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Gareth Jones on Depeche Mode's new album "Exciter" and on Emagic Logic

Yes, Logic Audio was used extensively in the production and pre-production of "Exciter". Martin wrote the chords and vocal melody and lyrics usually on guitar or piano. He then came to Paul Freegard and myself with a simple song demo played on guitar or piano and we helped arrange it and orchestrate it in his home studio. Later in the production we built a portable setup for Martin with a small mixer and a couple of synths in a rack running off a powerbook. This was obviously convenient because it was so small, and Martin left the country to write 'Easy Tiger' and 'Love Theme' using a powerbook with Logic Audio.

What were the main-advantages of recording digitally with Logic Audio?

The digital input of the Audiowerk8 card allowed me to hook up a high quality recording chain (Focusrites and Apogee) to the computer in Martin's home studio, which meant everything was recorded in excellent quality so there were no quality issues later. In this way the demos could seamlessly grow into the finished production. This meant arrangements were flexible and it was easy to transfer audio to Mark Bell or anyone else who needed to work on the tracks. Also we were able to keep everything backed up in original quality very easily, which was reassuring as we travelled around. Indeed vocals, guitars, synths and samples from the pre-production were used on the final CD. The whole approach was fluid. At this stage a G4 running Logic Audio (Motu 2408) and two Unitors was the "nerve centre" of the whole process. The final version of the songs for mixing was again constructed in Logic Audio, with the fx that we wanted "bounced" so that we could give the mix engineer multiple audio files for import to his PT system.

Which plugins were used?

Logic plugins were used extensively including the compressor, the tape delay, bitcrusher, overdrive and distortion, and Autofilter, Spectral Gate and the occasional Reverb. Some FAT EQ as well Hi pass and Lo Pass Filters were also used. Also lots of other VST plug-ins. By the way: "Exciter" was the album where I really discovered SoundDiver &emdash; it was a great tool to create sounds and also to store them &emdash; and helped me in my task of being able to locate every sound used, whenever necessary.

Gareth Jones on "Exciter" gear

(from Keyboard magazine, by Greg Rule)

What gear did you use?

Emagic Logic Audio was the center of my work on the album. One of the reasons I was asked to join the pre production team was my Logic skills. I was also using a Novation Supernova and a Nord Micro Modular as sound sources. When we left the pre-production phase, everything was either recorded in Logic Audio, or running off these synths and an Akai S3200. Martin has a bunch of synths in his studio, and we used a Nord Lead (Paul was the Nord programming guru), Roland JV-2080, JP-8000, and JD-800 (Martin was the JD-800 programming guru), Minimoog, ARP 2600, Wasp Stinger (featured on the chorus of "Shine"), EMS AKS synthi (featured on 'The Dead of Night'), Jomox X-Base module, Quasimidi Rave-o-lution (on which we created the original mood for 'When the Body Speaks'), Korg MS2000, and others I may have forgotten. Guitars were recorded through the Line 6 Pod, which I enjoyed using with Emagic SoundDiver software. SoundDiver also played an important role in keeping track of everything. Microphones were largely Shure SM57 and B&K 4006. We also ran my Laptop with Native Instruments Absynth and Reaktor, Hyperprism, Logic Audio with Cycling 74 Pluggo and other VST plug-ins, including Waves Renaissance, plus Propellerhead Recycle, Bias Peak, Roxio Toast, etc. My MAQ 16/3 sequencer and Regelwerk were massively useful controllers. I was using native audio on Macs with VX pocket cards on the laptops and initially an AW8 card on an old beige &emdash; then, later, a MOTU 2408 on a G4. I used my Focusrite ISA 115HD feeding my Apogee AD500e, sometimes through my Focusrite ISA 131 compressor. So basically I had one or two recording chains only, usually on flying leads so I could pick up any sound from either Martin's AMEK desk or the Mackie 32-8s that we used in the live rooms of the studios we worked in later. This kept things simple, which I like. Mark Bell was also interested in, and comfortable with, this style of working, so in the production we set up a 56-channel Mackie with a G4 desktop running Logic, Mark's laptop running Steinberg Cubase with virtual synths (including TC Works Mercury and Waldorf Wave), and my laptop running whatever. In the control room we ran Digidesign Pro Tools on an Apogee AD8000 where Dave was recording vocals. Everything was word-synced. The output of my e fed the G4, Mark's laptop, his E-mu IV XTurbo sampler, and my laptop. Also hooked up was Mark's Akai MPC2000, my S3200, an MS2000, the Supernova, and Nord Modular. Work on the songs would vary from Mark working alone on the stereo output of his laptop to more conventional multi-channel setups depending on what we needed to be doing. We exchanged data between machines on Zip and CDs with sneakernet. Martin had a setup based around a laptop running Logic in the booth as well, so we had three work areas, reasonably isolated acoustically but with good visual contact. This enabled us to be fluid and try all kinds of things very easily; it was easy to offer and get perspective from different members of the production at any time.

(by Jonathan Miller )

Depeche Mode is still regarded from some quarters as a synth band, yet" Excite"r doesn't immediately come across as a synth-dominated album per se. What's more important to the Depeche Mode sound of today: synths or samplers?

A real mixture of these two things &endash; anything and everything available, really. Both are very important, in my opinion. Akai and E-mu samplers were used extensively, as were all kinds of VST plugs &endash; Logic plug-ins, Pluggo, Hyperprism, and a wealth of TDM plug-ins. In addition to the synths we had in the studio we brought recordings of quite a few others from the Hertfordshire sessions &endash; AKS Synthi, Minimoog, JP-8000, Stinger, ARP 2600, Rave-O-Lution, JoMox drum box and JD-800. Mark also came with a lot of recordings of his synths &endash; in E-mu format &endash; and we recorded his DX11 on 'I Feel Loved'. VST instruments used included Reaktor, Mercury and PPG Wave 2.V."

Electric Eel's Kevin van Green (also responsible for creating customized recording spaces for ex-band members Alan Wilder and Vince Clarke, Mute boss Daniel Miller, and former Depeche producer Flood) has told me that Gore's Hertfordshire-based private studio is sited in a double garage and featured a custom cabinet housing three vintage ARP 2600 analogue synthesizers at the time of its construction. What can you tell us about this studio now?

Martin has a nice collection of gear &endash; Akai samplers; AKS Synthi, as featured on 'Dead Of Night'; two rack Minimoogs; Roland JD-800, JP-8000 and JV-2080; Nord Lead, Wasp Stinger, featured on the chorus of 'Shine'; Moog Series III; three ARP 2600s; JoMox drum module; lots of guitars; piano; a G3 running Logic Audio; Amek desk, with quite a few guitar effects and different bits and pieces that I've probably forgotten. It's a pleasant, spacious room, with lots of daylight and a view of trees and countryside.

Gareth Jones on his gear

"

Software

Logic Audio, Recycle, Metasynth, MESA, Peak, Rebirth, Pluggo, Hyperprism, SonicWorx (for their amazing Time Designer plug-in), SoundDiver, Reaktor, Reason, Mercury, PPG wave 2.v, Pro 52, B4, VB1, M-Tron. Waves Renaissance bundle.
Netscape, Eudora, Quickeys & Retrospect and Action Files are also in daily use of course
The Logic user group and daw-mac are also invaluable resources for me, as was Napster (what a great music library that was) and my BT Openworld ADSL connection

Hardware

Akai S3200, Novation SuperNova & BassStation & DrumStation, Nord Micromodular, Doepfer MAQ 16/3, Regelwerk and MS404 and the Pocket Control, and Roland TB606
Apogee 500e A/D, Focusrite ISA115HD & ISA 131(Rupert Neve versions) , TC Finalizer, B&K 4006 mics, Schoeps Collete series mics, Genelec 1029A monitors
Sherman Filterbank, Line6 POD, Roland RE501 Chorus Echo, Waldorf 4 pole filter
Apple G3 Powerbook, Digigram VX pocket, EMI 2/6, E-Magic Unitor II, and the wonderful MT4
My Soundcraft Spirit Folio Notepad is in (almost!) daily use
Palm Pilot is also a major part of my life and my Creative Nomad mp3 player & SONY CD walkman are great tools.
Here is a more comprehensive list of my gear

Manufacturer	Model	Type
Akai	ME-35T	trigger/midi
Akai	S3200 32,dig i/o	sampler
Apogee	500E	A to D
Apogee	PS1000	power suppply
Apple Mac	M5343	powerbook G3
APS	SCSI Sentry 1	Interface
Boss	Dr Beat DB66	metronome
Boss	flanger	gtr foot pedal
Boss	phazor	gtr foot pedal
Boss	TM3	mixer
Bruel & Kjaer	4006	Microphone
Bruel & Kjaer	4006	Microphone
Bruel & Kjaer	4007	Mic omni
Color sound	Tremolo	foot pedal
Digidesign	Universal Slave Driver	Digi sync
Doepfer	MAQ 16/3	Sequencer
Doepfer	MS 404	Instrument
Drawmer	201	Gate
Drawmer	Midi Gate	Gate
Dunlop	Cry Baby	Foot Pedal
E Magic	Unitor8 Mk2	Interface
E Magic	Logic Audio	Software
Electro Harmonics	electric Mistress	flang/filter matrix foot pedal
Electro Harmonics / Sovtex	Small stone	footpedal
emagic	unitor2	interface
epson	stylus color 760	printer
Fender	Midi Twin MT-10	Amp
Focusrite	ISA 131	dynamics
Focusrite	ISA115hd	stereo eq/mic pre
Focusrite	PSU120	p/s for ISA 115hd
Genelec	1029A	speaker
Hewlett Packard	HP Surestore DAT C5653A	SCSI tape drive
imation	superdrive	drive
iomega	jazz	drive
iomega	zip2	drive
Kenton Electronics	Pro 2	midi-cv box
korg	05R/W	Instrument
line6	pod	effect
Midiman	Midisport	USB interface
Mogami	.	mic cables
Musitronics	Mu-Tron	phasor
Nakamichi	ZX7	Cassette Machine
Native Instruments	Reaktor	software synth
Neumann	BS945	battery phantom p/s
Neumann	BS945	battery phantom p/s
Neumann	CMV3	Microphone
Neumann	M7	Mic capsule
Neumann	M8	Mic capsule
Neumann	M9	Mic capsule
Neumann	NKM	P/S
Neumann	torpedo head	MIc Capsule
nord	micromodular	synth
Notron	sequencer	midi seq
Novation	Bass Station	Instrument
Novation	Drum Station	Instrument
Novation	Supernova	synthesizer
Panasonic	RX-DS45	ghetto blaster
Q Logic	Midi Bar Counter	counter
Rockman	chorus Dly	Fx unit
Rockman	Distortion	Fx unit
Rockman	X100	fx
Roland	Re501	tape delay
Roland	TB 303 modified	Bass Line
Roland	TB 606	Instrument
Schoeps	BLM3	Capsules
Schoeps	BLM3	Capsules
Schoeps	CMTS501U	stereo mic
Schoeps	Collette CMC1	Microphone
Schoeps	Collette CMC1	Microphone
Schoeps	Collette CMC1	holder x2
Schoeps	DZC	PAD
Schoeps	DZC	PAD
Schoeps	MK21	Capsules
Schoeps	MK21	Capsules
Schoeps	MK21H	Capsules
Schoeps	MK21H	Capsules
Schoeps	MK4	Capsule
Schoeps	MK4	Capsules
Schoeps	MK4	Capsules
Schoeps	MK8	Capsules
Sennheiser	Popper Stopper	pop shield
sherman	filterbank	filter
Shure	SM57	Microphone
Shure	SM57	Microphone
sony	ecm 959A	microphone
Sony	ECM101SM	Microphone
Sony	ECM121	Microphone
Sony	ECM50PB	Microphone
Sony	ECM727P	microphone
Sony	ECM909	Microphone
Sony	ECM939LT	microphone
sony	MDRCD550	headphones
sony	MDRCD850	headphones
Sony	Mic	ECM95A
Sony	RMRD3	interface
Sony	Tcd-7	DAT Player
Sony	wdm6	Pro Walkman Cassette
Soundcraft	Spirit Folio	Mixer
StudioMaster	MA36	Midi Tester
Surrey Electronics	.	stereo mic amp
Tascam	DA30 DAT Machine	Tape Machine
TC Electronic	Finalizer	mastering processor
Technics	SL1210 mk2	record deck
Waldorf	mini work 4 pole	midi filter
WEM	copicat	tape echo
Zoom	9030	Digital MultiEffect

Listen to ... Gareth Jones