hello tkog, how's it going! recently when im rewatching the "everything in its right place" live of their 2006 gig, i noticed that even when thom left the stage, the band is still play. and i know that thom's vocal is controlled by jonny, but how about the keyboard part, ed maybe? meanwhile even after EVERYONE left the stage it's still making some changing beat and reverse sound, and thom's vocal is still looping. so how do u think they did that?
Hello there, it is going well!
For live performances of Everything In Its Right Place from 2000 to 2009, the band’s roles were as follows:
Thom sings, plays Rhodes piano.
Jonny samples and processes Thom’s vocals with his Korg Kaoss Pad KP1 and pedalboard. Starting in 2003, he also samples and processes Phil’s percussion after Thom stops singing.
Ed processes and samples Thom’s Rhodes piano with his pedalboard.
Colin plays bass.
Phil plays drums.
Jonny’s processing of Thom’s vocals is perhaps the most distinctive aspect of the Everything In Its Right Place live outro, but it is Ed’s looping of Thom’s keyboard playing that gives Jonny the room to mess around. When the whole band is playing, Ed runs loops of the Rhodes piano through his delays and other effects to build up interesting textures. He usually records a longer sample of Thom’s playing, and uses the DL4′s “play once” function to play back a shorter section of the loop. He’ll often layer a processed version of the same chord progression that Thom is playing, creating a much thicker texture than the Rhodes piano could provide on its own. However, once Thom leaves the stage, Ed at some point switches to “playing” the loopers (his Line 6 DL4 and Akai Headrush) themselves without using too many other effects.
Ed manipulating the volume knobs of his Akai Headrush E1 and Boss DD5 at the end of the 2001 Canal+ performance of Everything In Its Right Place (youtube).
The band’s 2001 Canal+ performance of EIIRP provides a good demonstration of how Radiohead often end the song. Near the five minute mark, we see Thom leaving the stage for the last time, while Phil and Colin following close behind. At this point, Ed, panned left, is turning a loop of the Rhodes into a spiraling pad by adjusting his Boss DD-5, while Jonny, panned right, is manipulating a loop of Thom vocals with his Kaoss Pad. By about 5:45, Ed has switched to an unmodified loop of the song’s primary chord progression. When Jonny leaves, the loop of the main chord progression is all that remains (plus one of Ed’s delays which is slowly beginning to self-oscillate).
Ed’s Line 6 DL4 during the 2001 Canal+ performance (youtube). The unit is set for looper mode, with all of the delay knobs set to zero to disable it. Ed is adjusting the mix knob, which controls the volume of the loop.
From the Radiohead’s 2003 Glastonbury performance of Everything In Its Right Place: Ed triggers the “play once” function of his Line 6 DL4 with his right hand while adjusting the delay time of his Boss DD5 with his left. He takes a potato chip, and eats it.
Jonny’s Percussion Sampling
On the Glastonbury 2003 performance. Jonny captures a clip of Phil’s drums four minutes into the song, then manipulates this new loop for the subsequent two minutes. This loop is the only percussion present for the thirty seconds after Phil stops playing. Jonny similarly records and manipulates a loop of Phil’s percussion at the 2003 MTV $2 Bill concert. It’s worth noting that like on Canal+, Ed’s looped Rhodes is all that remains at the end of Glastonbury performance.
Jonny with his Korg Kaoss Pad KP1 during the Glastonbury performance of Everything In Its Right Place, 2003.06.28.
Clocking in at over eight minutes, Radiohead’s Bonnaroo 2006 performance of Everything In Its Right Place is a both a spectacular performance and a good demonstration of Ed and Jonny’s looping techniques at the time.
At the start of the Bonnaroo performance, Ed captures a loop of Thom’s short introduction. We hear a long clip of this introduction played back at the end of the song, which nicely bookends the performance. For most of the performance, however, Ed builds glitchy textures with other loops of Thom’s playing. He likely used his Akai Headrush to capture the initial loop, and his Line 6 DL4 to capture the loops which he manipulated more intensely. Additionally, during the section when Thom for the second time begins singing “in its right place”, Ed applies his Phase 90 and other effects to the directly output of the Rhodes piano, rather than to a loop (youtube). As with his loops, this modified version of the keyboard part is layered with the dry version of the Rhodes piano at the mixing desk.
Ed adjusting the volume of his Akai Headrush E1 while trigger the “play once” feature on his Line 6 DL4, MTV $2 Bill concert, 2003.06.05 (youtube).
For the first six minutes of the song, Jonny manipulates Thom’s vocals in his usual eclectic way. After Thom heads to the front of the stage, Jonny records a new loop from Thom’s mic. Since Thom is no longer singing, what he gets a mix of Phil’s percussion and noises from the crowd. The loop is initially run through Jonny’s Boss SD1, which had been used to distort Thom’s vocals, but Jonny soon turns off the overdrive and turns on his Boss RV3. You can hear a clearer example of Jonny sampling the crowd and Phil’s percussion simultaneously in this soundboard recording (panned to the right) from Radiohead’s 2006 performance at Rock Oz'Arènes.
One of Jonny’s pedalboards in 2006, showing his Akai Headrush E1, and settings for his BOSS SD1 and BOSS RV3. His RV3 is set for a plate reverb, with an equal mix, dark sound, and medium decay. His SD1 is set with full volume and gain, to really push his Vox AC30 into its natural overdrive. Settings are irrelevant for his Akai Headrush because he uses it exclusively as a looper.
What’s surprising about the Bonnaroo performance, distinguishing it from 2003 performances, is that we hear a modified loop of Thom’s voice superimposed with Jonny’s percussion/crowd sampling. This occurs around six minutes into the performance. Jonny’s Kaoss Pad KP1 cannot store loops, and the KP1 is playing back percussion sounds, so Jonny must have recording some of his earlier manipulations of Thom’s voice with his Akai Headrush E1, but chose not to play them back until this point.
Jonny seems to have used this technique elsewhere in 2006, and we can simultaneously hear both his live manipulations of drums sounds and his looped manipulations of Thoms vocals in the previously mentioned Rock Oz'Arènes performance. The band’s performance at Golden Gate Park in August, 2008, also features simultaneous drum and vocal loops. Even after Jonny leaves the stage during that performance, we can hear a clear loop of his vocal manipulations, playing from his Akai Headrush, as well as a reversed loop of Phil’s percussion playing from his Korg Kaoss Pad and running through his DOD440 and Roland Space Echo. Jonny must have the Kaoss Pad’s “hold” function turned on in order to keep it looping after he stopped touching it (the “hold” is what lets him get some particularly crazy effects in this performance by freeing up his hands to mess with his DOD440 and Whammy simultaneously).
Jonny manipulating his Korg Kaoss Pad and DOD440 at Glastonbury, 2003. Alongside his Digitech Whammy, the DOD envelope filter is a favorite of Jonny’s for processing his Kaoss Pad loops.
From the first performances in 2000, Ed has looped Thom’s keyboards and Jonny has looped Thom’s vocals. Starting in 2003, Jonny also began sampling Phil’s percussion after Thom had left the stage. By 2006, Jonny started using his Akai Headrush to record some of his Kaoss Pad manipulations, and would play them back later in the performance while he manipulated new loops of Phil’s percussion and the sounds of the crowd. Ed and Jonny always left their loopers going when the left the stage, resulting in keyboard, vocal, and percussion loops repeating after the stage had been abandoned by the band. Two of the band’s techs would run out after the band had finished, and turned off Ed and Jonny’s loops simultaneously to give the song a precise ending. This overall setup remained the case through 2009 (although in 2009 Jonny would often manipulate loops of Thom’s vocals for full performances).
Jonny is playing his Gibson Les Paul Standard. He has two different amp heads with him, a Vox AC30HWHD and a blackface Fender. The Fender head is unusually tall, a height only used for Twin Reverb heads. The cosmetics are definitely not silverface (there are standard Twin Reverbs heads of that height from the silverface era), and so it must either be a reissue Fender ‘65 Twin Reverb-Amp head or a 1980’s Fender Twin Reverb II head. The discoloration of the grill cloth makes me suspect that it’s an 80’s amp, but the fact that recently Jonny has been predominantly using new amplifiers (Fender Vibro-King for solo shows, Vox AC30CC2X with his Ondes martenot) makes the '65 reissue seem more likely. It also looks like there’s a gap between the knobs for the vibrato-channel inputs, which would also support Twin Reverb.
The heads are running into an unknown black cabinet.
Jonny also brought along his original student model Ondes Martenot, as well as some pedals: Boss TU2/3, Boss RE20, Akai Headrush, and perhaps others.