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Author Topic: 2011: Alan Wilder / Depeche Mode Auction  (Read 31466 times)

Offline Angelinda

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2011: Alan Wilder / Depeche Mode Auction
« on: 05 October 2011 - 21:36:17 »
This thread contains all news items related to Alan's auction. I'm sure that all of you are aware of our own Dentez being the filmmaker of the accompanying documentary; he has also made several posts about his work on this forum.

And you know the drill: I you are aware of any news items that should be in here, but aren't, please let me know!
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Offline Angelinda

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Re: 2011: Alan Wilder / Depeche Mode Auction
« Reply #1 on: 05 October 2011 - 21:37:52 »
2011-05-01 - Thinlinestaff - 22.07.11 HA.com teaser

[This teaser is no longer available.]

http://www.youtube.com/watch?v=FfAxy8Tx5XQ
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Offline Angelinda

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Re: 2011: Alan Wilder / Depeche Mode Auction
« Reply #2 on: 05 October 2011 - 21:42:16 »
2011-05-27 - Thinlinestaff - The Alan Wilder Depeche Mode Collection Historic equipment, vinyl memorabilia auction

http://www.youtube.com/watch?v=dofptB2aXcU

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Offline Angelinda

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Re: 2011: Alan Wilder / Depeche Mode Auction
« Reply #3 on: 05 October 2011 - 21:42:58 »
2011-05-29 - Omega Auctions (UK) - Alan Wilder and Omega Auctions 'present'

http://omegaauctions.co.uk/alanwildercollected.php

Alan Wilder and Omega Auctions 'present'
COLLECTED - The Alan Wilder/Depeche Mode Collection
A historic equipment, vinyl & memorabilia auction

Saturday 3rd September 2011, 3.00pm GMT
Venue: Zion Arts Centre, 335 Stretford Road, Hulme, Manchester, M15 5ZA
Viewing: Friday 2nd September 11.00am - 8.00pm and Saturday 3rd September 10.00am - 2.45pm
The official catalogue is now available as a downloadable pdf and as a collectable limited edition printed copy.
Buy catalogue via eBay
For online bidding and to view the complete catalogue containing images of each lot please visit
the-saleroom.com.
View bidding instructions
If you are attending the auction in person, please register with Omega Auctions in advance (instructions)
If you intend to bid online, please ensure that you have registered on the-saleroom.com.
This summer, Alan Wilder will be selling a large selection of musical / studio equipment and memorabilia at auction. Many items are very collectable and hold special value having been used extensively in the recording sessions for classic Depeche Mode and Recoil albums, as well as live performances on the 'Black Celebration', ‘Music For The Masses’, World Violation’ and ‘Devotional’ tours.
The additional memorabilia such as Gold & Platinum award discs, leather clothing, rare vinyl acetates, posters, tour merchandise and much more, covers Alan's entire musical career, focusing mainly on the years between 1982 & 1995 and making this one of the most exciting career sales to hit the public domain ever. It is also the first time ever that a Depeche Mode memorabilia sale on this scale has appeared.
The auction will be held at a venue in Manchester, however it will be possible to bid from anywhere in the world via the internet. Details/photographs of the items will be available shortly.
Says Alan... “One of my new year’s resolutions this year was to start streamlining my set-up at The Thin Line Studios. My needs have altered a bit since laptops, soft synths and plug-ins have come to the fore, and even though I’m emotionally attached, passing on some vintage gear and historical items seems like a good way to start.
Since my teenage years I’ve been an avid collector of interesting and unique musical items, including a ‘Steinway’ Grand piano, vintage keyboards, synthesisers such as the ‘Mini-moog’, ‘Arp Odyssey’, a ‘Wurlitzer’ electric piano, plus ‘Manley’ valve amps, valve-driven ‘Telefunken’ amps and a ‘Manley’ limiter/compressor. There is one very special guitar and various ‘Emulators’ which were featured during the Mode tours, and I even have my old stage clothing, touring wardrobe, the ‘Devotional’ drum kit, drumming extras and other artifacts available.
I also decided that, since I was having a clear out and with so many writing in asking for things, why not include some extra memorabilia and pass on some of the stuff I have collected over the years – like my leather jackets, tour merchandise, records, promo items and even presentation awards. So I have expanded the concept and hopefully created an exciting and unique event. It’s all up for grabs now! Good luck with your bidding…”
Alan Wilder
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Offline Angelinda

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Re: 2011: Alan Wilder / Depeche Mode Auction
« Reply #4 on: 05 October 2011 - 21:43:24 »
2011-05-30 - Recoil - News

http://blog.recoil.co.uk/the-alan-wilder-depeche-mode-collection-historic-equipment-vinyl-memorabilia-auction/

The Alan Wilder / Depeche Mode Collection Historic equipment, vinyl and memorabilia auction
 
This summer, Alan Wilder will be selling a large selection of musical / studio equipment, vinyl & memorabilia at auction. Many items are very collectable and hold special value having been used extensively in the recording sessions for classic Depeche Mode and Recoil albums, as well as live performances on the 'Black Celebration', ‘Music For The Masses’, World Violation’ and ‘Devotional’ tours.
The additional memorabilia such as Gold & Platinum award discs, leather clothing, rare acetates & test pressings, artwork, posters, tour merchandise and much more, covers Alan's entire musical career, focusing mainly on the years between 1982 & 1995 and making this one of the most exciting career sales to hit the public domain ever. It is also the first time ever that a Depeche Mode memorabilia sale on this scale has appeared.
The sale and live event will be conducted through Omega with the official catalogue available online throughout August, prior to the event on the first weekend of September. Soon we will provide direct links to Omega with clear information about how to bid, either on-line, by telephone or at the event itself. For the time being, you can get a sneak preview of everything right now at (www.auction.recoil.co.uk) and discover the history and condition of the items plus read Alan's comments on each piece.
A special free pdf catalogue is being produced and a collectable printed hard copy will also be available for a small charge.
No price indications will be offered before the sale begins, and therefore any general enquiries about prices won't receive a response. However, serious offers for items marked outside of the auction (for private sale) will be listened to - the point of contact is auction@recoil.co.uk.

Says Alan... “One of my resolutions this year was to start streamlining my set-up at The Thin Line Studios. My needs have altered a bit since laptops, soft synths and plug-ins have come to the fore, and even though I’m emotionally attached, passing on some vintage gear and historical items seemed like a good way to start.
Since my teenage years I’ve been an avid collector of interesting and unique musical items, including a ‘Steinway’ Grand piano, vintage keyboards, synthesisers such as the ‘Minimoog’, ‘Arp Odyssey’, a ‘Wurlitzer’ electric piano, plus ‘Manley’ valve amps, valve-driven ‘Telefunken’ amps and a ‘Manley’ limiter/compressor. There is one very special guitar and various ‘Emulators’ which were featured during the Mode tours, and I even have my old stage clothing, touring wardrobe, the 'Devotional' drum kit, drumming extras and other artifacts available.”
I also decided that, since I was having a clear out and with so many writing in asking for things, why not include some extra memorabilia which I have collected over the years - like my leather jackets, tour merchandise, rare records, promo items and even presentation awards. So I have expanded the concept and hopefully created an exciting and unique event.
We initially thought about eBay as I know many are familiar with that process, but the sheer scale of such a sale would have meant many difficult issues regarding accepting payments & shipping methods required to facilitate a smooth process. Using a professional company means we can control those aspects much more efficiently, conduct this special live event, and still be able to implement the on-line part of the sale which we understand will attract the vast majority of those wishing to take part. No matter where you are in the world, you have access to the auction in the most simple and straightforward way possible."

The event
The Shunt team have worked closely in conjunction with Omega to bring to you a worldwide, all-inclusive fan-friendly event incorporating a film presentation ('Alan Wilder - Collected') about the fascinating history of everything in the sale, plus a Q&A session with Alan, DJs, a bar and some other surprises.
The live part of the event will be held over the weekend of September 2nd & 3rd in Manchester (venue t.b.c.). There will be a a chance to preview all the sale items on the Friday, with meet & greet opportunities and so on.
Most importantly, the main focus of the event - the auction - has been designed to make the process as easy and cost effective as possible. Auctions can sometimes be inhibiting, stuffy affairs, often off-putting. This one won't be - it will be easy to follow, simple and fun to take part in, and with no hidden charges. Alan has insisted that any buyer's premiums or delivery charges are kept to an absolute minimum, with terms clearly stated for all to see in advance. We can assure you that we have negotiated the most attractive possible deal one can from a professional auction house which will guarantee a smooth and stress-free process from successful bid through to final delivery of your purchase.
Each winning bidder will also receive a free DVD of 'Alan Wilder - Collected'

Documentary
Alan Wilder - Collected is a 2011 documentary film directed by Martin Vladar about the musician and producer Alan Wilder. The 40 minute documentary came about in connection with a proposed auction scheduled in 2011. Vladar worked personally with Alan Wilder and his estate in the UK: at Wilder's Sussex residence, he discovered the house was filled with memorabilia spanning 35 years of a career spent in music, most notably during the 80s and 90s covering the musician's stint with one of the most famous & successful bands of all time, Depeche Mode.
The various boxes, tubs and chests each contained rare records, test pressings, acetates, stage clothing, unseen artwork, collections of magazines, press clippings, programmes, private notes and letters, as well as old synthesisers, samplers, guitars and many other items all of which had been catalogued and meticulously stored for posterity. Wilder also has a Steinway grand piano, zip discs with his own sound samples, his touring wardrobe, and the very drums used during DM's biggest tour of all time 'Devotional'.
Vladar's intent was not to create a biography but rather to understand Wilder by studying the producer's vast personal collection and relating it's significance to the many iconic photographs, TV and live performances where most of the uncovered items first appeared. We witness how the musician is reunited with his lost sounds when Wilder tries out his old Sampler after 25 years, and we discover which unreleased records he has the only copies of, along with access to the very first acetate pressings of Depeche Mode's 'Violator' and the '101' album recorded at The Rosebowl, Pasadena in 1988.
What we end up with is a moving, funny and ultimately fascinating retrospective of a career which has touched millions of fans. Alan Wilder is noted for his meticulous detailing in music, and that has clearly been translated into the production of this collection.

The Shunt staff
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Offline Angelinda

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Re: 2011: Alan Wilder / Depeche Mode Auction
« Reply #5 on: 05 October 2011 - 21:43:56 »
2011-06-22 - Thinlinestaff - 'Alan Wilder - Collected' trailer

http://www.youtube.com/watch?v=ibFiInfyhKE

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Offline Angelinda

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Re: 2011: Alan Wilder / Depeche Mode Auction
« Reply #6 on: 05 October 2011 - 21:44:20 »
2011-07-09 - Recoil - News

http://blog.recoil.co.uk/the-alan-wilder-depeche-mode-auction-updates/

The Alan Wilder / Depeche Mode Auction : updates
This summer, over 300 lots are expected to go under the hammer as Alan Wilder will be selling a large selection of musical / studio equipment, vinyl & memorabilia at auction. Many items are very collectable and hold special value having been used extensively in the recording sessions for classic Depeche Mode and Recoil albums, as well as live performances on the ‘Black Celebration’, ‘Music For The Masses’, World Violation’ and ‘Devotional’ tours.
The additional memorabilia such as Gold and Platinum award discs, leather clothing, rare acetates & test pressings, art proofs, posters, tour merchandise and much more, covers Alan’s entire musical career, focusing mainly on the years between 1982 and 1995 and making this one of the most exciting career sales to hit the public domain ever. It is also the first time ever that a Depeche Mode memorabilia sale on this scale has appeared.
Says Alan… “Since my teenage years I’ve been an avid collector of interesting and unique musical items, including a ‘Steinway’ Grand piano, synthesisers such as the ‘Minimoog’, ‘Arp Odyssey’ and ‘Wasp’, a ‘Wurlitzer’ electric piano and a Packard harmonium, plus ‘Manley’ &‘Telefunken’ valve amps and a ‘Manley’ limiter/compressor. There is one very special guitar and various ‘Emulators’ which were featured during the Mode tours, and I even have my old stage outfits, touring wardrobe and ‘Devotional’ drum kit in the sale.”
New : We can now give you details of the auction venue, dates and timings :
Alan Wilder and Omega Auctions ‘present’
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
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
Worldwide on-line bidding will be available via the-saleroom.com with some key items appearing for opening commission bids very soon – we will bring you more news about that just as soon as we have it.
The full official catalogue will be available online throughout August, both as downloadable pdf and as a collectable printed hard copy. Soon we will provide direct links to Omega with clear information about how to bid, either on-line, by telephone or at the event itself.
For the time being, you can get a sneak preview of everything right now at (http://auction.recoil.co.uk) and discover the history and condition, plus read Alan’s comments on each piece. Remember that no price indications will be offered before the sale begins, and therefore any general enquiries about prices won’t receive a response. Serious offers for items marked ‘private sale’ will be listened to – contact: auction@recoil.co.uk.
Alan comments : “The concept has been expanding and hopefully we have created an exciting and unique event. Working with a professional company means we can control each aspect efficiently, keep buyer’s charges to a minimum, include the live extras, and still be able to implement the on-line part of the sale which we understand will attract the vast majority of those wishing to take part. No matter where you are in the world, you have access to the auction in the most simple and straightforward way possible. If you do choose to come to Manchester for the live part of the event, you’ll find the venue alone is well worth a visit: Zion Arts Centre is a converted congregational church from 1911. Now owned by Manchester City Council, the Centre is the oldest surviving building in the area. Although not listed, it is a large and magnificent Edwardian building of outstanding architectural merit which has made a significant contribution to the social, educational and cultural life of Hulme and Manchester throughout most of the last century. With its myriad of unusual and versatile spaces, interesting detail throughout, it has an atmosphere which we felt was perfect for the occasion.”
This worldwide, all-inclusive fan-friendly event will incorporate a rolling film presentation (‘Alan Wilder – Collected’) about the fascinating history of everything in the sale. Over the course of the two days, some instruments such as the Knight guitar, Emulators and ‘Devotional’ drums will be set up to view and try out, as well as displays for many of the other items. Alan and Paul Kendall will be attending on both days to answer questions, sign everyone’s items, try the bar, and generally take part in the action… ‘Professor’ Kendall will give a talk about his own experiences in the studio – and in particular the recording techniques and mixing strategies used on Recoil’s albums, as well as help demonstrate some of the equipment on display. We hope to have a DJ, a well-stocked bar and one or two other surprises.
We will bring you more information as it comes in.

‘Alan Wilder – Collected’ is a 2011 documentary film directed by Martin Vladar. Vladar worked personally with Alan and his estate in the UK: at Wilder’s Sussex residence, he discovered the house was filled with memorabilia spanning 35 years of a career spent in music, most notably during the 80s and 90s covering the musician’s stint with one of the most famous & successful bands of all time, Depeche Mode. 
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Offline Angelinda

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Re: 2011: Alan Wilder / Depeche Mode Auction
« Reply #7 on: 05 October 2011 - 21:45:13 »
2011-07-27 - The Electricity club (UK) - Alan Wilder Interview

http://www.electricity-club.co.uk/html/int_wilder.html

Luscious Apparatus

In 1982, when young ALAN WILDER answered an advertisement in Melody Maker; “Keyboard player needed for established band ¬ no timewasters”; it would prove to be a life-changing moment. The band in question was DEPECHE MODE and Wilder would be stepping into the shoes of founding member Vince Clarke. As a classically-trained musician, Wilder’s contribution to DEPECHE MODE’s sound would prove to be remarkable. Whilst he wrote only a few songs for the band, including If You Want  from Some Great Reward  and frenetic b-side In Your Memory , his flair for interpreting and arranging Martin Gore’s songs would quickly lead to a winning formula. Most famously, it was Wilder who transformed Gore’s early demo version of Enjoy The Silence  from a morose ballad into the upbeat dance track that went on to become a worldwide hit.
During the Wilder years, DEPECHE MODE released a string of their classic and best loved albums, culminating in their dark masterpiece Songs of Faith and Devotion . Over the same period they conquered the States with sell-out stadium tours. However, in spite of helping to steer them to world domination, Wilder felt increasingly frustrated by tensions within the band and his perceived lack of recognition from his bandmates. It was following the well-documented excesses of the Devotional tour, which Q magazine dubbed “the most debauched rock tour ever”, that he announced his decision to leave DEPECHE MODE on 1st June 1995.
Wilder could now devote himself full time to RECOIL, the solo project that he had been pursuing as a sideline to DEPECHE MODE. There were two EPs 1 + 2 and Hydrology  before RECOIL released a full length album in 1991 called Bloodline  which featured vocal contributions from NITZER EBB’s Douglas McCarthy and Toni Halliday of CURVE. Subsequent albums Unsound Methods  (1996), Liquid  (2000) and SubHuman  (2007) were each highly acclaimed. Whilst each album has its own distinct identity, they share Wilder’s brooding electronic soundscapes and meticulous production.
Wilder is a perfectionist in the studio and draws on a wide pallet of sounds and styles to craft his recordings. He remains a passionate supporter of the physical format, still choosing the release his albums on vinyl as well as CD. He has been highly critical of MP3 download culture, both for the loss of sound quality and the devaluation of music that it entails.
In 2010 Mute Records released a RECOIL compilation entitled Selected , and this was followed by a successful world tour. In February of the same year Wilder made a surprise appearance onstage with his former bandmates DEPECHE MODE for their Teenage Cancer Trust show at London’s Royal Albert Hall, to the unsurpassed delight of the fanbase. His appearance prompted speculation in some quarters that a full reconciliation was on the cards. These rumours were further fuelled when Wilder reworked Sounds Of The Universe  track In Chains  for 2011’s Remixes 2  album.
Whatever the future may hold, ALAN WILDER’s place in electro royalty is already well established. In September, fans will be able to bid for their own piece DEPECHE MODE or RECOIL history, when Wilder auctions a large collection of his studio equipment, vinyl and memorabilia. The ALAN WILDER/DEPECHE MODE Collection auction will take place in September at the Zion Arts Centre in Manchester.
ALAN WILDER kindly took time out of his busy schedule to talk to The Electricity Club about RECOIL, DEPECHE MODE and his forthcoming auction.
You released a RECOIL retrospective Selected  last year. With your albums each having a distinct artistic concept, was it difficult to choose a tracklisting that represented the work of RECOIL, yet acted as a cohesive listening experience?
Well – you could say that was the aim (or challenge) from the moment that Mute suggested putting together a collection. They told me they were planning a series of compiled albums for a number of their artists just to bring people up to speed, and when I realised there weren’t any restrictions, the collection idea started to appeal. I kind of knew it would be possible to create an album with continuity, atmosphere and pacing. My inclination was that it would mainly consist of material from the last three RECOIL albums -so while there is a decent cross section of RECOIL’s overall output, the Selected  album is more about my own favourites rather than a ‘cater to all’ concept. It works well I think, and wasn’t particularly difficult to put together.
You’ve toured Selected  Events all around the world now to an enthusiastic reception. But what initial apprehensions did you have when conceiving the RECOIL live show and how have you managed to overcome them?
My main worry would have been the perception of ‘live versus playback’. The show was always designed as an audio/visual presentation rather than an out-and-out live performance. The music was certainly tailored to work in the live arena, and was constructed specifically with that in mind. It intrinsically links with a synchronised film and I think it is clear from our set-up that we’re obviously not playing all the parts, but rather adding live elements and effects (which vary with each venue) to a prepared bedrock. Perhaps this is a more modern way to present music than the traditional 5-piece, guitar-drums-bass-synth-vocalist, which is something I wanted to avoid. As the tour continued, it became clear which aspects of the presentation worked better than others, and we have therefore adapted it to be a little more crowd-friendly along the way.
There’s a Telemark modular synth which you have on stage with you. How are you finding that to use and what does it add to the overall RECOIL performance?
I use any number of synthesisers during the events depending on what I can get a hold of at a given time – as long as it is a modular-type with an external signal input. This allows me to feed plenty of our sounds directly into the synth in order to affect them using resonance, filtering, attack and so on. I’ve only used the Telemark a couple of times and haven’t fully explored it.
You’ve played Back To The Phuture, Short Circuit Presents Mute and are now playing Vintage Festival. Bearing in my mind the battles you’ve fought in the past with the ‘real music’ brigade, do you think electronic based music has finally got the recognition it deserves?
I think electronic music has been recognised for a long time, but we do see more and more acts using film and computers within their ‘performances’, and in these modern times (with portable applications on smaller and smaller devices, even your phone), this is becoming more acceptable, even to the diehards. The boundaries between what is performed or programmed is much more blurred. Does it matter? Not really. The bottom line is the effect on the listener/viewer and the enjoyment and entertainment imparted.
You recently reworked DEPECHE MODE’s In Chains for Remixes 2 . Why did you choose that track and what do you think you gave the track that wasn’t part of its original vision.
To help me decide which song to work on, I asked Mute to provide stems from several short-listed songs, so that I could listen to component parts and make a more informed decision. In the end I decided that In Chains  could maybe benefit the most from my ‘treatment’, hopefully expanding the dynamics and overall power. I thought the song and the existing vocal performance was strong, and even though we ended up with two quite different versions I’m happy with the results.
There is to be a sale of memorabilia and equipment from your career in September through Omega Auctions which focuses mainly on the years between 1982 to 1995. How has this come about?
It began as a small sale of studio equipment and grew into something much bigger when I realised that the process of selling multiple items can be quite complicated. It therefore made sense to maximise everything (in one hit so to speak), so we expanded the consignment to include all kinds of memorabilia. As I got deeper into the process, even though complicated, it actually became strangely enjoyable – to go back through all the years worth of collectibles and review what they all meant etc. The end result will be, I hope, a very exciting event in Manchester, to include workshops, a talk, a documentary film, perhaps even a performance and some other interesting things for the fans.
What do you think is the most unusual item on sale and the story behind it?
I think that would have to be the unreleased box set known as DMBS 1-4. Thought of as the ‘Holy Grail’, these are 4 extremely rare white labels from a DEPECHE MODE boxset that was never released. The proposed set was recalled for unknown reasons. Who knows why? The 4 test pressings were made and sent to me for approval in 1988.
Among the items for auction are several of your vintage synths. Are there any memories associated with particular ones that you can tell us a few anecdotes about, like for example the Minimoog, the ARP Odyssey or Oberheim OB8?
The Minimoog was my first synthesiser bought around 1977, pre-Mode, when I was a member of DAFNE & THE TENDERSPOTS. It was a big deal for us at the time as it was quite expensive and we couldn’t really afford it until we secured our record deal. It is still probably my all-time favourite synthesiser due to the famous fat 3-oscillator sound, and of course it’s an absolute classic. I continued to use it for many years on early Mode recordings such as Contruction Time Again  and Some Great Reward  and even had a MIDI update added during the 80s.
I bought the ARP in the late 70s privately in London and this also featured on quite a few of my pre-Mode recordings with various bands. I guess I always had a soft spot for the Minimoog but once you accepted that the ARP was never going to sound as ‘fat’ and realised that it could be used as a completely different kind of tool, then it came into its own. MIDI upgrades were added later when I used the ARP on some of the earlier RECOIL recordings such as Hydrology  and Bloodline . I can’t pretend I was ever a skilled operator (unlike Daniel Miller for example) but it is certainly a lot of fun to fiddle about with.
To my disappointment, when I powered the OB8 up recently, I couldn’t get an actual sound although I’m told that it is just the voices which need attention. I was surprised as it has been looked after well and, cosmetically, it’s in superb physical shape. I used this synth during my time with REAL TO REAL and THE HITMEN in the early 80s. It has a fat, warm sound and was my first polyphonic synth. I loved the fact that I could actually store patches for the first time and it introduced me to the Oberheim sound which has a unique quality. I have been a fan of Oberheim ever since.
There’s a EDP Wasp in there too. There was an article featuring producer Dave Bascombe which said that you used it on Music For The Masses ?
Yes, that’s true, it was used to create the famous bass sequencer parts in the Aggro mix of Never Let Me Down Again . I think we used the Wasp and Spider sequencer and then probably sampled the result, as it isn’t MIDI controllable. We may have been able to sequence it using cv/gate – I can’t quite remember.
What has been your favourite piece of equipment over the years?
In the studio, I’ve always loved my 1970‘s Neve console, Roland space echo, Manley amps and compressor, VCS 3, Minimoog and Oberheim synths… I have plenty of other gear but it’s largely redundant. My needs are quite simple these days: Logic Audio, Ableton Live, plenty of plug-ins. I now work on a MacBook Pro so I’m much more portable these days, finally making music on the move (at least sometimes).
If there’s a favourite all time DEPECHE MODE track here at The Electricity Club, it’s Halo. Could you tell us how you and co-producer Flood put together the palette of sounds that comprised the final arrangement?
From memory, the drums were sampled from LED ZEPPELIN’s When the Levee Breaks (but secondhand from a rap record). It is one of the most commonly used drum samples – for obvious reasons as it has that very special Bonham sound. The same snare drum sound appears on DM’s Get Right With Me . I’ve also heard that snare on a MASSIVE ATTACK record and many others. I think Violator  was the first album that we used whole performance drum loops to create rhythm tracks, as opposed to programmed single drum sounds, and Halo was one of the first tracks we recorded for Violator  in fact. Flood and I were listening to quite a lot of hip hop and rap records at the time – those artists were the forerunners when sampling larger sections of rhythms and grooves. And the unusual feels that were created on those albums really influenced Violator  and Songs of Faith and Devotion .
Other sounds on Halo I’m more vague about, but we certainly would have used Flood’s ARP 2600 in conjunction with other modular synths to create the bass parts and other sequencer parts. For the end choruses, there are some string samples which I think were derived from Elgar. One of my techniques is to find sections of classical strings and transpose / stretch these, then add my own samples, in order to formulate new and unusual arrangements. This was a case in point. The DM track Clean  utilised classical strings in a similar way.
How did that fabulous sequence on Waiting For The Night come together?
Waiting for the Night: the main sequencer part here was produced using the ARP 2600 synth and sequencer, because it has many flaws when setting up your 16 note sequence (for example tuning and gate length) – this makes for happy accidents and almost random events. We would have fiddled around with that sequence for a while, tweaking the filters and envelopes within the ARP until we arrived at that particularly hypnotic end result. The resulting sequence shape would follow any held note on a keyboard to transpose between the song’s basic chord changes as it ran, which we would then record, and that is essentially the spine of the whole thing. All the other sounds in that song act as mere embellishment. Each song is different though and we would employ a different approach to creating sequencer parts depending on what was appropriate.
Your surprise appearance with your former bandmates at the Teenage Cancer Trust gig in 2010 was a genuinely show-stopping moment, and became TEC’s Event of 2010. Were you surprised at the sheer scale of the welcome you received from the crowd? Do you have fond memories of the night?
Well, being there on stage felt strangely familiar – which is maybe not surprising considering how much touring we used to do – but it was like I’d never been away. I had forgotten just how it feels though when a large audience is behind you like that. A proud moment for me knowing that most people were so happy about it. It was great to see everyone (band and crew) and to catch up with their news, see how they were all fairing. The fact that is was for a worthy cause was also important of course, and I felt there would be a warm reaction from the people – which there definitely was 
Over the years you have amassed a remarkable back catalogue with DEPECHE MODE and RECOIL. Which songs / albums from both eras are you most proud of?
Songs of Faith and Devotion  is my favourite, and the tracks In Your Room , Walking In My Shoes  and Never Let Me Down Again  amongst others. No particular RECOIL favourites. Anything from Unsound Methods  onward, really.
You commented on the prevalence of MP3 culture and the decline of the music industry to Side-Line Magazine in early 2008. Three years on, what do you think of the situation now and how it affects you as an artist?
Since then, there have been some marketing re-thinks for the better – a more tactile approach perhaps. We are seeing a return to higher quality formats, collectable editions, vinyl and so on. Mute have embraced the idea of limited editions where everyone can benefit – the consumer who gets total choice ranging from a simple download right through to the most luxury items, the artist who can indulge all his creative whims, and the record company who can charge the appropriate price for each product in order to make some profit (as long as they do not over produce and get lumbered with expensive stock). The music business is of course one of the fastest mutating industries and one has to try to understand why things adapt in the way they do. If the consumer isn’t particularly passionate and wants free music (which now seems inevitable amongst most listeners) then I’m not against the Spotify-type concept for example where, in effect, the artist receives his payment via advertisers.
Here at The Electricity Club, we celebrate the best of electronic pop music past and present. Are there any acts from the ‘new generation’ who you particularly admire?
Unfortunately, due to a complicated life (which seems to get more so by the day), I never find I have enough time to research and discover much new music but I enjoy trawling through my catalogue, built up since I was a teenager – and occasionally something new comes along to excite.
RECOIL’s sound is on the organic side of electronic with use of samples and influenced by trip hop, blues, and jazz. How do you see RECOIL developing in the future?
I have never undertaken a RECOIL project with a particular idea in mind, usually just a very vague notion. My approach is always both experimental and methodical so I just start throwing different sounds and loops together until I get a spark. I may say to myself that I’d like to work more with live musicians or perhaps not include too much spoken-word but these loose rules are never set in stone. I prefer to allow the music to flow completely naturally. Time will tell…

Text by Steve Gray
Additional questions by Chi Ming Lai
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Offline Angelinda

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Re: 2011: Alan Wilder / Depeche Mode Auction
« Reply #8 on: 05 October 2011 - 21:45:40 »
2011-08-03 - Thinlinestaff - 'Alan Wilder - Collected' Part One

http://www.youtube.com/watch?v=EHejxJ1KPxk

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Offline Angelinda

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Re: 2011: Alan Wilder / Depeche Mode Auction
« Reply #9 on: 05 October 2011 - 21:45:58 »
2011-08-03 - Recoil - ‘Collected’ film now on-line eBay DM items on sale

http://blog.recoil.co.uk/collected-film-now-on-line-ebay-dm-items-on-sale/

‘Collected’ film now on-line / eBay DM items on sale!
The first part of ‘Alan Wilder – Collected’ – a 2011 documentary film directed by Martin Vladar is now on-line. Click here to view part 1 of 4. Parts 2, 3 & 4 will appear over the coming weeks.

Alan Wilder – Collected is a documentary about the musician and producer Alan Wilder. Vladar worked personally with Alan Wilder and his estate in the UK: at Wilder’s Sussex residence, he discovered the house was filled with memorabilia spanning 35 years of a career spent in music, most notably during the 80s and 90s covering the musician’s stint with one of the most famous & successful bands of all time, Depeche Mode.
Vladar’s intent was not to create a biography but rather to understand Wilder by studying the producer’s vast personal collection and relating it’s significance to the many iconic photographs, TV and live performances where most of the uncovered items first appeared. We witness how the musician is reunited with his lost sounds when Wilder tries out his old Sampler after 25 years, and we discover which unreleased records he has the only copies of, along with access to the very first acetate pressings of Depeche Mode’s ‘Violator’ and the ’101? album recorded at The Rosebowl, Pasadena in 1988.
What we end up with is a moving, funny and ultimately fascinating retrospective of a career which has touched millions of fans. Alan Wilder is noted for his meticulous detailing in music, and that has clearly been translated into the production of this collection.

Go to eBay now to find some exclusive and exciting items from the auction made available early for sale. Be quick and get your bids in as these one-offs will only be there for a few days! Additional eBay listings will appear on Thursdays and Sundays each week up until the auction, and everything posted at this eBay link is authentic & part of the full collection.
Look out for a competition soon to win some extra signed posters from the collection.
News about registration & advance bidding for the full auction coming in the next update – plus all reserve prices will be announced shortly.
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Offline Angelinda

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Re: 2011: Alan Wilder / Depeche Mode Auction
« Reply #10 on: 05 October 2011 - 21:46:18 »
2011-08-05 - Recoil - Auction Details

http://blog.recoil.co.uk/the-alan-wilder-depeche-mode-auction-is-now-live/

The Alan Wilder / Depeche Mode Auction is now live!
Alan Wilder & Omega Auctions ‘present’
COLLECTED – The Alan Wilder/Depeche Mode Collection
A Historic Equipment, Vinyl & Memorabilia Auction

With over 400 lots due to go under the hammer, you can get a sneak preview of everything right now at (http://auction.recoil.co.uk) and discover the history and condition, plus read Alan’s comments on each piece. The full official catalogue will be available online throughout August, both as downloadable pdf and as a collectable printed hard copy.

We can now bring you specific information about how to register and bid in advance at the-saleroom.com where ALL the lots can be viewed and full bidding instructions are displayed. We have tried to make steps as easy to follow as possible but please do read through very carefully to avoid any confusion or disappointment.
Registration & Bidding Information : Entrance to the viewing gallery/auction room at the Zion Arts Centre will require registration although each registered bidder may bring a guest.  Guests will not be able to bid unless registering in their own right.
HOW TO BID
In person : You can bid in person on Saturday 3rd September at the Zion Arts Centre but will need to be registered.  We recommend that you pre-register in advance in order to confirm your place, by sending an email to : office@omegaauctions.co.uk with the following details :
• Email subject : Alan Wilder Auction Registration
• Full Name
• Full Address including Postcode
• Telephone – Landline
• Telephone – Mobile
• Additional guest name (if applicable) – please note, only one guest allowed per registered bidder.  If you are part of a group then additional people will need to register.
In order to complete your registration on the 2nd/3rd September and be issued a bidder number, you will need to provide :
• Proof of ID and address
• Photo ID such as passport/driving licence
• Proof of address – such as bank statement/utility bill
• A valid debit/credit card – a £1 registration fee will be taken using this card.  Card details will be held and may be used to take payment for any lots purchased if not paid for by 10.00pm on the day of the sale.
• Signature to confirm acceptance of bidding terms & conditions
Once registered, you will be issued with a bidding number. Entrance to the viewing gallery/auction room will require a bidder number.

Absentee Bid : If you are unable to attend the sale you can place a bid in advance with Omega Auctions – this is referred to as an “absentee bid”.  In order to place an absentee bid, please send an email to : office@omegaauctions.co.uk by 8.00pm on Friday 2nd September, with the following details:
• Email subject : Alan Wilder Auction Absentee Bid
• Full Name
• Full Address including Postcode
• Telephone – Landline
• Telephone – Mobile
• Scan/copy of two forms of ID
• Photo ID such as passport/driving licence
• Proof of address such as bank statement/utility bill
• Details of the lots numbers you wish to bid on and your maximum bid
• Omega will contact you to register your credit/debit card details
• A non-refundable registration fee of £1 will be charged to the registered card

Bids via the-saleroom.com :
• Register with the-saleroom.com
• Ensure that your address is correct as this will be used for shipping purposes
• Enter a valid credit/debit card which will be used for payment following the sale
• Ensure you have entered a valid telephone number
• Ensure that you have entered a valid email address
• Click “Sign up to bid” button to specifically register for the Alan Wilder Collection sale
• A non-refundable registration fee of £1 will be charged to the registered card
• Once your registration has been approved you can place absentee bids up until 4pm on Friday 2nd September or you can bid live online from 4.00pm GMT on Saturday 3rd September via the-saleroom.com

Telephone Bid : If you are unable to attend the sale and wish to bid on any item which is estimated to sell for over £500, you can reserve a telephone line in order to bid over the phone during the live auction.  Omega will call you approximately 5 lots prior to the lot you wish to bid on and will bid on your behalf under instructions received from you over the ‘phone during the bidding process.  Telephone lines are limited, so please reserve in advance to avoid disappointment.  In order to place a telephone bid, please send an email to : office@omegaauctions.co.uk by 8.00pm on Friday 2nd September, with the following details :
• Email subject : Alan Wilder Auction Telephone Bid
• Full Name
• Full Address including Postcode
• Telephone – Landline
• Telephone – Mobile
• Scan/copy of two forms of ID
• Photo ID such as passport/driving licence
• Proof of address such as bank statement/utility bill
• Details of the lots numbers you wish to place telephone bids on
• Omega will contact you to register your credit/debit card details
• A non-refundable registration fee of £1 will be charged to the registered card

Charges :
• Registration fee for all bidders is £1 and is payable via debit/credit card
• The buyer’s premium for this sale is 15% of the hammer price
(For example, if you bid up to £100, you will pay £100 + 15%, so £115 in total)
• Credit card payments incur a 2% charge

Payment : Payment for items purchased is by Cash (Sterling or Euros), Credit Card, Debit Card, Bank Transfer or Cheque.
Notes :
• If paying by cheque or bank transfer, funds will need to clear before items can be collected/shipped
• Credit card payments will incur a 2% charge
If bidding in person, items should be paid for at the venue by 10.00pm on Saturday 3rd September.
If bidding via the-saleroom.com, telephone bid or absentee bid and are successful, Omega will send you an invoice on Sunday 4th September and will automatically take payment on Monday 5th September using the debit/credit card registered, unless you contact them in advance to agree an alternative payment method.

Collection of items after the sale : If bidding in person, items should be paid for and removed by 10.00pm on Saturday 3rd September.
If you prefer not to collect on the day then collections can be made from Omega’s office from 9.00am onwards on Monday 5th September, but payment should still be made prior to leaving the venue.

Postage & Packing (cost guidelines) : If you have bid via the-saleroom.com, telephone bid or absentee bid and are successful, Omega can arrange shipping for most items.  Unless you inform them otherwise, they will take payment and make arrangements for shipping on Monday 5th September.
Omega will be happy to provide an approximate shipping quote in advance of the sale for items you are interested in – there will be guidance at their website regarding likely shipping charges.  Here are the contact details for all further enquiries :
Omega Auctions,
Arden Hall,
66 Brooklands Rd,
Sale,
Cheshire,
M33 3SJ
Telephone : +44 (0)161 865 0838
Email : office@omegaauctions.co.uk
www.omegaauctions.co.uk

Auction date : Saturday 3rd September, 2011, 4.00pm
Venue : Zion Arts Centre
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
This worldwide, all-inclusive fan-friendly event will incorporate a rolling film presentation (‘Alan Wilder – Collected’) about the fascinating history of everything in the sale. Over the course of the two days in Manchester, some instruments such as the Knight guitar, Emulators and ‘Devotional’ drums will be set up to view and try out, as well as displays for many of the other items. Alan and Paul Kendall will be attending on both days to answer questions, sign everyone’s items, try the bar, and generally take part in the action… ‘Professor’ Kendall will give a talk about his own experiences in the studio – and in particular the recording techniques and mixing strategies used on Recoil’s albums, as well as help demonstrate some of the equipment on display. We hope to have a DJ, a well-stocked bar and one or two other surprises.
Keep checking back with us for auction updates, and happy bidding!
The Shunt staff
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Offline Angelinda

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Re: 2011: Alan Wilder / Depeche Mode Auction
« Reply #11 on: 05 October 2011 - 21:47:45 »
2011-08-09 - Side-Line (Belgium) - Even more Depeche Mode acetate vinyls from Alan Wilder private

http://www.side-line.com/news_comments.php?id=46679_0_2_0_C

Even more Depeche Mode acetate vinyls from Alan Wilder private collection end up on eBay - get them now

With a total of 21 items added to Alan Wilder's Depeche Mode acetate auctions  the launch for the upcoming massive auction by Depeche Mode's main sound sculptor has been given.
In case you missed it, Alan Wilder has added 21 extremely limited acetate vinyls on eBay from several Depeche Mode releases (5 have already ended). You can check the Depeche Mode acetate auctions  and start bidding for yourself. Be quick as there are only a few days days left (good tip: set a provision so you don't miss out on the auction if you are not at home).
The items that have gone already at the Depeche Mode acetate auctions  are the following:
•   DEPECHE MODE - LITTLE 15 7" ACETATE B SIDE STJARINA EX
•   DEPECHE MODE - POLICY OF TRUTH 7" ACETATE NEAR MINT
•   DEPECHE MODE SONGS OF FAITH DEVOTION LP TEST PRESS MINT
•   DEPECHE MODE - I FEEL YOU 12" UK SINGLE TEST PRESS MINT
•   DEPECHE MODE - POLICY OF TRUTH UK 12" TEST PRESS MINT
•   ...
Note that all items come with a signed letter of authenticity from Alan Wilder himself. These items are just some of over 400 lots to be sold this summer by Alan Wilder (read also Alan Wilder auctions Depeche Mode collection, historic equipment, vinyl & memorabilia).
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Re: 2011: Alan Wilder / Depeche Mode Auction
« Reply #12 on: 05 October 2011 - 21:48:02 »
2011-08-11 - Thinlinestaff - 'Alan Wilder - Collected' Part Two

http://www.youtube.com/watch?v=LiLyiDw6qeg

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Re: 2011: Alan Wilder / Depeche Mode Auction
« Reply #13 on: 05 October 2011 - 21:48:24 »
2011-08-12 - Stereoklang (Sweden) - Exclusive interview

http://stereoklang.se/blog/?page_id=17978

Alan Wilder (ex-Depeche Mode/Recoil) talks on synths, music creation and his upcoming auction

Steelberry Clones got a talk with none other than the synth legend Alan Wilder (ex-member of Depeche Mode and now front man of the electro/synth experimental act Recoil). Few can match the track record of Alan Wilder and few have had such an impact on the synth scene for the past 30 years, or so. Alan Wilder´s Recoil continues this tradition into the 21st century exploring the boundaries of electronic music, and since Alan now is in full preparation of delivering probably the world´s biggest Depeche Mode memorabilia auction at the Zion Arts Centre, we simply had to pose some questions to him regarding his music creation legacy, gear and plans moving forward.
“Collected” is the name of Alan’s big auction on Saturday 3rd September, for detailed information on how to join please follow this link: http://auction.recoil.co.uk/
So in just a few weeks time, over 400 lots will go under the hammer as Alan Wilder sells a large selection of musical / studio equipment and memorabilia at auction. Many items are very collectable and hold special value having been used extensively in the recording sessions for classic Depeche Mode and Recoil albums, as well as live performances on the ‘Black Celebration’, ‘Music For The Masses’, ‘World Violation’ and ‘Devotional’ tours.
But for most synth/electro fans this is truly not just any ordinary auction, but a clear reason why we needed to pose some questions to Alan about the auction in general and about his music making legacy in particular.

Why are you running this auction? is it for charity, or something else?
It’s for the charity of Alan Wilder unfortunately. Let’s be honest, divorce is an ugly thing and the record business has been in crisis for some time now. Having said that,I’m not over sentimental about retaining every little detail of my musical history. In fact I still have a large collection of essential items, all the releases I have played on, many photographs and unique personal things. But really, I need more space (and peace) in my life and this goes part of the way to achieving that. Indeed I found it an evocative and cathartic experience to sift through all the collectables – the actual sorting and cataloging process brought back great memories and I was able to re-live some key moments which I had inevitably forgotten about, reminding me of how lucky I have been to have enjoyed such a career, doing something I’m passionate about.
Will it not be hard to let go of many of these unique items – any particular items that are special to you, that we should keep an extra eye on at the auction?
Yes – many do hold wonderful memories of course but I don’t find myself actually using most of the equipment for example. One of my new year’s resolutions for 2011 was to start streamlining my set-up at The Thin Line Studios. My needs have altered since laptops, soft synths and plug-ins have come to the fore, and therefore passing on some vintage gear and historical items seemed like a good way to start. The Steinway grand piano and the ‘Devotional’ drum kit are two things I’m letting go with a heavy heart. Thankfully I have a second piano, and can’t really justify having two at the moment. And if I feel like picking up drumming again, I guess I can easily find myself another (cheaper) kit. As for something to keep an eye on in the auction, I think the unreleased box set known as DMBS 1-4 is likely to spark major interest. Known as the ‘Holy Grail’, these are the 4 extremely rare white labels from the Depeche Mode boxset that was never released. It was recalled at the last minute for unknown reasons. The Emulators with my own sound samples, the guitar used by Martin Gore for the ‘Devotional’ tour, and my touring wardrobe & stage clothing should all prove very popular. We have art proofs and one-off posters, and already we can see that album acetates are extremely desirable, being so rare. Only one or two are ever produced for a record release and I have quite a few of these iconic records. A few selected teaser items are currently on sale via eBay, and more will be added as we approach the auction. (http://shop.ebay.com/depechemodeatomegaauctions/m.html?_trksid=p4340.l2562)
Will you be joined at the event by any of your old band mates (DM)?
Not a chance:)
How can you part with your first synthesizer, the Minimoog?
I guess you could say that the mini-moog does hold particular value as it’s been with me for such a long time, throughout my career. It was the first synthesiser I bought around 1977, pre-Mode, when I was a member of Dafne & The Tenderspots. It was a big deal for us at the time as it was quite expensive and we couldn’t really afford it until we secured our record deal. It is still probably my all-time favourite synthesiser due to the famous fat 3-oscillator sound, and of course it’s an absolute classic. I continued to use it for many years on early Mode recordings such as ‘Construction Time Again’ and ‘Some Great Reward’ and even had a midi update added during the eighties. However, I also own a ‘midi’-moog, which is the rack-mount version of the original mini-moog. It pretty much sounds the same and serves my purpose in the studio. I found that I wasn’t using the original moog any more, and like many of these items, it has been sitting around gathering dust. Much better then that all these old synths should be cleaned, restored, repaired and passed on, to people who will dote on them, use them again – individuals who will fully appreciate their history and the symbolic (as well as practical) value they hold. And, the moog will no doubt increase in value, like most vintage gear. These synths are like old cars that need to be driven. The way I feel about most items in the auction is how I feel about the gold discs for instance – I never wanted to display them on my walls in some ostentatious way, and I think often the musicians themselves are not too bothered about those things. Gold discs mean a lot more to those who are more peripheral or outside of the original experience, but who are very passionate about what they represent.
Regarding the patch discs for the Emulator’s and Akai’s – have you made some backup of those sounds somehow?
Yes, of course, I have a copy of the sounds for myself.
The sequencer EDP Spider, was that your first sequencer? And does it work? It’s not clear on the web page – they are prone not to work.
I believe it does work but I didn’t have the unusual connecting cable to actually try it out. I guess it was my first and only non-computerised sequencer! Not that I used it much – although it was used to create the bass sequencer part for the Aggro mix of DM’s ‘Never Let Me Down Again’.
Conclusively, if you are Depeche Mode fan or collector of vintage synth gear this is the one event not to miss out on. Now moving on to the music creation side of things we wanted to ask Alan all those questions about his gear, music creation and plans for the future, that comes when having the opportunity to talk a guy that has been a part of shaping the modern synth scene.
Recoil has been on quite an extensive tour recently, can you let us know how it was received and what your forthcoming plans are?
The European shows went really well at the start of the tour, particularly in eastern parts and Germany, Hungary, Poland, France etc. The US shows were a bit up and down, but generally quite successful I would say. I do think USA is the most difficult territory to tour, and it was a bit of a relief to follow that down to South America where the fans are so passionate and the crowds always wild, excitable. It was quite an experience there.
Regarding on-going plans, this year has been so busy with other personal things which have sadly got in the way of making much new music. I have never undertaken a Recoil project with a particular idea in mind, usually just a very vague notion. My approach is always both experimental and methodical so I just start throwing different sounds and loops together until I get a spark. I may say to myself that I’d like to work more with live musicians or perhaps not include too much spoken-word but these loose rules are never set in stone. I prefer to allow the music to flow completely naturally. I hope to get going soon. Time will tell…
I know that Vince Clarke and Martin Gore worked on remixes for the Depeche Mode remix album, plus that they have been active producing techno tracks together, any chances to see some involvement in these types of projects from your side as well going forward?
I often collaborate, as I am doing right now for a couple of tracks on an upcoming Talk Talk tribute album (due early 2012), but no plans to work with Martin or Vince. The TT project is very interesting with a lot of good artists involved. More will be revealed in the near future.
We interviewed Swedish EBM act Covenant, where Daniel Myer is now a permanent member. How did Daniel influence the work of Recoil, what will be his role going forward and how was it like working with him?
Actually he and I have become good friends. I admire his approach where he just gets on with things without getting too precious. He has boundless musical energy and a high output as a result, which is impressive. I guess he has inspired me to be a bit more spontaneous, make music on the move, and I love his Architect project and also the new Haujobb work (some mixed by Paul Kendall). Daniel is very imaginative when it comes to remixes. He produced some excellent re-workings of a Recoil track called ‘Want’ (available for free download by the way) (http://emr.emi.com/go.asp?/.mute.recoil.forms.download/bEMU001)
We (Recoil/Architect) hooked up for many live shows during 2010/11 and Daniel even joined Recoil on stage recently (along with Nitzer Ebb) for the Short Circuit Mute event at The Roundhouse, London.
Could you elaborate a bit how you interact with your project partners in the studio. Are you the ‘producer’ or are you equal peers in the creative process?
I am both producer and collaborator. I nearly always begin with some musical ideas (although occasionally I may include a voice sample, like The Golden Gate Jubilee Quartet used on ‘Jezebel’) and I try to choose people who are technically proficient, who I also think will be empathetic with the Recoil approach. Good examples would be Joe Richardson and Diamanda Galás – both incredible singers with open-minded attitudes. The basic music (I wouldn’t call them songs at that stage) should at least lay a framework and some atmosphere to hopefully inspire the vocalist. Once a singer has come up with some ideas and we have recorded them, I then re-work everything, trying to wrestle it into a final piece. What we end up with can vary from a fairly straight song through to anything else that feels natural, or that just ‘works’.
In the open letter ‘Music for the masses – I think not’ – you talk about the change of business model for the industry. But the change is also about the other end, the listeners. Considering that the studio is now inside the laptop, distribution is done via Soundcloud/Bandcamp and marketing via Facebook/Twitter the slogan would be – “music made by the masses”? Or will the big money win in the end?
Hopefully not. I am increasingly disillusioned with record companies and what they don’t do for artists anymore, but not disillusioned about music and opportunities for good music to become available – even if it yields little income for the artists:( We all have to adapt I guess, and leave the record moguls to invest only in their pet projects, manufactured acts, A&R whims and fantasies. The rest of us will just get on with what we can, trying to generate revenue in other ways using the on-line tools at our disposal (or perhaps more live performance), with the more entrepreneurial types will coming to the fore I suppose.
From a more electronic music production perspective we have some more specific questions for you; there seem to be a fatigue of software instruments and using the mouse as the major way of interacting, on one hand there’s a growing number of knobs and button controllers as well as the new button matrix controllers (Monome, Launchpad) but also the multi touch screens (iPhone, iPad, Lemur) and the object controllers (Reactable), and on the other hand there seem to be a revival for the analog and in particular analog modular.
What’s you take on this development with a background as trained musician on piano etc. and using hardware synthesizers for decades? How much do you just play instruments or are you happy in the producer seat arranging in Protools/Logic etc?
For someone who plays piano, drums, a little guitar and enjoys the tactile nuances of performance, I actually do most of my work ‘in the box’! And I’m ok with that – I never really got on with mackie control and, even though we use launchpads live, for what I do in the studio I prefer the more meticulous editing approach. My main sound sources however are sampled performance loops and sections. I like to utilise the digital technology to manipulate these, retaining the human performance feels contained therein to try and create new, never-before-heard combinations. Soft synths don’t interest me much. Plug-in effects can be useful but often I apply very little to my original samples because they have all their inherent effects already built in. I’m interested more in dynamics, the jigsaw-like relationship between each musical part, the space and the overall atmosphere generated from a given soundscape.
I haven’t heard much music which sounds like it was inspired by a piece of kit. On the contrary, most of what we hear is cliched and predictable (but that has always been the case). As far as new-fangled toys, controllers & plug-ins go, I’ll look over the shoulders of those getting all gooey about them and occasionally dip into something of interest but I don’t see the toys themselves coming up with the ideas.
As always, the human brain and one’s imagination are by far the best tools.
The equipment used for ‘subHuman’ is quite well documented on your web and in interviews. Any new stuff you added recently?
No – I use less ‘stuff’ in fact, more idea discipline.
You seem to have used lots of analog and vintage synthesizers over the years but what about analog modulars apart from the VCS3?
I’m neither a modular expert nor a synth purist. I like twiddling the knobs and chancing upon happy accidents, and I enjoy feeding samples into analogue processes for filtering, envelope shaping and so on.
I enjoy old-school units like the Roland Space Echo for example.
The Roland RE-201 Space Echo is truly a Vintage (1973) piece of music technology with lots of appeal even today. It’s not a synth, but a Tape-Echo machine for creating true analog echo effects. The RE-201 is a simple system in which a small loop of tape records an incoming signal and immediately plays the recorded sound back over a couple playback heads before being erased over by new incoming audio. A real analog system with warm, gritty and almost noiseless operation, the Space Echo can provide warm, unpredictable and highly tweakable echo effects.
In the early Mode days, the inaccuracies and idiosyncrasies of Daniel Miller’s ARP 2600 or Roland system 100, with their respective sequencers, would make for almost random events. The tuning was wonky, and the triggering of sounds via cv/gate, creating odd envelope shapes and squirting filters, could pleasantly surprise you in a way you didn’t expect. You don’t get that with digital units. I do miss some of that these days but I also remember how long it could take setting all that stuff up, and the frustrations when the boxes just wouldn’t do what you had in mind.
You have made a few longer pieces (‘1+2’, ‘Hydrology’, ‘Black Box’) which are more evolving, introducing several themes. They remind us a bit of symphonic pieces, with themes coming and going. Do you have a vision making longer tunes?
Well I always have an often clouded vision when making music, and allowing that to migrate and evolve as you go is one of the great joys in creating. At times, I end up combining several ideas into one long piece where others might divide them into separate songs. I do enjoy music which takes time to unfold, and which doesn’t conform to the standard pop/rock structures.
What about the super quality sound mentioned in the open letter ‘Music for the masses – I think not’. Have you made any attempts making music that really make artistic use of the hi-fi of 24/96k?
There is a bit of extra ‘air’ and presence/warmth when working at higher digital rates but most people don’t ever hear music in that format and the processing memory needed to run everything is far greater, inevitably slowing down the computer. Since I work mainly on a laptop these days, I tend to stick to what the majority will end up hearing (24bit, 44.1khz). If I do experiment, I’d rather go super high bandwidth to see what can be achieved. We did work at much higher rates for the ‘subHuman’ 5.1 mixes for example.
One final question. We know you are using lots of samples from all different sources. On ‘Allelujah’, there’s this bass line and resonant organ hit – is a sample of Redshift?
No – I’m not familiar with Redshift.
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Offline Angelinda

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Re: 2011: Alan Wilder / Depeche Mode Auction
« Reply #14 on: 05 October 2011 - 21:48:44 »
2011-08-17 - Recoil - Catalogue

http://blog.recoil.co.uk/collected-auction-official-full-colour-catalogue-now-available-for-download/

‘COLLECTED’ Auction: Official full colour catalogue now available for download
The official full-colour catalogue for COLLECTED – The Alan Wilder/Depeche Mode Collection is now complete, with plenty of photographs, a foreward by Alan, and all 414 lots described in detail, along with anything else you could possibly need to know.
Download catalogue pdf
This catalogue will also be available as a limited edition collectable printed book, at the bargain price of only £5. Get your registrations and orders in soon as they will go fast!
In order to attend the event in Manchester you will need to be registered with Omega Auctions. Please visit: Omega for more information on registration. Theatre places at Zion Arts Centre are limited so please register early to avoid disappointment.

Also, at eBay – more exclusive items ahead of the auction were added last Sunday. Be quick and get your bids in as these one-offs will only be there for a few more days! Everything posted at this eBay link is authentic & part of the full AW/DM collection.

The Shunt staff
2017-06-30: Photobucket has disabled external image hosting, all scans will have to be re-uploaded on another site.