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Do you think it is important for a musician to listen to a variety of styles of music?
I suppose so. I never like to call myself a musician. I've always hated that term.
What about artist?
Artist, yeah, but that sounds pretentious. And I don't mind sounding pretentious if it means saying I'm an artist, because I'm proud that what I do is art, not just music.
So what is your stage “look” these days?
On Ozzfest, the outfit I wear most is the black military uniform, and of course, I always like to wear my corset — that's actually conveniently where I put the battery pack for my headset.
Does your archbishop attire mock the fact that you've been banned in England?
They've tried to ban us many times, but never succeeded. In fact, we had quite a good sold-out show there in Wembley Arena — 14,000 people. Which was cool. The outfit is actually the one I wore in the “Disposable Teens” video, but it was more to really just evoke the God part of the Guns, God, and Government element. And it's interesting you noticed that it was an archbishop, because so many people think it's the Pope off the bat. All of those outfits have such a strong symbolism to 'em; they're just perfect archetypes.
Are your theatrics influenced by '70s acts like David Bowie and Alice Cooper?
Of course, Ziggy Stardust — era Bowie. I was always a fan of Alice Cooper as a kid, but I never thought his live performances were as cool as everyone else did. He just kind of sat there a lot. But I always loved the imagery that was surrounding it. I did think the band was really cool. On the first couple of records, their whole look was great, and his too, of course. Also Pink Floyd, for their grand visual elements.
How do you relax before a gig?
I don't like to have anybody in my dressing room right before a gig. If there's excessive talking, or a lot of people around, it really makes me uneasy and distracts me. Girlfriends are okay backstage, but not during the hour before I go on, because then I'm thinking about those things when I'm on stage and I don't want to be thinking about those things.
I really prefer to just sit with just the band, and we watch a video before we get ready. We'll often watch the same movie over and over again every day, so it's almost like a ritual in a sense. It's like, “Okay, when this part of the movie comes on, we know we gotta go brush our teeth.” It becomes regimented. I think that makes me feel at ease.
Have your parents seen you perform?
A lot, yes. I know it's strange to other people. It's strange to me that they're so into it. They're like big fans.
Jeff Perlah is a music journalist based in New York City. He is also the managing editor of Car Stereo Review's Mobile Entertainment magazine.
Marilyn Manson: vocals
Shure Beta 58A wireless mic
Crown CM-311 mic (custom-mounted on flight helmet)
Shure PSM700 wireless in-ear monitor system
Ultimate Ears UE Pro 5 in-ear monitors
Pogo: keyboards
Yamaha CBXK2 Keyboard Controller
Peavey MIDI Master Splitter
Kurzweil 2500Rs (2, main and spare)
Mackie 1604-VLZ mixer (the 2500Rs are routed to the 1604 and out to FOH as a stereo DI)
Premier 15" × 14" and 16" × 16" floor toms, and 18" Zildjian Z Custom China for added drum accents
Twiggy Ramirez: bass
Gibson Thunderbird basses (5, in standard, drop D, and drop B tunings)
Ampeg SVT-2PRO amp heads (3)
Ampeg 4×10 (3) and 1×15 cabinets (3)
Dunlop overdrive, distortion, and wah pedals
Whirlwind Multiselector
Samson 660 Wireless
Behringer SNR2000 Denoiser gate
John5: guitars
Custom Ibanez AX-series guitars
Gibson Les Pauls (standard and drop-D tunings)
Ibanez AX7221 seven-string
Laney VS100R heads (4)
Laney GS412PS 4×12 cabinets (4)
Palmer Dis (3)
Dynacomp
MXR compressor
Ibanez LF7 Lo-Fi filter, SM7 distortion, CF7 chorus/flanger
Boss Super Overdrive SD-1
Boss Noise Suppressor NS-2
Line6 DL4 delay modeler
Flip Vintage Tremolo
Big Briar Moogerfooger
Access Electronics switcher
Whirlwind Multiselector
Samson RU-5D Wireless
Ginger Fish: drums
Premier Signia Marquis drums:
20" × 16" bass drums (2)
14" × 7" snare
12" × 10", 13" × 10" rack toms
16" × 14", 16" × 16" floor toms
Zildjian cymbals:
14" Z Custom hi-hats (pair)
14" Dyno Beat hi-hats (pair)
20" Z Custom China
20" Z Custom Ride
19" Z Custom Rock Crash
18" Z Custom Medium Crash
Aquarian heads
ddrum triggers on all drums
ddrum 3 brain (triggered signal used primarily for in-ear mixes)
Akai MPC3000 sampling drum machine (for clicks and sequences)
Tascam DA-88s (3, providing click track and sound effects)
Rock n Sock throne with back
Promark 5ab sticks
DW hardware
Gibraltar rack gear
Shure PSM700 hardwired in-ear monitor system
Ultimate Ears UE Pro 5 in-ear monitors
Aura Bass Shakers (2)
Crown 1200 power amp (for Aura Bass Shakers)
Audio-Technica mics on the drum kit
www.marilynmanson.com
The official Web site.
www.posthumanrecords.com
Manson's newly formed record label.
www.waoy.com/gulfcoastafa/manson
The opposition.
By Robert Hanson
The members of Marilyn Manson's technical crew, some of whom have been with the band for more than seven years now, had their work cut out for them at this year's Ozzfest. Each of the techs had to create a setup that allowed for both the sound quality and redundancy a touring band of this caliber needs, and at the same time, one that worked within the tight and often chaotic confines of a major festival.
With that in mind, each of the various instrument rigs was designed to require only a scant amount of setup time and to occupy a minimal amount of space. “One of the best things I've done with this festival run is mount the whole kit to the deck,” drum tech Michael Nastasi explains. “There were a few places where it wouldn't fit through the door and it was kind of ugly, but otherwise it's worked perfectly.”
Keyboard tech David Barrera reports that he and keyboardist Pogo are constantly working to condense and simplify their side of the stage. Many of the samples Pogo uses are now coming from his Kurzweil 2500R. “He's able to continually compact and compact and change sample rates to get more samples into just that one machine.”
To cut down on feedback and setup time and to create a more consistent sound from venue to venue, the bass and guitar rigs are taken DI (post effects), leaving the amps to function solely as stage monitors. And despite the constant setups and takedowns, bass tech Keith “Moby” Lanoux has the utmost confidence in the durability of bassist Twiggy Ramirez's rig (see the sidebar “Manson Gear”). “It's a tank,” he says. “I never have any problems.”
Guitar tech Robert Long has one of the more complicated setups. John5's rig includes three Laney stacks (a fourth is added for aesthetics). A Palmer DI is used on each amp head. “It's a little overkill,” Long says, “but if you're ever in any kind of bind, it's all there.”
Monitor engineer Maxie Williams has to keep everyone happy onstage, where he provides five custom mixes on both in-ear monitors and traditional wedges. “I've got 42 channels to deal with,” Williams says with a laugh. “And Manson gets about 90 percent of that; I've got my hands full.” Manson's in-ear monitor mix includes an even amount of everything except click and drum overheads. Drummer Ginger Fish uses a matching in-ear system, bass shakers on his seat, and two 18-inch back fills. Bassist Ramirez and guitarist John5 use standard floor wedges and side fills with a mono mix. Keyboardist Pogo takes a stereo mix off two floor wedges in front of his keyboard position.
(Click here for diagram of Manson's monitor setup)
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