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Joy Division

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Author Topic: Joy Division  (Read 1865 times)
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« Reply #30 on: July 26, 2009, 02:57:18 am »

Hannett became most closely associated with Joy Division. Hannett's meticulous production, heavily influenced by dub, created a space at the heart of Joy Division's sound, pitting the band's spartan, jagged instrumentation against a spacey void, the latter being created by adept studio manipulation. For these purposes, Hannett often utilized looping technology to treat musical notes with an array of digital filters and both Melos analogue and digital and AMS digital delay units. Hannett would use effects from both ends of the price spectrum to get his reverb and echo effects since the AMS delay was much more expensive and complicated than the Melos analogue tape and bucket brigade devices. His techniques are especially prominent in regard to the band's drum and synth sounds, which use the echo and digital reverb effects, the notes echoing and reverberating through a spare sonic backdrop.The first synths Hannett and Sumner both used were Transcendent 2000s and then ARP Omnis. Also evident from his dub influences was the mixing of the bass (treated with a Clone Theory pedal provided by Peter Hook) and drums higher in the mix than usual, and placing the other instruments further back. The unusual effect which can be heard in the background of the track "Atmosphere" is supposedly Sumner stroking a set of chimes and fed through a microphone into a couple of Hannett's AMS delays.Hannett also liked to feed sounds through his Marshall Time Modulators,he had two of these and Strawberry Studios owned a third which he used.
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