What do pendulum use to make music

There's also a small but well-used selection of outboard processing gear, which is integrated into Nuendo "with the [ Lynx ] Aurora [ interface ] and the External Effects thing in Nuendo, although Nuendo has a bug where it keeps on trying to reassess the delay compensation, and it's really fucking annoying. So as soon as we find something we like we print it to disk and get the settings if we need to.

There's also a Neve rackmounting mixer, which is used purely for mixing line—level sources when required, as Rob is not a convert to the idea of analogue summing mixers.

I've heard examples, people have posted up examples around the 'net, and every time they do it, they go 'Listen to how much better that sounds when it's summed,' and I've always preferred the digital mix. So I think I'm just going to stick with that. Pendulum's decision to remodel themselves as a live act has as much to do with the changing face of the music business as with artistic fulfilment, and it's a decision that seems to be paying off.

On the day this interview takes place, the band are jetting off to their native Australia for the first leg of a punishing summer schedule that encompasses virtually every UK festival from Download to Creamfields, as well as numerous headline dates of their own. It's going to be different every night, and that's the good side to it, I think. Meanwhile, In Silico itself was released on May 12th. It's been a long time coming, perhaps thanks to Rob Swire's perfectionist tweak-one-synth-for-a-month element, but the wait has definitely been worthwhile.

Pendulum's studio occupies one room of a nondescript house in the London suburbs. There's not much by way of acoustic treatment, but as Rob Swire explains, that's partly because of their unique approach to house-hunting. We took a speaker with us in the car, and set the speaker up in the room and played test tones. The estate agent was trying to sell us on kitchens, and we were like, 'We don't care, dude! For some reason, sitting right here it did actually work the best.

I think that can only be because of the cupboard, which is full of tiny wooden squares that go all the way to the back. I don't know what the fuck they're for, but somehow I think it evened up the bass! He was using a pair, it was the model below this, and the PMCs.

I heard these and I said 'What the fuck is that, it's like everything you want in a monitor! They're really flat. The guys actually came down here and set them up themselves. Something was a bit weird with the tweeter and he came down and replaced it, so they're good like that. Pendulum's recordings make extensive use of both vintage analogue synths and software instruments, neither of which are renowned for their reliability on stage.

Rob Swire's solution? They're the only things that are stable in a live environment, because if those things crash, two seconds and they're back up.

With a laptop running Kore or something, if one thing goes wrong you're fucked. Before that, when you had to send the drives to Muse to get backed up, they were probably shaving five years off my life. One of the most important pieces of outboard gear in Rob Swire's studio is the Roll Music stereo compressor, which is a major component of the Pendulum sound.

You just get some sort of resistance there, which you can work off. Most of the other ones we tested I couldn't stand. The API was the one other one that I liked, especially the 'Old' setting, but there was something about the top end, it made it slightly watery, it wasn't really what we were after. But I think if I had to get another one that'd be it. It was the only thing I could find that got the same sort of sound that this has.

I think the Roll Music compressor has a combination of the two, which gets a similar effect, just straight linear compression. It's also the side-chain filter on that. They should tell people this in the manual, but if you open the box, there's a jumper and you can set the side-chain [ filter ] to whatever you want, so we can sort of get it above our big Def Leppard-style snare. Obviously we'd been mixing the album with that on all the tracks, cutting about 2 or 3 dB off, and then we took it to Metropolis, and on the big PMCs you think 'Oh no, that's way too much,' and you tweak it back — but as soon as we got in the car on the way home, the snare blew our heads off.

So you do have to mix through it and then more or less stick with what you did. For a club mix we'd do a much different mix from the ground up, with a lot more bass and drums.

A Warm Reception Pendulum's recordings make extensive use of both vintage analogue synths and software instruments, neither of which are renowned for their reliability on stage.

In the third party arena there's also Camel Audio's Alchemy player, which comes with some free sounds. You could then move on to their Dubstep package for the player. Lots of big greasy sounds in there! Logic 9. Any idea where to get info on these techniques? I'm not sure what they are called. David Nahmani Site Admin. Tue Jul 12, pm bchamorro wrote: Thanks! Their sound was heavy, pummeling and often anthemic, thanks to McGrillen, Swire and third founding member Paul Harding.

Dressed in all black and rarely photographed smiling, Pendulum was as much a rock band as an electronic act. Even in the U. But Pendulum took a backseat when Swire and McGrillen blew up with Knife Party, which achieved headliner status in the States during the dance music boom and placed the group alongside contemporaries like Kill the Noise, Nero, Flux Pavilion, Excision and other genre heavies.

Now, after 10 years of making music as Knife Party, the guys have returned to Pendulum. The impetus for the comeback started with that Ultra Show, which led them to create the music that would eventually become "Nothing For Free" and "Driver," both out today Sept. Before quarantine, the group was testing out the music with sets throughout Australia and New Zealand, and while both currently quarantined at their homes in London, in Pendulum is set to play big deal electronic festivals including We Are FSTVL, Creamfields, Ultra Europe.

Here Swire and McGrillen discuss Pendulum's return, why they hated bass music and why albums are no longer necessary. Swire: [We've] definitely got a love-hate relationship with it. I think the scene had quite a hard time accepting us, especially in the underground.

Second of all, one of guys wants to sing and the other guys wants to play a f--king bass. Were there moments you felt accepted in that scene, or was it always a more contentious thing? Swire: Yeah, I think initially it was very accepting, and then we did what we always do and got bored of sticking to the same thing. It seems like with both projects, you've had the same experience of not quite fitting into your respective scene.

McGrillen: I think coming from Pendulum and starting Knife Party, we learned lessons about getting sort of constricted or locked into a genre.

Maybe with Knife Party as well, without realizing it we tried not to get locked in. Dubstep was controversial when you debuted Knife Party. People loved it, people hated it and and it created a lot of contention within the scene. What was your experience of that?

Did that make it difficult to be wedged into that scene and play for that fan base, or were you just happy to be there? Swire: We were happy to be there and happy to experiment.

Hold on. Coming out the other end of that project and feeling a bit creatively burnt out and lost, was it always an intention to go back to Pendulum? Swire: The initial kick off was Adam at Ultra.