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Waiting For The Night: Difference between revisions

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A: 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.</blockquote>
A: 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.</blockquote>
In 2006, all of Depeche Mode's studio albums were being remastered. Engineer Kevin Vanbergen [http://www.soundonsound.com/techniques/remixing-depeche-mode-surround told Sound On Sound magazine]:
<blockquote>"'Waiting For The Night' was a particularly hard song — not hard to recreate but complicated. It has something like 15 different delays in it — there are loads of little spins on the end of lines of vocals and drums, and it is amazing. I had the recall notes from Violator, so I knew what [Depeche Mode] were using and what effects, and I had to try and piece together the recall notes with the music. Some of the effects I had to just try to do my best to recreate, by bouncing the delays and using distortion. It is actually one of the songs I enjoy the most in 5.1, but the process of recreating it was incredibly complex. I remember at times thinking "How would [Francois Kevorkian] do this? How could he possibly try to get that effect?" and it was a combination of three or four effects, certainly. I'd get the [Eventide] H3000s out and patch them across and try to use the presets that were written on the recall to see if it was anywhere close — sometimes it wasn't and sometimes it was. But even as you were finishing the mix you were thinking "Yeah, I've got everything, everything’s fine," and there'd be something else and you'd think "Aaargh, what's he doing?" and it would turn out to be another snare or kick drum reverb, or a delay on the bass line would suddenly shoot in."
</blockquote>


{{Template:Song90|Waiting For The Night}}
{{Template:Song90|Waiting For The Night}}

Revision as of 00:04, 18 April 2017

Notes

This song is sometimes erroneously titled by fans as "Waiting For The Night To Fall". According to Alan Wilder on Shunt Q&A ARCHIVES  : DEPECHE MODE  : VIOLATOR, about halfway down the page; the original title for the song was not "Waiting For The Night To Fall".

On the same Shunt Q&A Archives, a fan asks:

From: Fergus

Q: 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?

A: 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.

In 2006, all of Depeche Mode's studio albums were being remastered. Engineer Kevin Vanbergen told Sound On Sound magazine:

"'Waiting For The Night' was a particularly hard song — not hard to recreate but complicated. It has something like 15 different delays in it — there are loads of little spins on the end of lines of vocals and drums, and it is amazing. I had the recall notes from Violator, so I knew what [Depeche Mode] were using and what effects, and I had to try and piece together the recall notes with the music. Some of the effects I had to just try to do my best to recreate, by bouncing the delays and using distortion. It is actually one of the songs I enjoy the most in 5.1, but the process of recreating it was incredibly complex. I remember at times thinking "How would [Francois Kevorkian] do this? How could he possibly try to get that effect?" and it was a combination of three or four effects, certainly. I'd get the [Eventide] H3000s out and patch them across and try to use the presets that were written on the recall to see if it was anywhere close — sometimes it wasn't and sometimes it was. But even as you were finishing the mix you were thinking "Yeah, I've got everything, everything’s fine," and there'd be something else and you'd think "Aaargh, what's he doing?" and it would turn out to be another snare or kick drum reverb, or a delay on the bass line would suddenly shoot in."

Dates with available recordings of Waiting For The Night

There are currently 268 recordings of Waiting For The Night available.

Dates where Waiting For The Night was played

1990 World Violation Tour

Waiting For The Night was played 88 times during this tour.

1993 Devotional Tour

  • Waiting For The Night was not played during this tour.

1994 Exotic Tour

Waiting For The Night was played 3 times during this tour.

1997 Ultra Parties

  • Waiting For The Night was not played during this tour.

1998 The Singles Tour

  • Waiting For The Night was not played during this tour.

2001 Exciter Tour

Waiting For The Night was played 85 times during this tour.

2003 Paper Monsters Tour (Dave Gahan solo)

  • Waiting For The Night was not played during this tour.

2003 "A Night With Martin L. Gore" (Martin L. Gore solo)

  • Waiting For The Night was not played during this tour.

2005-2006 Touring The Angel

  • Waiting For The Night was not played during this tour.

2009-2010 Tour Of The Universe

Waiting For The Night was played 43 times during this tour.

2013-2014 Delta Machine Tour

  • Waiting For The Night was not played during this tour.

2017-2018 Global Spirit Tour

  • Waiting For The Night was not played during this tour.
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