How long have you been practicing ?

I’m 23 years old, I’m from Paris itself, I’ve always lived in Paris. And I actually started playing music when I was 6 or 7 years old, doing piano and guitar. I did 8 years of each, of which 4 were at the conservatory and 4 were self taught. Also in parallel I did 8 years of music theory and after that i stopped. We’ll say that from the age of 14 to 18, I was very far from music. And then when I turned 18, i really got back into it, and that’s when I totally took it a step further. Which was no longer playing music but really making music and recording, that’s it. 

What does NJS mean ?

So in fact, I’m very passionate about bikes. And NJS is a standard for Japanese bikes. For a Japanese bike to be able to ride on a track during competition, all the parts of the bike have to be marked NJS. So these NJS parts, in the bike community, are often very rare. And at the time, I was flexing a lot with that, and I managed to get a full NJS bike; and as I liked the NJS name and i was already called NJ Studio, it ended up being NJS. Which in reality stands for ‘Niho Jitensha Shinkokai’ (Japanese Cycling Association) 

What was your first contact with music production, was it after high school?

To be honest, it was my dad who got me into music, because he was a musician too. And when I was a kid, he was a sound engineer too. But at that time I wasn’t interested at all in that, I was just doing my piano and guitar lessons because he made me. 

You didn’t like it at all ?

A little bit because it was cool, but it wasn’t a crazy thing to do. It was really later that I wanted to do that. It’s really something that I regret in my life. But you know when you’re a child, making music : it’s so boring, you’re 8 years old, it’s so scary, you just want to go home and watch cartoons.  If I hadn’t taken a break during my adolescence I would have been a war machine. It’s a work in process but you know it’s silly to say but there are things that you can’t understand. How do you explain the key ? The BPM ? How do you explain the difference between a major scale and a minor scale ? I wouldn’t be able to explain it, although since it was explained to me when I was a kid, I understand a little bit…

What were you first musical influences before you started making music ?

I listened to what… If we talk via my father, it was The Beatles. But  when I started alone, it was rather Nirvana and rock music mostly. Basically I’m a rock guy. I was a music purist : for me, there was real music and fake music. The ‘real’ music was just the music you would play with physical instruments, with a drummer and guitar player. And what I called “fake music” is everything we do know, you know haha, behind computers, that is to say CAM (computer assisted music). Before I was only into real music like rock, jazz, and I like classical too. But Rock and Metal all the way. If there are bands to name, it would be Nirvana, Pantera, Slipknot, Korn and many more. System of a Down too ! 

Where would you draw the line between the skills and intuition in the musical domain, which is a paradox inherent to an artistic creation.

On that I would say that there are both. Because for example, there are times during the mix, I do things in what would appear to be a ‘robot mode’. That means I can be there to talk, smoke etc.. Because there are easy things to do.Then there’s the artistic side, where if I’m not in the mood; if I’m not focused on it, it’s better I do the technical side. Because then I know it’s done and we won’t talk about it anymore. And then there’s the creative side, that’s really only when I’m in the mood for that sound in particular. But you know, it’s so stupid but, adding effects, where you’re going to put your cuts, where you’re going to choose that this voice is going to have higher reverbs than another one. That creative aspect you have in the moment.

Could you explain the different aspects of your work?

Let’s say that there is the side of recording people, the artist comes, he’s going to do his part of the work in front of the microphone. You’re going to do the recording, so in front of your computer screen. It’s really the work of a basic sound engineer, it’s very unpleasant to do; I won’t hide it. 
Then there is the job of accompanying the artist. Because you know now I work with a guy called RedEyes, who has accompanied Maitre Gims, Florent Pagny etc… I worked 1 year with him, I learned a lot, a lot. In particular this other side of the job that I did not know before. Which cas to accompany an artist in his project. It means that you are there to advise him, to maybe help him with his melodies: by proposing them to him or by making him work on them himself. This part of the production that you do in addition, it’s really artistic direction. 
Then there’s the mixing, once you’ve made your recording and everything sounds a little raw, everything must sound good. So you have to arrange all the sounds so that it’s homogeneous and that everything sounds more or less “square”. And finally the mastering, it’s just going to take all the mix you made; this big block; and make it blow up so that it sounds like a pro, basically.

Are you still producing beats ?

I really do it just for my own pleasure, but I don’t present them to artist because I have much less time than before, also much less desire. And I have people around me who spend their life doing that. That means that I spend my life mixing ang arranging, but if I dedicated my time making my own tracks, I would be too strong in that domain.    It’s really a personal desire, I don’t like to push my stuff further than I feel like doing. I’m a bit of a slacker at heart. But really it has much to do with lack of time. I realized that I had more fun accompanying people. I know that my creativity will develop more when there’s already someone who will propose foundations to me, whereas from nothing I have a lot of trouble. That’s why I like creating, making beats, but in realit, sometimes I even make people listen to my beats, but it’s never well done, i mean it’s always unfinished. Then I also know I work with my buddy Quaradox, who is one of my composers; we do stuff together. That means that when I do fast stuff that he likes, we will release it. But personally, I never take the time to finish things well, I’m not really interested in that and it’s not the part of the job I want to do.

When you happen to find yourself composing, do you still play around with organic sounds ?

Oh yeah totally, and it’s awesome. When I make my own tracks there are two kinds of vibe : either I make stuff like ‘La Mama de La Mama’, like big brazilian stuff. And when I make music to make me happy, just to vibe, I plug in my guitar, and make soft stuff with a bit of rock, I put a little piano on it and a drum kit, and that’s it. 

You recently started working more in artistic direction, what has that been like ?

This year I have a project with several artists from Paris, one of whom is already signed to Universal; with whom we are doing a big joint project. And there is really that side of accompanying, where there are 4 of us at all the sessions. And it’s cool because there’s an energy between the four of us, and everyone listens to each other. Really even if I’m not the one rapping or making music, I know I have 25% of the work on it; in terms of work, choices, everything. It’s nice. 

How do you feel about seminars ?

I’ll admit, I’m not a guy like that. Well if I’m offered one I might go, so on the seminars that I’ve been offered, I’ve gone. But especially after doing one, I wouldn’t organise one by myself that’s for sure. And I know myself, I like to be alone, qui for 6 hours. It means doing seminars and being 24 hours with people… It’s a bit complicated for me, I really have to take it easy. So if I can avoid them, I’m happy.

With what softwares and material assets did you start out ?

So I started with an Ipad, very ‘cheap’. I was composing on it, as well as recording my friends. Basically I had asked my parents for an Ipad to make music. That was the only reason why they were willing to buy me one. They didn’t see the point in me having an Ipad if not for that purpose, at the age of 17 or 18. Yeah so I started with an Ipad, a bad microphone, a very bad sound card. I was on GarageBand. Then I switched to Imac, still with GarageBand, and on that I went straight to Logic, and then I switched to ProTools not even a year ago. 

What was the first project on which you were fully on the mix and master ? Was it with the same initial set-up ?

So no, it was with 2 Cheese, because he didn’t have a mixer, and a mix was expensive, so he said ‘well let’s mix together, if there are people who are able to mix a sound, we can do it too.’ So the first mix/master track was “Neuilly Plaisance”. It was my first real track, half and half mix, we really did things together.  He’s the one who pushed me at the beginning to start out, because initially, I just wanted to compose and record, and he’s the one who told me “but mix my bro”, and so it’s after that happened that I really started out. It wasn’t our first attempts at mixing, because you know I had my little clients here and there, we knew a bit about it. But it was the first time where we said to ourselves: let’s go to the end of the project. Basically 2Cheese when I met him, why I liked him so much: already humanly he is an insane guy. Musically he’s very very strong, he always sings right, he has good melodies, it’s so cool to work with a guy like that, you don’t walk into a wall. When you give him an idea, he understands it straight away. But above all, he had already recorded a lot of sounds by himself, he knew what he was doing. This means that we all knew a little bit about each other, it was more a union of strength than a creative mix.

How long did it take you to complete and how would you rate it compared to Neuilly Plaisance and AOP

If we talk about the second 2Cheese project, it was already faster. But frankly I will say that it has evolved by 5%, compared to now. Because since i met the guy I work with Red, he taught me life. When I say he taught me life, it’s because I hd a way of working that was not at all the right one. But it’s just that I was made like that and I managed to have good sounds that way. It means that people wanted to work with me, I did some mixing placements with Sadek and so on, with stuff that you normally don’t do. I mean the kinds of thing where if you show it to a real engineer, he would be offended; but in the end, the result is there. And that’s what we want when we make music, it’s not necessarily how you got to your result, it’s just the result.  So since the result was good, I was going straight into the wall. But really I think that between AOP and Neuilly it was always more or less the same, I just changed two plug-ins, it didn’t change much. But since I’ve really progressed it’s been, like, 8months, 1 year, and it’s been since I met the infamous RedEyes. 

Where did you meet this man ?

Actually it’s. bit complicated, I used to work with Sadek, because I used to mix with him, and I worked with one of his artists Max Paro. And basically, I had a track to mix for this artist, and it happened to be RedEyes who had to send me the sound track by track. And he had made an effect in his model that i couldn’t quite replicate in the mix, so I contacted him to ask questions. We had exchanged at the same time, and I had found it very very nice. Then for 6 months we didn’t talk much, and I didn’t believe in my musical projects, I didn’t know if what I was doing was really good, I didn’t dare send him a message. And then one day I took my courage in both hands, I sent him a big message, telling him I was a young musician, a little lost, and that I wanted to move forward. He said “Come on” and that’s it. I’ve been working with him ever since.

What do you think about educational institutions, especially concerning rigor and the familiarization with softwares.

Well, I went to one. I stayed for 3 months in a school called ESIS, it cost 8K per year, my parents paid 800 euros per month, which is still very very important. And I thought “that’s great, I’ll learn a lot of things, and I’m passionate about it, so it will help me”. Except that on Monday afternoon, I had to watch movies at school… And I had to. At that point I thought there was a problem. I men you don’t force someone to watch a movie, and you don’t charge them 800 a month, you know. I mean really, no, I’m not a fan of all these schools, I wouldn’t spit on them either because I know there are some good ones out there, but frankly I don’t know. In reality, if you’re really lost and you have the means, do it. But if you’re really passionate, not just a bit. Don’t do it, you’ll waste more time.  For example, to be honest, I went to school and stopped after 3 months. Because it was expensive, and it’s not even a question of money, well yes, in the first place, it pissed me off that my mother was paying for it, it pissed me off on principle, even though I know it wasn’t a problem, I’d rather take it away. And then, out of my class of 65, I’m the only one currently doing music, and I left after 3 months. That means that up to a certain extent, you can’t ask yourself question either.  Basically, we get professionalized in everything that is music mixing and in everything that is audiovisual mixing. But you don’t have any personal support. They just explain to you how it’s done, so it’s good, but you have very little practice, and what saved me was that I had my own studio at home. And that at one point I had people all day long, well that makes you progress you know. Even if in the beginning you’re useless, at some point you progress and there’s no secret it’s the practice that makes it happen. And since at school you learn too much technique and no practice, it kills you. Especially when you leave school there is no follow-up. You have to know that in this world it’s a war ! It’s crazy hard! There is no middle ground in music: either you do very well and you’re broke, or it’s okay but it’s not crazy either; but you’re not poor either. But all these people who created these schools, they are people who make basic music, but they can’t make money from their art, they tell themselves '“let’s teach other people to make music”. While in reality you can learn to make music by yourself.

What do you think about educational institutions, especially concerning rigor and the familiarization with softwares.

Yeah, for sure, then I say there are good ones also because I have a colleague who went to another school from mine and he had a good curriculum. And yeah he was good at it. He has concrete application of what he learned in his currents projects. Whereas me, of all the people who were in my school, when I put them in front of one of my softwares they don’t really know how to navigate them, an you paid 22k…

What habits do you have put in place in order to professionalize your performance and service ?

Being very helpful with people, being very nice. Because you have to know that when someone comes to you, it’s because you’re offering them a service. That means the service must be square from A to Z. It’s so stupid but when you say goodbye to someone, walk them to the door, too many details like these. But being professional, your professional life you put aside. I know I’m a guy, I can’t tell the difference at all, but I try as hard as I can. I know that when I can’t limit I prefer to say “my guy, if I’m weird it’s because of that.” But in being pro, it’s also the fact that it’s you yourself who will announce things. It’s up to you to take the lead by showing that you know what subject you’re talking about, what music you’re going to make, well you know you subject. 

What is your production rhythm, what’s it like a day in th life of NJ

I wake up when my client arrives at 2:30, I wake up half an hour before. Then I do 2-10/11 with clients if it’s a big day, more like 2-8 when it’s a small day. But the big days end at midnight. Afterwards, there are two choices, either I am determined, I mix, I record until 5 or 6AM, (hence the fact that I get up at 2PM too); or I have no determination and I turn on the Switch and/or I’m with my buddies in relaxation.  But I don’t really have a rhythm. You know, it’s also the fact that there’s a bit of an artistic side to it and that I have this absolute chance to control my schedule, to control when I work and so on. If it’s now 3AM and my friends come home but I don’t know why I wan to work so much, I’ll work hard! If I follow myself, it’s because I’m driven by my desires and since I’m passionate about music, I always said when I started working with Red: he would tell me “but you work well” and I always laughed and said that I didn’t think it was work, until one day I was told to stop saying that. Because for me I’m so passionate about it and I’m so into it that even in the end when I say I didn’t like a session, I know it’s because I woke up on the wrong side of bed.

Does sound engineering include networking to make the service known, or is it done rather by word of mouth and by looking around ?

It’s a lot of word of mouth. At the beginning it’s a bit difficult because of that, but then I had this fabulous chance to start working with the guys from ‘L’Ordre du Periph’ and they put the light in Sevran for me. That means that now I have 75% of my clientele coming from them or from people who listen to them, and I think that if I hadn’t that, it would have been a little more complicated, I wouldn’t be where I am now.

Tell me about the life changing encounters you had.

There were three, there was when I met the team of ODP and that they started to work with me. Then I did Sirap’s first project ‘Biohazard’, which was the second light in Sevran that was put. And finally the new light in Sevran it was meeting RedEyes, the famous RedEyes. Thank you my great chief, really it’s insane.  It’s just that in fact, I realize that I wanted was not going to happen, you know, and it was totally my fault, but I didn’t believe in my dreams anymore, you know. And I’m glad that there were things around me that managed to motivate me. And it’s know that music careers aren’t exactly great  for mental health. Tell you what, you work for a week and then nothing. There are months where I’m crazy good and there are months when mentally it’s crazy hard. You think everything ended because you booked nothing. But not at all, you just wait until the next month. It’s just that people had spent too much money this month and they didn’t have enough money for the studio.

What are the pros and cons of living in Paris ?

There aren’t any cons. I m a Parisian at heart! Maybe the only disadvantage is the noise, I’m a guy who likes silence, and it’s very noisy, but the advantage is that it’s one of the capitals of the world. I say it ll the time. It’s a place where there’s a lot of money to be made, that’s all. The advantage is there, it’s totally speculative. It’s one of the biggest capitals in the world in the world. You have to understand your job, of course it depends on the projects of each one, but I know that for the job I want to do, all my life I’ll be here, at least a large part of my life. 

In your eyes, how to not get lost in the chaos of the city while seizing the opportunities it has to offer?

I would say according to the rules you impose yourself. And personally I had a bit of a bad mood for a year where I didn’t believe in my music anymore, and I realized that I was so stupid, because the simple fact that we are in Paris, implies there are all these opportunities in front of you. When I go out one night, and later talk about everything that happened to me, something crazy happens every time, you see. That means if there’s a routine, it’s because you decide every night to turn on a game and not go out. I hate going out, but simply, the only time I go out there is too much stuff happening. Then you know I’m a serious, chill guy; and the good brings the good. I always prefer to bring the good to the table, that means even if there’s a guy that’s frustrating me, give the good, because in general it works out, the proof is I never had any negative around me, mash’Allah as they say. 

Talk to me about Biohazard, the project with Sirap, especially the ‘intro’

This project with Sirap, the first track is very symbolic for me. It represents. lot of things, and at the same time the second project, following that, it validates whats Rapsi was saying: we live from music, I don’t need to do anything else on the side to get a little more money. No, I live from music. Some times I’m doing well and other times I’m doing well and other times I’m doing a little bit less well, but in general it’s going good. 

Do you live from your art?

Well yes, it’s a party. Wait, I say it’s a party because I live with my parents, that means it’s a party in pocket money. However, if I had a rent to pay, plus a studio to pay, it would be hard to say, at the moment. But thats why in 2022 is the price montada for NJ Studio. It’s going to be a bit of a revival. Soon I’d like to take an apartement or that kind of investement, I’m starting to be more serious, and above all you have to have value for your work.  

How do you value technical work? How to price knowledge ?

To my skills. If I think that my skills are worth such and such price, I put it at such and such a price. And here I am, basically I’ve always estimated myself according to my skills, except that afterwards you also have people behind you who tell you “yo but my bro you’re a little bit better than other” you know. So if you trust yourself, you increase. And also pretty stupid but there is the initial investment of the material: a tower at 5k, a pair of speaker at 1k, a sound card at 1k2/5 it’s a lot of money, so you need funds for that.  And the last thing is demand. Because right now, since the beginning of the school year, I’m not lying, nor am i throwing myself flowers at all, but I can’t take it anymore, I’ve got too much work, and I know that going up to 30e/h is going to bit a bit of a sieve. 

Do you have european or international ambitions ?

Before I used to think "yeah with my guys we're gonna go to the states, and try to make money there." Then I met someone, who made me understand that the US is good, but if you're really good in France, you eat just as much as in the US, that's it. So I have fewer international projects. 
But my absolute dream, it would be to work with latino stuff, you know those who produces La Mama de la Mama. You know, all these crazy guys, who make sounds like that, would be my dream. It's even more gangsta to do a latin thing with a J Balvin or something like that. 

What about the representation of sound engineer in the collective consciousness ?

It's a job where it's more about respect. You are a sound engineer, it's strange to say, it's as if you were the garbage collector of the music company. As a sound engineer you record a guy, it means it's boring, and on top of that, you're going to clean his breaths, you're going to clean his backups. Ok it's cool because you're well paid, and you're in nice places etc.. But mixing is not the same a being a sound engineer, it's still a part of the job obviously the two are linked, you can do both, there's no problem. But the pleasure, in any case personally there is nothing to see, to mix is for me the absolute ecstasy whereas to record somebody it is not easy. 

Why do you think people choose you ?

Maybe because really, the only think I could defend myself on is that I love what I do times a billion, that means if you want to see a guy who really likes his job, come see me, like really likes his job, come see me. Maybe that's the only reason why people like me, maybe it's because I'm nice, I don't know. But you know, I'm very helpful, I love to serve people, like when I have my artist, I'm like "You want a coffe, I'll bring you a little sugar, bam, a little speculoos", you get confortable then we get to work. Of course you have to be at ease. And yeah, after you know, I don't know, I also think that if people come to see me, it's because I've had to learn over time how to put people at ease, I know how to respect the person's energy.

I wouldn’t allow myself to judge the competition, because you know a mix is extremely subjective, sometimes you’ll send something to a guy and he’ll say "it’s so well mixed", you’ll send it to another guy and he’ll say "but it’s horrible". What makes music is a lot of “image”, of pretend: the more gold records you have, the more people come to see you, and I have nothin. So I’m already very happy with everything I can have around me even tho I don’t really have any certification(s), I can’t thank enough the people I work with, for trusting me, from the smallest to the biggest, it’s too good. 

Do you mix by aesthetics or the technical treatment of the voice?

So already, I base myself on how is the voice of the person, that means that it is necessary to optimize the voice that the person has. This means that we will make him feel sounds and the bad sides of his voice, if he has too much bass, we will remove the bass and put high notes, if on the contrary he has a very very low voice, and it is necessary to work on the bass. 
And then, there is the other aspect of making the voice come out as it should sound. It also means that at some point, you don't have to do it the way you want to do it, but at some point you have to find your place in the thing. For example, a great Niska, or Ninho, a great radio name, you can't go into the wall either. That means there's a bit of both, there is the side of the work of the aesthetics of the artist's voice, to really make it stand out as well as possible, and then you have this side of constraint to make it a little bit mainstream, not to put too much high-pitched or do anything. 

When you compose, you project yourself on other aspects?

Not cinematographic at all, I always say my eyes are shit. I don't like to watch movies, that's why my eyes don't count. That means show me a video clip and I won't have an opinion. I'll just tell you if it's beautiful or not, I won't have any other opinion. On the other hand I know that through my ears, I trust myself completely. But as far as moods are concerned, it means yes I project myself thoroughly, when for example the guy is going to be recording, I'm going to project myself on "ok I see such atmosphere, I see such thing etc.." But when it come to the video, it's not my job at all. 

What’s your confort zone and what would you like to improve

In fact, where I would feel most comfortable today is in the accompaniment. Because sometimes, at the rec I screw up, I don't press the right button, so it makes me stress, and it happens, you're human not a robot. As far as mixing is concerned, I'm not NFK, I don't take 2k5 per mix, so I'm not someone. But in any case the thing I feel most comfortable with is accompanying someone, giving them a good direction. I know I didn't trust myself before, and now I do more and more. I've had some experiences lately that have confirmed that, the thing where my comfort zone is, is accompanying artists. 

How do you evaluate the quality of a good mix ?

If it hurts my ears. If I put it very loud, does it hurt my ears, is it aggressive. And really how to evaluate a good mix, is that the energy of the song is repeated, that's what a great sound engineer told me, you have to respect the energy of a sound. We don't care if it's well mixed, on which software, on a good or bad one, it's just necessary that the energy that the artist has transcribed, you yourself have taken care of it and optimized it to have a final result, that means at the end what will qualify a mix, is that it sounds good and that's what's very complicated and that's why it's a job that is at the beginning a little bit weird to understand and to quantify. Because how do you say it sounds good? You see there's no school criteria. So  a good mix is something that sounds good, is the energy there.

Would opening a studio be an ambition ?

Yeah it could be a little goal, but I don't know if it's really the ambition, frankly to be honest I'm still in my research because the sooner I could leave the studio the sooner I would. My goal in the long run is to really be and AD, it's my absolute dream. that means, having a studio, yeah it's cool, but I'd rather have a studio in my name, to take care of small things. However, I also know the truth, I've talked to some very big sound engineers who told me about their studio budget. When you face the reality of things, the guys tell you about 4M to create a studio, and it's all nonsense for him. At some point it's that kind of thing that makes you put yourself in your place, and say well having a big studio in my life is really if I can afford it. Because in fact the competition is so incredible that if you really want to break everything, you have to be ready. Financially be ready... But in any case you will end up in publishing. 

Are you signed ?

It's going to be one of my next goals to get into publishing, so that I can declare my artists. Because this year, as I told you, I'm supporting a French band, and a little guy called Jellyh, who started on Tik Tok, and on whom i'm going to try to bet a lot. And basically you have to know that when you want a contract with a label, you have three different contracts; 90/10, 50:50 and license, and now everybody is in license, the future is to be in license at 80:20 as some have done. If you're a real negotiator, in the end you take 80% of your music and the big labels only take 20. After that it's up to you to pay for your studios but if you have friends and if you organize yourself well; you can make a lot of money.  But in the end it comes down to the fact that: ok you're independant, you stay in publishing with a big thing, so you're still bound. 

Tell me about the problems you encountered recently at the studio.

Two stupid things happened. The first one is my pro tools, it's their fault, but pro tools deleted my license from their server for no reason. So for 3 months I didn't have a studio, so, boring but nothing serious. But on the other hand I had a much more serious problem which was that, my processor and my motherboard, worked too much because, well I put it too much in my head. And so here it is, but on the contrary I'm proud to say that. Because it means that during 4 years I used the computer so much, you really have to work, you don't ruin a computer like that by playing Minecraft, so it shows that I worked a lot so I'm happy. But in reality the problems were what, they were really computer problems, and I was a little bit afraid because I was missing a backup hard drive, which I didn't make, so I was a bit scared at the time. But know it's in front of me, I even have two of them, everything is fine, I tell you that with a big smile.

Did you end up changing it or repair it ?

Well, in the end, I want to tell you that it’s changed because so many parts were changed in computer that it’s almost as if I had been given a new one in fact. It’s really the computer that burned inside, but really burned, they showed me parts that had melted, I went a little bit too far.

What level of loss when your set up lack to what extent is the business at a loss

Well, I'm not very adult, which means that my money management is totally chaotic. On one hand I have money, but on the other hand I don't really have much. Because in fact, I don't realize, because I don't get paid at the beginning of every month, my life is directed by if I have a session tomorrow I take a bill, If I have no session I don't take any bills. If  I have too many sessions during a week I take too many bills, so to put aside, it's much more complicated. So at the time, it's money that I dont't have, so yes, it puts me in a panic. But when the computer is running and the studio is up and running, the money comes back in a week you know, in ten days, that means I'm not worried. 

Did you register to the sacem ?

I could, I definitely could, but I don't want to. Because the Sacem is retro active, it means thats all the money you didn't take is accumulated. It means that I'm waiting for a good name that has made a really big ticket, then i'll go unblock my sacem account. 

What’s you administrative status ?

I’m a self employed contractor, I have my own little company : NJ stud. But this year it’s too bad but you asked me earlier how I managed the prices, well my price management means that also this year I’m going to declare everything, so yes I’m obliged to raise my prices because they still take 22% of my earnings which is huge, it’s crazy huge, every month. 

When do you picture renovating your home studio ?

My dream set-up is 50k and I have it. I’m not going to give you names because it’s useless but it’s around 30/50K I think. The pair of speakers costs, I have 25k worth of speakers, I looked at it yesterday and I want the CM25 that costs 9k unit. Maybe not at 50k, but I’ll be happy as hell, but it’s a bit of a project, I enjoyed fixing my tower recently, spending 2k made me love it. 

Do you see a transition to the Metavers - crypto environment for the music industry ? As in crypto session payment or beats in NFTs

Yo yo, on my life, full on, full on. And I thought of something, I won't do but I thought of something funny. It's actually not long ago I was so overbooked with work, and I was at the bottom of my life, I couldn't make it anymore, I was in burn out mode, I had too much stuff. People were yelling at me because they were sending me stuff but I couldn't take it anymore, so thats why I wanted to raise my prices. And I said to myself a concept too funny: imagine you put a token, where to book your session, so basically 1 hour is 1 token, it means you have to go on the site you have to buy a token it's 25e, so when you send me a token you have to book such a slot one hour. And well that would make the price of a token move a little bit depending on the demand you know, if it's time when I have too much demand it would be 35h, and if it's times when I don't have any demand at all it would be at the floor price at 25e you know. 

That would be a big project of the future, which is really a big scammer project, which I wouldn't do at all, but yeah if there's stuff why not. After you know well on we have money in crypto, all my savings are in crypto thats why it's complicated to cash out my money you see, a little complicated, it's silly but I have money saved, I can repair my tower but it's all in crypto, especially since: it happened to me in Bear market ! I'm at minus 40% on my wallet, so no I'm not going to draw money at this time ! But no it's okay, it's starting to pay off, so everything's fine. 

Do you picture the beatmaker community would start selling their drumkits as NFT for example ?

Yeah crazy, if there are NFT projects in preparation, after I see the application but the use as it is of NFT. Then if one day there is an application it could be funny uou know. But you can imagine, for instance, to be sure it's your mix, when you release a song, everyone gets a piece in NFT, so it proves for life that you have such a percentage on the song, so even if tomorrow the banks burn down and the sacem is broken, you can say 'my bro, on thriller's Michael Jackson's Thriller, I have 4% per month don't forget them'. 

Do you invest in the NFT environment ?

No, not at all personally, because the NFT is more artistic, but all the things I’m going to invest in are going to be the bike, I can invest and still do from time to time. Otherwise the synth is a crazy collector’s item, you know I’m a collector‘s guy, Im buying something for its speculative purposes. I like to think that something that I know is going to make me money. I have a hard time spending my money unless it’s something I know its going to make me money. It’s gonna be silly, but even when I’m buying tapestries, nice tapestries, I like to take small collections, so I know that even though I’m not gonna resell it, but I know on principle go ahead, mashall’Ah, I know they’re worth more than the price I bought them for.
For example, the synth that I put on my story the other time cost 88k and I’m negotiating with its owner to have it a 50k and I’ll buy in 10 years because he’s not necessarily in a hurry to sell it, if he sees a small passionate young guy, there’s a way, and that’s a full investment. I know very well that if you buy it for 50k in 10 years it will be 250k. And even this is a museum piece, with which you can get you money back no matter what. I dream about it, I wouldn’t know what to do with it, I don’t have the space, but what i could do with it. On the other hand, if you have to repair it, you have to be ready because it’s a period piece, because it’s a collector’s item, which is why I love it.

After that, I’m such in a matrix, when I was riding my bike I managed to do things i never thought I could do, like winning competitions when I’ve only been riding for eight months, having a bike collection worth 20k when my mother only gave me 400e at the beginning just because I’m in business.
You know what I mean, and with all these things I think that really if I succeeded in doing what i wanted to do in the bike and in the sale of bike, why can’t I do it in the music then. Well, everything is possible, the only limits are the ones you give yourself, well, you have to know how to limit your dreams and how to accomplish them, but in reality, you decide the way.