Rob Swire

Trying to find a non-cringe vocal on Splice

Rob Swire tweets "@SteinbergMedia Cubasis on iPad is fucking awesome. Been playing with it all week <3"

Rob Swire is seen setting up Neumann KH 310 A studio monitors in his control room, as mentioned in his Twitter post.

Rob shows an old tablet runnuing FM8 and energy XT can be seen in the taskbar.

seen on the rack to the right of the desk

Yes, we recorded the whole Pendulum set at Reading (including new track + Shikari mix). Up on YouTube on Friday

All the vintage synths in the Pendulum studio are still in showroom condition, notably this Sequential Prophet 10.

Vocals, meanwhile, were recorded in a corner of the band's main working area. "It's all me," says Rob. "I recorded them with a Brauner VMA, and unless we were using it as an effect vocal, there might be a bit of EQ first, and then through the Blue Stripe [1176 compressor].

We do a lot of vocoding and talk box. We do it with a physical talk box, with a DX100 sound piped through. It's more difficult than I bargained for, because you have this fucking tube in your mouth and you're trying to say esses and tees and shit. It's like having one of those things that the dentist chucks in your mouth to suck up the spit, except that it's not sucking up the spit!

also seen in the older FM interview from 2006 where he was actually using them

Robs presets are included in Kilohearts' Phase Plant VST.

Rob Swire is frequently seen using the Korg KONTROL49 49-Key MIDI/USB Controller in his setups, notably in front of his computer monitors. This can be observed in the YouTube video "Sooner - Pendulum 17/03/10" by Zane Lowe, as well as in the Future Music 2013 interview and various Twitter posts.

Listed on this spreadsheet: https://external-preview.redd.it/tlQLmUOjrQ-QdWrTIJrq5mYo4Olghe6hEypG68ttD-w.png?auto=webp&s=9f150726172b96d32d5880f67e81bf49c14abff4

On the new album, the guitar sounds were created using IK Multimedia's Amplitube 2 and TC Electronic's TC Thirty plug-in.

"For a lot of the bass sounds we just start off with something simple and then mangle it, or use our old favourite [Cakewalk] Z3TA plug-in. I love it, for anything. For some reason it's one of the quickest go-to synths for anything I want to do. I just think of a sound, go to that and do it, which I don't really have with anything else. There's sounds you can't get from Z3TA and that's why we have analogue synths, but at the same time, if you want something digital and fucked-up, they aren't really going to do it, except maybe for the Andromeda. If you want something like that it's not going to come from a Prophet. I find with Z3TA, more than anything else, it just fits right in against drums, the way that we do them, and I've never found anything else that does it so well."

“A lot of basslines comes from [Native Instruments] FM8 or [Cakewalk] Z3ta+ but we’ll use anything as long as it has the right waveforms that won’t interfere with the kicks,”

“The Muse Receptor has become an integral part of the live setup. We’ve got five of those on stage, plus more in the studio. Basically, they allow you to take anything from the studio and put it in front of a live audience without it feeling like you’re just playing along to backing tracks.”

Rob Swire discusses his use of the GForce Software impOSCar in a Sound On Sound interview, likening its capabilities to those of Reaktor for analog sounds. He mentions the complexity of its interface, noting the challenges of adjusting its controls and the unique way it handles MIDI messages.

For pads we usually use the Andromeda or try to layer something with the Prophet. With the Prophet there's a sort of Blade Runner-esque thing you can't really get from anything else. I use a lot of weird little freeware shit. [Krakli Software's] Cygnus is the best thing ever for spacey pads. It's like Absynth but just made for those sort of sounds in the background. If something that looks good comes out I just buy it.

"I love that, but I'm sure there's something that could do the job a tiny bit better. I've heard an SSL, and for our mixes I liked the Roll Music better. Most of the other ones we tested I couldn't stand. The API 2500 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.

Rob Swire talks about recording guitars with two KM 84's in this Future Music Studio video.

"The thing Judas is most scared of: the "violin" patch on my shitty old Casio PT-10 http://yfrog.com/kk43wgj "

Rob Swire tweets "@SteinbergMedia Cubasis on iPad is fucking awesome. Been playing with it all week <3"

Can be made out on the keyboard stand in the back of the room.

Listed on this spreadsheet: https://external-preview.redd.it/tlQLmUOjrQ-QdWrTIJrq5mYo4Olghe6hEypG68ttD-w.png?auto=webp&s=9f150726172b96d32d5880f67e81bf49c14abff4

Rob Swire is associated with Native Instruments Komplete 14, as indicated in a user-uploaded photo on Reddit.

Listed on this spreadsheet: https://external-preview.redd.it/tlQLmUOjrQ-QdWrTIJrq5mYo4Olghe6hEypG68ttD-w.png?auto=webp&s=9f150726172b96d32d5880f67e81bf49c14abff4

Listed on this spreadsheet: https://external-preview.redd.it/tlQLmUOjrQ-QdWrTIJrq5mYo4Olghe6hEypG68ttD-w.png?auto=webp&s=9f150726172b96d32d5880f67e81bf49c14abff4

Rob Swire is listed as a user of the D16 Group Decimort bit crusher plugin on a spreadsheet shared via Redd.

AmpliTube 2 was used for Perry ap Gwynedd's guitar on In Silico, as stated in this June 2008 Sound on Sound interview.

Guitarist Perry ap Gwynedd has seen his role in the band grow since Hold Your Colour, and the instrument is now central to Pendulum's sound. On the new album, the guitar sounds were created using IK Multimedia's Amplitube 2 and TC Electronic's TC Thirty plug-in. "There's a lot of guitars in there, and our guitarist was a bit pissed that we wouldn't record an amp, to begin with. We wanted to keep it software-based, just because you don't really know what sort of sound you're going to end up with. For what it is, even including a guitar in the first place is going to throw our fans off like nothing else, so for us to have that sort of last-minute 'That doesn't sound right, let's use this...' We just use them as walls of sound alongside the synths. They don't tend to feature by themselves too much at any point. With one of the tracks we tried to do a guitar solo as Aphex Twin might have done it, which I liked the idea of. The brilliant thing about our guitarist Perry is that you can have nothing in mind and he'll go 'OK, just leave me here for 10 minutes,' and he'll come up with something that is better than the entire tune you had before."