Liverpool based Adlib is again supplying an L-Acoustics K1 sound system to the current UK and Ireland arena section of Irish alt rockers’ The Script’s ‘# 3’ world tour.
This was specified by FOH sound engineer Richard Nicholson and builds on the hugely successful results they achieved using the same system two years ago, including a sold out show in Dublin's Aviva Stadium.
Ian Quinn is the band’s longtime Tour Manager and Bob O’Brien is production manager for this tour and worldwide. O’Brien stated, ''Adlib is an essential piece of the puzzle and their commitment to everything is immense. It's a privilege to be leading a team of guys with such a passion for what they do and who pay so much attention to detail. The equipment is also second to none.''
Over the past four years The Script have sold over 4 million albums and 10 million singles, making them one of Ireland’s best loved bands around the globe.
ADLIB’s crew – including Systems Engineer and KSE, Tony Szabo with Marc Peers who is looking after monitors for engineer Paul ‘Mini’ Moore – are touring a total of 48 x K1 cabinets, with 16 x K1-SBs and 18 x L-Acoustics SB28s for low end.
In the largest configurations, they are flying 14 x K1s a side left and right, plus four KARA downs per array, and behind that are eight flown K1-SBs providing that extra-solid bottom end sound that is so distinctive to The Script.
The side hangs (left and right) comprise 10 x K1s with six KARA downs.
Two further upstage hangs of four ARCS II speakers are used when the seating has been sold 270 degrees around the arena. These produce a combined 90 degrees of vertical coverage with plenty of additional headroom for more power.
These ARCS II arrays are also travelled in custom dollies in that same format, complete with all cabling, to simplify get-ins and outs.
On the floor, the SB28s are run in cardioid mode in a left-centre-right arrangement with the centre section secreted under the stage but in line with the left and right stacks. This is designed to optimise the low end coverage in all venues.
Ahead of the tour Szabo and his team utilised the latest version of Soundvision to map out their overall sound requirements.
They were also able to get involved early on in the design of the 30 metre wide stage set conceived by Jamie Thompson (also the LD) - which incorporates a substantial amount of inbuilt LED elements - and advise on audio special needs in relation to this, in particular the location of the sub stacks and fills.
The front crowd barriers are curved to maximise audience capacity, so plenty of lip and front fills are needed to cover these areas.
Szabo spent time at set builders LS Live, in Wakefield, to ensure that these sonic requests were fulfilled, which included manufacturing some bespoke hanging bracketry for the front lip fills – four single drops of KARA – which are hung off of the actual stage.
Sitting on top of the left and right sub stacks - further out - are four additional ARCS cabinets providing extra support to the lip fills further in.
All the L-Acoustics speakers are driven by LA8 amplifiers. A standard Adlib processing rack contains Lake LM44 and 26 processors, all running Dante over TAC-4 fibre links to maintain the digital signal for as long as possible.
The Lake processors are fine tuned via a wireless tablet, together with Meyer SIM 3 measurement – a favourite Szabo tool - for assuring super-accurate EQ and time alignment. He’s found this combination powerful and stable.
Adlib are running their own RF measurement system for the PA, using a Lectrosonic unit in conjunction with an Earthworks battery powered mic, which is proving a very quick method to optimally EQ and time align the system in any venue.
Adlib’s Richard Nicholson (FOH engineer) cuts his mix using an (Avid) DigiDesign Profile console, which he’s spec’d for the last two years and is still his current choice. “It’s great knowing you can source one almost anywhere in the world,” he confirms. He uses a Neve preamp and a Distresser on lead singer Danny O’Donoghue’s vocal, and all the other effects in the show are onboard the desk.
The monitor set up is relatively straightforward. Mini uses one of Adlib’s Soundcraft Vi6 consoles to mix, and the band have their own Sennheiser IEM systems.
For atmospheric rumble, Adlib has added four L-Acoustic SB28 subs across the back of the stage, and an MP4 drum sub.
Once this UK leg finishes, The Script hit Asia and Australia, continue more promotional work back in the US … and then will be opening for Train in the Summer.
Adlib’s account manager Phil Kielty states, “It has been fascinating to watch the band develop their live performance over the last 3 years. They always get creative and continue to change and enhance the live experience for their fans. From sold out shows in Dublin from the outset, to two nights at the O2 Arena in London, they always give 100% – it truly is a pleasure being involved with such a stunning band!”
Photos: Shirlaine Forrest