The FOH path count for Mumford & Sons is large - it starts with around 76 inputs, but Pollard adds to that with extensive use of the L500's Stem bus type - a grouping bus with discrete send levels and full processing that can be picked from any one of six points on the contributing path, and routed anywhere, including to other stems.
By inserting an FX into a stem and routing channels to that stem, Pollard creates a fully processed auxiliary bus without requiring a separate return path. "I'm not using auxiliaries at all," says Pollard. "It's a new way of working for me, but it works really well."
Pollard lays out his VCA masters on Fader Tile 1, immediately below the large multi-touch screen. The tile to the left of that contains banks of instrument channels, and the one above has all the FX stems and other groups. "In a way, I've replicated an old-school analogue set up, but with this I can quickly access any instrument through the VCA groups, with the 'Q' button.
"A big advantage of this console is that you can put anything anywhere - you can think about your habits and the way you work and design your show file around that. Anyone can create a layout that works for them. Then, as your show evolves - as it naturally does over a year of touring - you can shift things around."
For Pollard and the band, the An Arrow Through The Heartland road trip will be finishing at the end of this year's festival season with the Austin City Limits Music Festival in October.
(Jim Evans)
