new order kit

gistfile1.txt

http://www.stylusmagazine.com/articles/weekly_article/constructing-manchester.htm
"Or even New Order’s “Blue Monday,” a song that owes much to Kilburn and Williams’ development—a pulsing, breathing pop classic fashioned primarily from cold, artificial parts: a vocoder, an Oberheim DMX drum machine, a Moog Source synthesizer, and a homemade Powertran sequencer"


http://www.electricity-club.co.uk/html/int_morris.html
Everyone talks about Everything's Gone Green being a sequencer number but it wasn't really?
No, with Everything's Gone Green, you had a Moog Source doing a 1/16th pulse and the Quadra doing the "da-dah, da-da-dah". Then what you'd do is take the 'CV' out of the Quadra and take that into the Moog so that the Moog is playing a different rhythm but following the pitch of the other thing. That's what we used for Temptation as well.
STEPHEN MORRIS Photo by Glenn A Baker
So the track that eventually became Video 586 was your turning point into actually using a sequencer?
That's right, Bernard and Martin Usher built a Powertran 1024 Sequencer. The Powertran Transcendent 2000 was the first JOY DIVISION synth; fantastic kit synth, there's a guy in Australia started doing a rack mount of them but he's never finished it. I'd love to get one of them, I keep checking on his website... it's Chris Hugget, the guy who went on and did EDP who made Wasps and had some vague EMS connection in the dawn of cheap British synthesizers!
Have you ever seen the sequencer? You've got two rows of knobs which have got numbers on which come up in a numeric display. You used the knobs to put in the start/stop addresses and they're all in kind of decimal. And then you've this LED thermometer-like display which I eventually worked out was actually showing what the pitch was but in hexadecimal... we used to have these stoned conversations about what hexadecimal meant!! The thing was you had to be very precise about what you put in the start/stop addresses because if you got it wrong, you got a completely different tune! And we got a few tunes that way! *laughs*
It was absolute murder to use live, you couldn't see! It was like cracking a safe! God knows how Gillian and Bernard did it but it was clocked off the Master Rhythm. We went through a few synths; there was the Powertran, we used a Pro-One for a bit and then later got the Moog Source which was the Blue Monday bass.


http://www.soundonsound.com/sos/apr04/articles/rogerlyons.htm
The first problem Roger encountered with 'Blue Monday' was finding the original recording. "For all the old New Order stuff I went back to the original multitracks, but for some reason, there was no multitrack for 'Blue Monday' in the vaults of London Records!" explains Roger. "After a bit of detective work, I found out that Quincy Jones still had a Sony 48-track digital reel of 'Blue Monday' from when he'd copied all the parts for a remix in '88. He'd just bounced the 24 analogue tracks onto his 48-tracker so that he could put his bits on the remaining 24 tracks, so I got a copy of that."
Obtaining the original 'Blue Monday' tracks was a big step, as it meant that Roger could potentially sample any single element of the track for live use. The band thus had a choice as to what parts they wished to play live. Nevertheless, much depended on whether the current live equipment was capable of reproducing the sounds of the original record. "I knew roughly what they had used on the original track from chatting to Bernard about gear and stuff," says Roger. "The bass line was a Moog Source sequenced with a Powertran home-made sequencer that Bernard had built himself. Obviously the sound had gone from his Moog Source's memory a long time ago when the battery ran out, so that part I took off the multitrack. These days, New Order use Akai DR16 hard disk recorders for all the accompanying bits, so it made sense to put the samples onto those.
"The vocal choir part on 'Blue Monday' was sampled, and it was probably one of the first instances of someone sampling something from someone else's record. New Order originally used an Emulator II to play their samples live, but a lot of the time the Emulators wouldn't load up so the roadie would have to hit one of the legs with a hammer to start it working again — it was that kind of technology! So Steve had that part loaded up into his Kurzweil K2500.
"There's a vocoder track of Bernard's vocal which appears in a few places on the original, and acts a bit like a double-track. We were trying to keep it as simple and close to the original as possible, so for that bit we also used the original parts instead of running a vocoder live. Bernard always sings his part in the right place, so it was easy enough to run the vocoder part as a sort of backing vocal for him to sing over."



http://www.gq-magazine.co.uk/entertainment/articles/2012-02/28/bernard-sumner-interview-2012-new-order


https://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/328675-joy-division-atmosphere.html?langid=3
Joy Division Synthesizers.
ARP Omni 2
ARP Solina String Ensemble
Powertran Transcendent 2000
ETI
Melodian (?)
effects: Melos echo; MXR 10-band graphic equalizer; chorus flanger; Altair PW-5 power attenuator.
They most certainly did use a Solina..... In fact I saw a pic in a magazine a few years ago that shows the Solina on stage with them.

The Transcendent 2000 was built by Bernard himself. He also built the sequencer.


http://machines.hyperreal.org/gearlists/new.order
Stephen: As New Order, the first thing we had was a home-made Transcendent
         2000 and a Transcendent sequencer on which we managed to triple 
         the memory by piggy-backing some RAM. That was 1979, before MIDI
         was invented. The first drum machine we had was a Boss Dr. Rhythm.
         It was all plugging little mini jacks into mini jacks. It was all
         CV and gate.