BlahBlahCafe - Jean-Michel Jarre forum

Anyone else think this is possible??????

Yes ofcourse there's a group of PPL who think that's what happened...

They are called "jarre-apologists" and I'm not a member... (you just became one BTW...)

b.blues wrote:Ok, maybe I'm very thin on this idea but here goes.
We all know that JMJ is a prodigious archiver and that he makes extensive notes when making albums. Is it not possible that he kept a diary as it were of his recording the original and used the original master and his notes as a "guide" to replicating the latest recording. I agree that it is scarily similar to the 1976 version but I just can't see someone with over 30 years experience with record companies trying to pull a fast one on one of the majors or his obsessive fans. We know that album almost as much as if we ourselves had composed and recorded it. It has been dissected over and over for years. He would not make such a mistake.
There is a lot of pot noise(hiss and clicking from the analogue synth knobs being turned) on the new recording that could have been removed on Pro Tools had he simply transferred the original master.
Also have you tried to synch-up both recordings together? Yes the wave forms are very similar. But, They run out of synch with each other. No, not because the new one has slightly longer/different transitions, but when you snch-up the rhythms, they run out of synch and not in the same places as it would have due to tape stretch on the master.
I just think he is possibly THAT PRECISE! And that his extensive notes/archive allowed him to get exactly the right sound.
Some of the zaps and whooshes might have been sampled though and if thats true. So what? He still played the thing in the first place even if some of it is cadged from 1976.
Anyone else think this is possible??????

It perfectly easy enough within a Program Like Protools to alter the Tempo of the tracks without altering the Pitch,so if thats the case then he needs to have seperate Mutiltracks of the instruments if there was Tape stretch with the originals the whole composition would be pitched differently if it was taken directly from a single stereo master track,Just cause they don't sync means absolutely nothing,Its probably another cunning trick that Jarre did to make it seems like they are not the same.if they were analyzed.


Most of the tracks were Played in by hand on the original,apart from a few sequenced parts,In order for Jarre to replicate it exactly he'd either have to have superb Playing Skills,or have the tracks totally sequenced,on a computer or sequencer to replicate it so precisely 30 years Later given he said he never had any tape sync and certainly had no external control over many of the instruments he used when it was originally done.the VCS EFX In part 2 are large clue if you know how that Instrument works It clearly obvious he wouldn't be able to do it it again that convincingly Just look to how he plays Oxygene Live thats the biggest tell tale sign...

If it was rerecorded it would be more Like the Live renditions for the Paris Shows he cannot play most of the parts melodies true to the original during these Live Gigs,Even if your the best Player in the world You couldn't replicate a piece exactly every time with the same nuances and Precise timing and dynamics and certainly not 30 years later irrespective of what literature you made of the original settings or mix sessions,even some of the sounds for the Live shows are not exactly true to there Album counterparts.

Jarre hasn't set out deceive anyone,why does he need to??If any of the fans are naive to have thought he rerecorded it then you need to listen to the Original more,I suspect these are the same people who were pissed when the Miming issue came to light.

There's no need to try and excuse the issue or defend Jarre,Personally He hasn't done anything wrong because I never beleived it was rerecorded from day one,if Dreyfus hadn't got in on the act I dare say many People wouldn't have even worried about this subject.
Who cares about the CD version anyway we've all got a copy or two anyway so its nothing new to debate

Its the DVD Live version and these Live shows that count and from where I stand he's certainly played those true to his word....

Kanta wrote:I his music and his instruments, too. Please rude comments about the instruments part.

In other words: you'd love to play with his organ?

CLUBMIX wrote:...isn't it just because on the MOS, there's "the complete original album" written, which seems to make FDM angry?

This is what I have been thinking. Then, this is not Jarre's fault, but the newspaper MOS.

The MOS and both their newspaper and tv ad claim the free cd to be "the original album". So, in that context, are they trying to say its the 1976 original, confused via their publicity department and unsure of the 2007 mix because to them both tracks sound the same - and its this that Dreyfus has picked upon.

TV ad -

See, one false claim, and someones making another sort of claim.


. . . . . . or Francis Dreyfus did what I did the other week. Contacted the MOS asking what they were planning on doing with all those unsold spare copies and told by the MOS like I was that they were to destroy the remainder of the CDs due to the contract they signed. And he's a bit hacked off as he could of flogged them on ebay

Let's do some maths:
12.000.000 FDM Oxygène + 2.600.000 EMI Oxygène = 14.600.000 TOTAL Oxygène
14.600.000 TOTAL Oxygène / 2.600.000 EMI Oxygène = 17,81 % of copies released...

750.000 € Bill / 2.600.000 EMI Oxygène = 0,2885 € per copy (Let's say 30 €cent per copy)

Legal offence here is Jarre using his "played in kitchen" original tapes to re-play and re-record sounds with analog gears that he can't replicate twice and use them.
Artistic (and human) offence is Dreyfus releasing such a pitiful version of "2007 Complete Oxygène"...

IMHO, the bigger issue here is that an artist can't have direct access to his art and do what he wants.

If Jarre get fired from EMI, Dreyfus will have all the interests to let proper releases of back catalogue, according with the artist's wishes: I have the right table in my kitchen where I official invite M. Jean Michel Jarre and M. Francis Dreyfus to sit, talk each other about last decade issues and settle financial+artistic disputes: there is no room for lawyers!

melo wrote:Well, Mr.Jarre need call for his friends: Mr.Jones and Mr.Smith

I guess this is only the beginning...

There certainly seems to have been very bad blood between the two parties for the last decade or so. It looks like it's coming to a head now, one way or the other.

I agree with most people here that it's doubtful that the tour would be affected, but will all this effect JMJ in any way ? Guilty or no, there must be a lot going on in his mind right now, most of which we probably know nothing of at this time.

jp8000 wrote:

Kanta wrote:Please rude comments about the instruments part.

huh?

Example:

Dr_Jones wrote:In other words: you'd love to play with his organ?

This thread title still concern me...Who knows exactly it was a lie...??

Dreyfus | Jarre

A Speven Steilberg Film

WAR OF THE MASTER RECORDINGS

Cert PG

(Synopsis)

Jean Michel is a hard working father who is thrown into turmoil when an invading alien army of deadly Dreyfus machines act his recording studio. The machines are not here to take over the world, but to simply remove all traces of the original 1976 master recordings of the much cherished 'Oxygene', a mystical masterpiece that only one man can keep safe for the human race. So it is left to Jarre to fight for his rights, to fight for the freedom of 'Oxygene', to fight good over evil

Dreyfus | Jarre

A Steven Steilberg Film

WAR OF THE MASTER RECORDINGS

Cert PG

(Synopsis)

Jean Michel is a hard working father who is thrown into turmoil when an invading alien army of deadly Dreyfus machines act his recording studio. The machines are not here to take over the world, but to simply remove all traces of the original 1976 master recordings of the much cherished 'Oxygene', a mystical masterpiece that only one man can keep safe for the human race. So it is left to Jarre to fight for his rights, to fight for the freedom of 'Oxygene', to fight good over evil

Nominated to Academy Awards OSCAR for best foreign film of 2008

Now serious: Who gonna win this battle ?

Equinoxe wrote: I could do a cover of one of Jarres tracks add a couple of notes to the original melody and copyright it as my own music and Jarre could not sue me,because in the eyes of the Musical copyright law its not the same composition because of minor differences a

You would not get away with simply adding a couple of notes, or even changing the key in which they are played. It takes much more than that to ble classified as a new composition. Music law is not black and white - even *similar* music that is too similar but not identical can be ruled as a violation.

Kubrick wrote: Nothing to do with the sounds. It's about the music. If Jarre plays oxygene with a flute or something, than still are the rights for Dreyfus. Copyrights has nothing to do with the instruments or sounds that used.

You are confusing "publishing" (the work related to commercializing music) and the rights to the master tapes. That's two different things. The latter is about the rights to something mechanical, i.e. the audio on the master tape Jarre made available to Dreyfus in 1976. That is why Dreyfus can keep releasing stuff like Re-Oxygene or the 2004 Essential compilation, as he has "mechanical rights" to the old recordings Jarre made for him.

Jarre, on the other hand, has all rights to perform in concert or re-record/remix his own compositions, which is why we have the Aero album in 2004 and all the old tracks at concerts. So it's not about the music. Jarre has certain intellectual rights to his own compositions, which includes the legal right to re-record and perform them live. Music is something abstract, and the recording is the physical embodiment. They are two separate things in a legal sense and should not be confused.

I don't think 12+2.6 is right way to count selles. Some albums need years to jump like this.