Waves eMotion LV1 Classic and eMo IEM Chosen for Don Toliver's 2025 World Tour

	Front-of-house engineer John Buitrago

Front-of-house engineer John Buitrago (Karol G, J Balvin) and monitor engineer Dennis Barnes (Future, Megan Thee Stallion) rely on the Waves eMotion LV1 Classic mixing console, plus Waves eMo IEM immersive in-ear mixing software, for Don Toliver's 2025 world tour.

Don Toliver is known for his melodic rap style and atmospheric production. He rose to prominence with his breakout single "No Idea," and has since released multiple charting albums, including Heaven or Hell and Love Sick. His collaborations with Travis Scott, Kali Uchis, and Metro Boomin have cemented his place as a leading voice in modern hip-hop and R&B.

Buitrago shares, "This is a big tour. We're hitting major arenas across Europe. We just wrapped a sold-out show at the O2 in London with 20,000 fans, and the LV1 Classic was the perfect fit. It delivers pristine, high-end sound quality with incredible transparency. It actually feels like mixing on a top-tier analog console, combined with the flexibility of digital precision. What's more, the Classic's compact size and portability mark a paradigm shift for touring. It lets us carry a world-class console setup in a lightweight rack, which is ideal for festivals, fly dates, and venues with limited space."

Tour production manager Daniel Arbelaez remarks, "We chose the LV1 consoles for both front-of-house and monitors, for a multitude of reasons. John had been talking about this desk for months. He called me and said it was finally coming out, and he really wanted to use it for a few upcoming projects. As soon as it was released, we shipped it straight to Coachella and used it for rehearsals and the show. The results were immediate. We were blown away by how it sounded. John insisted it was superior to anything we'd used before. Once I heard it in action, we were all in awe. From Coachella, it went straight to the European leg of our world tour, and the results speak for themselves."

Buitrago adds, "We rely heavily on Waves plug-ins to achieve the exact sound we're after. Don has an incredible ear and a very specific sonic vision. Being able to grab a channel and make it sound like it does in the studio is a huge part of our show. With a mix of digital and analog inputs, the system has remained smooth and intuitive. It's a pleasure to work with. We haven't hit any challenges. It's easy to use, sounds incredible -- and, of course, the integration with Waves plug-ins is the smoothest it's ever been."

Sharing his vocal chain setup, Buitrago explains, "Vocals are everything. They're how the artist connects with the audience." For Don's vocal chain, he starts with an external insert using a Rupert Neve 5045, then moves into the SSL E-Channel. From there, it's the eMo Q4 Equalizer, Renaissance DeEsser, CLA-76, CLA-2A, Renaissance Compressor, and finally the C6 Multiband Compressor. "It's a dynamic chain," he adds, "small steps build a big vocal sound. People think one plug-in can do it all, but it's really about layering and subtle tweaks."

Buitrago sends his vocal tracks to a sub-group processed with MaxxVolume and then an F6 Floating-Band Dynamic EQ. For effects, he mirrors the sonic signature of Toliver's recordings. "We run snapshots for every song, and all the vocal plug-ins follow the record. The H-Reverb Hybrid Reverb lets me use presets straight from the album. Then I add a short slap delay with SuperTap to keep the vocals tight, helping glue the reverb and delay together. I add a touch of EQ followed by an S1 Stereo Imager to widen things up. And of course, I use the H-Delay Hybrid Delay, my favorite Waves plug-in, on every song. Another must-have is the Abbey Road TG Mastering Chain, which I insert on my master buss to glue the overall mix and for controlling dynamics. I also rely on Abbey Road Reverb Plates on instruments to add lush depth and character that translates beautifully in arenas."

Describing his routing and master chain, Buitrago meticulously organizes his session into distinct groups: DJ, bass, guitar, keys, guest vocals, track group, and vocals. His master chain includes the SSL G-Master Buss Compressor, an externally inserted Pultec, the F6, with the PAZ Analyzer inserted at the end of the chain. "The Waves F6 Floating-Band Dynamic EQ is hands-down the best dynamic EQ on the market," he notes. "After the master buss, the Matrix feeds the system. I've got a small EQ on the left and right, just in case. I use the H-EQ Hybrid Equalizer, even with minimal processing, and I rely on the GEQ Graphic Equalizer to make surgical cuts during the show. Tools like the Waves VU Meter help monitor levels, and gain structure is a top priority. I record every night and use Waves plug-ins to ensure the show sounds consistent everywhere."

Barnes comments, "Out on the road, the eMotion LV1 Classic makes my life easy. Every city we roll into, the workflow, the tools, and especially the eMo IEM, help us deliver a great show. It's been a game-changer, not just for me, but for the entire band. The desk opens up the sonic image in each mix, giving me space to separate and define every element with precision. It's more than stereo; it's a full 360-degree surround image I can shape for each artist."

Barnes mixes Don's in-ear monitors based on stage layout and spatial intent: "Guitar is panned to his right for solos. Effects come in from behind to add depth, and talkback sits slightly off-center, so it doesn't clash with the lead vocal. DJ and guest vocals are offset just enough to keep Don's voice front and center. Instruments, vocals, effects -- everything can be moved around. They know it, I know it, and once they tell me what they want, we're golden."

He continues, "To build Don's vocal tone, I start with the PSE (Primary Source Expander) to lock in the signal and eliminate stage noise. From there, I apply a carefully curated chain that begins with the F6 for dynamic EQ, followed by the CLA-76 and CLA-2A for compression, then Waves' Sibilance to enhance clarity, finishing off with PuigTec EQs and BB Tubes to harmonize and shape the overall sound."

"The vocal buss is summed into Don's in-ear mix," he adds, "processed through a Waves F6 and SSL Comp for tightness. I then complete the chain with the Abbey Road TG Mastering Chain to lock in dynamics and clarity. It keeps the vocal cutting through sonically and exactly where I want it."

Barnes' setup includes the LV1 Classic console, an extra screen, an iPad with snapshots, user keys, mute groups, and custom layouts for each mix. "I've built layouts that let me jump between fader banks for band channels, vocals, talkbacks, and a dedicated star page focused just on Don. It's a great-sounding mix, easy to manage, and clean. Even with pyro firing and the team positioned right next to the stage, the LV1 Classic handles it all. Automation flows perfectly. Audio-wise, we don't have to worry. It just works."

Buitrago concludes, "With the LV1 Classic, everything runs smoothly. Communication between playback, monitors, and FOH has been amazing. I'm so happy and confident with the system. People ask me, 'You're using this small console for a big show?' And I say, 'Bro, it's not about size, it's about sound.' When they hear it, they get it. It's a small console with a huge sound, and that makes me proud."