• Download Press Release

• Return to Index

PRESS RELEASE
Contact: Clyne Media, Inc.
Tel: (615) 662-1616

FOR IMMEDIATE RELEASE

Ryan Castro tour powered by Waves LV1 Classic and eMo IEM

— On the Sendé tour, FOH engineer Robinson Barrera and the Awoo Team run a fully Waves-anchored live audio system — two LV1 Classics on a standard date (front-of-house and monitors), scaling to four for tentpole shows to add guest monitors and a live broadcast mix, with Waves eMo IEM handling in-ear mixes across the production —

Knoxville, TN, June 29, 2026 — When Ryan Castro’s Sendé tour rolled into Atanasio Girardot Stadium in Medellín, Colombia, the audio team didn’t just deploy a console. They deployed four Waves LV1 Classics — one each for front-of-house, monitors, guest monitors, and a live broadcast feed sent to a second site across the city — with Waves eMo IEM handling the in-ear mixes for Ryan, his band, backing vocals, dancers, and playback. The monitor desk ran in the LV1 Classic’s full 80-stereo-channel (160-input) configuration, the depth the production needed to absorb the full live input count — band, dancers, guest performers, RF returns, ambient mics, and comms — on a single surface. It was the scaled-up version of a system Ryan’s team usually tours with as a pair (one LV1 Classic at FOH, one at monitors), opened out for a hometown stadium night with more guests, more rooms to feed, and more demands on the rig. At the center of that production, behind the front-of-house desk, was Robinson Barrera — head of audio for the Awoo Team and Ryan Castro’s FOH engineer since 2021. Barrera has been mixing on the Waves LV1 platform for a decade: he picked up the original modular LV1 when it launched in 2016 during his Karol G era, and moved to the LV1 Classic as soon as the channel-strip surface shipped. “A great Latin urban mix isn’t the one with the most level,” Barrera says. “The vocal is the center of everything. You build the mix out from there.” From Medellín System Tech to Latin Urban FOH Barrera came up in Medellín, Colombia, at an audio company that handled most of the international productions coming through the country. He started as a system tech — designing rigs, tuning PA — and gravitated to FOH from the beginning. Local bands led to international travel. By 2011 he was working with Reykon, and by the end of that year he had stepped behind the desk for Maluma, where he mixed FOH for three years. In 2014 he joined Piso 21, working both FOH and monitors, and later that same year he started with Karol G. When the LV1 launched in 2016, it found its way into his Karol G rig — and that’s where the platform entered his life. Three years mixing FOH and monitors on a single LV1 surface. Two more years on FOH. By the end of 2019 he was back on monitors — a role he held until May 2026 — but in parallel, in December 2021, he was invited into Ryan Castro’s crew. He’s been on FOH for Ryan ever since — first on the original modular LV1 he’d known since his Karol G years, then switching to the LV1 Classic when its channel-strip surface launched. “It’s a huge responsibility,” Barrera says of the chair. “Being here makes me excited to once again be part of the great singers coming out of Colombia. I know the sound of the urban genre — that’s what it takes to translate what Ryan wants to transmit to the audience every night.” Vocals Forward, Lows Defined, Mids That Don’t Tire Ryan Castro’s catalog leans on a singular vocal signature and the deep, dynamic low-end the genre demands. Barrera’s mix philosophy is built around both. “You want the vocals up front — not strident, but powerful,” he explains. “You want great low-end definition. And the mid-highs can’t fatigue your ear when the show runs longer than two hours. Above all, you have to translate what the artist wants, so the audience leaves connected to him.” His view of “live” is just as deliberate. “We’re in a time when some mixers are dedicated to making the mix sound 100% like the record. That’s fine — but I think audio also tells a story, and it has to feel alive, not just perfect. Most people come to a show to see and hear something different — otherwise they’d stay home listening to the record.” To stay sharp between dates, Barrera turns on the LV1 at home and mixes the show at least four times a week. Inside the FOH Chain On a typical Sendé date, the PA is built around L/R mains, subs, and front fills, all routed and time-aligned through the matrices of the LV1 Classic. Regardless of which PA brand the venue throws at him, Barrera tunes every system with Waves TRACT. “The various tools the LV1 gives us mean that show after show, we stay consistent and powerful across very different systems,” he says. Speed matters as much as consistency. With the LV1 Classic at the center of the chain, Barrera can land in a venue and be show-ready in roughly half an hour. “The consistency and the speed when installing the LV1 Classic means we can do a show with only 20, maybe 30 minutes of setup and line check — and be confident everything is going to be fine.” Three years in, that confidence is earned. “Honestly, the system is very reliable. In the last three years we haven’t had a single bad experience with it.” Scaling Up: Four LV1 Classics at Atanasio Girardot The standard tour package is two LV1 Classics — one for FOH, one for monitors. For tentpole shows like Ryan’s hometown date at Atanasio Girardot Stadium in Medellín, the system scales to four, each desk handling a discrete job: FOH — the full mix for the audience, on Barrera’s desk. Monitors — the main artist’s IEM mix, the band, dancers, and comms. Guest Monitors — a dedicated desk for the night’s guest artists and guest band. Broadcast — a separate mix for a live broadcast to a second site in the city (Feria de Ganado), streaming, and multi-platform recording. The four consoles are tied together in a star topology, each console backed by a Waves Extreme C-Server alongside its internal server. The architecture is deliberate: every desk can be powered up independently, can run its own processes, and can keep working if any other node fails. Monitor world is built around a single LV1 Classic running in the platform’s 80-stereo-channel (160-input) configuration, three Shure AD4Q wireless receivers (12 channels of vocal RF), an ADTQ for stereo IEM transmission, a Directout EXBOX.MD for sequence playback, and a Hear Technologies WSG Bridge for Dante — the connective tissue that lets the SoundGrid network and the Dante systems share routing cleanly. For Atanasio Girardot, the production added more Shure RF for the guest artists and two DSPro StageGrid 4000 stage boxes — one in guest monitor world for the guest band’s percussion, guitars, bass, and keys, and one at FOH carrying comms mixes, comms inputs, and SMPTE distribution to the production. In-ears across the production — Ryan, backing vocals, keys, dancers, and playback — run through Waves eMo IEM, Waves’ SoundGrid-based in-ear monitor mixing engine, which lives inside the same LV1 / SoundGrid environment the consoles already run on and lets the team build personalized in-ear mixes with rich spatial imaging directly within the rig. “It lets us generate great spatiality and great definition of each element in the production,” Barrera says. The Team Barrera is quick to credit the engineers around him. “In monitors I’m joined by a great professional but above all a great human being — Felipe Montoya,” he says. Montoya, also out of Medellín, runs RF coordination, network management, monitor mixing, and comms for the entire Ryan Castro team, with a résumé that includes Felipe Peláez, Karol G, and Don Toliver. On the Atanasio Girardot show, guest monitors were handled by David Parra — “representing the new generation” — and the broadcast mix sat in the hands of Roberto Almodóvar, whom Barrera calls “my great friend, the legend.” Why the LV1 Classic For Barrera, the case for the LV1 Classic is the case the tour itself makes — night after night, in different rooms, in different cities, with shows that turn on vocal nuance and low-end punch. “It really is one of the most practical consoles, with the most advantages, to deliver punch and a mix people envy,” he says. “This setup gives you speed, flexibility, and character — your own identity.” Asked what he’d tell another FOH engineer considering the platform, especially someone working in Latin music, his answer is direct: the workflow gets out of your way, the plugin ecosystem lives inside the console rather than alongside it, and the system has earned three years of unbroken trust on a tour where there’s no margin for error. Looking Ahead The Sendé tour continues across Central America and the United States. In October, Ryan Castro returns to Colombia for a special 360 show at El Campín Stadium in Bogotá — a homecoming Barrera and the Awoo Team are already building toward. It comes back to the same principles Barrera has carried from the first LV1 he touched in 2016. Vocals first. Lows defined. Mids that don’t tire. And — at El Campín, or anywhere — the LV1 ready to scale when the night calls for it.

...ends 1405 words

Photo file 1: RobinsonBarrera_Photo1.JPG Photo caption 1: Front-of-house engineer Robinson Barrera, head of audio for the Awoo Team, shown with his Waves eMotion LV1 Classic employed for the Ryan Castro tour (photo 1). Photo credit: Daniel Diaz   Photo file 2: RobinsonBarrera_Photo2.JPG Photo caption 2: Front-of-house engineer Robinson Barrera, head of audio for the Awoo Team, shown with his Waves eMotion LV1 Classic employed for the Ryan Castro tour (photo 2). Photo credit: Daniel Diaz Photo file 3: RobinsonBarrera_Photo3.JPG Photo caption 3: Front-of-house engineer Robinson Barrera, head of audio for the Awoo Team and longtime FOH for Ryan Castro. Photo credit: Daniel Diaz Photo file 4: RyanCastro_Tour.JPG Photo caption 4: The scale of production of the Ryan Castro Sendé tour concert at Atanasio Girardot Stadium in Medellín, Colombia, required a fully Waves-anchored live audio system scaled up to four LV1 Classic consoles. Photo credit: Daniel Diaz About Waves Audio Ltd.: Waves is the world’s leading developer of audio DSP solutions for music production, recording, mixing, mastering, sound design, post-production, live sound, broadcast, commercial and consumer electronics audio markets. Since its start in the early ‘90s, Waves has developed a comprehensive line of over 240 audio plugins and numerous hardware devices. For its accomplishments, Waves received a Technical Grammy® Award in 2011; an Engineering, Science & Technology Emmy® Award for its Waves Clarity Vx Pro plugin in 2023; and NAMM Technical Excellence & Creativity (TEC) Awards for its Clarity Vx DeReverb Pro plugin in 2024 and eMotion LV1 Classic console in 2026. Additionally, its early flagship plugin, the Q10 equalizer, was selected as an inductee into the TECnology Hall of Fame. Increasingly leveraging pioneering techniques in artificial intelligence, neural networks and machine learning, as well as the company’s three decades of accumulated expertise in psychoacoustics, Waves technologies are being used to improve sound quality in a growing number of market sectors. Around the world, Waves’ award-winning plugins are utilized in the creation of hit records, major motion pictures, and top-selling video games. Additionally, Waves now offers hardware-plus-software solutions (including the revolutionary eMotion LV1 Classic live mixing console) for professional audio markets. The company’s WavesLive division is a leader in the live sound sector, spearheading the development of solutions for all live platforms. Products from Waves Commercial Audio enable A/V system integrators and installers to deliver superior sound quality for corporate, commercial, government, educational, entertainment, sports and house-of-worship applications. Under its Maxx brand, Waves Software Licensing Division is bringing Waves’ award-winning technology into a variety of consumer-facing markets including Mobile, PC, Home AV, Education and Enterprise. Some of the largest and most prestigious global OEM brands have adopted its DSP algorithms to enhance the sound experiences of their consumers. North America Offices: Waves, Inc., 2800 Merchants Drive, Knoxville, TN 37912; Tel: 865-909-9200, Fax: 865-909-9245, Email: info@waves.com,  Web: http://www.waves.com  Corporate Headquarters Israel: Waves Ltd., Azrieli Center, The Triangle Tower, 32nd Floor, Tel Aviv 67023, Israel; Tel: 972-3-608-4000, Fax: 972-3-608-4056, Email: info@waves.com, Web: http://www.waves.com  Waves Public Relations: Clyne Media, Inc., 169-B Belle Forest Circle, Nashville, TN 37221; Tel: 615-662-1616, Email: robert@clynemedia.com, Web: http://www.clynemedia.com

Copyright ©2026, Clyne Media, Inc., All Rights Reserved.

• Return to Top

Contact: pr@clynemedia.com