Depeche Mode
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vilak
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vilak
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Alan Wilder:
“Unfortunately, putting the Devotional live show together proved to be more of a handful than either myself or Steve had bargained for. We knew when we started that we didn’t have a lot of time on our hands, and it didn’t help that the Roland sequencer was giving us continual problems. However, we persevered and had nearly completed the work when disaster struck: the machine couldn’t handle the sheer volume of traffic we were demanding from it and one day the whole system just crashed — we lost everything; three-and-a-half months of work! Luckily, we had had the foresight to back up all the music onto multitrack [tape], but the edits had gone. “
“With the new single, ‘Walking In My Shoes’, due for release and rehearsals beckoning, we found ourselves with the mammoth task of Re-editing everything in about two weeks. We worked night and day and then sued Roland. After a long battle, they refunded the purchase price of the two machines. I can’t remember the exact price, but it was a lot (possibly £20,000). The problem was that we had also invested in loads of data — DAT backup equipment, which became redundant. Also, at the last minute, we had to acquire two [sony] digital multitrack machines to take on the road instead, so we still lost out financially.
Jonathan Miller. Stripped.
Le coupable est le "studio intégré numérique" Roland DM-80 de 1992 .
Alan Wilder et Steve Lyon ont préparé dessus toutes les backing tapes du Devotionnal tour, la tournée de Depeche Mode de 1993.
La version 8 pistes qu'ils ont utilisée coutait 63.000 francs, époque ou le SMIC brut approchait les 6.000 francs en France.
La machine a planté et tout a été perdu, le groupe a porté plainte contre Roland et a gagné.
Source : Alan Wilder
La fiche Audiofanzine :
https://fr.audiofanzine.com/studio-numerique/roland/DM-80/
Un article en anglais à la sortie du produit en 1992 :
https://www.muzines.co.uk/articles/roland-dm80/9451
“Unfortunately, putting the Devotional live show together proved to be more of a handful than either myself or Steve had bargained for. We knew when we started that we didn’t have a lot of time on our hands, and it didn’t help that the Roland sequencer was giving us continual problems. However, we persevered and had nearly completed the work when disaster struck: the machine couldn’t handle the sheer volume of traffic we were demanding from it and one day the whole system just crashed — we lost everything; three-and-a-half months of work! Luckily, we had had the foresight to back up all the music onto multitrack [tape], but the edits had gone. “
“With the new single, ‘Walking In My Shoes’, due for release and rehearsals beckoning, we found ourselves with the mammoth task of Re-editing everything in about two weeks. We worked night and day and then sued Roland. After a long battle, they refunded the purchase price of the two machines. I can’t remember the exact price, but it was a lot (possibly £20,000). The problem was that we had also invested in loads of data — DAT backup equipment, which became redundant. Also, at the last minute, we had to acquire two [sony] digital multitrack machines to take on the road instead, so we still lost out financially.
Jonathan Miller. Stripped.
Le coupable est le "studio intégré numérique" Roland DM-80 de 1992 .
Alan Wilder et Steve Lyon ont préparé dessus toutes les backing tapes du Devotionnal tour, la tournée de Depeche Mode de 1993.
La version 8 pistes qu'ils ont utilisée coutait 63.000 francs, époque ou le SMIC brut approchait les 6.000 francs en France.
La machine a planté et tout a été perdu, le groupe a porté plainte contre Roland et a gagné.
Source : Alan Wilder
La fiche Audiofanzine :
https://fr.audiofanzine.com/studio-numerique/roland/DM-80/
Un article en anglais à la sortie du produit en 1992 :
https://www.muzines.co.uk/articles/roland-dm80/9451
kosmix
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Ma vie est un thread...
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vilak
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Je préfère la marque suivante :
kosmix
46801
Ma vie est un thread...
Membre depuis 19 ans
Pff 
Putain Walter mais qu'est-ce que le Vietnam vient foutre là-dedans ?
vilak
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vilak
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roth weiler
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vilak
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vilak
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“I would rather die a thousand deaths than sound like Depeche Mode or Yazoo.”
So griped the Human League’s Phil Oakey, reflecting how many regarded Depeche Mode in 1982 – as the runt of the synthpop litter.
But no band from the early Eighties has endured as successfully as Depeche Mode. By working with Daniel Miller (co-producer of their first six albums and founder of the Mute label
, they retained a control over their music afforded to very few. Unlike most of their contemporaries, they were able to move forward artistically: always a synth band to some extent, they nonetheless outgrew the breezy electro-pop of their first two albums to essentially become, by the late Eighties, a rock act. Whilst other of their peers struggled to even perform live, Depeche Mode would also become a drilled, unstoppable, arena-filling touring force.
So griped the Human League’s Phil Oakey, reflecting how many regarded Depeche Mode in 1982 – as the runt of the synthpop litter.
But no band from the early Eighties has endured as successfully as Depeche Mode. By working with Daniel Miller (co-producer of their first six albums and founder of the Mute label
, they retained a control over their music afforded to very few. Unlike most of their contemporaries, they were able to move forward artistically: always a synth band to some extent, they nonetheless outgrew the breezy electro-pop of their first two albums to essentially become, by the late Eighties, a rock act. Whilst other of their peers struggled to even perform live, Depeche Mode would also become a drilled, unstoppable, arena-filling touring force.- < Liste des sujets
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