Live sound engineer Billy Psarologos has chosen the Waves eMotion LV1 Classic live mixing console and Waves eMo IEM plugin for immersive in-ear monitor mixing, to mix FOH and monitors on Australian band Lime Cordiale’s 2025 world tour.
The Australian indie pop-rock band has gained international recognition with albums like Permanent Vacation and 14 Steps to a Better You, and have earned multiple accolades, including two ARIA Awards for Breakthrough Artist and Best Live Act.
Psarologos, whose credits include hip hop artist Illy and his previous role as Head of Audio Production at Melbourne-based Deluxe Audio, comments, “The LV1 Classic offers far superior summing compared to any console I’ve worked with, and its mix engine is exceptional! The headroom is unmatched in any price bracket, ensuring mixes never feel choked. My mixes are noticeably more nuanced with the LV1 Classic than with other brands I’ve experienced. This console enables me to replicate studio producer techniques in a live environment, allowing fans to experience effects exactly as created on the record, live and on the fly – a much purer way to honour the producer’s vision without relying on playback tracks.”
Psarologos also praises the Waves eMo IEM plugin for immersive in-ear mixing—a software-only add-on to the LV1 console: “It’s great to have an immersive in-ear mixing solution that’s purely a software upgrade, without having to rely on any additional hardware,” he says. “We can now give the band a very comfortable in-ear sound that’s spacious and uncluttered. With a 360-degree panning scope, centred instruments are noticeably easier to distinguish. Previously, I relied heavily on side-chain dynamics to clear space in the centre image, but now the monitor mix achieves a beautiful balance effortlessly. Additionally, Link Groups in the eMotion software streamline workflows, allowing for quick IEM re-balancing and synchronised EQ adjustments across multiple vocal microphones, particularly useful for managing resonances in live performances.”
Psarologos credits Waves plugins running on the LV1 Classic for helping shape Lime Cordiale’s unique live sound: “I adapted to the LV1 Classic instantly; the UI just makes sense. Waves plugins feel familiar since most of us learn sound in DAWs before ever doing a gig, so using the same tools live is a huge advantage. When I have a sound in mind, I know exactly which Waves plugin will get me there, and that kind of confidence is invaluable when proving yourself to a band.”
“I added Curves AQ to my showfile a few weeks ago, and I haven’t looked back since. It’s one of those plugins that instantly elevates every input, a true ‘better-maker.’ When building a mix quickly, it serves as an excellent starting point for any instrument. I simply apply it, let it analyse the source, and choose a preset that catches my ear. Having a plugin this intuitive, operating at zero latency on the LV1 Classic interface, is a next-level innovation.”
He adds, “I rely on essential effects like time-based modulation, saturation, filters, flangers, and infinite delays with Waves H-Delay Hybrid Delay for dynamic vocal effects. They are key to building excitement by creating explosive transitions into choruses and filtering the mix right before the drop. The LV1’s responsive console interface allows for bold techniques like mix filtering and DJ-style scratching, enhancing live performances. I use the H-Delay on a bus, sending vocals to it with infinite delay and controlling the return fader as I manipulate the time signature on the plugin. Similarly, I often apply OneKnob Filter and MetaFlanger on my mix bus to craft DJ-style effects before building up to an explosive chorus.”
“I lean heavily on the Primary Source Expander (PSE) and think live engineers have yet to fully explore its potential,” he adds. “My approach involves creating a ‘PSE Ducker’ bus with bleed-prone instruments like snares, hats, toms, and overheads. This bus is routed to the PSE’s sidechain input on vocal mics, where I enable ducking, measure the mic-snare distance, and fine-tune the gain to eliminate drum hits from the threshold. This significantly reduces bleed while maintaining maximum vocal sensitivity, even for whispers. With DPA d:facto condenser mics near drums and zero spill in FOH, PSE ducking consistently delivers amazing results, making it an essential tool for creating live sound magic.”
“Another indispensable plugin,” he remarks, “is the Waves TRACT System Calibration plugin. I rely entirely on TRACT to tune and align every P.A. system I work on. Its automatic FIR correction is incredibly convenient in small theatres and clubs, allowing me to tune and optimise any room in under five minutes. If the system isn’t properly set, even the best console mix won’t sound right in the room, so ensuring the room is tuned correctly is always my starting point.”
He goes on: “My current favourite is the Curves Equator. I use it on my drum/band groups with the vocal group as the side-chain key, to ensure vocals always sit prominently in the mix. Its ability to carve space for vocals with unmatched precision is unparalleled. While similar results could be achieved with regular EQs, the Curves Equator operates in linear phase and its auto-makeup feature ensures instruments retain their power. It’s almost magical how the mix maintains energy yet the vocal sits on the top easily.”
“I turn to the IDX Intelligent Dynamics for drums and bass because of its intelligent processing, which provides a punchy, aggressive sound that highlights transient-heavy instruments with minimal EQ. Silk Vocal is an essential part of my vocal chain, intelligently removing resonances to create full, open vocals. It’s also an outstanding de-esser for acoustic guitars and brass, showcasing its smart dynamics handling. The InPhase plugin is vital for drum alignment, outperforming traditional phase inversion techniques. It enables precise delay adjustments to align the closest and furthest sources, achieving flawless phase coherence. By aligning everything to the overheads for FOH mixing, it delivers a cohesive and well-glued drum sound.”
He continues, “I use the Scheps Omni Channel 2 on basically every input in my LV1 Classic session,” he remarks. “This plugin has everything needed to make any source sound amazing, and for finer EQ accuracy, inserting an F6 Floating-Band Dynamic EQ within the Omni plugin is an incredible feature. I also love the flexibility of re-ordering the channel strip to suit any workflow. The saturation in this plugin is a secret weapon for live vocals, and the crush effect works brilliantly on a parallel drum bus.”
Remarking on the LV1 Classic’s workflow, he notes, “After five years with the LV1 Software mixer, the Classic has completely transformed my mix template. The GUI customisation lets me align the interface to my workflow, keeping essential key controls front and centre. The biggest change has been group-to-group routing, unlocking countless side-chain tricks for a cleaner mix. Another standout is the ability to send FX returns into groups, especially useful for vocal groups when reverb causes resonances and feedback.”
“I love the LV1 Classic’s screen size,” he notes, “and its viewing angle is perfect. It naturally keeps my head higher, so I focus more on the stage than I would with other consoles that have a screen almost flat to the table. Because the faders align seamlessly, speeding up adjustments without second-guessing. Also, the additional meters on the scribble strip are a fantastic feature, offering visibility of fader levels regardless of the screen page. The rear screen brightness adjustment is handy during dark show moments, preventing distraction for nearby fans. Layers snap quickly and accurately. Another standout feature is the internal media player, which eliminates the need for a separate playback device, and the on-board recorder provides video operators with stable mixdowns immediately after shows.”
Highlighting the LV1 Classic’s smooth performance during a six-week tour across the USA and Canada, he reflects, “The UI was crucial for mixing FOH and monitors simultaneously, with dual mixer windows enabling control and flexible layouts. Mixer 2 layers include band members and stage sections linked to spills, optimising space. The MixTwin app and TRACT make room tuning effortless, allowing quick measurement captures via iPad without returning to FOH.”
Psarologos concludes, “Other consoles now feel clunky and frustratingly slow, even for basic adjustments. The LV1 Classic has re-defined my expectations in respect to how intuitive a console must be. With the Classic, everything is just one click away, allowing you as the engineer to work with precision and speed. That seamless access keeps you in control and gives artists the confidence to perform at their best. This console is just so tourable with its form factor and flexibility. I have yet to reach the limits of what this console can do. If you’re a touring engineer seeking big-desk power in a compact format, nothing rivals the eMotion LV1 Classic.”
