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The Script has faith in Sennheiser

Irish pop-rock act The Script used an array of Sennheiser IEMs and microphones on their recent UK Science & Faith tour, writes Paul Watson.

Sennheiser provided popular Irish three-piece pop-rock band The Script with a full complement of microphones and IEMs for their 12-date headline Science & Faith arena tour. Adlib Audio supplied the sound system for the tour, which spanned England, Scotland and Wales; and included two major London shows: Wembley Arena and The O2, which suggests the band has come a long way since its inception in the mid 90s. “As the band’s first tour of big venues, the first thing we discussed was in-ear monitors,” explains FOH engineer Richy Nicholson. “We contacted two of the major manufacturers and Phil Cummings from Sennheiser got straight back to us. He and Mark Saunders came to one of the early rehearsals and they were also really proactive about the microphone side of things.” The Sennheiser inventory comprised an ew 500 mic (with the new 965 true condenser capsule with switchable pattern) for Danny O’Donoghue’s lead vocals; a pair of e 906s on guitarist Mark Sheehan’s rig; and e 904s, 905s, and 914s on drummer Glen Power’s kit. Nicholson says the ew 500 provided the best sonic results, and was also mightily impressed with the sound of the drum mics. “The band hates ‘TV’ mixes, where it sounds like the band isn’t there; and the ew 500 was the best solution, both for Danny’s voice and for blending it in with the band,” Nicholson explains. “Glen also sings into an e 965 and there’s a little marching drum that he uses for one song, which we have an e 908D gooseneck on; it just clips into an ew 500 572 wireless transmitter pack strapped to the drum and off he goes. It sounds great.” The band and their respective backline techs all used ew 300 G3 IEMs, and monitor engineer Paul ‘Mini’ Moore also positioned a pair of Sennheiser MKH 416 shotgun mics in the lighting truss as ambients to capture the audience reaction, which was then sent to each monitor mix, and to the multitrack Pro Tools rig, which was used to record every show. “I’d never used them in the truss before, but I’ll never go back again,” insists Moore. “Getting them up there and away from the PA makes the room sound so much bigger.”