Way To Go
The band’s monitor engineer, Michael Prowda, also travels with the VENUE platform, his a Profile. “There are certain features and functions that I’ve been using since VENUE was first introduced, which includes some ‘go to’ plug-ins such as the Bomb Factory BF2 for vocal limiting and the Oxford Reverb, which is my vocal space,” he says.
“Many engineers have ‘tools’ that they’re used to using, and have proven success with, but at the same time I’m always open to new solutions,” he continues. “My knowledge base of the Avid system expands to project requirements. If a matrix can be used as a reverb send then I’ve saved myself from using an auxiliary mix that could have a better purpose.”
Prowda deals with close to 90 inputs, band “ears” mixes, band wedge mixes, separate backline monitor mixes, and various other sends going to stage for band creative use. “I’ve also structured PQ (Personal Q) mixes for the backline tech’s monitor mixes,” Prowda notes. “Much thought went into determining what they individually needed to hear so they could control their own levels with separate PQ mixers.
“My assistant, Ross Anderson, does an amazing job of filtering communication on stage. Backline techs can communicate to him through his in-ear mix via mics placed at tech positions. He can then relay messages to me through his own mic that routs to my listen bus. It sounds crazy complicated, but it’s been working to keep everyone smiling.”
On stage, lead guitarist Jonny Greenwood and Clive Deamer (who was added on drums for this tour) use d&b audiotechnik M2 and M4 stage monitors, respectively. Lead vocalist/rhythm guitarist Thom Yorke, rhythm guitarist Ed O’Brien, and bassist Colin Greenwood are outfitted with Sensaphonics 3D Active Ambient systems and Shure PSM 1000 wireless IEM systems (managed with the Shure Wireless Workbench software interface), and enhanced by more M2 wedges.
Drummer Phil Selway’s monitoring is also handled with a 3D Ambient system, this one with a hardwired beltpack.
Vocal microphones are a mixed bag, with Yorke singing on a Heil Sound PR 35, O’Brien on a Telefunken M80 and Selway using a Shure Beta 87. “Many good microphone choices can happen merely by accident, and then there’s always the tried and true, such as the Shure SM57 and a brighter sounding condenser combined to get a proper guitar sound,” Prowda adds. “We’re using an Audio-Technica model on one guitar rig and the Sennheiser e 609 (dynamic) on bass and another guitar set-up.
“The Audio-Technica AT4051 (condenser) has been a favorite on hat and overheads. I’ve also been revisiting the beyerdynamic M 201 TG (dynamic) on one of the snare rigs – a wonderful blast from the past comes back and impresses. And, we use Radial JDI (passive direct boxes) and SW8 (autoswitcher) for most of the direct inputs.”
The Radiohead tour continues in North America though mid-June before transferring to Europe for a full slate of shows in the summer and fall, and then it’s on to Australia.
“I’ve been fortunate to have done many different projects over the course of my career,” Prowda concludes. “Working with Radiohead has been similar to joining a new family. It’s been a real gift with many challenges, great people and wonderful music.”
Steve Jennings is a Northern CA-based photographer in the pro audio and concert touring industries for over 30 years, and a writer for the past 20.