Alan Wilder - Emulator II - Legenda PT

YouTube via Stereokromatik. follow-up to this post.
"Alan Wilder - Emulator II
Depeche Mode"
Note this interview was also posted here back on 1/17/2006. Search for Alan Wilder on the top left of the site for all posts featuring Alan Wilder, Depeche Mode for all posts featuring Depeche Mode, etc...

Fans testing out Alan Wilder's equipment at Manchester Depeche Mode auction

YouTube Uploaded by sidelinemag on Sep 2, 2011
"Once in a lifetime experience of testing out gear of Alan Wilder before it disappears for good in a private collection!"

Also see: Depeche Mode's Alan Wilder to Auction His Synths & More

Alan Wilder 'Collected' auction in Manchester

Uploaded by sidelinemag on Sep 2, 2011

"Here's a view of what is actually displayed at the 'Collected' auction."

Depeche Mode's Alan Wilder to Auction His Synths & More

'Alan Wilder - Collected' trailer

YouTube Uploaded by thinlinestaff on Jun 22, 2011

"A preview of the new documentary : COLLECTED - The Alan Wilder/Depeche Mode Collection

A Historic Equipment, Vinyl & Memorabilia Auction

Auction date : Saturday 3rd September, 2011 4.00pm
Venue : Zion Arts Centre (www.zionarts.com)
Address : 335 Stretford Rd, Hulme, Manchester M15 5ZA
Viewing : 10.00am to 8.00pm - Friday 2nd September, and 10.00am to 4.00pm - Saturday 3rd September

http://auction.recoil.co.uk
www.omegaauctions.co.uk"

This one in via Dennis.

Arturia adopts Audiobus 2 advances with iSEM synth app update

“'I have gained immense pleasure from experimenting with Arturia’s iSEM for iPad. Being an owner of the original hardware synth, I can confirm that this virtual app stands up, providing a combination of complete familiarity combined with total stability, versatility, and the welcome addition of plenty of presets, plus extra pages and functions, such as the performance layer. An absorbing experience of real quality, I am thoroughly impressed — and at a bargain price!'

- Alan Wilder (Recoil/ex-Depeche Mode)

GRENOBLE, FRANCE: music software and hardware company Arturia is proud to announce availability of an Audiobus 2-supporting update (V1.0.2) to iSEM, its authentic recreation of the 1974-vintage Oberheim Synthesizer Expander Module® (SEM) for Apple’s iPad, as of April 3...

As Arturia’s second supreme subtractive synthesizer recreation for iPad, iSEM has proven popular with both first-time buyers beginning a journey into the wonderful world of synths and also seasoned synth professionals like former Depeche Mode keyboard player/programmer/arranger Alan Wilder, who actively appreciates both its authenticity as an original Oberheim SEM owner and the latest developments possible via its iPad host: 'Being the owner of the original hardware synth, I can confirm that this virtual app stands up, providing a combination of complete familiarity combined with total stability, versatility, and the welcome addition of plenty of presets, plus extra pages and functions.'

While Arturia always appreciates such support from acclaimed artists, appealing iSEM improvements abound in V1.0.2 as one of the first such synth apps to support all Audiobus 2 functions. Running as many apps in parallel or series as the host device can handle, Audiobus 2 can handle multiple, independent pipelines, with as many inputs, filters, or outputs as the user wants. Thanks to this Audiobus 2 support, iSEM users can cleverly save presets of their connection graphs and share them via e-mail or social networks. Needless to say, the musical world is getting smaller, it seems, while more musicians than ever can enjoy those thrilling SEM sounds!

Indeed, iSEM continues to do what it does best — providing iPad users the world over with an authentic recreation of the still-sought-after analogue sounds of Oberheim’s original dual-oscillator SEM monosynth and its subsequent integration into that Californian company’s pioneering polysynth developments. Ingeniously, iSEM quite literally taps into all of this and then some, putting more musicality at anyone’s fingertips than its namesake designer dared dream possible back in Oberheim’s Seventies salad days!

Today, then, it’s hard not to be impressed with iSEM offering so much to so many for so little. Just ask Alan Wilder!

Appropriate iPad owners can purchase and directly download iSEM from Apple’s App Store for $9.99 USD/€8.99 EURO/£6.99 GBP."

iTunes: Arturia iSEM - Arturia | Audiobus - Audiobus Pty Ltd

Emulator II demonstration by Alan Wilder

YouTube via Turrican101
"Alan Wilder (Depeche Mode 1982-1995 Keyboarder) demonstrates the use of the Emulator II (French TV, around 1986)"
Note this was previously posted on January 17, 2006 here. click here for more Alan Wilder posts and here for more Depeche Mode posts.

E-MU SYSTEMS EMULATOR II with Cover Signed by Depeche Mode's Alan Wilder

Note: Auction links are affiliate links for which the site may be compensated.
via this auction

"Gray dust cover signed by Alan Wilder of Depeche Mode in gray Sharpie pen. It's kinda hard to see but it's authentic and he signed it two years ago for the Recoil show in San Diego, CA."

Pictured: "(Alan Wilder in-store appearance at M-Theory, San Diego, CA. Saturday, October 23, 2010. Signed LeCover keyboard cover that's included with this EII)"

More pics and videos at the auction while up.

CLICK FOR MORE »

Signed Depeche Mode / Alan Wilder Samples on ZIP For Auction

via this auction

"This auction is for a ZIP100 disc containing Depeche Mode samples.
This item was purchased from the Alan Wilder Collected auction.
This auction includes the original zip disc, original signed case, invoice, and certificate of authenticity.
If you are bidding on this item I'm sure you know what it is.

Details :

Only 20 of these Zip discs exist and each is personally numbered and signed by Alan. Every disc contains a collection of sound banks designed for the Emax sampler. These are the exact sounds which were programmed and used by Alan during DM’s ‘Devotional’ and ‘Music For The Masses’ tours. Each bank contains an array of sounds allocated across the keyboard for the live performances. In nearly all cases, the samples were sourced from the original multitrack recordings. You will also find sounds for song versions which were only ever performed live, plus songs which never actually made the final tour set list.

Below is a list of all the song banks included :

Music For The Masses Tour :
Bank 00 : People Are People
Bank 01 : A Question Of Time
Bank 02 : A Question Of Lust
Bank 03 : Pleasure, Little Treasure
Bank 04 : Sacred
Bank 05 : Blasphemous Rumours
Bank 06 : It Doesn’t Matter
Bank 07 : The Things You Said
Bank 08 : Strangelove
Bank 09 : Shake The Disease
Bank 10 : Never Let Me Down
Bank 11 : Just Cant Get Enough
Bank 12 : Stripped
Bank 13 : Pipeline
Bank 14 : Nothing
Bank 15 : Behind The Wheel
Bank 16 : Something To Do
Bank 17 : Everything Counts
Bank 18 : Somebody

Devotional Tour :
Bank 34 : Mercy In You (Alan 93)
Bank 35 : Flys On The Windscreen
Bank 36 : Nothing (A 93)
Bank 37 : Something To Do
Bank 38 : Leave In Silence (Alan 93)
Bank 39 : A Question Of Lust
Bank 40 : Clean (percussion trigger sounds)
Bank 41 : Condemnation (Guide)
Bank 42 : Everything Counts (94 version)
Bank 43 : Waiting For The Night To Fall
Bank 44 : I Want You Now (94 version)"

This one in via Brian.

Alan Wilder Signs Pea Hicks Drumulator

via Pea of http://optigan.com/:
"saw Alan Wilder's RECOIL set last night and managed to get him to sign my Drumulator. This is the drum machine he used heavily on DM's 'Construction Time Again' album, notably on 'Everything Counts.' Also, if you listen to 'Work Hard' (a b-side), they even used the click pulse from the Drumulator as part of the rhythm track in addition to the regular drum sounds.

He told me he still has his, and dug it out recently, but it wasn't working. I also asked him why they chose the more "budget" priced Drumulator at a time when they could have afforded something a bit better like a Linn, and he said 'because we were cheap!'

also, here's a pic of the Recoil set, with Alan playing a Korg MS-20. I'm pretty sure he was just using the filter section, processing stuff from Ableton Live."

An Interview with Alessandro Cortini

Alessandro Cortini is the man behind SONOIO. He played synths for Nine Inch Nails and brought us the SuONOIO synthesizer produced with Scott Jaeger of The Harvestman.  Alessandro  is known for his use of Buchla systems new and old.  He currently has a new free release featuring remixes from Alan Wilder, Telefon tel aviv, Eric Avery and more. There is also a 7 inch for sale on www.sonoio.org.

The following is my interview with him primarily focused on synths.

1. How did the world of synths start for you?

"I was schooled on guitar, back in italy. I am from a very small town so there weren't a lot of bands to play with... I got asked to "help" and record guitars on a record by a local band, called Autobeat, fronted by Franco Naddei (now francobeat). He was really into synths and electronica, so he basically opened a whole new world to me.... He ended up doing a remix for SONOIO on the upcoming remix record which is very cool, considering he was the one who introduced me to Depeche Mode (Alan Wilder is doing a remix too)."

2. What were your first synths and what did you think about them?

"Besides from my friend's instruments, my first "synth" was a Casio VL series, if I recall correctly, when i was 10 years old. On a more involved level, I personally started with software. The first one was Seer Systems Reality on PC...I moved to mac as soon as i could, and started using Cubase's Neon a lot (a small built in VST). Next were Bitheadz Retro AS-1 for synths and Unity DS-1 for samples, all "synced" to Logic (it definitely wasn't as elegant as it should have been).


Emagic's ES-1 was sort of a "step up" because of its integration with Logic...but didn't sound too good.

Bottom line is that I recall being extremely excited and happy for being able to record and compose on my laptop wherever I was, and didn't see the need for hardware synths.... until I borrowed a minimoog and spent a good 4 hours with headphones, a pencil stuck in a key to keep it going and tweaking knobs: that made it obvious that interface, much more than sound, were the reason why it was worth to commit to a dedicated hardware unit.

My infatuation with the minimoog quickly vanished, and moved onto NordLead, Nord Modular and lastly a small used Analogue Systems modular synthesizer. The AS was the beginning of a long relationship with modulars: for once, there were no rules, no predefined paths and no wrong moves (almost).

I expanded my AS until I sold it in order to buy an old paper faceplate Serge, which was then sold once I got Buchla fever…."

3. I still remember the day you announced you'd be working with Nine Inch Nails. What synths did you use at the time and what was that experience like?

"At the time I was still using my nord modular and AS modular.... The audition was odd: I was basically instructed to play on top of a live recording, which I did. The first two songs I played were Wish (on guitar and synths) and Closer. I remember preparing my little patches on the Nord Modular for the audition... I wish I kept those sounds cause they were pretty funny.


The whole NIN experience was amazing, especially the time in the studio working on Ghosts.
I have to admit the reason I left was touring, which became a bit too strenuous and not enjoyable anymore.

I got very involved in the studio side of things: I feel much more at ease working on music in a studio environment than performing live. Live performance always feels like a test, to different extents, generally with little room for spontaneity (my opinion, of course)."

4. Did you explore any interesting synths or new forms of synthesis at the time? I recall Trent Reznor used the Dewanatron Swarmatron for "The Social Network" He is also known for having a few coveted pieces of gear including one of two Waldorf Shadow XTks.

"Trent has a studio full of toys so I had the chance to play with a myriad of instruments I have never seen or heard before...but in the end I would always gravitate towards the modular."

5. You are known in synth circles for you use of Buchla modulars. How did you get introduced to them and what was it that gravitated you towards them vs. other synths? How do you approach the Buchla and how has it impacted your music?

"When I was teaching synthesis at Musicians Institute I basically had to write the curriculum myself. Part of it included an introduction to the history of these instruments and I remember being completely mesmerized by some of the Buchla photos I was able to track down... the way the instrument looked like a toy, like a self contained instrument that first and foremost called you to play with its looks.

I remember when Don announced the 200e series in 2004: I printed the whole site so i could have in my student role book and read it during breaks... I was obsessed.

Peter Grenader was responsible for introducing me to historical Buchla records such as Subotnick's Sidewinder and Sky of Cloudless Sulfur, and his Plan B modules kept my hunger for Buchla inspired technology in check for a while... until I was able to afford my own 200e system.


I am fortunate enough to own both a 200e and a vintage 200 system."

6. How do the Buchla 200e and 200 compare in your opinion, specifically in regards to sound and interface?

"I would say the interface is very close, unless you start analyzing high density 200e modules such as the 251e, where there's a lot going on in a small space. Soundwise, there are similarities, yes, but I see them as two different instruments, and approach them as such.


I love the 200e's 259e wavetable waveform generators, and the ability to use patch storing in a creative way.The 291e is undoubtedly superior to its 200 version, in my opinion. The 222e/223e input port is the culmination of Don's 40 years tinkering with touch surfaces.

The 200e has its own sound and you'd be disappointed if you wanted it to sound like a 200. It just doesn't do it well, mainly because it wasn't designed to recreate that aspect of the 200 instrument, in my opinion, but mostly its interface, applied to modern technology.

7. Recently you've been using the Teenage Engineering OP-1. What are your thoughts on it? How do you like working with it, specifically the physical design and interface, and of course as an audio processing tool?

"I think the OP-1, with its limitations and quirkiness, is a very creative instrument. I can't deny being a bit disappointed by the electro style demos that started popping up once it was announced, but as soon as I got my beta unit it was undeniable it could be used to do completely different things. It goes wherever I go!!! I enjoy the well laid out interface and its sound engines, which are fairly unique in their incarnation. It's a great sketchpad for ideas and sound design, and I have been using it on tour as a vocal effect also."

8. Aside from the Buchla and OP-1, what other synths and/or forms of synthesis do you find yourself gravitating towards when experimenting with sound and music?

"Definitely the more odd looking/sounding ones, preferably without a keyboard."

9. You recently worked with The Harvestman on the SuONOIO. How did that come about and what was that experience like?

"Once I finished recording the first SONOIO record, Blue, I wanted to come up with an interesting product to accompany its release. Something similar to a Buddha Machine, but playable, and something original like a BugBrand synth, but still linked to the album release.... It became clear that it had to be an analog/digital hybrid. Scott was the first to come to mind, as i believe he is extremely talented in bringing the advantages of digital design to an analog interface. After a few phone calls and 3 weeks later, we had the 1st prototype ready....2 protos later, the instrument was done. It was a very quick back and forth collaboration... almost makes us feel guilty, since we had so much fun making it!"

10. Do you see yourself more as a performer, an explorer of synthesis or a bit of both depending on context?


"I really just like playing with instruments and come up with interesting sounds. I am not too good at describing what I do... I just do it!"

11. Is there anything else you'd like to share with our readers?


"I am working on releasing my first instrumental record...it should be out early next year...i am very excited to release it!"

Photos above by Sarah Sitkin



You can find Alessandro Cortini's work at http://sonoio.org/. He currently has a new free release featuring remixes from Alan Wilder, Telefon tel aviv, Eric Avery and more. There is also a 7 inch available.

Alan Wilder 101 - Legenda PT

YouTube via Stereokromatik
"Alan Wilder 101 - Legenda PT
Emax
E-mu"
Depeche Mode

DX5 Playing Depeche Mode "In Your Memory"

Published on Jan 23, 2020 DX5

An unconventional 6/4 pattern song composed by Alan Wilder.
Gear used:
Emu Emax II
Yamaha DX7.

Backtrack recorded on Pro Tools, Including:
Access Virus TI Snow.
Roland Promars MRS-2
Kurzweil PC1X
Chorus voices are just mine (overdubbed)
- Composed by Alan Wilder
- Performed here by DX5 Jose Maria Bara

Depeche Mode's Alan Wilder's Emulator II

via the Analogue Solutions blog: "...before he sold it. My job was to back up all his samples, before he sold his gear at this auction."

See Depeche Mode's Alan Wilder to Auction His Synths & More for a video on the auction back in 2011.

Andy Fletcher of Depeche Mode Has Passed Away

Andy Fletcher passed away today at the age of 60. I saw Depeche Mode live for the first time as a teenager back on July 14, 1986, at the Irvine Meadows Amphitheter in Irvine, CA. I grew up with their music and still listen to them to this day. They will always be a staple in my life. I have Andy Fletcher and the rest of Depeche Mode to thank for so much magic in my life on so many levels, from being a kid frolicking about in the 80s, to an adult dealing with the trials a tribulations of the day. Depeche Mode is a big part of that and Andy Fletcher was core to the band. He will be sorely missed by so many of us.

This post features two images of Andy. One from Wikipedia, and one from Discogs. The following bio is from Wikipedia. Don't miss the last sentence.

"Andrew John Leonard Fletcher (8 July 1961 – c. 26 May 2022), sometimes known as Fletch, was an English keyboard player, DJ, and a founding member of the electronic band Depeche Mode. In 2020, Fletcher was inducted into the Rock and Roll Hall of Fame as a member of Depeche Mode.[1]

In the late 1970s, Fletcher and schoolmate Vince Clarke formed the short-lived band No Romance in China, in which Fletcher played bass guitar. In 1980, Fletcher met Martin Gore at the Van Gogh pub on Paycocke Road in Basildon. With Clarke, the trio, now all on synthesizer, formed another group called Composition of Sound.[2] Clarke served as chief songwriter and also provided lead vocals until singer Dave Gahan was recruited into the band later that year, after which they adopted the name Depeche Mode at Gahan's suggestion.[3] Clarke left the group in late 1981, shortly after the release of their debut album Speak & Spell.[2]

Their 1982 follow-up album, A Broken Frame, was recorded as a trio, with Gore taking over primary songwriting duties.[4] Musician and producer Alan Wilder joined the band in late 1982 and the group continued as a quartet until Wilder's departure in 1995. From then on, the core trio of Gahan, Gore, and Fletcher remained active, up to the release of their 2017 album Spirit and ensuing world tour.[5]

Fletcher's role within Depeche Mode was often a topic of speculation. In early incarnations of the band, he played (electric and later synth) bass. As the band evolved after Vince Clarke's departure in 1981, Fletcher's role changed as each of the band members took to the areas that suited them and benefited the band collectively. In a key scene in D.A. Pennebaker's 1989 documentary film about the band, Fletcher clarified these roles: "Martin's the songwriter, Alan's the good musician, Dave's the vocalist, and I bum around."


Andy Fletcher and Daniel Miller talking about Depeche Mode early days

video upload by Michele Bisceglia

"This interview was shot in november 2015, but never edited and published.
We were in Verbier, Switzerland, for the 3 days happening Audi-o-Rama.
Depeche Mode founding member and keyboardist Fletch & Mute Records boss Miller remember the day they met and discuss other stories about the early days of the band"

A search on the first video to feature Depeche Mode comes up with the following 1981 performance from Top of the Pops. Andy Fletcher is on the Moog Prodigy.

Depeche Mode - Just Can't Get Enough 1981

video upload by memorylane1980s

The following is a live tribue by DX5. If you follow the site you should be familiar with his numerous covers of Depeche Mode. This site is about synths and the people who love synths. This is the first tribute I've seen by a fan of Depeche Mode and I wanted to include it.

Andy (Fletch) Fletcher, has sadly passed away today :( :( Chat and synth tribute to him.

video upload by DX5

Depeche Mode with Alan Wilder - Synths Revolution

Published on Mar 16, 2013 CrazyDMco1·281 videos
Re-Published on Feb 25, 2016

"I still believe Alan was the mastermind behind all the success... Martin may had been the writer but only one man brought the songs to life.. Just my opinion."

The focus is on the Roland Jupiter-8.

via Connor 'Macleod' Eck on The MATRIXSYNTH Lounge

DX5 playing DM "The Landscape is Changing"

YouTube Uploaded by DX5 on Sep 28, 2011

"Gear used:

Left: Roland JP8000
Upper: Emu EMAX II HD
Mid: Emu Emax I
Lower: Kurzweil PC1x
Left; Yamaha DX7

All sounds synthesized and sampled by myself, or belong to my sampler libraries. (Some of the samples -wood type ones- are coming from a Roland JX8P)

Backtrack recorded with Pro Tools. JP8000 time sync'ed with it

Original track composed by Alan Wilder"

Remember, you can search on "Uploaded by DX5" on the right for more. Or of course, just click through the video to YouTube. Blogger search on the top left is hit an miss.

Synth Stuff Ep. 46 - E-mu Emax II

Published on Jul 15, 2018 tritonrecordings

"The Emax line was the most affordable range of samplers, especially compared to the famed Emulator series. The Emax II differs from the 1 primarily in that is has digital filters instead of analog. I've made a couple samples from Silent Hill (the first two sounds) and it's pretty easy to figure out how to get them in and modify them. If anyone knows how to get the Alan Wilder/Depeche Mode sounds on here, let me know! I suspect Depeche Mode fans are the main reason why Emulator prices stay high, but I've been wrong before. I see loads of sounds online but I'm still unsure how to get them on here. Pointers welcome!"

DX5 playing Depeche Mode "Christmas Island"

YouTube via DX5

"Christmas Island played with an Emu Emax only (With new EL foil light on the display).
Emax sequencer is a realtime recording (non quantized) one, then the bass sequence (and therefore my realtime bassdrum and snare playing) can be out of sync sometimes.

Two sounds are samples from the original track, the others were created by myself or taken from some of my libraries.

BTW; I forgot the clothes I use for covering my keyboards against dust on the sofa.

Originally Composed by Martin Gore and Alan Wilder."

Depeche Mode Christmas Island playing on EII

YouTube Uploaded by AnalogueSolutions on Oct 8, 2011

"Depeche Mode Christmas Island playing on EII. This is the original Alan Wilder Demo (disc) running off my Emulator II. With some shots of Sound Designer running on my Mac Classic (has serial link with Emu E II)."

Note the video is by Analogue Solutions UK LTD

Me checking my E-mu EMAX (DM keyboard)

YouTube via DX5.

Some INXS in the intro.
"This is my new E-mu EMAX. Just checking the library. I start with ARCO STRINGS original emax disk. Then, some third partner disks. Some sounds remind Depeche, others Pet Shop Boys, etc...

This sampler was used by Depeche Mode, at Music for the Masses age (later they switched to EMAX II on Violator). Below it, a Yamaha DX7II FD; so that set is exactly the same that Alan Wilder and Martin Gore played on 101 Pasadena live. (Of course, the same without the depeche samples and the midi triggering pads :) )"

Depeche Mode "Two Minute Warning"

YouTube via DX5 — April 18, 2010 —

"'Two Minute Warning' 1984 Hamburg version.

Backtrack recorded first in Pro Tools, then dumped to a reel to reel tape machine.

Gear used (for playing)
Emu Emax (lower) and EMAX II HD (upper).
Revox B77 MkII tape machine.

Gear used for Backtrack:
Emu Emax I and II, KORG DW8000, Roland JP8000 Kurzweil PC1x

Composed by Alan Wilder."