Anybody know what's going on in this live Radiohead performance?

Okay so clearly someone is playing back Thom’s voice…Is it Johnny? I think it’s Johnny because at 3:30 his hand movements are synced up to the sort of “scratching” of Thom’s voice. If it’s Johnny: What gear is he using? Also, do you guys think he’s recording Thom’s voice live or just using pre-recorded samples? I can’t quite tell if it’s the exact same performance or not…

Then if Johnny’s doing that, what the hell is Ed doing? He’s kinda just like, kneeling the whole time. And all I hear is bass (colin), synth and vox (thom), drums (Phil) and FX (Johnny).

I was looking at the King of Gear website but didn’t find anything substantial.

Johnny samples Thom’s voice with a Kaoss pad in this tune. The sound engineer routes it to Johnny. Their whole setup is nuts.

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Awesome just what I wanted to know. Which Kaoss Pad? Is that the thing he’s playing at 3:30?

That’s what’s happening at 3:30. Totally. It’s either a KP2 or KP3. I’ve covered this song live for a Radiohead night with a bunch of locals. I did it by live sampling my singer with my KP3. If you’ve never played with one, they’re really fun.

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You crazy son of a bitch!

I was thinking it’d be fun to do with an Octatrack…KP3 is probably more hands on. I used to have a Kaoss Pad Quad I used live with my band and would do similar fun things…

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Could totally pull it off with the OT!

So do you know what Ed’s doing?

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Ed is running loops of delays of Thom’s keyboard. That’s where all that texture is coming from. It’s getting sent to his pedalboard rig.

Their simple use of routing is deceptively genius.

Edit: it’s basically the “sample, loop, and affect Thom” song.

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omg i just assumed thom was playing with the delay from his prophet. but it’s ed. wow. how fun.

i mean literally…like what a fucking blast. johnny’s job for five minutes is to just play with thom’s voice and experiment.

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Yep!!! The same shit we do for hours in our living rooms… they made brilliant songs out of.

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You use the living room?! I’m relegated to my room/office…

EDIT: I also really like the idea that the audience probably has no clue what’s going on. Like 95% of those people just aren’t even aware of what’s happening and how cool it is.

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I’m the guy at any concert trying to decipher what they’re doing. (Any band). I have a ton of experience with unique routing and weirdo solutions.

Ha! I have a home studio in one of the spare rooms. Treated and all! Not married, no kids, career day-job.

Duuuude me too. Anytime I go to a show with my friends (we were in a band together) we just kind of stand there and talk about the gear. “Oh he’s doing that? That’s cool. He’s got that pedal? Neat.” nonstop.

I’ve also worked audio professionally but not with any big bands or nothin.

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At the tail end of the song, I take the sample of the chord (was playing it on my 404) have it loop on my Kaoss Pad quad, then take the pitch of it and pitch it all the way down…We used to always end the song like that lol.

I never thought to somehow get a feed of our voices for our songs. That would’ve been fun.

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Ha! Fun. I have a series of XLR splitters so the house always gets what they expect. Then, I can send vox to whatever. I took my split to an interface with throughput mixing (that doesn’t go through the computer), and did some shit inside ableton, or sent it to a KP. I abandoned ableton (For stage / live use), and now do the same split, but it goes into a pre and into the OT.

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Sounds like a lot of fun. Yeah that’s been my one problem with getting my voice into the Octatrack: I’d have to use a reamp box or some way to convert my XLR signal to line in.

I’m also not performing with my Octatrack (and never have, actually) so it’s not really an issue anyway. It’s just something I wanted to play with should the occasion arise.

I highly recommend an OBNE MAW. Shenanigans abound!

What’s that? internet search yields airplane stuff

My bad. Old Blood Noise Endeavors

https://www.oldbloodnoise.com/pedals/maw-xlr-pedal

Edit: it has a dry out, so you can have a clean signal.

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