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The
synths and gear of
Jean Michel Jarre Throughout the years, Jean Michel Jarre has dazzled millions of spectators with his unique multimedia concerts that blend ancient techniques with the latest electronic inventions. He has used both off-the-shelf synthesizers as well as developed new instruments and controllers for artistic and visual expression. In this article we will look at some of his custom music instruments. Most of Jarre's custom instruments are not synthesizers as such; most of them are controllers. They trigger MIDI data which is sent to a synthesizer or computer, which in turn plays a sound. Jarre has also had special modifications done to many of his standard synths, but his main custom controllers are:
The laser harp Later harps also have foot switches which allows for changing between different scales. This explains why Jarre can play different notes on the same beam. Certain versions of the harp play pre-stored notes which means Jarre has to break any beam to get the right note. The photocells can also recognise at which height the beams are broken, and the angle of the hand, which allows for artistic expression such as modulation. Since 1981 Jarre has developed new versions of the laser harp for almost each of his subsequent concerts, allowing for the ergonomics of each stage layout, artistic control and improved technology. In the mid 80s Jarre hired laser specialists led by Philippe Guerre to develop a frameless version of the harp, and nearly a dozen different versions of the harp has existed. The 1994 - 95 version, used in Hong Kong and Paris, was designed by Yan Terrien and used a 20 watt argon laser. The latest version was used in Beijing on October 10th, 2004 where the beams were angled at 45 degrees over the heads of the audience, and Jarre for the first time not having to use asbestos gloves to protect the skin of his hands. One of the great myths about the laser harp is
that is simply doesn't work, and that Jarre only mimes it. While
it has been performed with the sound in playback mode at certain
concerts, due to
the harp's fragile technology and dangerous weather conditions,
the harp actually work. It's futuristic appearance is based on
simple technology: The basic concept of the harp is to have one
laser bream split into several beams, and sensors that register
Jarre's hands as they break the beam. Once a beam has been
stopped, the sensor relays a signal to a
computer which A few artists other than Jean Michel Jarre have used laser harps of various designs, and a typical harp like Jarre's will cost around 20.000 Euros (25.000 USD) to build from scratch.
The LAG controllers Insecte key technical specifications:
The Insecte took two months to build by a team
of 5 engineers during
the spring of 1988. Jarre was inspired by films such as Brazil
and Dune and wanted an instrument that looked futuristic, yet
old and used. The skin of the body was painted so as to look
worn and dirty, uncovered by archeologists of the future. At the famous Houston concert in 1986, Jarre used a huge controller called the Magic. This semi-circular keyboard has supersized keys that light up when pressed. Apart from sending musical MIDI data to computers, it could also control lights and other special effects. LAG developed an enhanced version of the keyboard (pictured) that spans 8 octaves with 88 keys in a semi-circle but with the light-keys of the Magic above the regular keys, still lighting up as zones in the keyboard are assigned to the big keys above. Apart from looking futuristic, these semi-circular keyboards gives the advantage of being able to play the entire keyboard without bending the wrists. Jarre played this controller at his 1990 La Defence concert in Paris and his 1993 European tour. The LAG Circular is a semi-circular (actually, banana-shaped) portable MIDI controller, also built especially for Jarre in 1988. Jarre has later replaced by with the Roland AX1 and other portable controllers. Insecte key
technical specifications:
Another 1988 creation was the big "grand central" keyboard, or rather a collection of keyboards, synths and other equipment built into one unit. The idea was to create a visual focal point in the form of a mobile "laboratory" from where Jarre would conduct Destination Docklands while retaining the idea of playing music on electronic instruments. The unit was placed in the centre of the floating stage, which was so big it had to be registered with the British authorities as a sea-going vessel. Grand Central key technical specifications:
The Geiss instruments The Geiss Matrisequencer 250 was developed
in 1977 and first used on Equinoxe. It functions as a
duophonic sequencer which can play 2 x 50 notes or 1 x 100
notes, programmable by inserting pins into a matrix board,
thus not only visualising the sequence but also making it
physical. This, according to Jarre, would make the composing
and programming experience more intuitive and tactile than
simple button pushing. Digisequencer key technical specifications:
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plays a sound. The laser generator is located
beneath the stage, where a mirror mounted on a positioning
scanner reflects the beam and breaks it up into 8 or 12 beams.
Photocells are placed near the scanner, facing upwards. The
cells receives the light sent by Jarre when his hand breaks the
beam. The photocells send analogue signals to a computer with an
analogue input / output card and a MIDI card. The computer runs
software that feeds the MIDI card and send signals to the sound
source. With foot pedals, Jarre can change the number of beams
used, or which programs should be triggered in the computer,
thus allowing the same beam to play different sounds.
