Warren Cann
Warren Reginald Cann (born 20 May 1950 in Victoria, British Columbia, Canada)[1] is a Canadian drummer, drum machine programmer and songwriter, best known as a founding member of the British new wave band Ultravox, for which he was one of the main songwriters.
Biography[edit]
Early life[edit]
The son of two British immigrants, he began to be interested in electronics while he was at school.[2] After playing in bands in Vancouver, he came to Britain in 1972,[2] where he found a more creative environment. He established himself in London, where he formed his first band, along with Huw Lloyd-Langton, future Hawkwind member, on guitar and Rob Rawlinson, later in Overnight Angels, on bass.
Technical innovations[edit]
Cann and his technicians were among the first to modify commercially available rhythm units or drum machines, so they could alter and override the preset manufacturer programs. This is notable on "Hiroshima Mon Amour", from the album Ha!-Ha!-Ha!. When Ultravox were recording Vienna, Cann's electronic ventures would become important for the Ultravox sound. The acquisition of a Roland CR-78 proved something of a headache for Cann, as he saw great sonic potential in it, but it had limited pattern programmability. In the process of adding some much needed practical customisations to the CR-78, Cann became somewhat persona non grata at the Roland headquarters in the UK. This did not stop Cann from carrying out his plans, and the result proved to be a key factor in the overall sound of their signature hit song "Vienna".
The initial reaction to the usage of drum machines led to bewilderment among the audience, who wondered what Cann was doing during some songs. Among claims that he was doing nothing, he decided to equip his drum machines with clear perspex cases instead of wood panels, and mount a variety of LEDs inside them as a feature Cann himself described as "absolutely useless, but very impressive looking on a darkened stage; now it would be obvious I was actually doing something." (From Jonas Wårstad's interview at Discog)
In addition to his drum machine work, Cann designed several modifications for bass player Chris Cross' Minimoog, among them a primitive sequencer (built by Roy Gwinn) made from a series of toggle switches to add syncopation to the synthesiser's ability to create a stream of eighth notes, and a proprietary triggering system that allowed Cann and Cross to synchronise the Minimoog with Cann's drum machines, a feat performed almost three years before MIDI was officially introduced in 1983. According to Midge Ure's autobiography, when the Minimoog broke down on tour, Ultravox borrowed one from The Cars, but it didn't help as it lacked the proprietary modifications.
Playing style[edit]
In the spring of 1978, when Ultravox released the Systems of Romance album, Cann's style of drumming turned away from its rock roots and toward what was becoming the New Wave sound. He endeavoured to have extremely precise timing; this would make the songs with live drums match songs driven by electronic, programmed percussion. For an example of this, compare the song "Sleepwalk", where Cann plays live drums, to "Mr. X", where the drums are sequenced. Both of these tracks can be found on Vienna. Despite his machine-like timing, Cann would often do things that neither drum machines nor electronically sequenced percussion could do at the time. Specifically, he would often play very precise triplet fills and crescendos, especially on the snare drum. While these two techniques are easily accomplished by electronic instruments today, around 1979–1982 they were virtually impossible. In essence, it could fool the listeners to believe they were hearing a drum machine, only to prove them wrong through out-performing the rather rudimentary sequencing possibilities of the time. From a technical perspective, Cann preferred a traditional grip. On the Quartet album and subsequent tour (1982), Cann employed several sets of Simmons SDS-V electronic percussion pads, even to the point where he had an extra kit consisting of the hexagonal Simmons pads, which he played standing up. This way of playing was relatively unique and Cann seemed to be using this setup for one song only, namely "The Song (We Go)" from Quartet.
Legacy[edit]
Speaking in 1986, Rush drummer Neil Peart named Cann as one of the drummers who had influenced and inspired him.[7]