Yann Tiersen is a French musician and composer who gained international recognition for film soundtracks ("Amélie" by Jean-Pierre Jeunet) as well as for studio recordings.
Since Yann uses Trinnov in all his studios, we couldn't miss the opportunity to interview him on the French Breton Island of Ushant, in his Eskal Studios.
Can you please tell us about your studio?
I’ve always had this dream of having a recording space, and I really love it here. I did my third album here a long time ago, in 1997. It is easy for me to work here and I found my place. So for me, it's so important and crazy to be able to have a studio. But I mean, a recording studio changed everything.
What did you think about monitoring systems at the beginning of your career?
When you start, you often don't know about monitoring and you focus on the rest. That's actually the most important thing! But you'll learn with time I guess.
It's funny because my son does music as well and he did record an album here. He was working with a friend and I said : just come here just for the monitor! » instead of doing the mix in another place. Just come here to monitor the album because it's so essential. And I think that changed everything. Monitoring, Of course.
What was your first impression of Trinnov's ?
It's just bringing a lot of accuracy. What monitoring does for me is getting rid of surprises when you listen to the mix elsewhere. And of course, for instance, downstairs the system is here forever in the studio A after you let me use the Trinnov. It will always be there, and it's true that we never switch it off! I wanted to have a pure analog path, but actually that's true that I will never use it.
Is Trinnov worth its investment?
Yes, it's expensive. Monitors are expensive but I can't comment about that because whithout it, I would never have bought two systems. It changed everything here and also I don't really want to bother with treatment and everything.