Music, Sound, and Audio Technology
Goo Goo Dolls Play Out with Sennheiser and Neumann
By Staff
posted Jul 8, 2010, 23:58
Even though Rzeznik is the band�s sole guitarist, a rhythm guitarist joins the tour so that Rzeznik can run around, playing guitar only when doing so adds to the impact of the performance. That said, he simply has to have a wireless mic. �When I started with the band five years ago, Kristy Jo Winkler, Sennheiser�s relations manager for the Americas, sent us every capsule that is made for the SKM 5200 wireless transmitter,� Hager said. �The KK 104 S brought out the best qualities in Johnny�s voice.� Windel added, �His voice has a higher register and the clear upper mids from the KK 104 are perfect for it. With a different mic, we could try to dial that register in with EQ, but it always ends up sounding forced.� Bound to his bass, Takac sings into Sennheiser�s famous MD 431 II, which features an integrated pop filter and exceptional off-axis rejection.
(Old Lyme, CT) The Goo Goo Dolls occupy a unique space in the music industry,
having risen from a respectable decade in the underground to worldwide stardom.
Now poised to release their ninth studio album, "Something For The Rest
Of Us," the Goo Goo Dolls are spending much of the summer selling out arenas.
Veteran engineers Paul David Hager (FOH) and Robert Windel (monitors) are relying
on Sennheiser and Neumann wireless and wired equipment for nearly every aspect
of the Goo Goo Dolls’ live set. Frontman Johnny Rzeznik sings into a Sennheiser
SKM 5200 handheld transmitter with a Neumann KK 104 S capsule, whereas bass
player Robby Takac sings into a wired Sennheiser MD 431 II. Drummer Mike Malinin’s
kit is a combination of Neumann and Sennheiser mics, including large-diaphragm
TLM 103s for overheads and toms. The band’s impressive collection of basses
and guitars run wireless on 14 Sennheiser ew 572 G3 channels. Finally, with
not a stage wedge to be seen, the whole band, along with several techs, use
Sennheiser ew 300 IEM G3 wireless personal monitors to inspire performances
worthy of the Goo Goo Dolls’ now legendary status.
Even though Rzeznik is the band’s sole guitarist, a rhythm guitarist
joins the tour so that Rzeznik can run around, playing guitar only when doing
so adds to the impact of the performance. That said, he simply has to have a
wireless mic. “When I started with the band five years ago, Kristy Jo
Winkler, Sennheiser’s relations manager for the Americas, sent us every
capsule that is made for the SKM 5200 wireless transmitter,” Hager said.
“The KK 104 S brought out the best qualities in Johnny’s voice.”
Windel added, “His voice has a higher register and the clear upper mids
from the KK 104 are perfect for it. With a different mic, we could try to dial
that register in with EQ, but it always ends up sounding forced.” Bound
to his bass, Takac sings into Sennheiser’s famous MD 431 II, which features
an integrated pop filter and exceptional off-axis rejection.
After much experimentation, the drum sound Hager has decided on is somewhat
unique for live applications. “I’ve tried tons of drum overheads,
and the Neumann TLM 103 seems to deliver the best stereo image of the kit,”
he said. “Instead of just a wash of cymbals, the TLM 103s also convey
the drums themselves with authority.” For spot mics, he again uses Neumann
TLM 103 for toms, Neumann KM 184s for hi-hat and ride cymbal and a Sennheiser
e 901 for kick. “We’ve done plenty of one-offs where we didn’t
have our own mics,” he said. “The drums invariably sound less clear
and less powerful.”
Windel manages eight channels of Sennheiser ew 300 IEM G3 wireless personal
monitors with 12 packs. “I really love the improvement in the noise floor
on the new G3 Series monitors,” Windel commented. “When I walk the
floor before a show, I have to put the units on ten with both ears just to be
sure I’m monitoring signal. The sound is great, which means I no longer
have any excuse for a bad mix!”
After years on another system, the transition to Sennheiser ew 572 G3 wireless
instrument systems was anticipated with some trepidation by the band’s
guitar techs. “The previous systems were very limited in terms of frequency
selection, which was a problem given how many guitar channels were required
and how many other channels are used for monitors and vocal mics – not
to mention the wireless channels of the other bands we’re playing with.”
But that trepidation turned to joy when the techs started using the Sennheiser
Wireless Systems Manager software, which vastly simplifies the task of coordinating
so many wireless channels. The wireless sound itself is second to none.
In addition to the gear, Hager and Windel enjoy working with the Sennheiser
Global Relations Team. “Kristy Jo checks in every so often just to make
sure everything is running smoothly,” Windel said. “It always is,
but it’s nice to know she’s thinking about us! Before the start
of a tour, we always send our wireless equipment in to ensure everything is
aligned properly. It always comes back with plenty of time to spare.”
Hager added, “The European support from Mark Saunders, artist relations
manager for the UK, is also excellent. We’ve played a number of one-off
festivals, and Mark is always on hand with a ton of Sennheiser and Neumann gear
so that we won’t have to do without!”
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