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synth from “blue monday” by new order | ToneDB

blue monday

new order

synth

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Tone Profile

A driving, iconic analog synth bassline characterized by its precise 16th-note sequence, punchy filter envelope, and slightly detuned oscillators, forming the track's powerful rhythmic and melodic foundation.

Signal Chain

Instrument: Moog Source (Monophonic Synthesizer)

Amp: Direct Input to Mixing Console

Processing: Powertran 1024 Sequencer (custom built by Bernard Sumner), Subtle Chorus (e.g., Boss CE-1 or similar rack unit of the era)

Other: The Moog Source was likely programmed with one or two oscillators (sawtooth or pulse waves), slightly detuned if two were used. The filter envelope (VCF) would have a fast attack and quick decay with moderate modulation to create the plucky, percussive quality. The amplifier envelope (VCA) would also be set for a tight, gated sound. The specific 16-step sequence is crucial to the sound.

Recording Notes

  • "Blue Monday" was self-produced by New Order.
  • The track was recorded at Britannia Row Studios, London.
  • Extensive use of sequencing was central to the track's composition and sound, particularly Bernard Sumner's custom-built Powertran 1024 sequencer controlling the Moog Source.
  • The Oberheim DMX drum machine provided the distinctive drum pattern.
  • The ARP Omni II was used for string pads, and an E-mu Emulator provided the choir samples, layered with the sequenced bassline.
  • The track was a significant step for the band in integrating electronic instruments and studio technology directly into their songwriting process.

Recreation Tips

  • Use a monophonic analog or virtual analog synthesizer.
  • Select a sawtooth wave, or two slightly detuned sawtooth/pulse waves for thickness.
  • Program a fast attack, short to medium decay, zero sustain, and short release on the filter envelope (VCF). Adjust filter cutoff and envelope amount to achieve the desired pluckiness.
  • Set the amplifier envelope (VCA) for a tight, percussive sound: fast attack, short decay/sustain, and quick release (gated effect).
  • Recreate the iconic 16-step melodic sequence. Pay attention to the note pitches and rhythm.
  • A low-pass filter with some resonance can help shape the tone. The original sound is quite bright but controlled.
  • Add a very subtle stereo chorus effect for width, but avoid overdoing it as the original is relatively focused.
  • Ensure the sequence is tightly synchronized to the tempo (130 BPM).

Sources