Cam Trewin, studio and live mixing engineer for Australian alternative dance group R F S DU SOL, has installed a pair of PMC6-2 monitors in his Dolby Atmos 7.1.4 studio where he is using them for main monitoring duties.I chose PMC6-2 monitors because I've had extensive experience with the company's products, both from owning a pair of result6 monitors and working in other PMC-equipped studios worldwide, he explains. I also have a pair of PMC Twenty 23's in my home theatre room. What I really like about them is their transparency and the bottom-end response from the ATL line. As soon as I installed my PMC6-2's, I was amazed by what I heard. They provided that final 2% enhancement across the entire mix.
Currently based in Melbourne, Australia, Cam Trewin began his music industry career in the early 2000's when he started as an assistant engineer at Joe Camelleri's Woodstock Studios in St. Kilda. Working with artists and bands such as John Butler Trio, Tim Rogers, Ross Wilson, Pete Murray, Saskwatch and Kingswood gave him plenty of opportunity to hone his skills behind a Neve mixing console, along with exposure on Triple J and commercial networks.
After a few years, Trewin took on live FOH touring duties alongside his studio work. As a part time in-house engineer at the Esplanade Hotel, he had the opportunity to work alongside international acts such as Mix Master Mike (Beastie Boys) and De La Soul.
His introduction to R F S DU SOL came in 2013 when the band was an up-and-coming dance act from Sydney who were on tour in the US.
I'd done a few laps around Australia with various acts, which led to festival plays at Big Day Out, Splendour In The Grass, and Laneways, and support slots for the likes of Foo Fighters, Kasabian, Wombats, Primal Scream and The Foals, he says. This flew the door open to international touring and on a cold winter's night, mid-tour with Alpine supporting Empire of the Sun in Denver, Colorado, I was given another opportunity the chance to work with R F S DU SOL. 11 years and six continents later, we are playing sold out shows to millions of people.
R F S DU SOL consists of Tyrone Lindqvist, Jon George and James Hunt. Their debut album Atlas peaked at No. 1 in Australia in 2013 and their three subsequent albums have reached either No.1 or No. 2 in their home country. The band also won an ARIA Award for Best Dance Release in 2015 for their single You Were Right, and a Grammy Award for Best Dance/Electronic Recording for Alive, a single from their fourth album Surrender.
As part of their 2021-2023 promotional worldwide tour for Surrender, the band played three stadium shows at Banc of California Stadium. They also headlined Oshega Festival in Montreal and Field Day Festival in Sydney. Their live shows are considered an experience rather than just a concert and are invariably sold out.
The live shows strongly emphasised the visceral and experiential, Trewin says. This is translated both visually and sonically. The band, being very credible producers and engineers themselves, along with myself and the team, push the boundaries to deliver an impactful, emotional, and dynamic show. Our audio team consists upwards of eight members for larger shows and includes monitor engineer, James Gueness, who has been with the band for nine years. Together with our technicians, we have refined and developed the show into what it is today.
The current live show is two hours long and takes the audience through all four R F S DU SOL studio albums.
It starts with a dark, brewing intro and progresses into high-energy tracks like Eyes, then transitions to more relaxed vibes from their earlier albums with songs like Brighter and Like An Animal, Trewin explains. The mid-point features Solace, a hard-hitting tech track with deep subharmonic elements, and leads up to high sweeping riser moment. This requires precise control and demands from my PA system.
Beyond the live show, Trewin is responsible for all audio media releases, including broadcast, streaming, social media, and live albums. In 2020, he worked on R F S DU SOL's live feature album/film, Live At Joshua Tree, where he was responsible for the recording, mixing, and delivery of both spatial audio and theatrical mixes.
Trewin describes his studio in Melbourne, Australia, as a hybrid environment that includes plenty of analogue equipment.
Having grown up in a very analogue studio, I ve always had an affinity for the analogue domain, which is where I began my career as an engineer, he says. I ve maintained this approach even in digital environments, whether in a DAW or digital live console. When I built my Atmos room, I opted for a hybrid setup and introduced key analogue pieces, mainly for my 2-bus and Lead Vocal processing. This includes the Crane Song STC-8, Manley Massive Passive, RND MBT with conversion from the Crane Song Interstellar, and Avid MTRX Studio. My vocal chain consists of Audioscape Opto (LA2A), Pultec, and 1176.
Trewin's new PMC6-2 monitors were supplied by the company's Australian distributor Audio Chocolate. Initially they lent Trewin a pair of PMC6 monitors to demo in his own studio and the impact these had on his workflow persuaded him that he was making the right decision.
I told Audio Chocolate that I couldn't let them go! Trewin says. However, I was curious about the sound of the PMC6-2's. Given that my primary work is in pop and EDM where bottom-end response is critical, I initially worried the 6-2's might be too large for my room, but after consulting PMC and having the wide dispersion range explained to me, I realised these monitors would suit nearly any room so I opted for the 6-2's, confident they would offer the same sonic signature as the 6's with greater detail. Audio Chocolate generously allowed me to ke
