nicely, although as I said the transition is just too short to make it as satisfying as the Eq5-6-7 suite.

[plate of chips]

JMJ was convinced by Michel Geiss to keep Equi7.
JMJ was also convinced by Michel Geiss to keep Rend4.

I wonder what tracks would have taken their place if JMJ didn't keep them.

I still feel Analogue synths is JMJ's bread and butter. JMJ can do Analogue synthesis in his sleep. Desinging Analogue synth sounds. Layering interweaving Analogue synth sounds JMJ's speciality.
However Digital harware synths JMJ is just not that comfortable with them it shows sometimes I think.
Software synths JMJ is more at ease with.
The Digital hardware systems JMJ was is at ease with I feel are Digital Samplers : Fairlight, Akai, Technos Acxel resampler.

[shadow]

2) the intro to Mvt7 is missing one 1/16th note, making the next section (00:20) start abruptly and throwing (at least me) off the rhythm. I had to insert that note back so that I can listen to it.

I never quite found 6/7/8 in Infinity to really pull off and the transition from 5/6/7 being rather abrupt, and now that I've put up again due to this post and yeah...
I was never able just explain why it felt off, now I flat out hear why it feels off... Well, this blows