les membres du groupe et leur univers

Jim Warrem

Ingénieur du son en tournée jusque 2003

 

Jim Warren travaille sur le son du groupe, aussi bien en studio qu’en tournée.

Jim a travaillé avec Radiohead du début de leur carrière jusqu’à 2003. En 2008, il est de retour dans l’équipe

Jim mixa (avant 2003) les chansons de Radiohead. Il a travaillé sur l’EP My Iron Lung, puis a mixé et produit la chanson High And Dry. Il a mixé toutes les chansons de The Bends, il était ingénieur du son sur toutes les versions démos de ces chansons. Il a aussi été conseiller du son pour le maxi US 2 de Fake Plastic Trees, mixeur sur le Cd 2 de No Surprises, et producteur et Ingénieur pour le single High And Dry/India Rubber.

En Tournée, Jim se charge de faire les réglages sons.

James a par la suite travaillé avec d’autres artistes, entre autres Unbelivable Truth pour leur second album.. et plus récemment Damien Saez…

Pour cela il utilise une console Soundcraft Series Five.

« The Series FIVE is set up for 48 inputs, with 12 effects sends, and all of the input returns on the Spirit are in stereo pairs. Most of the effects are used on the vocals, and include an Eventide H3000, M-1 and D-2 units from TC Electronic, Lexicon PCM 70, Roland SD-3000 and 330 models, and a Line 6 POD. Warren also patches several Yamaha SPX900s across the drums. »

ainsi qu’un Soundcraft Spirit 324. Selon Jim :
« the digital Spirit 324 works well with the MIDI aspects of the 56-channel analog desk ». 

 

pour les effets de reverb : les classiques TC Electronic M1 et M1XL.

et un roland SDE3000

pour les autres effets sur les voix : un vocoder.

pour la distorsion : un [Line 6 Pod XT Pro->http://www.univers-sons.com/us2K/exec/product?prod=PODXTPRO]

Pour travailler le
son de la basse : un Tech21 SansAmp (douces distorsions et
overdrives (très polyvalente, pour tout)

pour amplifier :

les micros sont tous des Shure Beta 87As.
pour la batterie : M-88 on kick, SM 57 on snares, Sennheiser 504
on toms, Ramsa S-1 for ambience and KSM 32s as overheads
pour la guitare et la basse : Sennheiser 509, ainsi que les instruments directement.

sur la photo ci-dessus : Jim Warren et Graham Lees

En 2008, il est complémentaire avec Graham Lees.

Voici un explicatif complet de son rôle dans l’équipe :

THE V-DOSC SOUND
The spiritual nature of the visual presentation is equally replicated on
the sonic front, where the winning combination of Jim Warren at FOH,
Graham Lees on monitors and the L-Acoustics V-DOSC system made the aural
magic tick.

This leg of the tour sees Warren readjusting to the nuances of the
indoor sound. In the US, they started flying the dV-DOSC subs for the
first time which worked well and made it easier to get the low
frequencies to the rear of the hall, so they continued the practice into
Europe. At Bercy, there were six flown DV subs and nine stacks of
SB218s on the floor.

The main PA hangs feature 16 V-DOSC elements per side, plus four ARCS
boxes per side for side hangs. Radiohead were one of the first bands to
use V-DOSC extensively, and to get embroiled in its philosophies. This
summer on the festival circuit, Warren had the chance to use many of the
current line array systems on offer, which reaffirmed his belief that
V-DOSC is THE system for Radiohead.

At FOH is a Soundcraft Series 5 and a Spirit 324 sub mixer, used for 18
channels of effects returns. The band’s musical mix is in a constant
state of flux, and this time there were more samplers than in the past,
so it made sense to split them into their own mix at the desk. Warren
added an extra eight-channel input box to the 324 for the samplers to
come up via a separate stereo mix.

His basic FOH rack remains constant – two Yamaha SPX 900s, two TC M1s, a
TC D2 delay, « a strange box that allows you to do interesting things », a
Roland SDE3000 digital delay and a Vocoder which he uses for various
wild and wacky bits, including making Thom Yorke’s vocal sound like an
alien in ’Sit Down Stand Up’. The latter also encompassed some complex
routing between the two desks and effects, and the result is a chilling
reminder that the art of noise (or even of the noise boys) is very much
alive on Radiohead

There’s also plenty of sonic idiosyncrasies, of course. Warren is using
a SansAmp guitar pre-amp at FOH for distortion effects on the bass, and
a POD guitar amplifier for vocal distortions – like dirty reverbs on
Yorke’s voice. With the guitars « pretty much taking care of themselves »,
most of his effects work concerns the vocals and drums.

Yorke’s vocal, says, Warren is consistent and reasonably loud. The
singer uses a Shure Beta 87 mic, and Warren sometimes edges the bass off
his vocal with a high pass filter.

The PA system designer is V-DOSC guru Florent Bernard, who has helped
Radiohead achieve sonic excellence for the last four years, and has
worked with Warren on other shows including Peter Gabriel’s Growing Up
Live. Bernard approaches V-DOSC with the same near religious fervour
that most Frenchmen reserve for fine wines !

He’s equally as enthusiastic about the flown subs hung as Warren,
particularly in the larger venues. He also has other reasons for liking
subs in the air – namely the time alignment and general coverage being
easier, plus not having to drive the ground subs so hard. « If you can
get the low end sussed, everything will follow, especially with V-DOSC, »
he noted. The system is driven with XTA DP226 processors, and they are
running XTA’s AudioCore software at FOH for the crossovers. He also has a
Tablet PC running AudioCore, wireless linked to the FOH PC so he can
easily move around the room during sound check, or even at the start of
the show, to make final tweaks. »

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Brian Ormond / Manager de la tournée

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Graham Lees / La console de son

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