Depeche Mode – A Broken Frame (Deluxe)

Alan Wilder used a Roland Jupiter-8 (serial 212333) on the 1982-1983 A Broken Frame tour, the 1983-1984 Construction Time Again tour, and the 1984-1985 Some Great Reward tour. The image is a screenshot from their appearance on The Tube, on December 24th, 1982 (https://youtu.be/uemyC5yMXb0?t=37).

From Electronic Soundmaker and Computer Music, April 1984:

'We are spoiled,' observed Alan. 'In the early days it was Yamaha CS5's, Moog Rogues and Kawai unmentionables' (ie he didn't mention the model). 'We moved through Roland Jupiter 8's, PPG Wave 2's, Yamaha DX7's, Emulators, and now we have a machine that inspires awe both in us and in those who appreciate the sounds we are producing: the Synclavier'.

The Jupiter was sold at auction for £10,000 in 2018 (https://www.bonhams.com/auction/24669/lot/50/depeche-mode-alan-wilder-a-stage-and-studio-used-roland-jupiter-8-synthesier-1982-1984/).

Martin Gore used a Roland MC-4 sequencer in the production of A Broken Frame. It is just visible at the bottom of the image.

From One Two Testing magazine, November 1982 (also the source of the image, http://www.muzines.co.uk/articles/when-the-wave-forms/4617#):

Time to change the subject. What's been the greatest advance in the studio?

Martin: 'I think probably the Roland MC4, that was a big breakthrough.'

The MC4 is the second in Roland's series of Microcomposers — very sophisticated computer-based sequencers that are able to control several synthesisers at once. Information is fed into them via a keypad on the front and with the right numbers you can dictate timing, pitch, duration and dynamics of each note, rub out the ones you don't want or rearrange whole sections to make up a song.

'We use it in the studio to run sequences and Danny has an old Roland SH-1 synth where each key has a number written on it in red. That's the number you put into the MC4 to get that note. It's also useful because I can take it home and work on a song, then bring it to the studio and play it back. Even if you don't use any of the riffs or sequences you've still got the length of the song programmed in.

'One of the disadvantages is that it won't run the PPG.'

'Yea,' continues an irate Andy. 'It's annoying that different synthesiser makers won't put in the right clocks and gates so you can use their equipment with someone else's. They all want you to carry on buying their gear, but every firm is good at some things and not at others so you'll always want to swap around.'

It's true that PPG are planning to bring out their own computer to operate the Wave, but right now, in Blackwing studio, that's no great help. Depeche did consider using the MC4 for live work, either alongside or possibly in place of the Teac tape. But it's the fear of road failure that keeps them off the idea.

'We have to be our own roadies at the airports. We each get a trolley,' explains Dave, 'and we see how the stuff comes down the chute: CRASH! I don't think the MC4 could stand it. If that went wrong on stage, you've had it. At least with a tape you can rewind and start again.'