Pendulum’s 2019 Tour

Australian Electronic/Drum-and-bass act goes out on the road with the eMotion LV1 live mixer.

Engineer Owen Charles (Yungblud, Jay Electronica, MF DOOM) worked FOH on the 2019 tour of Australian Electronic/Drum-and-bass act Pendulum.

Since debuting in 2003, Pendulum have released three studio albums and have become one of the most acclaimed live acts in the world, thanks to their breakneck mix of Drum-and-bass and aggressive rock elements. We spoke to Owen to hear why he chose the Waves eMotion LV1 live mixer and Waves plugins for the tour.

Discussing the versatility of the software mixer, Owen explains, “For Pendulum at FOH I used three touch screens with two Icon Platform M Controller fader banks.

“We have two Waves SoundGrid Extreme Servers with one running as redundant, one DiGiGrid IOC for FOH Local I/O. On stage we use four SoundStudio STG 2412 stage boxes, with one SoundStudio pair running as redundant.

“Since redundancy is extremely important for us, we decided to split the stage inputs to two sets of stage boxes, one running on input A to the LV1 and the other running to input B.

“That way, if one of our stage boxes goes down, or we lose connection from FOH to stage, then we can simply switch to the B inputs on the eMotion LV1 mixer with a push of a button (User Defined Key) and continue the show with no problem.

“I also have the eMotion LV1 software running on my laptop in case something should happen to my main computer in transit, so I can simply connect my laptop, load my latest show file and continue as normal.”

On choosing the LV1, Owen adds, “There were many reasons we decided to make the switch to LV1. The first is the power of the plugins; Rob (Swire-Thomson, Pendulum’s vocalist) and I have been using Waves plugins ever since we started mixing, and we were both very excited to have the full package available to us in the box without any external devices needed.

“Rob has always been involved with the FOH mix and was looking forward to having the ability to go through the mix whenever we wanted.”

Discussing the sound of the console, Owen comments, “The desk sounds amazing. The preamps are extremely clear and punchy, the internal processing of the digital audio is excellent and it’s so easy to use. It’s designed for mixing, and everything you need is right at your fingertips.

“The custom fader layers are very powerful and allow you to condense huge complicated projects into a very manageable workflow. It is also very scalable; I have done both huge headline shows and smaller club gigs with the LV1 system.

“For Pendulum, I have a relatively large FOH setup, but with my own setup I can scale it down to just three Pelican cases and fly everywhere with it! It’s also an extremely stable console that is an absolute workhorse.

“Finally, it’s very quick and easy to set up. I had a festival show recently with U.K. artist, Yungblud. Our tour bus broke down on the way and we eventually arrived on site 30 minutes before our performance began. I had FOH set up and everything line checked with five minutes to spare!”

Talking about his must-have Waves plugins, Owen says, “It’s very hard to whittle it down, as so many have become instrumental for me.

“I would include the Renaissance Maxx bundle as one plugin since I use the Renaissance Equalizer and Renaissance Compressor on every mix I do.

“They both just work; the EQ is very powerful and sounds great. With six bands available, it has you completely covered, and you can even take it off L/R mode and EQ each side separately for extra stereo width.

“The Renaissance Compressor can sound very transparent even at higher levels of compression, and I love having the option of choosing an optical compression sound or a warm one. It’s great having the sidechain feature as well.

“The Renaissance Bass is an absolute must-have, and I love using it on my kick and toms to add that extra weight to stand out against the huge sub frequencies.

“Next would be the CLA-76 Compressor/Limiter; it’s a classic compressor that Waves have done a great job emulating. I use it on vocals, bass, snare and of course for my parallel drum bus set to ‘all buttons mode’ to smash the drums and give them that larger-than-life sound heard on countless hit records.”

“I have really gotten into the GEQ Graphic Equalizer using the modern component. It’s great on the matrix bus, but I really love using it on guitars and vocals as well. It sounds great and gives you easy access to really shape the tone of any problematic sources.

“I really enjoy setting it to ‘Draw’ mode and swiping your finger across to quickly try different settings and perfecting the sound.

“The Manny Marroquin Reverb is also great. Previously I have struggled to find a perfect reverb for vocals, but when I demoed this reverb it just worked. It’s great for small amounts of subtle reverb or larger, more affected settings. It always seems to interact really well with the room and is so easy to dial in.

“Finally, I have to mention the C6 Multiband Compressor. When I first used it on live vocals it was an absolute game-changer. Having the two floating bands is really useful for finding those annoying frequencies and taking complete control over them.

If I were stuck on an audio-mixing desert island, then the C6 would be the one plugin I would take. You can really control and shape any source with it as it is such a powerful plugin.”

Owen continues, “I would also like to give honourable mentions to Waves’ InPhase, with its dedicated live components (for aligning my drum samples to the acoustic kit, bass DI and mic, and multiple guitar mics); the API 2500 compressor; Waves Tune Real-Time; the F6 Floating-Band Dynamic EQ plugin, which is so powerful and has started to take the place of the C6 on certain sources.”

If I were stuck on an audio-mixing desert island, then the C6 would be the one plugin I would take

On using Waves’ X-FDBK, a one-of-a-kind plugin which automatically cuts frequencies that cause feedback, he says, “When I started working with Yungblud, the first thing I did was buy the LV1 and put everyone on IEMs.

“We began with me doing monitors from FOH and being able to take the desk everywhere with us, which was such a life saver. Using the X-FDBK to ring out the wedges saved me so much time and effort.

“As long as you’re not trying to get the monitors far too loud, then it works so well at taking out any trouble frequencies, in seconds. Plus, I loved seeing the look on the in-house engineer’s face when they realized the desk was EQ’ing the wedges by itself!”

CX Magazine – March 2020   

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