IngÃ©nieur du son en tournÃ©e jusque 2003
Jim Warren travaille sur le son du groupe, aussi bien en studio qu’en tournÃ©e.
Jim a travaillÃ© avec Radiohead du dÃ©but de leur carriÃ¨re jusquâ€™Ã 2003. En 2008, il est de retour dans lâ€™Ã©quipe
Jim mixa (avant 2003) les chansons de Radiohead. Il a travaillÃ© sur lâ€™EP My Iron Lung, puis a mixÃ© et produit la chanson High And Dry. Il a mixÃ© toutes les chansons de The Bends, il Ã©tait ingÃ©nieur du son sur toutes les versions dÃ©mos de ces chansons. Il a aussi Ã©tÃ© conseiller du son pour le maxi US 2 de Fake Plastic Trees, mixeur sur le Cd 2 de No Surprises, et producteur et IngÃ©nieur pour le single High And Dry/India Rubber.
En TournÃ©e, Jim se charge de faire les rÃ©glages sons.
James a par la suite travaillÃ© avec dâ€™autres artistes, entre autres Unbelivable Truth pour leur second album.. et plus rÃ©cemment Damien Saez…
Pour cela il utilise une console Soundcraft Series Five.
ainsi quâ€™un . Selon JimÂ :
pour les effets de reverbÂ : les classiques TC Electronic M1 etÂ M1XL.
et un roland SDE3000
pour les autres effets sur les voixÂ : un vocoder.
pour la distorsionÂ : un [Line 6 Pod XT Pro->http://www.univers-sons.com/us2K/exec/product?prod=PODXTPRO]
Pour travailler le
son de la basseÂ : un Tech21 SansAmp (douces distorsions et
overdrives (trÃ¨s polyvalente, pour tout)
pour amplifierÂ :
les micros sont tous des Shure Beta 87As.
pour la batterieÂ : 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 basseÂ : Sennheiser 509, ainsi que les instruments directement.
sur la photo ci-dessusÂ : Jim Warren et Graham Lees
En 2008, il est complÃ©mentaire avec Graham Lees.
Voici un explicatif complet de son rÃ´le dans lâ€™Ã©quipeÂ :
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
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 bandâ€™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, Â«Â a strange box that allows you to do interesting thingsÂ Â», a
Roland SDE3000 digital delay and a Vocoder which he uses for various
wild and wacky bits, including making Thom Yorkeâ€™s vocal sound like an
alien in â€™Sit Down Stand Upâ€™. 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
Thereâ€™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
Yorkeâ€™s voice. With the guitars Â«Â pretty much taking care of themselvesÂ Â»,
most of his effects work concerns the vocals and drums.
Yorkeâ€™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 Gabrielâ€™s Growing Up
Live. Bernard approaches V-DOSC with the same near religious fervour
that most Frenchmen reserve for fine winesÂ !
Heâ€™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 XTAâ€™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. »