daft punk alive 2007 equipment

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• Pitchfork Radio

By Ryan Dombal

November 20, 2007

The blitzing “Pimp My Pyramid” scheme. The pulsing honeycomb. The tiny metal heads bobbing up and down. The Lite-Brite leather jacket reveal. The dude in front of me who wouldn’t let a pair of crutches stop him from dancing as if the apocalypse were mere minutes away. The sensual explosion that was Daft Punk ’s Alive 2007 show is difficult to overstate—or reproduce. Even with the biggest, flattest, sharpest HD setup, there's no way to sufficiently recreate the most exuberant LED-laden music blowout ever staged. So Daft Punk didn’t even try: There will be no Alive 2007 DVD.

Commenting on the decision, Daft Punk’s Thomas Bangalter recently told Pitchfork, “The thousands of clips on the internet are better to us than any DVD that could have been released.” And, in many ways, the Alive tour is a perfect match for YouTube—the ancient Egypt by-way-of “The Jetsons” spectacle barrelling its way through shitty compression quality with blinding force. But still, even the most hectic web clip can’t equal the French duo’s visceral sound-and-vision assault, so the focus of Alive 2007 falls on the reason why Daft Punk were allowed to lug 11 tons of equipment around the world for the last 19 months in the first place: their music. Playing like a flawlessly sequenced and paced greatest hits album, this full-set Paris recording from June finds Bangalter and Guy-Manuel de Homem-Christo connecting the booms among their three albums while officially cementing one of the year’s most rewarding and welcomed comebacks.

Lest we forget, before the out-of-nowhere debut of the now-iconic 3D triangle in April 2006, it seemed like Daft Punk lost the plot. The monster riffage and mind-numbing gloom of 2005’s Human After All had our favorite party-starters turning downright nihilistic. And early screenings of their art-house opus, Electroma , evoked (unfortunately accurate) comparisons to Vincent Gallo’s on-the-road/oral sex epic Brown Bunny (except with endless scenes of hunk-o-metal ennui filling in for the graphic oral sex). After the shattering pop breakthrough of 2001’s Discovery , Daft Punk were going through an especially angsty adolescence—their spit-shined heads way up their own asses. But then, amped-up with enough electricity to illuminate a black hole, French house’s masked men upstaged Madonna , previous electronic pioneers Depeche Mode , and (ironically) Kanye West at 2006’s Coachella. And now, they’re everywhere (except Gap ads, thankfully)—getting sampled on No. 1 hip-hop songs, filling magazine spreads, spawning worthy would-be successors and, of course, owning the internet (on Flickr, Daft Punk photos currently outnumber Justin Timberlake snaps 2:1). With a bounty of latent good will on their side thanks to the incredible re-playability of their first two albums, Daft Punk finally gave fans a million flashing reasons to fall in love with them all over again.

One of the most remarkable aspects of Alive 2007 is how well it recontextualizes career nadir Human After All , turning previously leaden songs into ebullient rock’n’roll manifestos; injected with Homework ’s air-tight Moroder -style anthems or Discovery ’s flamboyant funk, Human After All tracks are constantly improved and born anew. The live set doesn’t simply run through the hits, mindlessly segueing from one smash to another. Instead, well-worn favorites are glued together, cut-up and mashed into pieces. The titular refrains of “Television Rules the Nation” and “Around the World” combine to form the globe’s most dance-friendly TV station theme song before the Black Sabbath crunch of “Television” is sent down upon the impossibly buoyant “Crescendolls,” resulting in the disc’s most unlikely-yet-spectacular roller coaster peak. Meanwhile, the creepy hiss of “Steam Machine” is atomized and given space-age dynamics, turning it from a oddball bore into a fist-pumping celebration of the industrial age. Wisely, the duo also know when to let the bass be, allowing large portions of unfuckwithable classics like “Da Funk” and “Burnin’” to work their magic with little robo-meddling. Even without video, Alive 2007 is an exercise in exacting excess, from the blaring “Robot Rock” intro to a wide-eyed power-booster of a encore that layers “One More Time" atop “ Music Sounds Better With You ”—a combination so “holy shit” ecstatic it would seem downright cocky if it wasn’t so blissful.

Talking about the relationship between artist and audience, Bangalter told Paper , “Robots don’t make people feel like there’s an idol on stage. It’s more like a rave party where the DJ isn’t important. We are two robots in this pyramid with this light show, but everything is [meant] for you to have fun and enjoy yourself.” He’s absolutely right about the “have fun and enjoy yourself” bit, but the Alive tour separated itself from the millions of DJ parties before it by drawing attention to a fixed point while incorporating everything from Kiss -esque pomp to Space Invaders retro-future shock. The results were massive—the myriad “best show ever” kudos deserved. And, just as they hold back their identities at every chance, it makes sense for Daft Punk to hold back the Alive visuals; when more and more mystery is constantly being sucked out of popular music thanks to the insatiable hunger for fresh product and up-to-the-nanosecond information, the duo aren’t about to release an imagination-stifling DVD filled with behind-the-scenes tour bus inanity. It’s a noble choice, especially when the consolation prize happens to be the Ultimate Daft Punk Mixtape.

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Studio Equipment 56

Software plugins and vsts 4, headphones 3, keyboards and synthesizers 19, microphones 11, studio monitors 1, modular synthesizers 3, effects pedals 10, amplifiers 2, bass guitars 3, drum sets 1, live setup accessories 2.

Alesis 3630 Dual-Channel Compressor/Limiter with Gate

Effects Processors

From a 2001 interview with Daft Punk: "We have a really small compressor, the Alesis 3630, which is $300. That's the main one we used on Homework and Discovery. The one we used the most is one of the cheapest ones on the market."

Submitted almost 10 years ago

Roland Juno-106

Synthesizers

Daft Punk "...brought their own synths into the studio, with a modular synth and things like an Oberheim OB8 and a Juno 106 and quite a few old polyphonic analogue synths."

Ibanez FC10 Fat Cat Distortion

Distortion Effects Pedals

in this picture you can see the fc10 in front of the juno 106

Submitted about 6 years ago

Mutronics Mutator

Per the official Mutronics website, Daft Punk are listed as Mutator customers. Good of Mutronics to keep the page alive despite the Mutator being discontinued in 2007.

Submitted over 2 years ago

Moog Minimoog Voyager Rack Mount Edition

Several Moog Voyagers can be seen in photos of Daft Punk's pyramid, i.e. their live gear setup.

E-mu SP-1200

Production & Groove

In this 2001 interview with Daft Punk about Discovery, they list some of their preferred samplers; the 1200 is listed.

Submitted almost 8 years ago

Roland S-760

Audio Samplers

In this 2001 interview with Daft Punk about Discovery, they list some of their preferred samplers, the Roland S-760 being on the list.

Ableton Live

DAW Software

In a two-page spread image pulled from Mixmag, Thomas Bangalter says about Daft Punk live shows, "The show revolves around Ableton Live software on custom made super-compute...

Roland TR-909 Rhythm Composer

Drum Machines

At 7:26, in this performance video by Daft Punk, one can see the TR-909.

Submitted over 8 years ago

Roland TR-808 Rhythm Composer

In this 2001 interview with Daft Punk about Discovery, their main synths are listed. The 808 and its cousin the 909 are both mentioned.

DigiTech X-Series Bass Synth Wah

Bass Effects Pedals

This isn't proof, but uncanny resemblance. Multiple sources claim Daft Punk used the Digitech Bass Synth Wah the entirety of the album Human After All.

Submitted over 6 years ago

Boss MT-2 Metal Zone

In this article on a Daft Punk fan site, it says that the duo used a Boss MT-2 Guitar Pedal with a Juno 106 synth to create the sounds heard on their song "Rollin' And Scratchin'"

Roland TB-303

This thread contains an old article from technorama that explains all the gear Daft Punk's old live setup, including the TB-303.

Ableton Operator FM Synthesizer Plugin

Synth Plugins

During an interview, Thomas Bangalter mentions his fondness for Ableton's Operator synth:

While Daft Punk record analog synths for thick melodies and lead lines, they're also fans of Ableton's built-in synthesizer. "Operator is one of the best soft synths out there, and I hate soft synths...

Submitted about 8 years ago

Linn Electronics LinnDrum

Daft Punk has a LinnDrum in this image of one of their performances from the 90s.

Submitted almost 7 years ago

Mackie CR-1604

this japanese interview shows daft punks equipment used to record homework

Submitted over 4 years ago

Studio Electronics Midimoog

Sound Modules

Per this photo dated 23rd of September 1995 and a ...

Roland SVC-350 Vocoder

Used on Discovery , as stated in this May 1, 2001 Remix interview.

You use vocoders and phase shifters on many of your tracks. Bangalter: People always ask us what vocoder we use, but every one of our vocal tracks uses a different vo...

Spectrasonics Omnisphere 2.8

According to the spectrasonics website, Daft Punk is known to use Spectrasonics products including Omnisphere.

Submitted over 5 years ago

Ensoniq DP/4+

Oberheim DMX

You've also broken away from the standard house music instrumentation. For example, you used Oberheim and Linn drum machines on several songs instead of the usual 808 and 909. ...

Linn Electronics Linn 9000

Per this March 2001 interview with Keyboards Magazine (FR) , Daft Punk employed a Linn 9000 during the recording of Discovery .

Valley People Dyna-mite 440

In this enlarged photo from a French music publication you can see the familiar black and silver cosmetic and distinctive font of a Valley People Dyna-mite on the piece of gear 2nd from bottom below the Composer. Full CODA magazine page here: ...

Avid Pro Tools

Daft Punk use Pro Tools to record ideas and demos, which they then take into the studio to record properly. Pro Tools was used during all stages of recording the tracks for Random Access Memories.

Alesis Microverb III

A Microverb III can clearly be seen in this photo of Daft Punk's late-90s live rig - courtesy CODA magzine. Note: the article cites this as a Microverb II, which was half-rack size, but the photo in question clearly shows a rack-sized Microverb III.

Sequential Circuits Prophet-5

Daft Punk's Thomas and Guy-Manuel used the Prophet-5 in early recording sessions for Random Access Memories.

Teletronix LA-2A Leveling Amplifier

Daft Punk record bass guitar via a Neve 1081 and Teletronix LA-2A. The LA-2A was also used to record a couple of vocalists, and during the mixing process it was used for parallel compression on the kick and snare.

Yamaha CS-80

"Thomas and Guy-Man had a bunch of keyboards during these early [recording] sessions, like the [Sequential Circuits] Prophet 5, [Roland] Jupiter 6, Juno 106, Yamaha CS80."

Roland Jupiter-6

Daft Punk use the Jupiter-6 synth in recording sessions.

Neve 88R Mixing Console

Some of the recording of Daft Punk's Random Access Memories took place in Studio C of Conway Recording Studios, which contains a Neve 88R desk, "...which is Mad Labs modified and has 24 remote Neve mic pres, consisting of 12 1081s and 12 Air customs."

This is a community-built gear list for Daft Punk.

• Find relevant music gear like studio equipment, software, headphones, DAW & software, plugins, and other instruments and add it to Daft Punk .
• The best places to look for gear usage are typically on the artist's social media, YouTube, live performance images , and interviews.
• To receive email updates when Daft Punk is seen with new gear follow the artist .

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By Rob Sheffield

Rob Sheffield

A Daft Punk live album loses some of the essential experience: the robot costumes, the giant glowing pyramid, the sweaty bodies next to you. And the drugs, definitely the drugs. But the whoops of the human-after-all audience add plenty to the French filter-disco duo's surprisingly consistent career-spanning show. The set leans too heavy on their proggy recent work, but it's still basically a celestial rave tribute to Chic's Nile Rodgers and Bernard Edwards, cut with classic Eurodisco and Roxy Music. "One More Time" still sounds unbearably pompous, proof that robots should never get sincere. But the knockout punch is the final medley of "Superheroes," "Human After All" and "Rock 'N' Roll," as Thomas Bangalter and Guy Manuel de Homem-Christo shoot a Barry Manilow sample over the crowd like they're sprinkling holy water. This is the first-rate live album that Electric Light Orchestra should have made but never did.

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• Live albums

Alive 2007 (album)

• View history

Alive 2007 is a live album released by Daft Punk in 2007. It features live songs from their performance at Bercy in Paris , France, on their Alive 2007 tour.

The album won the Grammy Award for Best Electronic/Dance Album in 2009. A live version of " Harder, Better, Faster, Stronger ", containing elements of "Television Rules the Nation / Crescendolls" and "Around the World / Harder Better Faster Stronger", also won a Grammy that year for Best Electronic/Dance Recording.

The physical release in North America was delayed to December 4 due to production issues, but the album became available as a digital download on November 20, 2007. A special edition of the album was released that includes the encore from the Alive 2007 tour on a second disc, which is included on the digital copy as well. It also includes a 50-page book containing photographs from the tour taken by DJ Falcon.

• 1 Structure
• 2 Reception
• 3 Track listing
• 4 References

Structure [ ]

The Alive 2007 set used Ableton Live software on "custom made super-computers" for the show. Daft Punk accessed the hardware remotely with Behringer BCR2000 MIDI controllers and JazzMutant Lemur touchscreen pads within the central pyramid. Minimoog Voyager RME units were also implemented for the live performances. The four Voyager units and two Behringer mixers allowed Daft Punk to "mix, shuffle, trigger loops, filter, distort samples, EQ in and out, transpose or destroy and deconstruct synth lines". The majority of the equipment was stored away during the live sets within offstage towers.

The recording of Alive 2007 was derived from Daft Punk's live performance at their Bercy show on June 14, 2007. Reviews of the set noted how Daft Punk manipulated and reworked their established material. One report spotted vocal elements from the song " Too Long " mixed with newly-generated accompaniment. The overlapped mixtures of " Television Rules the Nation " with " Crescendolls ", " Around the World " with " Harder, Better, Faster, Stronger " and " Superheroes " with " Human After All " were reported to be well received by the audience. The set itself was considered a collection of Daft Punk's most popular recordings. The performances heavily featured tracks from Daft Punk's album Human After All , prompting critics to reconsider what they felt about the album.

The visuals of the 2006 and Alive 2007 tour were set up by XL Video. The company provided eight-core Mac Pro units running Catalyst v4 and Final Cut Pro. Daft Punk approached the company with their visual concept for the shows. "They came to us with a pretty fixed idea of what they wanted", said the head of XL Video, Richard Burford. "They wanted to mix live video with effects. Using the eight-core Mac Pros, we were able to take in eight digital sources and treat them as video streams. Then they could use Catalyst to coordinate the video with lighting effects and add their own effects in on the fly. The final digital video streams ran to LED screens."

The performances for the Alive 2007 tour were an expansion of Daft Punk's 2006 live sets. Noted additions include elements of the tracks " Burnin' " and " Phoenix " as well as an encore. Bangalter explained that the 2006 sets were initially designed for performances within larger festivals, but later refined to accommodate Daft Punk-specific shows. "The goal was to try and bring a complete global experience to the audience". The introduction for the live show featured the five-note sequence used in the movie "Close Encounters of the Third Kind".

The album includes elements of the Busta Rhymes song " Touch It ", the original version of which was produced by Swizz Beatz featuring a sample of " Technologic ". Also featured are elements of Gabrielle's " Forget About the World ", the original version of which was remixed by Daft Punk for her single. The encore of the Alive 2007 set features Bangalter's side projects: Stardust 's " Music Sounds Better with You " and Together 's self-titled track " Together ". Many songs from Human After All: Remixes are utilized, like Robot Rock (Maximum Overdrive Mix) and The Prime Time of Your Life (Para One Remix) .

Reception [ ]

Alive 2007 was generally met with praise upon release. Pitchfork Media regarded the recording as "the Ultimate Daft Punk Mixtape", specifically noting how songs from the album Human After All had been "constantly improved and born anew" for the live set. The sentiment was also shared by Allmusic, stating that "It has the feel of a greatest-hits-live concert, but energized by Daft Punk's talents at weaving songs in and out of each other". The publication ultimately considered Alive 1997 the stronger of their two live albums, however. A review by The Star noted that the release and Daft Punk's concurrent tours cumulatively restored the duo's reputation following the mixed reception of their two earlier studio albums.

Sputnikmusic stated that the Alive 2007 performance was closer to a theatrical production than a traditional concert, and that the album "could just as easily be a studio concoction". Entertainment Weekly, however, felt that the live crowd enhanced the positive mood of the performance. Rolling Stone stated that Alive 2007 "loses some of the essential experience" of attending the live Daft Punk events. The Phoenix also felt that the album package would have benefited from more video content, expressing that a key factor of the live show was its implementation of visual elements. In his first positive review for a Daft Punk album, Robert Christgau believed that a full video representation was avoided because "too much scale, flesh and bodily effluvia would be lost". Thomas Bangalter expressed his reasons for not releasing a DVD by stating "the thousands of clips on the internet are better to us than any DVD that could have been released".

On December 3, 2008, Alive 2007 and its single "Harder, Better, Faster, Stronger" received Grammy Award nominations for Best Electronic/Dance Album and Best Dance Recording, respectively. Both the album and the single were announced as winners during the 51st Grammy Awards pre-telecast ceremony.

Track listing

References [ ].

• ↑ Daft Punk YouTube Channel . YouTube.com. Retrieved 6 September 2007 .
• 1 Veridis Quo
• 2 Interstella 5555: The 5tory of the 5ecret 5tar 5ystem
• 3 Guy-Manuel de Homem-Christo

Daft Punk - Alive 2007

The french duo resuscitates the idea of electronic music as live entertainment..

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Alive 2007 (reissue)

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'Alive 2007' is known as one of the most influential live albums ever, and this new reissue via Daft Punk's parent label Daft Life cements that influence. Performed at the French venue Bercy, we feel much harder, better, faster and stronger as we listen eagerly to the the pair's signature talkboxes, samples and hooks, this time drenched in crowd jeers and natural reverb. In this instance, Daft Punk manipulated their established material, transposing and deconstructing the structures of their studio tracks and paving the way for the future of live electronic music performance.

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Alive 2007 Review

by John Bush

Timed to perfection, Daft Punk's second live album landed exactly ten years after the first, and provides a fitting complement to Alive 1997 , easily the best live non-DJ electronica record ever released. While the original featured only a handful of tracks (but found them transformed and tweaked ad infinitum), Alive 2007 is packed with productions, most of them short and many of them getting a big crowd response (all recorded at one show in Paris in June of 2007). As on their first two classic full-lengths, Thomas Bangalter and Guy-Manuel de Homem-Christo display excellent crowd control, pacing the record well, spacing the hits, and building the mood like the good crowd-pleasers they are. (The visuals included in the regular and deluxe editions reveal quite the stage show as well.) It has the feel of a greatest-hits-live concert, but energized by Daft Punk's talents at weaving songs in and out of each other. Even songs from the comparatively desultory Human After All sound rejuvenated in context, with "Robot Rock" getting the show off to a rousing start. It may not be better or stronger than the original Alive 1997 , but it's definitely harder and faster.

Track Listing

Daft Punk Discography Browser

13 SONGS • 1 HOUR AND 24 MINUTES • NOV 19 2007

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Alive 2007 (Live) [Deluxe Edition]

When Daft Punk was invited to play the Coachella festival in 2006, they hadn’t toured in nearly 10 years. It wasn’t that they didn’t want to, but that, in Thomas Bangalter’s words, their ideas were crazy, and crazy is expensive. In the intervening decade, not only had their 2001 album, Discovery, been absorbed into the global mainstream, but newer artists like David Guetta, Calvin Harris, and Kaskade were starting to repackage house music for the kind of big-tent audiences that might also go see U2 or Red Hot Chili Peppers. Daft Punk’s Coachella set—the giant pyramid, the laser lights—wasn’t just considered one of the most memorable in the festival’s history, it helped mark a shift in dance music’s evolution from subculture to center stage. The expected audience for their Coachella set was around 10,000—approximately 40,000 showed up. Alive 2007—which captured the same set the next summer in Paris—served as both a de facto greatest-hits album and a referendum on the group’s commercial success. But it also proved their ability to transfer the grandeur and narrative ambition of ’70s arena rock to the digital era. They were Star Wars fans, and it showed—not just in the music’s scale, but in its range, from the imperious and militaristic (“Robot Rock,” “Technologic”) to the goofy, playful, and weird (“Crescendolls,” “Burnin’”). And for as inelastic as their funk was in both spirit and practice, the sequencing and recontextualization of their various musical ideas—bits of “Around the World” quoted in “Television Rules the Nation,” or the melody of “Harder Better Faster Stronger” laid over a new harmonic pattern—used the cut-and-paste process of techno to make something with the playful, referential quality of jazz. They famously didn’t make a DVD to accompany the set, on the presumption that the spectacle couldn’t possibly be captured on film. But close your eyes and listen, and the images will come.

November 14, 2007 13 Songs, 1 hour, 24 minutes Distributed exclusively by Warner Music France / ADA France, ℗ 2007 Daft Life Ltd.

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