Chords for Drum processing with Depeche Mode

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Well, we're here in Berlin at the, [Cm] well, rapidly [C] filling Olympisch Stadion.
Is that pronounced correctly? _
Excellent.
[Ab] So my name is Kerry Hotwood.
I'm [Cm] the programmer with this wonderful band, Depeche Mode.
I'm [A] responsible for getting _ the record [G] from record to this point on stage so we [Eb] can play
in front of these lovely people.
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_ _ _ _ _ [G] I see it as like producing [Db] records but for live.
[F] My background is record production, [G] engineering and programming.
So this is the live [F] version for me. _
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_ _ _ _ _ [Ab] _ On previous tours [F] they've had drums [C] on tape but we just _ prefer the _ [Ab] _ excitement and dynamic
and also [D] the fact that Dave the singer, he's [G] got _ a [Ab] living person that's [Gm] driving him on
and it just helps with his performance. _
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_ [Cm] _ _ With live in this setup [Gm] we're _ just purely processing drums.
[C] This is an electronic [Cm] band as well so [C] sometimes we need a very big snare to sound like an
[Db] electronic snare because [Ab] in _ _ the studio they will have [C] used possibly real snares, a real
drum kit but put it through [E] a modular synth.
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Using _ _ _ [Ab] this it allows us that flexibility, it allows us to emulate some expensive vintage
[N] rare synth but in a _ _ controllable, _ _ repeatable, reliable way. _ _ _
It's also the great thing with using _ synths and stuff in the studio is they [Db] can be a bit
unpredictable and you can get surprising results.
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That's why Christian [C] uses it, that's why the band uses it, that's why we're using [N] it.
It was the drummer _ that we've worked with for [Abm] years who he uses [Cm] live in the studio and
the band have been [B] using live in the [G] studio, [B] all the programmers have been using live.
I've used it [E] for various other things but we all use it [B] in different ways. _
Some people are using it with [N] MIDI and manipulation, some people are manipulating audio.
We're processing, I'm sure someone uses it to make the tea.
We're taking a split of all the drums, I've got 16 inputs coming from the drum kit.
Christian's got quite an interesting [Abm] drum kit, he's got two kicks.
The main first kick is [N]
the traditional fat kick and we'll often _ _ put some filters on it
or we're _ _ not very original here, we've used kick huge warm just to sort of _ [Db] _ get the
[Abm] acoustic drum sounds [N] more electronic.
We didn't want to use samples as such, we've got a lovely sounding drum kit and we want
[A] to keep it [E] deluxe so this is why we [Eb] want to keep the dynamics of the drum kit but put on processing.
So we'll treat it as if it was a desk [N] but a desk with any plugin we want.
So we're EQing it and we're gating it [Ab] which is the normal stuff but we're also putting
[Em] filters on, another gate [Eb] to cut it down at the end and then distorting it.
[B] Also with Christian he's [E] got a second kick drum which is not tuned like the first kick
drum, it's [N] tuned very differently and that's often used specifically for effects as well.
We'll distort it and put it through reverbs [Ab] and it's a very particular sound.
[A] With the [D] Raktoms, _ _ sometimes _ [C]
you just [B] need an extra level of something _ brash [N] and harder
and so we've [G] EQ, reverb, erosion, another gate at the end just to clean it all [A] up.
It was the [G] plugins that come as standard with Live that we're able to get the good stuff
quick _ _ and _ hopefully _ _ _ [Abm]
please the fans that [E] really like electronic drums but with somebody that's
really doing it [C] with power [A] as well.
I said earlier when we're doing live [Bb] stuff you _ want things to jump out and _ _ _ [C] it's a rock show.
We've got a big _ hard hitting drummer [G] there and we want [N] hard sounds.
Dirt, we want filth _ and we get it [Gm] with this. _
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_ _ _ I [Cm] know the guys Christian and Andrew Philpot, [Db] they write with Dave Garner, [D] the singer and
I know they're using Logic [N] and Ableton in Austria and Ireland and New York and they've
all got the systems.
When I go out to Front of House we'll have another setup there _ and we'll be doing Front
of House processing as well but it'll be along the lines of this as well. _
_ The simple thing is we _ _ need to use tools that _ _ work at the end of the day because we're in,
okay this isn't necessarily _ the most hostile environment but it's not a studio and at 9
o'clock we've got to do a show so _ it's got to work.
[C] _ _ _ We can't go, hey crowd wait until [N] I fix something.
The thing is it's stood up so far, it's toured really well so far, it hasn't let us down
so far and we can switch it on every day as long as the levels coming in from the drum
kit are about the same level which it [N] has been, it works.
It's worked better than _ _ _ any other way that we've tried to do this because [F] we've tried
to do it with desks than [Em] outboard but this so far has worked far better [F] than anything. _ _ _ _ _
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