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From: Michel Jouveaux
E-mail: jouveaux.m@pg.com

The opening of 'Clean' sounds exactly like that of Pink Floyd's 'One Of These Days' on 'Meddle'. Was that conscious / unconscious, sampled or programmed? (I've checked in the archives and couldn't see any mention of that, ;-))

I recognise the similarity but It's not a Floyd sample. It was programmed using a combination of analogue synth and sampled bass gtr.

From: Sunil Solanki
E-mail: solankis@aecc-chiropractic.ac.uk

Those interludes of music on 'Violator': I've got this sheet music book that titles them as 'Crucified' and 'Interlude Number 5' . Is this just bullshit?

No, now that you mention it, I think one was called 'Crucified'. Not sure about the others.

From: Paul Prince
E-mail: milkbar@hotmail.com

I just wanted to know if the choir pad in 'Enjoy The Silence' is the Emax preset sound "pop voices"?


From: Chris Watkins
E-mail: w_watkins@emerson.edu

Is that you whispering "the cleanest I've been" near the end of 'Clean'? Who generally did those whisper parts (for example, the "my kingdom comes" toward the end of 'I Feel You' and the stuff in 'Mercy In You' etc.)?

I can't actually remember who's voice it is on 'Clean'. Generally, whispers could have been done by Dave, Martin or myself.

From: Kev & Schtace
E-mail: kloo2@go.com

Specifically, what are the elements of the song 'Halo' that you like. This is one of my favourite DM songs. The mood/atmosphere is powerful with an excellent build-up - it reminds me of the feeling I get when I listen to the LP version of 'In Your Room'.

I like the string arrangement and the fact that we used drum loops on it - something we had hardly done before that time. It's not a bad song either.

From: Anna
E-mail: anna_pva@mtu-net.ru

Who sings 'Personal Jesus' acoustic - David or Martin?


From: Fergus
E-mail: Fergus101@aol.com

One question I've been dying to ask is just how you created the loop for 'Waiting For The Night'? Did you use an arpeggiator? How did you get the loop to change key?

Flood and I had been listening to Tangerine Dream and decided to try and create a similar atmosphere for this track. The main sequence was put together using his ARP and the sequencer that accompanies the synth. Due to its many velocity and filtering possibilities, this unit has a unique quality which is difficult to replicate using a modern-day sequencer triggered by MIDI. Once it has been set-up, in order for the sequence to be transposed to follow the chord structure of the song, I needed to play in each chord change from an external keyboard. A similar principal was applied to achieve the bubbling bass part which, together with the main sequence, forms the backbone of the track. The charm of the ARP sequencer stems from the slight tuning and timing variations that occur each time the part is played. This gives a sense of fluidity and continual change which seems to suit the song.

From: Josh
E-mail: Devotion2A@aol.com

When Martin gave you the 'Enjoy The Silence' demo, what made you figure it would be good if it was sped up? Did you slow or speed up any other songs?

Strangely, the thing that immediately came to mind was that I could hear Neil Tennant singing it in my head. Something about the line "All I ever wanted" sounded very hamster.....er.... Pet Shop to me. Most DM songs changed tempo to some degree from the original demo although none I can think of have been that extreme.

From: Rick Grossenbacher
E-mail: rick@rocketzero.com

On 'Violator', did you use any drum machines in particular or are they all samples? I've found getting hi-hats and crashes to sound good through a drum machine very difficult. I've used Boss, Alesis and others and they all sound weak, thin and well.... like a drum machine.

Are you surprised? Part of the reason drums from drum machines sound that way is because of the lack of human feel. No two snare beats sound the same when played by a drummer - I like that. That's why I prefer to use lots of drum loops with all the feel (and flaws) of the original performance. Most of the drum sounds on 'Violator' were sampled (apart from obvious electro sounds) but the rhythms were still programmed. Some hi-hat patterns ('Policy' for example) were played and sampled as loops and in the case of 'Halo' and 'Clean' it's all loops. Again, I prefer the looped parts because of the performance element.

From: Greg Madison
E-mail: gakmadison@erols.com

Which version of 'Personal Jesus' do you prefer: the single mix, which just peters out on a guitar riff or the album version which has a groovier ending? If I had to bet money and / or alcohol, I would put you down for the album version. Am I right?

Yes. I would nearly always favour the version which allows a song to breath. Most single mixes are edited down to their minimum possible length to suit radio, often squashing a song to it's absolute essential ingredients - not a bad thing some might say, but not my cup of tea......

From: Sebastian GŁnzel
E-mail: spaceman29@gmx.de

Who came up with the idea of the 15 min. long THE QUAD FINAL MIX of 'Enjoy The Silence'? Was it a production with several producers because on the Sire/Reprise 12" there are a lot of people mentioned.

I can't remember who suggested it - most likely Daniel. It was done with four separate remixers and then edited together by Gareth Jones I think. Rather over-ambitious really.

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