Depeche Mode 'Any Second Now' Sound

Discussion in 'how to make "that" sound' started by au38wzh, Jun 20, 2025 at 3:31 PM.

  1. au38wzh

    au38wzh Platinum Record

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    Hi, I wonder how this sound is made..

    Starts @1:26


    Recoil (Alan Wilder) also used it on his first solo album. But he probably sampled it?
    Starts almost at the beginning.
     
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  3. genlab

    genlab Ultrasonic

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    The album was recorded 1980 so not much technical available....my guess Velocity to filter sequence.....simple Analog OSc with added Noise

    Can be Arp 2600
     
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  4. David Brock

    David Brock Platinum Record

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    EDIT. Sorry. I pointed towards the Depeche Tribute for Arturia ARP2600 but realised that was not the sound you were looking for. I hadn't realised this was a different mix of Any Second Now.
     
    Last edited: Jun 20, 2025 at 5:30 PM
  5. au38wzh

    au38wzh Platinum Record

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    Was it a sequence (programmed with the sequencer) or played note by note? It's kind of fast. So if played note by note it could be recorded and then speeded up? Oh my.. I've once met Daniel Miller. Should have asked him..:facepalm: Also Alan, but he probably just sampled it ;)
     
  6. reziduchamp

    reziduchamp Platinum Record

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    My instinct was 2600, as genlab wrote. Miller was using that on a lot of their early stuff. Sounds like they were lowering the filter on the fly. Does sound a bit like the Arp filter, but if it was sampled its likely the E-Mu range, Emulator or Emax... It sounds very tight, so I reckon more likely a sample. Playing tight like that, whilst filtering seems a bit of an ask... To me the repeats also sound too consistent to be played real time, so I'd lean towards sampling the Arp2600 then filtering in E-Mu...

    Try the E-Mu Emulator from the Witches and see how its filter sounds.
     
  7. genlab

    genlab Ultrasonic

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    Alan sampled it 1986 with recoil....no Emu sampler was available 1980....
    Try it with the ARP sequencer pretty sure you can get it with it ...send it to the filter not to the notes

    It's just simple 16 note sequence with short gate...the filter makes the sound
     
    Last edited: Jun 21, 2025 at 2:13 PM
  8. reziduchamp

    reziduchamp Platinum Record

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    I misread that this remix was made later. Don't think I ever listened to this version, its the 'Voices' one that I know.

    In that case, something that can arpeggiate with precision and consistency seems likely to be controlling the arp of the Arp2600 as you said. Mute the 3 VCOs in the Filter section and feed the arp into it. Been a while since I used these, but I'm assuming you'll add an env and decay (2 faders to the right of the noise fader) to shape the low pass. Shape the decay and zero out the ASR. Sharp resonance as well...

    Really interesting sound... I might have a go at making one later...
     
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  9. au38wzh

    au38wzh Platinum Record

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    This would be amazing!
    I think I can‘t do it, as I‘m not at all experienced in synth programming..
     
  10. PulseWave

    PulseWave Platinum Record

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    The sound in Depeche Mode's "Any Second Now" (from Speak & Spell, 1981), particularly the distinctive elements starting around 1:26 as mentioned in an online discussion, is characteristic of the band's early synth-pop era. Since I don't have direct access to the audio to analyze the exact sound at that timestamp, I'll base my response on the song's general production techniques, the context of Depeche Mode's early work, and the discussion from the AudioSEX forum you referenced. Here's a breakdown of how the sound was likely created, focusing on the techniques and gear typical of the period:

    1. Synthesizers and Analog Synths:
      • Speak & Spell was heavily reliant on analog synthesizers, primarily Daniel Miller’s ARP 2600 and ARP Sequencer, as noted in discussions about Depeche Mode's early albums. The sound at 1:26 could be a layered synth patch, possibly from the ARP 2600, which was known for its versatile oscillators and filters capable of producing warm, evolving textures or sharp, melodic tones.
      • The song’s minimalistic, melodic nature (noted in Reddit discussions as melody-driven rather than riff-driven) suggests a simple waveform, like a sawtooth or square wave, modulated with a low-pass filter to create a soft, atmospheric pad or lead sound. Vince Clarke, the primary songwriter, was influenced by Orchestral Manoeuvres in the Dark (OMD), particularly their track "Almost," which used similar analog synth techniques.
    2. Sampling and Found Sounds:
      • Depeche Mode began experimenting with sampling during Speak & Spell, though it became more prominent in later albums like Construction Time Again. The sound at 1:26 might incorporate early sampling techniques, possibly using the Emulator I (an early digital sampler available around 1981). As described in Sound on Sound for later tracks like "People Are People," Depeche Mode used "found sounds" (e.g., environmental noises or manipulated audio snippets) to create rhythmic or textural elements. If the sound has a percussive or textured quality, it could be a manipulated sample layered with synths, a technique the band pioneered in their early work.
    3. Layering and Production Techniques:
      • The production of Speak & Spell involved layering sounds one at a time due to the limitations of analog equipment, as explained by producer Gareth Jones in Sound on Sound. This layering could involve stacking a bass synth line, a melodic lead, and a subtle sampled or synthesized texture to create the distinctive sound. The lo-fi quality of the demos (recorded on four-track) suggests that some elements might retain a raw, slightly gritty character, which could contribute to the sound’s unique texture at 1:26.
      • The song’s instrumental version ("Any Second Now") and vocal version ("Any Second Now (Voices)") both feature Martin Gore’s vocals and minimalistic arrangements, indicating that the sound might be a combination of a synth lead and subtle effects like reverb or delay to enhance its atmospheric quality.
    4. Alan Wilder’s Influence and Recoil Connection:
      • The AudioSEX post mentions Alan Wilder potentially sampling the sound for his Recoil project. While Wilder joined Depeche Mode after Speak & Spell’s recording (he contributed to later albums like Construction Time Again), it’s plausible he reused or recreated a similar sound from the band’s early catalog for his solo work. If the sound was sampled, it likely originated from the Emulator I or II, which Wilder used extensively for its unique digital texture. The Emulator II, in particular, was favored for its crunchy, lo-fi sampling quality, which could match the textured sound described.
    5. Specific Techniques for the Sound:
      • If the sound at 1:26 is a rhythmic or pulsating element, it could be a sequenced synth line using an ARP Sequencer or a basic step sequencer, common in early Depeche Mode tracks. The sequence might involve a single oscillator with slight detuning or pulse-width modulation (PWM) to add movement.
      • If it’s a melodic or atmospheric sound, it’s likely a filtered sawtooth or square wave from the ARP 2600, with an envelope controlling the filter cutoff to create a sweeping effect. Early Depeche Mode tracks often used minimal effects, but a touch of reverb or delay (from studio gear like the Lexicon 224) could enhance the sound’s depth.
      • If the sound has a percussive or industrial edge, it might be an early experiment with sampling everyday objects (e.g., metal clangs or mechanical noises), a technique Depeche Mode fully embraced by Construction Time Again but could have been in nascent form here.
    6. Vince Clarke’s Songwriting Approach:
      • As noted in Reddit discussions, "Any Second Now" reflects Vince Clarke’s melody-driven songwriting, inspired by OMD. The sound at 1:26 is likely a melodic hook or counter-melody designed to complement Martin Gore’s vocals. Clarke’s use of simple, catchy synth lines would suggest a straightforward patch, possibly with slight modulation (e.g., LFO on pitch or filter) to give it a dynamic feel.
    How to Recreate the Sound:
    To emulate the sound in a modern DAW:

    • Synth Choice: Use a soft synth like Arturia’s ARP 2600 V or U-he Diva (set to emulate an ARP 2600). Start with a sawtooth or square wave, apply a low-pass filter with moderate resonance, and use an envelope to modulate the filter cutoff for a sweeping effect.
    • Sequencing: If the sound is rhythmic, use a 16-step sequencer (e.g., Logic’s Step Sequencer or a plugin like Xfer’s Cthulhu) to create a simple, cycling pattern. Set the tempo to around 100–130 BPM, typical of early Depeche Mode tracks.
    • Sampling: If it’s a textured or percussive sound, record a short environmental sound (e.g., a tap on a metal object) and process it through a sampler like Kontakt or Ableton’s Simpler. Pitch it down or add distortion for a lo-fi vibe.
    • Effects: Add subtle reverb (e.g., Valhalla VintageVerb) and a short delay to mimic 1980s studio effects. For an authentic early ’80s feel, keep effects minimal to avoid clashing with the song’s clean production.
    • Mixing: Depeche Mode’s early mixes were minimalistic, with each sound occupying a clear space. Ensure the sound sits well with the bass and vocals by carving out EQ space (e.g., cut low mids around 200–400 Hz if it’s a lead sound).
    Limitations and Speculation:
    Without hearing the exact sound at 1:26, I’m relying on general knowledge of Depeche Mode’s production techniques and the AudioSEX discussion. The sound could be a synth lead, a sampled texture, or a combination, but it’s rooted in the band’s early use of analog synths and minimal sampling. If you can describe the sound further (e.g., is it a melody, rhythm, or ambient texture?), I can refine the answer.

    If you’d like, I can search for additional sources or analyze specific gear used in Speak & Spell to narrow it down further. Let me know!

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    25 Websites
     
  11. genlab

    genlab Ultrasonic

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    Bla Ki The only Sampler available was the Fairlight at these time at 1980 ...and when you know the history of DM you know they beginning Sampling at Construction Album at 83....but really I like these Ki %reads

    But no offence to you my opinion is this whole Ki Shit makes the people dump and Dumper...
     
  12. reziduchamp

    reziduchamp Platinum Record

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    Yep. They went round the construction sites sampling noises and got chased off, shouted at etc in 1983. I have a feeling it was near Brick Lane where I later used to live.

    And yeah, you've got no chance of AI understanding what that sound is... It might be able to help routing the Arp if you are competent enough to explain what you're aiming for. I have a feeling I might need a bit of help remembering how to route the arp into the Noise Filter, I've only used it briefly. That will be interesting...

    I'll have a go after I've had a shower... [Edit: Cherry Audio Witches version of the Arp2600 - I can't put up with Arturia's lag]
     
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  13. genlab

    genlab Ultrasonic

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    Try the Korg one it comes very closely...even I think you cAn emulate this sound with Korg Odyssey and it's modulate Sequencer
     
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  14. PulseWave

    PulseWave Platinum Record

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    Arturia - _Depeche Wave Tribute ----> www.arturia.com/store/de/depeche_wave_tribute

    Style-defining Depeche Mode synthesizers?

    Surprisingly, the style was shaped by relatively inexpensive and simple synthesizers such as the Moog Source and Prodigy, of course the ARP2600 (three of which Martin owned alone), and the Roland Jupiter-4. After Vince Clarke's departure, however, these were replaced by more expensive synthesizers such as the Roland Jupiter-8 and PPG Wave.

    The early use of the Yamaha DX7 and samplers helped the band progress. The choice of samples, some of which apparently came from the Neubauten tapes also recorded at Hansa Studios, also played a role in the new aesthetic. This replaced the slightly naive synthpop sound at the time and led it to harder sounds, thus forming a gateway to EBM and techno.

    The Secret Truth

    Depeche Mode have used almost all common synthesizers at some point. You can see everything in studio photos, from the Oberheim Matrix 12 to the EMS VCS3 to the LL Electronics Rozzbox, if you watch enough real studio videos. Sampling played a role very early on, so that with the E-mu Emulator I and early samplers, corresponding sounds already appear in “Pipeline”, “And Then” and other songs.
     
  15. reziduchamp

    reziduchamp Platinum Record

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    Great suggestion thanks... I'll have a bash on that...
     
  16. reziduchamp

    reziduchamp Platinum Record

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    Let me know if you want the Korg Arp2600 preset. I'll have to figure out how to save those. I just saved the Ableton file with it inside.

    Its not easy emulating this unless you know the Arp inside out, which I don't. It took a fair bit of experimenting... I suspect that's exactly how they built this sound, messing about plugging stuff here and there with a vague idea of an effect they wanted possibly.

    I don't think it can be done with the Odyssey. What makes this sound tick is in the sequencer and how it affects the filter. You'd need to plug some modular stuff into the Odyssey to get the filters moving properly. There's a few mechanics needed to make the movement and I've got it about as close as I can.

    https://drive.google.com/drive/folders/1seslrnAd_MQx5tYfM-yaYQ3pJciY2ubB?usp=drive_link
     
  17. au38wzh

    au38wzh Platinum Record

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    WOW, just WOW!! I'm impressed! Respect, that's awesome! :cool:
    And yes please, it would be great if you could share the Korg ARP2600 preset :crazy:

    Edit: I'm listening to your audio file in repeat mode while having a big smile on my face
     
    Last edited: Jun 21, 2025 at 8:02 PM
  18. Axvap

    Axvap Kapellmeister

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    [​IMG]
    You can do that in most synths nowadays. You need Noize and Sine OSC,

    1 you sequence volume (or filter)
    2 use LFO (or ADSR) to pitch down the sine OSC while changing the colour of Noize (filter the noize)
    3 use an opening highpass filter as on the picture (can add a bit of resonance)
    4 as Noize gets filtered the volume of falling sine increases (Amp1 on the picture)

     
    Last edited: Jun 21, 2025 at 8:55 PM
  19. reziduchamp

    reziduchamp Platinum Record

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    Awesome... I've struggled finding where Korg saves these presets. AI thinks they're fxp but the preset doesn't show up in a search at all. In the end I hit export performance and crashed Ableton, it froze, so I don't know if this preset will work, but the Ableton file should, so I've uploaded both.

    Inside the Ableton folder you should find the Arp2600 preset, or open the Ableton file with v11.20 I think. I'm using quite an old version. It has the mono and stereo versions in there. If you want mono from the preset pull the wires plugged into left and right in the top right corner.

    This synth is quite special if you play around with it. Although you can get similar results in different ways, the sound design is different. Its nothing like subtractive.
     
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