What do pendulum play instruments

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If you're using breaks, it's probably a break that everyone's used millions of times, and we wanted to go in and say 'Well, no-one's touched these. We've got fresh breaks, it's our album. So any time if we played something and we were changing the song, at any point we could just switch the live drums out and play it in Kontakt.

It was quite cool mixing through the groups, because you couldn't even tell that it was switched. Literally, it just sounded like the same take. All the vintage synths in the Pendulum studio are still in showroom condition, notably this Sequential Prophet We found some raw John Bonham drums and decided they were the easiest in the world to have against electronic stuff, but the sound was a bit harder to replicate than we thought.

Rob has a theory as to why the Led Zeppelin drum sound works so well in an electronic context: "I think it's because of how huge the sound is, without having to rely on the clicky transients that generally you can't really put into a dance music mix. Like, if you listen to a Nickelback track and listen to the kick, there's no way that's going to fit into any dance record ever.

It's too low, for one, and there's too much pop, there's too much click. Something like the Bonham drums, the transients are all so soft, but the sound is still so big, it's really easy to use.

The live drums were frequently layered with samples after the fact. If we're stuck for something we go through and raid that, or start combining things, or tearing bits of the samples apart and using different parts of them. 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. 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 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.

Vocals, meanwhile, were recorded in a corner of the band's main working area. The sound of that, compared to what we were using before — before, there was so much tweaking involved to get it to stand above a mix just right, to the point where it wasn't too loud, just fitting nicely against it — as soon as we ran it through that thing, we were like 'That's it. Some tracks feature relatively straight vocals, whilst others employ vocoders, talk boxes and other effects.

We do a lot of vocoding and talk box. We do it with a physical talk box, with a DX 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! 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. Does the emulation not sound the same as the original? The OSCar is possibly the dirtiest, most depraved—sounding synth ever — it's fucking gritty — and the ImpOSCar doesn't sound like that at all. It's clean and trance-like, which is probably why I like it for leads.

I find the actual OSCar is shit at leads and good at bass. Other hardware in the studio includes an Alesis Andromeda analogue polysynth, of which Rob says "I love how much you can do with it.

It's like the Reaktor of analogue. It is a bit of a headfuck, with that interface. Leaning over that small [ display ] thing trying to dial in plastic knobs that seem to go a bit dodgy over time isn't really ideal. Too much. Swire: The other thing was, they had this rotating stage at Ultra to cut down on switchover time, so that was the whole plan with Knife Party and Pendulum.

We had the whole Pendulum live setup at the back of the stage and the Knife Party DJ set up at the front. Swire: The first came to life in or '17, around the same time we did Ultra.

Swire: It will be two tracks, then two more tracks. After that then we might get back to some Knife Party. McGrillen: Doing it this way gives each individual track more attention, more focus and a better opportunity at being successful, rather than giving them a whole body of work and one gets attention and the rest are buried. Swire: It also means that instead of one large overarching, and may I say pretentious, concept album, you can come up with mini concepts for each EP, which I kind of like.

Search term. Billboard Pro Subscribe Sign In. Top Artists. Top Charts. Hot Songs. Billboard Top Videos. Top Articles. By Katie Bain. Copied to clipboard. Click to copy. Artists Mentioned. You guys haven't released new Pendulum music in nearly a decade. Why now? McGrillen: We definitely tried to assimilate. What was the pressure like?