Audioslave

Jun 1, 2003 12:00 PM, BY ROBERT HANSON

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Once considered the property of '70s rock history, the concept of the “supergroup” is once again alive and well. Comprising the remaining members of Rage Against the Machine and Soundgarden's Chris Cornell, Audioslave took to the road last winter in support of their eponymous debut release. Widely known for their radical political views, it seemed almost too perfect that the band sold out two nights at San Francisco's Warfield Theatre amidst a climate of antiwar protests and sentiment that had gained national attention. Armed with two certified radio hits, the lead-off single “Cochese” and its follow-up “Like a Stone,” the band performed extended sets for two already-frenzied and anxious crowds.

FOH engineer Greg Price, a longtime fixture in the Ozzy Osbourne camp, mixes from a Yamaha PM4000 console. “It's a workhorse,” Price explains. “I've got the support act on the same console, and it's very user-friendly. This is, of course, a club and theater tour: I couldn't fit a bigger board into some of these places.

“This band is so simple,” he adds. “It's really drums, guitar, bass and vocals. If you took out all of the extra stuff, you could practically mix this band on six channels. With the radio shows we were doing, you don't get a soundcheck and it's all on-the-fly. With just a kick, snare, two overheads, one bass and one guitar channel, and one vocal channel, I had sound pretty quick. I've got 24 inputs and nothing really fancy. The drums are straight-ahead: I like to use the Shure SM 91/Beyerdynamic M-88 kick-drum combination. The bass guitar is six channels because [Tim Commerford, bassist] has three separate bass systems up there. And the guitar is two channels, left and right, which allows me to get great separation.”

The remaining stage mics and inputs include a Shure SM 57 on snare top, Audio-Technica 4041 on snare bottom, A-T 4041 on the hi-hat, A-T 3000s on toms, A-T 4050 overheads, A-T 4050 on guitar, A-T 4040 on bass channel one and A-T M25s on bass channels two and three. Chris Cornell sings through a Shure SM 58 wireless. Additional outboard processors include two TC M3000s, a TC 2290 and an Eventide H3000 for occasional pitching and doubling chores.

Audioslave's monitor engineer, known only as J.W., mixes both traditional and in-ear monitors from a Yamaha PM4000. Onstage enclosures consist of ShowCo ML-18 sidefills, 1215 wedges, B1 subs and SRM cabinets. Chris Cornell uses a single in-ear monitor fed from a Shure PSM 600 wireless system. Stage inputs include 12 channels of drums, three bass DI lines, three bass-cabinet mics, two guitar mics and one vocal channel.

“Chris just gets his vocal in his ear and just his vocal in his wedges,” systems tech Scott Frey explains. “As far as sidefills, it's pretty bass heavy, but there is guitar and vocals and drums everywhere. Stage left, Tom [Morello's] side isn't really that loud, but it's a drums, guitars, bass and vocal mix pretty much everywhere. And the drummer has thumpers under his seat; it's pretty rockin' up there. All in all, it's pretty basic up there. Just straight-ahead rock ‘n’ roll.”






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