The sound library is set up, tedious work for hours and hours of sound, index them, classify them; each sequence belongs to a story, a place, a particular situation. We will begin with the atmospheres of all kinds here in France, then we will add the ambiance from elsewhere where our microphones have travelled the world ... then we will continue to explore a lot of atmosphere devoted exclusively to the white places (Cathedrals, church, museum, train stations ...) All that can allow the film or a living show to melt the action, to spatialize it in a universe, to situate it in a place ....
Then we will add other topics such as sounds alone (domestic sounds, creaks of a floor, the slamming of doors ... etc.)
Each month an update will be made, according to specific requests so do not hesitate to report your impressions on what we propose.
For any request of musical composition for a film or a live show or for the creation of an original soundtrack do not hesitate to consult us. We will be happy to accompany your project.
In addition to more than 20 years, he has participated in many groups such as the Cuarteto Cedron tango orchestra "La Tipica", Daniel Melingo, created the groups "Malajunta" "Musica popular de aca" "Cumbia Ya! "Thelmo y Luis" "The Violenta! »Worked at the theatre with Mario Vargas Llosa's" La Chunga "at Alain Raoust's medium-length cinema" La vie sauve "in the lead role in Franssou's feature film Taking" Paris my little body is very tired " of this great world "and also composed film music for the documentary" Condor the Axis of Evil "and the feature film" Furia
Sebatian Larralde in live with the group sonora at the week of sound 2017 at the Polygone starred
Chief Sound Operator and Electro-Accoustician
"The crawling chaos" of the group 2099 on "Tremblement" directed by Yann Vu
We invite you to visit the website of Newtango
compression of audio data). In 1998, he is Sound Operator in the animated film Zip-Zap presented at the Annecy International Animation Festival. In 2011 he began writing a novel (A passport for life - work in progress) and directed 4 short films between 2013 and 2016 (Tremblement - The larks' mirror - Phobie and Epitaphe with which he won a prize " Clap of the best performance including the best dancer, the best sound and the best singularity at the Vence Film Marathon in June 2017.
2014, he founded with Linoa Lamour Association Art of Being in Peace.
For any information you can contact us by email or phone.
This project of sound library was initiated by Yann Vu and Joël Prévost, respectively, Sound engineer and Composer of contemporary music and mixers. These sounds are almost 20 years of work together on documentary films or fiction on television or cinema.
In this work of sound collection, it is important to adopt an approach that - beyond the respect of specification - aims to qualify sounds. In all conscience, it is important to date the sounds, to place them in a particular context. We have chosen to implement what is described above. Each atmosphere tells, first of all, a story whose duration can vary between 6 and 12 minutes which gives each sequence a precise situation from the point of view.
It is worth noting that the ADEEP association does not receive any public or private subsidy, thus guaranteeing a great deal of independence. During these 4 years of existence and often volunteer work, we had a sound studio in Lyon and a sound studio in Marseilles under construction. The sounds of the sound library are therefore on sale to finance a part of the material investment and the functioning of the association ... and thus be able to support projects whose holders are sorely lacking in funding.
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The sound is enriched by the freedom of choice of his points of view.The outlet instead distributes investment values into perspective. To stage the sound is to organize places and hence values in space and time. To take the sound is to learn to choose; but there can be no choice but among what we know. Getting to know is learning to listen. This is the common denominator of all the learning of sound in the diversity of their fields: music, radio, cinema, theatre, plastic arts. The sound is enriched by the freedom of choice of his points of view.
Composer contemporary music and sound mixing
Bandoneonist - composer - author interpreter
Extract of contemporary music by joël Prévost 1993
composer -Flutist and Clarinetist
In 2003 he entered the Avellaneda Popular Music School of Buenos Aires as Senior Instruments of Popular Music, Clarinettist and Flute until 2011. During this same period, he joined the National Conservatory Lopez Buchardo and followed diligently for 2 years. Classes in composition class.
In 2011 he left Argentina and moved to Paris to enter the Edgar Varese Conservatory of Gennevilliers until 2014. He also plays guitar and composes his own melodies.
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"So immersed in the musical universe created by the chorus, we return each time to emotions that the film has already given us to live, but in an experience of impressions and emotions renewed.
Soundscape recording requires a point of view and the sound taker who captures the energy of a place, actually builds the representation he has of it: he records a representation of reality and not the real. As Laurent Jullier said, the camera represents the point of view and here it is the microphone and the musical gesture that are part of a common approach to represent reality. The composer can then choose, listening to what he hears, to propose an extension of this universe or to divert or modify it with its instrumental material to propose a point of view. There is then a complementarity or a duality between two points of view.
Tarkovsky felt a strong link between sound and music in the cinema. In Le temps scellé, he tackles these two themes in a common part entitled "Music and sound effects". But if Tarkovsky brings them together, it is also to put them in opposition: "It is that a sound world carefully organized is already musical in its essence. This is what real music is like in the cinema "A comment confirmed in practice by the composer Edouard Artemiev (Stalker, Le Miroir ...) saying that for Tarkovski, the musician was only necessary for him as an organizer of sound material.
Consider that an original soundtrack for the cinema can make sense when all the actors of the creation (composer, sound editor, mixer) pool their respective influences for the final objective. It does not matter whether there is complementarity or duality, the essential thing being that each one is the freedom to realize the perfect gesture.
TO COM UP
Born in Buenos Aires April 18, 1972 in a famous family of artists, he grew up among painters, sculptors, poets, musicians, theatre and film people, puppeteers and other adventurers of life.
Manuel Cedron arrived in France in 1992 and began an important artistic career. He has a particular and remarkably expressive vision of music.
He worked for six years in the famous Cuarteto Cedron and the tango orchestra "La Tipica" directed by his uncle Juan Cedron (singer and guitarist Cuarteto Cedron) from whom he learned the fundamentals of the language of tango and Argentine folklore .
Since 1993 he is professor of music under contract with the national education and teaches in several colleges of the region Rhône Alpe part-time. He creates his own studio where he mixes many short and documentary films like "Dérive" produced by France 3 and Tambour de soie, "Coeur solidaire", 35, mn short film, by Pascal Roy, broadcast between other at the festival of Clermont Ferrand, and France 3.
Joël Prévost's musical composition on "Epitaph" directed by Yann Vu
In 1988 he obtained a DEA of musicology in Lyon II with honours. He continued his studies at the Conservatoire Supérieur de Musique de Lyon, a student of Philippe Manoury, he also attended for 2 years the seminars of Pierre Boulez at IRCAM. In 1992 he validated his diploma of electroacoustic and computer music and then in 1993 a prize for composition with honours.
It is 1994 that he founded the group 2099, an experimental rock band where he gives the full measure with his guitar and composes his music with masterly chaos like "The crawling chaos" which will be used in the film "Tremblement" of Yann Vu.
He is Flute Professor (technical, classical and popular): solfeggio and harmony for beginners and intermediate level since 2006, Sebastian Larralde is a traveller, he crosses the time with his flute, clarinet and guitar constantly composing, in quest of a musical identity.
Mixing and editing
The multichannel device is now commonplace thanks to cinema and the image in general, the successful use of spatialized sound is not yet well known to the general public. All applications to the image indeed subject the sound to the frontality. We certainly play on the immersion, but in the greatest caution and the greatest respect for the attention of the spectator who must imperatively remain frontal, on pain of breaking his immersion in the film. The spatialized sound must be unconsciously felt and it is generally forbidden any use of sound outside the field that can awaken the spectator's special attention and take him out of the narrative for a moment. The debate is thus between the Frontal or the Immersive .... The debate over the multichannel is therefore recurrent, asking the same questions as when switching from mono to stereo.
Mixing as editing and sound recording cannot, in our view, dissociate, and we think that it is a global approach that must be rethought on each film. The only trap to be avoided would be to move without recoil towards a "realistic" optical representation of the sound space. It is essential to keep in mind that sound reproduction is an illusion and that wanting to achieve realism is a chimera the tools we have at our disposal should rather be seen as ways to manipulate the illusion with as much freedom as may wish it, for a creative purpose, and this intention is lost if one is imprisoned to want to recreate the real.
Began learning on the radio in 1981 then works in various production company (Grenoble, Lyon, Paris, Fr3, ARTE) as a sound recordist on documentary films and percheman on short and medium-length film productions of fiction then Head operator sound . In 1986 he trained in electro-acoustic techniques at the Electro-Institut de Grenoble (from Luigi Russolo to Pierre Shaeffer). In 1992 he joined for 1 year CICV (International Centre of Video Creation) in Montbéliard to train in new digital techniques (editing and mixing). In 1994 he collaborated with the Digigram Company of Montbonnot in the development of Xtrack software (specialized in the