The KSM9 Microphone Is the Most Exciting“ Live Microphone out in Several Years

volume 2 issue 6 2009

The KSM9 microphone is the most exciting“ live microphone out in several years. Its sound is high class with solid construction, low handling noise, and a great feel in the hand. The artists that I work with are feeling really good about what they’re hearing in their ears and the translation to front of house is wonderful.” - Chuck Harris

Live events manager and FOH engineer - Don Moen Integrity Music Studios’ Chief Engineer 1994-2005

Live Performance Mastery

Engineered to exacting standards, the KSM9 wired microphone unites studio quality with stage durability, all while providing exceptional consistency across all frequencies. With its dual diaphragm design and switchable polar patterns, the KSM9 is versatile enough to handle any environment. And for wireless applications the KSM9 capsule is also available with the UHF-R® Wireless System.

Visit your local dealer or www.shure.com for more information today.

AD2150b_KSM9_Quote.indd 1 10/7/08 1:29:13 PM mobile production monthly 2 mobileproduction monthly con volume 2 issue 6 2009tents features 6 Economy The State of the Economy in Touring: Part One 8 Q&A Jim Lenahan the Many Faces of the First True Rock ‘n’ Roll Production Designer 10 Transport Prevost Now Running in Goodlettsville, TN 12 Transport Restored 1900-seat Art DaimlerDeco Buses North America Strengthens its Motorcoach Sales Team 14 Venues Saban Theatre A Coup for Saban Theatre Jay Sendyk new COO

— formerly WILSHIRE THEATRE BEVERLY H16ILLS Venues— 8440 Wilshire Blvd. Beverly20 Hills, CATPAC 90211 Tennessee Performing Arts Center to Sell Tickets on Independent System 18 Road eats Odoms - The End of the Trail RECENT SHOWS 20 Entertainment Game Show Awards Cargo Network Taylor Swift • Lewis Black Complete, Far and Wide Billy Crystal’s 700 Sundays Chris Botti • James Taylor 28 Obit Winfield Buz Ward III CONTACT Jay Sendyk 30 Video [email protected] Kinesys ‘Transforms’ (323) 782-9335 U2’s 360° Video Screen

TECH SPECS8 sabantheatre.org 10 14 32 Advertiser's Index

Mobile ProductionPro.com You can search and access records from the world's most comprehensive database of mobile production industry contacts. As you navigate this site. Create a FREE Account Today

16 18 30

mobile production monthly 3 FROM THE Publisher Now that the season is in full swing, many are trying to assess the status of our industry. It is clear that the big shows are still doing well and box office receipts are strong, however that fact does not seem to match with much of what we are hearing from our readers. While the statistics seem to be pointing in a positive direction, I think what we are experiencing is a situation of the strong getting stronger and the mid size HOME OFFICE STAFF businesses fighting to stay alive. a 7 s 3 p 2 ph: 615.256.7006 • f: 615.256.7004 We have seen a clear break in the ability and willingness of mobileproductionpro.com venues, manufacturers and the mid-size production companies to promote their 750 Cowan St • Nashville, TN • USA 37207 products and services. It is obvious if you look at most of our competitors that advertising has diminished in these areas to a striking level that I have not seen in Publisher: Larry Smith > my nearly thirty years of doing this work. The message I read is that companies [email protected] are in a holding pattern, waiting for the ice to thaw or business to rebound to Managing Director: Chris Cogswell a better levels. To that end, we are starting an exploration of the issues and the [email protected] status of the industry. Our first installment is in this issue, and we will be calling Chief Writer / Photographer: Michael A. Beck 7 on individuals, writers and observers to give their input in future issues. [email protected] Contributing Writer / Tour Link Coord.: Jessi Wallace Also in this edition, our front cover feature is a focus on three businesses in the s UK and Europe that have found a way to collaborate and help tours save money, [email protected] time and energy. One thing I really love about my work is that I can visit with Art Director / Graphic Designer: Kristin Searcy 3 old friends from time to time and see what they are doing and how they are [email protected] using their experience to reinvent themselves. Phil McDonnell and I go back [email protected] many, many years and through it all, he has persevered and evolved into one of Office Manager: Jennifer Russell p the bright minds in our business. He has the vision and experience to be able to [email protected] help any tour set up their logistical needs in a fast, efficient and economical way Webmaster: Michael Stalcup 2 that has kept him as a leader in his business for many, many years. He is also a [email protected] personal treat for me because of his witty, self-deprecating manner. This feature Contributing Writer: Bill Abner was indeed a pleasure for me to organize, and it gave me a chance to catch up [email protected] with an old friend and renew an acquaintance that stirs many fond memories. I Contributing Writer: Michael Waddell think you will appreciate his story. [email protected] Contributing Writer: Mike Wharton Finally, I would encourage all of our readers to start taking a serious look at [email protected] our new website and search engine mobileproductionpro.com. We will be adding features and content to the site on an ongoing basis, but we need your input. Please register on the site and make any adjustments to your company and ADVERTISING SALES OFFICE personal listings that you feel are necessary. Also, remember that you can send us Jessi Wallace • Nashville press releases, news items and any pertinent information, and we will do our best [email protected] to have it posted as quickly as possible. This site has the potential to be a prime ph: 615.256.7006 • f: 615.256.7004 tool in our business and certainly, that has been our goal from the beginning of this project. We do need your participation, however, if the site is to live up to the TOUR LINK BOARD OF ADVISORS potential we designed. Benny Collins, Nick Gold, Jim Digby, Jon Nevins, Stuart Ross, Bobby Schneider, Jay Sendyk, Seth Sheck, Nick Gold Nicki Goldstein, Chuck Randall, Michael Waddell Larry Smith tourlinkconference.com PUBLISHED BY Anvil Productions, LLC ph: 615.256.7006 • f: 615.256.7004

©2009 Anvil Productions, LLC. Nothing may be reproduced without written permission of the publisher. The publisher reserves the right to edit any and all editorial content included in this publication. The publisher has made every attempt to insure accuracy and consistency of this publication. However, some listings & information may be incomplete due to a lack of information provided by various companies listed. Please send any inquiries to the attention of the publisher. All advertising appears at the paid solicitation of the advertiser. Anvil Productions, LLC, can not be held liable for any errors, omissions or inaccuracies appearing in this journal in the form of editorials, listings or advertising. Member of:

4 mobile production monthly The best mobiles stages the world has to oﬀer. Hydraulic or electric deployment.

Sizes from 24’x20‘x15’ to this huge 140’x52’x45’ ! Install times from 35 minutes to one day! Up to 92 000 lb rigging capacity! BETTER. FASTER. STRONGER. Tel. : 1 888 359-4001 ❖ Fax : 450 359-4242 ❖ [email protected] ❖ www.mega-stage.com

The Stage is Set....Let’s Roll! Sho-moves Transportation is a full service Entertainment transportation company. We provide trucking solutions for all types of freight for the live entertainment industry. Our Goal... Is to allow our clients to produce the show rather than deal with transporting the show. Shomoves has years of experience in trucking time sensitive shows throughout North America and Mexico. With trucks and trailers through our multiple terminal locations we can get it there On Time and when needed!

Theatrical Tours Film & Television Expedited Freight Live Sporting Events Concert Tour Transport Circus Productions & Tours Dedicated Drivers

Terminals located in Las Vegas, NV Toronto, Ontario, Phoenix, AZ

866-407-8881 [email protected] Economy

The State of the Economy in Touring Part One by Jessi Wallace and Stuart Ross

It seems as if the same thing is on everyone’s mind The touring industry is seeing a con- saturated market.” For those who these days. The economy is fluctuating rapidly in many solidation of personnel for budgetary are looking for their first gig, it might different ways, some good and some bad. Daily, industry reasons. These days, it’s not uncom- be a smart idea to look into work- veterans are losing their jobs; others haven’t been able mon for a tour manager to also serve ing for a vendor to gain valuable to find work all year. While it is true that the economy is as the tour accountant, a guitar tech experience and to build relationships. to handle two positions or a produc- Ross continues, “On the other hand, in one of the worst conditions it has ever been in, tour- tion coordinator to also handle dress- considering tour positions differ- ing is still booming and is actually not in a bad state. ing rooms. However, tours may be ent than what one would normally Several acts are going out on the road and having more inclined to hire personnel with solicit could be good business. For extensive experience handling these example, production coordinators successful tours while consolidating job responsibilities jobs versus the inexperienced new- are essentially the tour managers for among crew members. If one is to ask the bus com- comers. It may seem less expensive to the crew and could be an appropri- panies, hotels, venues, lighting & sound companies the hire someone with less experience in ate alternate. Also, with talent often same question, “How are you doing this year?”, they all order to save money, but it is a risk. trying to combine tour accounting and management, this would be a have a completely different answer. Some are struggling When Ross was asked his opinion good time to focus on learning settle- and contemplating shutting their doors, yet many others on tour staffing, he shared, “Let’s ments and settlement issues.” (Note are doing better than they ever have. Why is this? say you hire a tour manager who that Tour Link 2010 is planning a

The production side of things is doing exactly as it Unfortunately the topic at hand has for many years. Decisions are being made much is broad and takes extensive dis- later in the season, but it’s not considerably worse. secting to truly understand what is happening. mobile Production monthly had an opportunity to catch up is really green because you have to Tour Accounting 101 seminar.) save money… then two weeks into Stuart Ross the tour you realize the person is not The vendor side of the business, appropriate for the job. You have to in some aspects, is struggling more let that person go and take whoever than others. It is becoming difficult with Stuart Ross to gain is available to fill in. Then, you’re for vendors to compete amongst insight and his thoughts on not in a position to negotiate salaries. one another. Mom and Pop shops how the industry is surviv- The risk is very high.” In the long are shutting down while the larger ing. The interview run, it’s more cost effective for a tour mega-companies are doing better with Ross gave mPm to splurge on a veteran. So where than ever. One thing that is universal a launching pad for does this leave all of the new guys in the concert touring industry – this further journalistic who are looking for their first gig? is a relationship-based business. potential. There Building strong relationships is how are several things Ross feels the vendor side of the personnel will stay employed and to focus on when equation is quite different, “Tours how vendors will keep their doors looking at the may not necessarily see far in open. touring side of the advance who is assigned to a par- concert industry. This piece ticular vendor crew. It’s very possible Is the touring industry in the worst will focus on four important fac- vendors may be going for the less state it’s ever been in? Ross says no. tors: tour personnel, vendors, pro- expensive and experienced personnel Production quality isn’t a question duction standards and ticket sales. so they can lower their prices and these days. Production technology is be more competitive in an overly thriving and expanding consistently.

6 mobile production monthly Ross shares, “The production side of things is doing exactly as it has for many years. Decisions are being made much later in the season, but it’s not considerably worse. When you have tours like U2 and Britney out there doing great business, it has to be taken into consideration. I think you’re going to find you’ll see a lot of headline acts packaging themselves together, such as Jane’s Addiction with Nine Inch Nails or Weezer with Blink182… these are great packages, that will do strong business.” Additionally, as record royalties shrink, the one profit center still available to bands is touring. The question is more than ever, the balance between lavish production standards and healthy profits. In most cases, they can’t co-exist.

Ticket sales play a key factor in keeping the touring industry suc- cessfully moving. Concert goers are still buying tickets to their favorite shows but they are being discretionary. Ross pointed out that while the number of ticket sales is actually down, the gross is up. When it comes to the “must see” shows with huge productions (U2 and Britney) that only come through once every few years, people are buying. Acts that come through a city twice a year may not be getting as much action from ticket buyers.

Overall, one can honestly say that the concert touring industry is doing well, despite the economy. Some sides are hurting more than others, but as a whole, it is going strong. mPm intends to continue this topic in other avenues of the touring industry in upcoming issues. Hotels, venues and transportation companies are invited to submit their input on how the economy is affecting their side of the business. To take part in this editorial journey, please contact Jessi Wallace for an interview. If preferred, interviewees may be anonymous in print.

Until next time…. S

mobile production monthly 7 q&a Production Designer Q&A Jim Lenahan the Many Faces of the First True Rock ‘n’ Roll Production Designer An interview by Michael A. Beck Anyone who’s been around touring production knows the name Jim Lenahan. But people should be cautious about saying they really know the story of this guy. With names in his portfolio like Don Henley, Sarah McGlachlan, Bob Dylan, John Mayer, Barry Manilow and the show that brought him to the danceand Tom Petty, Lenahan’s resume would seem to stand on its own, but he would never settle for just that. mPp was able to catch up with Lenehan, have a chat and came away from the experience seeing him in a whole new light (get it, whole new light?) Please note that this interview took place in the spring and some of the events that he mentions he’s working on have come and gone since then. That being said… Enjoy!

mPm: Let’s start at the beginning. You started with Tom Petty right?

Jim Lenahan: Yeah. We came out from Florida 35 years ago, but I’d already been working with him since 1965. That’s how long we’ve been working together, however long that is.

mPm: How much lighting work could you have done back in ‘65?

J. L.: I wasn’t a lighting guy then. I was a singer and drummer. I’ve been touring since I was five years old. I’m one of those born in a trunk kind of guys. My aunt had a live radio show back in Gainesville, the University of Florida. They went Florida, and I was on that. We had a little on playing, and while I was in college, I troop of kids who would wander around started lighting them and building little and do live shows literally since I was five. set pieces for them. When I got out of school in ‘74, I went to work for Disney the Fillmore and places like that. And World and got laid off from there when the people would always say, “Wait a minute, mPm: Where did Tom come into the you were a singer for Mudcrutch. Why picture? Arab oil embargo hit. Luckily for me, right about the time I got laid off, Mudcrutch got aren’t you singing?” I would tell them that a record deal and we all caravanned out to I’ve developed a very good relationship with J. L.: I didn’t run into him until high California in our old beat up VW Minivans Tom Petty, he’s the singer and I’m the light- school. He lived up the street and we went and as Tom always says, “We never went ing guy, and we keep it like that. It works. to the same school. We were in two differ- back.” It’s been working for 35 years, and I’m not ent bands and we wound up in the same screwing that up. band. I was the singer and he was the bass player. We went through several bands. One mPm: On a side note, do you still play or sing? mPm: Okay, so you did pretty well band would break up and we’d go off and with Tom over the years. It sounds find separate bands, they’d break up and like you are a production designer J. L.: No. we’d get back together in a new band. The before the term became fashion- last band that I was in with him was a band able, yes? called Mudcrutch. mPm: Aw come on. Why not? J. L.: I didn’t start out to be a lighting mPm: Mudcrutch? You’re kidding. J. L.: Well the funny thing is that designer. I didn’t even want to be a lighting Mudcrutch got back together last year and designer. I originally wanted to be a make- J. L.: Yeah, Mudcrutch. I left that and went put out a record and toured, so I lit the tour. up artist. back to finish my degree in set design at It was a club tour. We did the Troubadour,

8 mobile production monthly mPm: Really. I never would have Petty got more successful, we got look at every part of my concert facility they have there and did figured that. into doing more scenery. So it designs. Now if someone asks me some programming for about a got to the point where it made what I do, I tell them that if it week and then went out for the J. L.: Yeah man, I wanted to sense to have one eye seeing that can be seen, I design it. first week. By the way, Nick Van be another Rick Baker or Stan it all worked together with light- Nostrand who ran that show Winston. That’s what I wanted ing, sets and then when video mPm: What are you cur- is a great lighting director and to be. But then I got a degree in came along that became part of rently working on? designer in his own right. I don’t set design and that’s the direc- the deal too. want to take anything away from tion I decided to go. You know J. L.: Well I’m doing a lot of him. when bands are starting out, mPm: I recently did a piece on work with Frank the Plumber as and they’re little and just play- Nickelback and noted that this I did on the John Legend tour. mPm: I agree. I thought he had a ing clubs, there is no set. You’re current tour is the first time that We’re working on the Santana great sense of timing. lucky if you even get a drum they have used a production resident show in Las Vegas. I’m riser, but everyone’s got to have designer as opposed to the old designing the Great American J. L.: That was one of the lights. At the school I went to if way of designing by committee. Food and Music Fest featuring saving graces particularly with you majored in tech theatre you Everyone on the tour agreed that Bobby Flay, Guy Fieri, Little Feat John Legend. His music is really didn’t just learn how to design it made the whole process a lot and Marshall Crenshaw (among complicated. It’s not the usual set, you learned lighting, sound, smoother from the perspective of others). verse, chorus, guitar solo type you learned to act and direct, creative flow all the way through of arrangement. It’s got a lot of you learned everything. When I to the physical aspects of load in mPm: Are you designing the stuff going on, and even between came out here, I was only doing and load out. There were tales of look and feel for the whole songs there are a lot of these lights because that’s all anybody the LD putting up a white wash festival or only parts of it? complex segues. Nick had been had the money for. However, as right at the time when pyro was lighting John for a long time and hitting a huge flash. J. L.: Everything. I’m doing the he knew the music really well. lighting for the music stages, So, when we would play back J. L.: You know, I worked as but there are digital soft goods recordings in programming he a screen writer for a while and everywhere, including banners would say stuff like, “They’re just had the opportunity to work and video. playing around there. That’s not with one of the great produc- really what they’ll do, here’s what tion designers in the movies, they’ll really do.” It would have Ken Adams. He designed seven mPm: Is Tom still a priority for been really difficult to do that of the first 10 Bond movies, you? show without somebody who Dr. Strangelove and Barry Lyndon. knew it like John does. He did a lot of great work. I J. L.: Yeah, but he’s not out this worked with him on a movie, year. mPm: What is your favorite and I really soaked up a lot of venue to light? that kind of stuff. At the time, I mPm: But if he goes out do was still doing rock ‘n’ roll and you drop everything and J. L.: It’s got to be between a writing screenplays on the side. do it? theatre and an arena. Both have Back then nobody was called great aspects to them. A theatre a production designer in rock J. L.: He’s pretty much the only is the best place to see a show. ‘n’ roll. You were a lighting guy one I tour with. I’ll go out on There is a reason why they are and there were set guys and tour and do the first couple of built the way they are built and that was it. There wasn’t video, shows to get it running. I did that why they work as well as they and that’s just the way it was. with Legend. I only did lights do when they are built properly The whole idea of a production on that one, but the lights and unlike some I could name. An designer calling out every visual video were a big part of that old school stage house works aspect of the show just didn’t show as well as where the risers because it evolved into that happen in our world, but work- played. We moved them around shape over centuries and even I got involved with bands that ing with a guy as detail oriented a lot in the beginning. I went up were a little bit bigger and as as Ken led me to take a lot closer to Upstaging to that really cool continued on 31

mobile production monthly 9 Transport

Prevost Now Running in Goodlettsville, TN Construction of the new Prevost Tennessee Parts and Service Center in Goodlettsville, TN is completed, and the facility is now open for business.

uy French, Service Director said, “Our services are now up G and running. The move more than doubled the size of our previous facility and now, more than ever, we are ready to meet our customers’ needs for routine maintenance, cosmetic upgrades or major accident repairs.”

“Our staff is very enthusiastic easily accessed from Exit 97 off about the relocation from Interstate 65. Whites Creek to Goodlettsville,” says Rose Baker, Nashville Prevost has been operating its Branch Manager. Because service center in Whites Creek, the new Nashville facility is TN for over 11 years, and the custom-built, everything was growing local demand has done to Prevost specifications, triggered the need to expand including the design of its and relocate. Several customers service area layout, efficient and potential buyers have shown parts warehousing and even to interest in the 22,000 sq. ft. its customer lounge “welcome Whites Creek facility, but the amenities” and conference or property is still available. training rooms.” she added. Prevost’s new Goodlettsville, TN facility is one of six North The new 58,000 sq. ft. American service centers where facility, located at 800 South factory-trained experts provide Cartwright Street in the City a full range of maintenance of Goodlettsville, is equipped services and mechanical repair with 13 service bays, 1 wash bay, solutions to get vehicles up and 20,000 sq. ft. parts warehouse running quickly. ) area, two story office area and great parking spaces (including some leased spaces available 800 S. Cartwright St. Goodlettsville for long term vehicle parking Tennessee 37072 for Prevost customers). It is

10 mobile production monthly Goodlettsville, TN office: 615-299-8881 fax: 615-299-8816 [email protected] prevostcar.com

mobile production monthly 11 Transport Daimler Buses North America Strengthens its Motorcoach Sales Team

aimler Buses “Juan comes to our team Mr. Lepe, a Chicago North America with a strong background native, has worked in Dannounced in the bus and motorcoach the bus and motorcoach today the appointment market with a specialized industry for 14 years with of Juan Lepe as the focus on sales and the last 11 years coming West Coast regional marketing,” said Tom on the West Coast. Lepe sales manager. Mr. Lepe Chezem, vice president is a graduate of Rockford will oversee the new of motorcoach sales for College with a Bachelor Juan Lepe Customers located in California, motorcoach sales efforts Daimler Buses North of Arts degree in Business Oregon, Washington, Idaho, Nevada, of the Setra S 417 luxury America. “Juan will be a Administration. ) Arizona, Utah, Alaska and Hawaii should contact Juan Lepe by calling motorcoach along with true asset as we continue 949-636-6822 or via Sprinter shuttle bus sales to grow and cultivate our email at [email protected]. to the motorcoach mar- sales on the West Coast.” ket on the West Coast.

We understand your needs

“TSO has used Potenza Enterprizes since their first tour. They’ve grown with us from 2 trucks to 26 . Their attention to detail, the caliber of their drivers & equipment is the Touring reason we use them and will continue to do so. They are part of the TSO family”. Elliot Saltzman, Transportation Tour Director -Trans-Siberian Orchestra. Specialists !!!

Toll free 1.877.832.5546 [email protected] www.potenzaenterprizesinc.com

12 mobile production monthly mobile production monthly 13 Venues A Coup for Saban Theatre Jay Sendyk new COO

by michael waddell

ay Sendyk, a 35 year entertainment industry veteran, announced as of April 1, 2009 that he has taken the position of COO for Saban Theatre in Los Angeles, CA. Sendyk will continue running his accounting and business management firm, Sendyk & Company.

THEATRE SPECS PROSCENIUM 50’ W x 31’ H For Booking STAGE contact: Curtain to Grid: 25’ Jay Sendyk Apron Curtain Line: 6’ 310.383.6184 For additional info. LINESETS Number of Linesets: 46 visit: sabantheatre.org Arbor Capacity: 1000lbs. Batten Length: 52’ Saban Theatre Curtain Line to Last Pipe: 25’ 8440 Wilshire Blvd Black Leg Borders: 3 Sets Beverly Hills, CA 90211 Trim Height (#’s 1-11, 23-46): 57’ Trim Heights (#’s 12-22): 49’

MISCELLANEOUS Linesets Operated The Saban Theatre opened in September “The theatre has a rich history of concerts, from Stage Right 1930 under the name Fox Wilshire and was largely comics. We are now going to bring House Lights Controlled designed by architect Charles S. Lee. This live music to the venue in force. Whereas from Stage Right theatre serves as a beautiful example of his many venues have a mosh-pit, we have an Show Program Available for Dressing Rooms early art-deco style using rich plaster work orchestra pit. Therefore, not all artists will and heavy sculpturing. The Wilshire Theatre work in here, but like Carnegie Hall, Ryman DRESSING ROOMS was originally built to house first run feature Auditorium or any other historical venue; we 4 Solo Stage Right films, and for 50 years served as one the pre- are the right fit for many acts.” 3 Casting at Stage & miere movie palaces in Los Angeles, hosting Second Level Wardrobe at Stage Level such notable premieres as “How To Marry In the next few months, the theatre will con- Washer Dryer Available A Millionaire” starring Marilyn Monroe and tinue to undergo its second major renovation Lauren Bacall. which began earlier this year, adding a new LOADING marquee and entry-way. There are more Stage Left Loading Door planned additions to the Theatre in the near Truck Parking on Hamilton In 1981, The Wilshire Theatre saw its first Drive adjacent to loading door renovation when it was converted to a live future, but Sendyk is keeping it close to the performance venue. Since then it has hosted vest for the moment. ELECTRICAL a number of theatre productions and con- (3) 3 Phase 400 AMP certs including Richard Pryor, Billy Idol, Thirty-five years ago Sendyk graduated CAMLOCK Disconnects avail- from college with an accounting degree and able downstage right Laurie Anderson, The National Ballet Of Spain and Mighty Wind and Billy Crystal’s entered the work force as CPA. He wanted (1) 3 Phase 200 AMP “700 Sundays” to name a few. to service the entertainment industry with CAMLOCK Disconnect avail- his talents and went about it by jumping able Stage Left The now-named Saban Theatre is open onto his clients’ tours. He travelled with for theatrical rentals, concerts, television them, lived on the road with them and shoots, parties and more. Sendyk told mPm, worked directly with them. “For 20 years I

14 mobile production monthly

was on and off the road,” he said. “I did use the expertise I have acquired over the industry. The clients are both individuals this because I wanted to see first-hand the years with managers, agents and promot- and companies involved in music, record- workings of a tour. I lived with the bands ers.” Sendyk continued, “This is nice ing, publishing, television, film and sports. and crews, travelling with them and stay- because it’s something new, and it’s truly ing in the same hotels with them… I lived rejuvenating.” The firm continues to provide a full range it.” of accountancy, production accounting, His business management firm Sendyk & auditing, taxation, business management, “This gig with the Saban came up and Company handles all financial aspects for investment management and consulting I thought it was a great opportunity to its clients specializing in the entertainment services. U

Restored 1900-seat Art Deco

— formerly WILSHIRE THEATRE BEVERLY HILLS — 8440 Wilshire Blvd. Beverly Hills, CA 90211

RECENT SHOWS Game Show Awards Taylor Swift • Lewis Black Billy Crystal’s 700 Sundays Chris Botti • James Taylor

CONTACT Jay Sendyk [email protected] (323) 782-9335

TECH SPECS sabantheatre.org

mobile production monthly 15 Venues Tennessee Performing Arts Center To Sell Tickets On Independent System Ends Ticketmaster Agreement Effective July 1

he Tennessee Performing sense to sell tickets on our own system. The Arts Center begins to sell its new model supports direct relationships own tickets this month, con- between TPAC and its customers, who will T pay less handling fees and communicate cluding 29 years of sales through directly with our staff during transactions. On a number of levels, this system will be Ticketmaster as of July 1. more efficient and cost-effective for TPAC and its customers with software which was designed specifically for performing arts centers and has been customized for Customers can continue to our operations,” he said. purchase tickets for TPAC performances in ways they The following performances at TPAC always have—online and at are now on sale through Ticketmaster the box offices within the and can be purchased on-line, by arts center and at Davis- telephone, calling 615-255-ARTS Kidd Booksellers. (2787), and at the TPAC box offices, downtown and Davis-Kidd Booksellers What’s new? TPAC is in The Mall at Green Hills: Les dedicating a telephone Claypool, July 6; Sonic Youth, July 11; line to ticket sales and The Dead Weather, July 30; Tommy TPAC tickets will no Emmanuel, July 31; the Nashville longer be available through Public Radio broadcast of Says You, Ticketmaster outlets. August 22 and 23; Mike Birbiglia, September 17; and Wicked, September Ticketmaster has made 2-20. a special arrangement to continue to sell tickets for All other future performances will be TPAC events which are sold only through TPAC, which began already on sale, including using the new system for season ticket several concerts this and group sales in April. summer and the Broadway tour Wicked, playing From July 1 until July 15, TPAC’s Nashville September 2-20. call center will be taking orders by telephone at 615-782-4040 from 9 am “This is a business decision. to 5 pm, Monday through Friday. On The Tennessee Performing July 16, the hours of operation for this Arts Center greatly phone center will expand to 6 a.m. to appreciates the dedicated 9 p.m., daily. Through the transition, service and support from both Ticketmaster and TPAC staff will Ticketmaster’s leadership redirect customers as needed. and staff over the years. We Hyams, TPAC’s executive vice president and enjoyed a great partnership over a time of general manager. “Our web site – tpac.org – links customers tremendous change in the ways that people straight from our calendar to the point of purchase tickets. We’ll miss Ticketmaster “Especially with the dramatic increase in ticket purchase, whether that’s Ticketmaster staff who worked closely with us,” said Brent online ticket sales, it makes better business or our new system. The web site also contains

16 mobile production monthly information on how, where, and when tickets can be purchased. It’s the best source for TPAC information, from browsing the site to signing up for RSS feeds and e mail bulletins,” said Hyams, noting that on-line purchases accounted for over 50% of TPAC sales this year.

TPAC box office hours will not change. The box office within TPAC is open from 10 a.m. to 5 p.m., Monday through Friday and 90 minutes prior to any public performance. The box office located in the lower level of Davis-Kidd is open from 11 a.m. to 5 p.m., Monday through Friday and from 11 a.m. to 4 p.m. on Saturday.

TPAC’s four distinctly different theaters are home to three resident groups, Nashville Ballet, Nashville Opera, and Tennessee Repertory Theatre. TPAC presents an annual season of “HCA-TriStar Broadway at TPAC” and special engagements, while serving a wide variety of rental clients who use the diverse, multi-purpose space in the facility for concerts, comedy acts, receptions, recitals, corporate functions, and other events. TPAC also administers one of the most comprehensive arts education programs in the United States. )

mobile production monthly 17 Road eats

Odoms The End of the Trail by Thomas R. Kemner

Editor’s note: When I am not working, I spend most of my time with people outside of my industry. One such friend is Tom Kemner. While Tom isn’t in the mobile production business, he is in a business that has him traveling as much as any entertainment road dog I know. Though Tom doesn’t know the details of what goes into putting a twenty truck show on the road, he does share a common tie with us. He has a consummate understanding of the constant search for the perfect road meal. The good news that he did indeed find the ideal Texas Barbecue. The bad news is that the joint closed down forever on the 26th of June. While I was in the Dallas area on and assignment recently Tom took me this fading of the BBQ universe a week before it closed. I can personally attest to two things, it was indeed the best Texas Barbecue I’d ever had and there’s no such thing as brisket or barbecued pork in Texas (don’t ask me how I found that out).

Every Road Warrior at some For eighteen years, the Odom family Across the region, many are familiar time will utter a prayer such has been hosting hungry folks in “Old with Babes (the place across the corner) Town” Burleson, TX (just across the that serves up robust family style plates. as “Please God. Protect me county line south of Fort Worth) at Odoms is one of the well-kept secrets from one more meal of fast the Old Town Smoke known to locals and, truly, an American treasure. On food” or to be spared the simply as Odom’s. Most days the your first visit, you are a welcomed consequences of a roadside “family” consists of Delbert and Dee guest. Second time, you’re family. diner’s “special” chili recipe Ann Odom, Dora Ussery (a friend for Delbert will tell you, “My dad told more than 30 years) and Angie Smith me when we started this business that developed decades ago by (another long-time friend). Dee Ann many people wake up in the morning a woman ticked off at her Odom is the daughter of Jay Ireland, frustrated and angry at the world. ex—and whose been punish- owner of Ireland Chili Company of That’s who you are going to be working ing wayfarers ever since. All Wichita Falls. Food has always been in with.” As to the atmosphere, “That’s that to say, when you find their family. “Factories weren’t places all her,” says Delbert waving towards for little girls to spend time in those Dee Ann, to which she responds, “He is something worth recognizing, days. But I loved it. My dad would let always asking me, ‘How are you going you should recognize it well. me come to work so long as I sat with to get any work done laughing all the And I was almost too late. one particular woman he knew was safe. time?’” That was Delbert’s older sister—she turned out to be my future sister-in-law.”

18 mobile production monthly During any given lunch hour, your conversation may have to pause while they serve “Mr. Chuck”, a man in his seventies who has been struggling for years with a severe arthritic condition. Every day, he pulls up in front and they serve him their version of “drive-thru.” Knowing how painful his every move is, they will take out his order to the aged Chevy pickup—the same way he asked for it years back. Lunch and ice tea are served with the Fort Worth Star Telegram they have bought for him. “We figure that’s one less time he has to get out of his truck… although he hasn’t stopped complaining since the cost went up to a dollar,” says Dee Ann. “We haven’t found a way to tell Mr. Chuck we’re closing yet. I worry about him.” You can almost detect a tear when Dee Ann adds, “I just can’t see Mr. Chuck going through some drive-thru. He’s like a lot of older folks who come in here. We try our best to take care of them.”

Mr. Chuck’s favorite waitress is “that girl”: his term for Miss Angie (a mother with two grandkids). In his mind Angie is the only one that can get the ice in his sweet tea just right. And, for that, she can count on a one dollar tip every day—even if someone else carries his lunch out.

This is real pit barbecue with homemade sides including a pea salad that is worth 010100101010101001001010111010001001101001000100 100100100100100100100010101010101010101000100100 the trip alone. Delbert will tell you, “Dee 111001010100100111010101010010101010010101010101 Ann’s father taught me how to cook the 000101010101010010101010100100101011101000100110 meat. It really is the easiest part of the whole 100100010010010010010010010010001010101010101010 100010010011100101010010011101010101001010101001 operation. Two secrets: never poke it with MACSPECIALI010101010100010101010101001010101010010010101110ST a fork, and don’t raise the cover until it’s 100010011010010001001001001001001001001000101010 101010101010001001001110010101001001110101010100 done.” (Somehow, I think it’s a little more 101010100101010101010001010101010100101010101001 complicated than that, but that’s all he is 001010111010001001101001000100100100100100100100 100010101010101010101000100100111001010100100111 sharing.) The show-stopper is the Buttermilk 010101010010101010010101010101000101010101010010 pie—a closely-held family secret recipe. 101010100100101011101000100110100100010010010010 010010010010001010101010101010100010010011100101 010010011101010101001010101001010101010100010101 Probably the most striking endorsement of 010101001010101010010010101110100010011010010001 001001001001001001001000101010101010101010001001 the restaurant came on day when an elderly 001110010101001001110101010100101010100101010101 was on her way to a hospital. An ambulance 010001010101010100101010101001001010111010001001 pulled up to the front of the building with 101001000100100100100100100100100010101010101010 101000100100111001010100100111010101010010101010 its lights on and an EMT hurried in to place 010101010101000101010101010010101010100100101011 an order for food. It seems that the patient 101000100110100100010010010010010010010010001010 101010101010100010010011100101010010011101010101 refused to be taken to the hospital unless 001010101001010101010100010101010101001010101010 they would stop and pick up some of the best 010010101110100010011010010001001001001001001001 001000101010101010101010001001001110010101001001 BBQ in the area. 110101010100101010100101010101010001010101010100 101010101001001010111010001001101001000100100100 100100100100100010101010101010101000100100111001 In mid-Summer the restaurant will close. 010100100111010101010010101010010101010101000101 The sisters are ready to retire. I have a sense 010101010010101010100100101011101000100110100100 010010010010010010010010001010101010101010100010 we are losing a national treasure here. And 010011100101010010011101010101001010101001010101 if some chain restaurant doesn’t bid for their 010100010101010101001010101010010010101110100010 011010010001001001001001001001001000101010101010 Buttermilk pie recipe, they deserve to suffer 101010001001001110010101001001110101010100101010 the full effects of the recession. Would Dee 100101010101010001010101010100101010101001001010 Ann sell the recipe? Her reply, “Oh, if you 111010001001101001000100100100100100100100100010 The Music Industry’s #1 Mac101010101010101000100100111001010100100111010101 Resource! promised to make me fabulously rich I may 010010101010010101010101000101010101010010101010 think about it.” 100100101011101000100110100100010010010010010010 010010001010101010101010100010010011100101010010 011101010101001010101001010101010100010101010101 Thank you Odom family. You have made 001010101010010010101110100010011010010001001001 MacSpecialist Offices: 001001001001001000101010101010101010001001001110 the road a little more tolerable. Thanks for 010101001001110101010100101010100101010101010001 Chicago: 500 North Wells Street, Chicago, Illinois 60654 Villa Park: 234 West Roosevelt Road, Villa Park, Illinois 60181 010101010100101010101001001010111010001001101001 welcoming us into the family reunion, and T: 312.755.0000 | F: 312.410.9011 T: 630.858.0000 | F: 630.559.0186 000100100100100100100100100010101010101010101000 E: [email protected] | W: www.macspecialist.com E: [email protected] | W: www.macspecialist.com for feeding us so generously. Godspeed. m 100100111001010100100111010101010010101010010101 010101000101010101010010101010100100101011101000 100110100100010010010010010010010010001010101010 TourGuide_5x5_Ad.indd 1 8/19/08 3:29:13 PM mobile production monthly 19 Entertainment Cargo Network EntertainmentEntertainment Cargo Cargo Network Network

20 mobile production monthly Complete, Far and Wide By Michael A Beck

A great concern when touring Depending on the scale of a internationally is always, “Will my production, it might call for limousine service, staging, security, air charter, gear be in London, Paris, Japan, Rio or catering, lighting, sound, pyro, backline, New Jersey when I get there?” Plenty trucking, bussing and then some. of time is built into the process of The job of putting that all together is time consuming, and while it is what getting a show where it is supposed production and tour managers do for to be in the event that something a living, help in the process is always goes wrong. However, given that appreciated. every tour is distinctive and has its To that end, there is a group of own needs, just moving across the companies in Europe that have formed pond isn’t enough. Indeed, that is a powerful international alliance which is headed up by long time touring just the beginning. veteran Phil McDonnell. McDonnell is deeply set in the center of this group. The three companies are McDonnell’s Horizon Entertainment Cargo in the UK, Trucking Service in Wehnrath, Germany one-hour east of Cologne headed up by twin brothers Elmar and Hanno Lamberti and Coach Service, which is run by Clemens Behle, also located in Wehnrath.

When I decided to come off the road and do something to keep me in the business, I chose entertainment freight as my direction…

mobile production monthly 21 McDonnell began in the the most logical choice. But the idea happen in the case of a record entertainment industry as a for one-stop production shopping company bringing a new band into performer at the age of 14, and when isn’t something that evolved out Europe to test the market.” he was 19 he went out working with of a lesser initial plan. McDonnell In addition to being able to supply the crew for Fleetwood Mac. In a explained, “When I decided to come productions with gear, transportation very short time, he had achieved off the road and do something to and rehearsal space, the team is also the position of production/tour keep me in the business, I chose able to supply highly experienced manager with them as well as FOH entertainment freight as my direction. crew as well. engineer and from then on he worked I knew that I didn’t want to just be as a tour/production manager for another copy of basically the one “We have a huge book of personnel,” such names as Rory Gallagher, Van company that was already out there. McDonnell told us. “When the

You never get the feeling that he’s handed you off to another company he found in North America or Japan or Asia and called it ‘part of his network’ just to sound like he bigger than he is. Phil is personally involved all the way through. ~Rob Kerns

Morrison, Clannad, Gin Blossoms So, as I’d done production for 28 people who we do business with and Psychedelic Furs in addition to years I decided to offer my industry are off the road, we like to return the fore mentioned Fleetwood Mac clients full service production support their loyalty by finding them work as well as working on band crews in as well as global transportation.” if they are looking for it. We do the earlier pioneer touring days for business worldwide, and we hear The Kinks, Yes, Grateful Dead and The company that McDonnell when someone is looking for a good Steely Dan. started was Horizon Entertainment tech i.e. stage or front of house guy Cargo, and from the beginning or a lighting guy or a production his goal was not only to be able to manager.” arrange for full service “soup to nuts” production support but also to be While such service does indeed keep able to do it on a worldwide scale. good people working and helps tours out when they are in a jam, the fringe While it’s very important to note that benefit for Horizon Entertainment turnkey production support is readily Cargo is that it ingratiates everyone

Clemens Behle - Coach Service

After an illustrious touring career available through his company, to the company and keeps them that lasted 28 years, it was time to get McDonnell concedes that it is rare coming back for more. off the road. However, McDonnell for a production to come in asking didn’t want to get out of the business. for full production, “That doesn’t Of all of the service that this group The logical move was to stay in what happen very often because most provides, the nucleus is always a production manager knows best; productions have their relationships transportation. While there is not logistics. Entertainment freight was in place. It’s more likely that it will an area of the business where

22 mobile production monthly

the focus is less than 100 percent, emergency response network that realized great benefits out of transportation is job one. That means stretches from Moscow to Lisbon joining the alliance because of the trucking, bussing and overseas freight. and beyond. Let’s face it, anything immediate extension of services that The bussing arm of the group has a technical can break down, but were available out of aligning with fleet of 50 + coaches. The company’s with cell phone technology and the McDonnell. Company co-owner coaches, all interiors built from new, Wireless Internet capability that our Elmar Lamberti enthusiastically exclusively by Coach Service can be coaches have we are able to respond heralds the virtue of joining forces found on upwards of 5,000 shows to any situation very, very fast. The with McDonnell, “Because Phil a year with a client list too long to last thing we want is to be responsible has such long reach with overseas mention. With that kind of volume, for a missed show.” shipping we can now offer container there is going to be the need to cross shipping to our clients whose tours

When I make them a promise and say, ‘don’t worry, go home and go to sleep, your gear will be there when you get there,’ that’s a personal thing with me. That’s all about my reputation. I find that very hard to delegate that promise out for somebody else to fulfill. Phil~ McDonnell

start here in Europe. The benefit is fantastic.”

All of this sounds great, but it must be noted that so far we have talked with the three primary players in the company. But the proof is in the product, and that can only be truly measured by how the client talks about it. That in mind mPm caught up with Journey’s Production Manager Rob Kerns. Journey (to be featured in a fall issue of mobile Production monthly) just rent coaches finished up the European run to fill whatever gaps might of its ongoing world tour, and Kern occur. The company promise is that the had nothing but the highest praise tour will never be on the side of for Horizon Entertainment Cargo Bussing Services boss, Clemens Behle the road for more than a few hours. (et al). “I’ve been working with talked about how that works, “When Anyone who has ever aged in dog Phil on and off now for 10 years, we have to subcontract a coach, we years waiting on the side of the road and we’ve not only built a great only rent equipment that we sold feeling more like being stranded on working relationship but a wonderful in the first place. Then we bring it Gilligan’s Island than on a high tech friendship as well so the pleasure is back into our shop and thoroughly tour bus, that’s a promise to have in all mine.” inspect it before it ever goes out on your back pocket. the road.” Behle went on to explain Kern went on to explain why he has the backup protocol for the company, The trucking arm of the group, such a high comfort level, “I started “Here in Europe we have a 24-hour aptly dubbed Trucking Service, using Phil as my freight agent in

24 mobile production monthly

Europe, and as the company kept executive and touring coaches, tour getting bigger and bigger I was trucks, hotels, executive cars and able to use him worldwide. The any required special entertainment great thing about Phil is that no production service to the personal matter where in the world you are spec of the client. Services offered contracting his company’s services or extend beyond those mentioned what service you’re obtaining you are heretofore in this article to TV, film, always dealing with Phil. You never exhibitions, conferences, industries get the feeling that he’s handed you and the list is, for all intents and off to another company he found purposes, endless. in North America or Japan or Asia Elmar Lamberti - Trucking Service and called it ‘part of his network’ On the HEC website just to sound like he bigger than he (entertainmentcargo.com), in is. Phil is personally involved all the addition to HEC, there are the Phil McDonnell, Elmar Lamberti way through. I know he gets twice company names IMEX, New Direx and Clemens Behle have all felt the the email that I do whenever he is and JTB, all of whom figure into pain of touring from within the moving me.” (Journey also contracted the long arm of McDonnell’s global industry. They know what it takes HEC’s full tour production facility in capability. His reach includes offices to make a show happen, and it’s Spich Germany for rehearsal space at in Australia, New Zealand, the east more than just hauling people and the front end of its European leg). and west coasts of America, Canada, gear. They realize that the bricks of Japan, and Europe. Indeed, through a wall aren’t what make it strong;

When the people who we do business with are off the road, we like to return their loyalty by finding them work if they are looking for it. ~Phil McDonnell

McDonnell spoke specifically to partnerships and growth HEC now it’s what is between the bricks that the hands-on approach that Kern exists in 120 countries with over 430 matter. They’re not cargo experts alluded to, “I built this company satellite offices at its disposal around who’ve come into the entertainment off of the relationships that I built the clock. market. They have been down the over many years of touring. My road, and they’ve had their share of clients are more than clients, they’re All of this will be consolidated toothaches (as it were) and the sum relationships. When I make them under one umbrella and will trade of their experiences makes it possible a promise and say, ‘don’t worry, go under the world network name of to advance their work with complete home and go to sleep, your gear will Entertainmentcargonetwork as empathy. be there when you get there,’ that’s of 2010. mobile Production monthly will a personal thing with me. That’s all take a much closer look at that later These network companies of the soon to be about my reputation. I find that very this year. christened Entertainmentcargonetwork know hard to delegate that promise out for where you’ve been because they’ve been there somebody else to fulfill.” There is a story about a guy who too. They know where you’re going because sat down in a dentist’s chair. As they have the map. Today, HEC manages freight logistics the doctor approached him with a and charter services for such well- Novocain syringe he commented that They WILL get you there with everything known clients as David Copperfield he’d never had so much as a tooth you need on time and within budget. – moving his 60 tons of equipment ache even once in his life. The patient from USA to Europe and back and immediately got up and left the office That is not just Phil McDonnell’s anywhere else in the world he has in a dead run explaining over his mandate… to perform. At the drop of a hat, shoulder that he didn’t want anyone HEC regularly provides clients with who’d never felt pain dealing with It’s what keeps him going. 7 private charter passenger aircraft, his pain.

26 mobile production monthly mobile production monthly 27 Obit Winfield Buz Ward III, 59 of Jefferson RIP

Winfield W. “Buz” Ward III, age 59, passed away Saturday, June 20, 2009. He was born on November 9, 1949 in Detroit, Michigan, a son to the late Winfield Webb Ward II and Louise Newton Ward. He was preceded in death by his little sister, Jeanne W. Sauban and brother in law, Martin L. Johnson. Buz spent 30 years in the music industry, traveling the world and making friends wherever he went. Buz settled in Jefferson, Michigan in 2003, in his ideal home, an antique in a small town. He is considered the county historian and advocate for preserving the history of Jefferson. Most recently serving as vice chair of the Jackson County Historic Restoration Committee and the chair of the Jefferson historic Preservation Commission. True heroes, like Buz, strive and labor daily in anonym- ity against the world’s inequities, as we spectators watch safely from the bleachers.

Survivors include sister Sue W. Johnston, Douglasville, Karen W. Thomas, Alpharetta, brothers, John F. Ward, Marietta and Mark G. Ward of Woodstock; Nieces, Ashli M. Thomas and Amanda J. Flores; nephews, Joseph I. Johnston, Matthew E. Thomas, Shane C. Ward and Wryan W. Ward. Brother in law, James “Ed” Thomas and sister in laws, Mindy F. Ward and Anna A. Ward. )

28 mobile production monthly High quality products, competitively priced. ➤ 7kW to 75kW generators, powered by a rugged Kubota or Cummins diesel engine. ➤ Commercial grade performance and construction. ➤ Highly-experienced staff to help guide you, including electrical and mechanical engineers. ➤ Wide range of options available. Comprehensive generator service centers in the Atlanta and Charlotte areas. ➤ From simple repairs to complete replacements, we handle it all on a broad array of generators. ➤ Conveniently located with Interstate access nearby. © 2008, EPS

Atlanta Area: 3412 Florence Circle ❚ Powder Springs, GA 30127 Charlotte Area: 348 Bryant Boulevard ❚ Rock Hill, SC 29732

mobile production monthly 29 Video

based UKautoma - tion experts Kinesys designed and supplied the bespoke motion Kinesys ‘Transforms’ control system that moves and shapes the U2’s 360° Video Screen ‘transforming’ video screen for U2’s 360° world tour.

The system consists of 40 Kinesys Evo zero-speed chain hoists and 8 custom built winches, all controlled by their K2 3D software control package.

Kinesys’ Dave Weatherhead comments, “This was the heaviest, most complex and interconnected system we have undertaken to date, with 48 motors following unique motion profiles to allow the deployment of over 52 tons of video screen.”

The screen was originally conceived by Willie Williams and Mark Fisher, long term creative collaborators on U2 shows. New York based the screen is deployed in a fashion that is designers/architects Hoberman Associates It weighs 52 tons including the supporting both structurally sound as well as visually assisted Innovative Designs in engineering trussing and this is what Kinesys was tasked pleasing. Hoberman supplied Kinesys with the and realising the revolutionary centerpiece with moving into its different shapes and sizes. movement profiles in the form of a spreadsheet for the show, which consists of 888 individual Kinesys worked closely with Nick Evans, who which was then imported directly into K2 hexagonal panels which support 500,000 Barco was co-ordinating all the technical aspects and referenced by each of the 40 chain hoists. LED pixels. The entire structure can ‘stretch’ of the tour for promoters Live Nation, and Millimeter accurate tracking of the profiles was from its 7m compressed height to over 22m Jeremy Lloyd of Stufish to ensure the seamless essential to maintain the structural integrity at full extension forming a conical shape as it integration of the automation element into the of the screen, and complex algorithms were expands. overall structure. employed within K2 to ensure that the real world followed the theoretical at all times. The screen structure hangs in the middle of The 40 Kinesys Evo chain hoists – 16 x 2 The hoists associated with the different levels the giant 4-legged “claw” structure that sits ton and 24 x 1 ton – are connected to the within the screen move at notably different centrally in the stadium with the stage below screen structure at equal intervals and at four speeds. The uppermost hoists at times travel at allowing the audience to surround it and different heights. These then move, following less than 1 mm a second, while the ones nearest offering superb sightlines from all angles. pre-defined non-linear paths to ensure that the bottom of the screen move at over 160 mm

30 mobile production monthly Jim Lenahan continued from 9

millennia. That’s just the best way to see J. L.: I always want to do acts that are a second when the screen is deployed at full a show. Because of limitations of space, willing to be theatrical. I got pretty lucky speed. fire curtains and rigging capacity, a pro- with Tom. Don’t get me wrong, he’s a scenium stage cuts back on how much of musician’s musician, and it’s always been The screen is flown up and down by 8 x the show you can bring out into the house. music first. But he believes in putting on You can always cross that line. I mean, 7.5 ton winches running synchronously. a show. He believes in getting theatri- how many times has Peter Pan flown out These are capable of speeds of up to half cal. I’ve gotten to do stuff with him that over the audience? But it’s hard to do. In just wouldn’t have worked with other a metre a second - although some of the arenas you can do just about anything, so acts. Over the years, I’ve also gotten the moves involve traveling just 2m over 5 for the design freedom and being able to reputation of doing these “legit” acts that minutes, resulting in the very slow and do anything I want to do, I love arenas. really don’t want to go too far afield with smooth movement required. But despite the restrictions of working in production. They want to keep it pretty a theatre, I think that is the best audience straight forward. It’s kind of hard to get The winch design resulted in large experience. past that. You know, I would love to do numbers all around. The winch self- a big metal act, but those guys are never weight is 2.5 tons with the gearbox alone mPm: The intimacy of the hall is at the going to call me because they see the acts weighing over 1 ton. A single ultra- heart of that. Wouldn’t you just love to See I’ve designed for, and they don’t see me compacted 28mm diameter steel wire rope Paul McCartney in the Landmark Theatre as the guy who can design for Metallica. in Syracuse? That’d be fun because it’s theatrical. I provides the connection to the screen with would love to do something like that! a breaking load of over 75 tonnes, giving J. L.: Absolutely. a 10:1 safety factor for each rope. Each mPm: We would love to see that if for no winch is driven by a 37kW motor powered mPm: So what’s next for you? Have other reason but to see the talent of Jim by a 45kW drive unit. you reached the goals that you set Lenahan that has yet to be tapped. s for yourself? The same safety technology is employed in both the winches and the hoists. Four limit switches, dual encoders, dual brakes with monitoring and a load cell make up the comprehensive safety package implemented in each device

Additionally, Kinesys is supplying the tour with control for 10 fixed-speed chain hoists controlled by an Elevation 24. These hoists fly 4 lighting trusses bordering the screen into position at the start of the show.

Nick Evans comments, “The K2 system is the ideal tool for controlling the U2 screen, the operator only controls 2 parameters; the degree to which the screen is opened and the overall height of the screen, K2 does everything else. Kinesys has provided the tour with an excellent service, and working with them reminded me of why I enjoy my work so much. Nothing seemed to faze them, even when the requested safe working load increased by a ton per winch .... it was all considered and taken in their stride. All this, plus they were on time and on budget, who could ask for more?”

Jeremy Lloyd of Stufish adds, “It’s again been a pleasure working with the Kinesys team. They always deliver high quality, innovative products that are well packaged for the touring environment. There’s only a handful of automation suppliers with the experience and technical expertise to deliver a system as complex as was required for U2 360, and on this occasion Kinesys proposed and delivered the most appropriate package at a competitive price.” )

mobile production monthly 31 ADVERTISER’S Index Access Pass & Design...... 7 Accurate Staging...... 29 Alan Poulin Photography...... 12 Arie Crown Theater...... 15 Coach Service...... 25 D&S Classic Coach...... 5 Daktronics...... 32 EBTECH - Sound Enhancement...... 7 video that mov es Entertainment Cargo...... 4, 23 impressions that last EPS - Engine Power Source...... 29 Illusion Sound and Light...... 11 Littlite...... 19 MacSpecialist...... 19 Mega-Stage...... 5 Midway Car Rental...... 17 Motor Coach Industries (MCI)...... IBC Music City Coach...... 11 Nitetrain...... 17 On Tour Software...... 17 Potenza Enterprizes...... 12 Precise Corporate Staging...... 19 Prevost...... BC Professional Wireless Systems...... 12 RIC Corporation...... 32 Roadhouse Coach...... 31 Portable and versatile by design, Daktronics mobile and modular LED video products Saban Theatre...... 15 help customers transform ordinary events into ShoMoves Transportation...... 5 engaging, interactive experiences that leave a Shure...... 1 lasting impression on viewers. Sound Image...... 29 Soundcheck Nashville...... 13 Star Gift Alliance...... 31 Strictly FX...... IFC Taylor Tours...... 9 Tour Tech Support...... 11 Truck 'N Roll...... 2 www.daktronics.com | 201 Daktronics Drive | Brookings, sD 57006 | tel 1-866-843-6018 | fax 605-697-4700 | [email protected] Trucking Service...... 27 Mobile Production Pro.com MobileProductionPro.com allows you to search and access records from the world's most comprehensive database of mobile production industry contacts. As you navigate this site, you will notice that Mobile Production Pro is interactive. Both the site and its community will grow with your participation. Create a FREE Account Today

32 mobile production monthly

MCI Updates the Ultimate Smooth Ride DesignworksUSA-styled TOUR BUS call us at 1-847-285-2171. Now featuring 450 HP 2007 EPA Compliant The number one selling Bus in Tour the USA continues to improveSuspension for the Wide-Ride conversion our with smooth rides and great looks body market. The J4500c with standard comes shell conversion J4500 MCI The shocks. FSD Koni featuring slide-outs. 3 to up with equipped be can and headroom interior of 89" class-leading For 2009, the EPA-compliant engine significantlyreduces emissions, while providing great fuel economy and performance. learn aboutTo the many 2009 improvements we've made with feedback from our customers, converters and operators, please Cummins ISM, Wide-Ride Suspension, Electronic Stability Control, Reverse Sensing System, additional 12 or 24 Volt Alternator, and many other enhancements made with input from our customers.

To schedule a test drive today, call 1-866-MCICOACH.

www.mcicoach.com The updated 2009 J4500 conversion shell

MCI TOUR BUS Ad_bluev.2.indd 1 8/22/08 12:09:55 PM The Most Comfortable Ride Factory Integrated Slide-Out SLEEK DESIGN Environmentally Friendly Rooftop Diffuser Ergonomically REPLACES TRADITIONAL EXHAUST Designed Cockpit BUILT FOR DRIVER COMFORT AND SAFETY

Tire Pressure Monitoring System IMPROVES SAFETY Unique Styling DISTINCTIVE DESIGN FEATURES AND IMAGE

Longest Wheelbase UNMATCHED RIDE COMFORT

Independent Suspension Prevost Electronic IMPRESSIVE MANEUVERABILITY Stability Program RELIABLE VEHICLE CONTROL THE INDUSTRY´S CHOICE The world-class Prevost XLII Entertainer is the choice for best overall perfomance. Prevost has the most stringent manufacturing tolerances and has been committed to the Entertainer industry for more than 30 years. Nobody goes the extra mile like we do!

FOR MORE INFORMATION Juan Lepe, Sales Manager, Entertainer Market 800-897-7386 or visit WWW.PREVOSTCAR.COM