Volume 1 Issue 8 2008

Home , Essence Music Festival, Farm Aid, Garry Tallent, Soozie Tyrell

volume 1 issue 8 2008

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MCI TOUR BUS Ad_bluev.2.indd 1 8/22/08 12:09:55 PM

TOUR LINK 2009 REGISTRATION Jan.22-25.2009

REGISTRATION FEES

FULL CONFERENCE Includes all panels, minigolf/lazer tag/go-carts, lunches, dinners & awards show.

Regular (Register between Dec. 1, 2008 – Jan. 25, 2009) – $325.00 each Advanced (Register between Nov. 1, 2008 – Nov. 30, 2008) – $300.00 each Early Bird (Register before Oct. 31, 2008) – $275.00 each Walk-ups (Register onsite) – $350.00 each

ADDITIONAL FEES Spouse Registration – $100.00 Industry Dinner/Awards Show ONLY (Included with full Registration) – $100.00

Mother Hubbards Cupboard Tour Link Conference 2009 In an effort to further the education for students and young people who wish to THE MOST COMPREHENSIVE make a career in the live entertainment world, Tour Guide is offering the EVENT PRODUCTION CONFERENCE opportunity for the industry to sponsor a student or students at the above IN THE WORLD! registration cost. This cost will include accommodations and all Tour Link functions for the students. This event brings production managers, tour managers, business managers, transportation Name: ______companies, concert service personnel, crew, hotels and Company: ______venues together for the most talked-about conference in event Street Address: ______production history. ______City: ______State/Prov.: ______Dates: January 22-25, 2009 Postal Code: ______Country: ______Phone: ______Fax: ______Where: Phoenix Marriot Mesa Email : ______200 N. Centennial Way Additional Names: Mesa, Arizona 85201 ______800-456-6372 marriott.com/PHXMM ______

Number of full conference registrations - QTY: ______fax form to 615. 256.7004 Spouse ($100) q ) TOUR GUIDE MAGAZINE: Mother Hubbards Cupboard - QTY: ______615.256.7006 Industry Dinner Awards Show ONLY($100) - QTY: ______

TOTAL: ______

Payment Type: q CHECK q CREDIT CARD: ______on the cover con Bruce Springsteen 26 Nothing Between the Band volume 1 issue 8 2008tents & the Crowd but the Music Audio Analysts 34 It's still Audio Communications Direct 36 In Direct Contact with "The Boss" Fly on the Wall 12 mpm listens in on a conversation between Lighting Designers Brian Hartley & Roy Bennett

on the wall

6 L-Acoustics Radiohead, in-Rainbows, storms the globe 7 XTA 26 all I need is my XTA 8 Lectrosonics Santa Fe Opera selects Lectronics wireless technology 10 Tour Manager Q&A q&a: DJ Walton 12 Fly on the Wall mpm listens to 2 Lighting Designers 16 Video Wisconsin helping businesses communicate 18 PID at Plasa 2008 10 18 22 20 North Carolina Cultural Center credibility beyond its size 22 grandMA rocks the house for "WrestleMania" departments 24 Milos set the stage in Belarus 4 Editor's Notes 20 Venues 26 Bruce Springsteen nothing between the band 6 Sound 22 Lights & the crowd but music 10 Tour Manager Q&A 24 Staging 34 Audio Analysts 12 Fly on the Wall 40 Advertiser’s Index it's still audio 36 Communications Direct 16 Video in direct contact with "The Boss" 40 Advertiser's Index

mobile production monthly 3 FROM THE Editor Notes from Editor Guy: HOME OFFICE STAFF This month we are happy to have the Bruce Springsteen ph: 615.256.7006 • f: 615.256.7004 Tour as our cover feature. Our chief writer, Michael Beck, email: [email protected] was given all access to two shows on this tour, one tourguidemag.com stadium gig in the band’s home of New Jersey, and one 750 Cowan St • Nashville, TN • USA 37207 arena show in Georgia. We think you will find his coverage of the differences between the two productions an Publisher: Larry Smith interesting read to say the least. On tour with “The Boss,” [email protected] are Audio Analysts and Communication Direct, both of which are also featured in this issue. Editor: Chris Cogswell [email protected] Also, we have the unique opportunity of listening in on a fly on the wall Advertising Coordinator / Contributing Writer: Deslee Gonzales conversation between two of the most in-demand Lighting Designers [email protected] working today: Bryan Hartley and Roy Bennett. Hope you enjoy it! Chief Writer/ Photographer: Michael A. Beck [email protected] We have a Tour Manager Q&A with Alicia Key’s DJ Walton. This will Contributing Writer: Mike Wharton become a regular feature for us, as more and more Tour Managers, Production Managers and other willing participants involved. Send [email protected] your requests to [email protected] and I will fol- Contributing Writer: Bill Abner low up. [email protected] Contributing Writer: Jessi Wallace Keep in mind that Tour Link 2009 will be here before you know it. [email protected] (January 22-25, 2009) Although we are currently revamping the site, Art Director / Graphic Designer: Kristin Searcy we currently have registration available now at tourlinkconference. com. Now through October 31, the early registration is only $275. [email protected] [email protected] New website will be up and running shortly. We are once again in Mesa, AZ at the Phoenix Mesa Marriott. Sluggos awaits! Webmaster: Michael Stalcup [email protected] Please let me know if you have any ideas to improve our publications. I am always open to input to help promote the industry. See ya next month when we feature Rascal Flatts current tour. TOUR LINK BOARD OF ADVISORS Benny Collins, Nick Gold, Jon Nevins, Stuart Ross, Bobby Schneider, Jay Sendyk, Seth Sheck, Chris Cogswell Nicki Goldstein, Chuck Randall, Michael Waddell tourlinkconference.com

ADVERTISING SALES OFFICE Jessi Wallace • Nashville [email protected] ph: 615.256.7006 • f: 615.256.7004 Gavin Allen • West Coast [email protected] ph: 818.635.8747 • f: 615.256.7004

PUBLISHED BY Anvil Productions, LLC ph: 615.256.7006 • f: 615.256.7004 [email protected]

©2008 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 IT PUNCHES ABOVE ITS WEIGHT

new

ALPHA 300 SPOT HPE | SPOT | WASH | BEAM Compact and EXTREMELY BRIGHT*, the new Alpha 300 projectors boast all the potential of the Clay Paky Alpha larger sized projectors. Excellent value for money.

(*) Alpha Spot HPE 300 and Alpha Spot 300 produce double the brightness of their best known competitors in the same power category. Alpha Wash 300 even beats them by approx. +20%. The brightness of Alpha Beam 300 is triple that of a standard 1200 W Wash projector..

8607 Ambassador Row, Suite 170B Dallas, TX 75247 Phone: 214-819-3200 Fax: 702-942-4607 E-mail: [email protected] www.claypaky.it Sound Radiohead, In Rainbows Storms The Globe With L-ACOUSTICS

has returned to the road this summer in support of its latest album, In Radiohead Rainbows, which shook up the record industry when it was first made available online last October for basically whatever price fans chose to pay.projects.

Jim Warren and Sharif el Barbari l-acoustics.com After a handful of initial US dates start- ing in May, followed by a European/ prised of 15 V-DOSC® cabinets with SB28 subwoofers driven by LA8. We UK tour in June and July, the highly three dV-DOSC hung below for front-fill. have also used the SB28 in cardioid con- innovative and critically acclaimed band These loudspeakers are complemented figuration on several shows now and the now returned to the States for the entire by two additional arrays of 14 V-DOSC results are impressive.” month of August before heading on to plus three dV-DOSC to address both Japan for additional performances. the far left and right seating areas. For Jim Warren, Radiohead’s FOH engineer low-end punch, the system features 32 from day one, adds, “I still sometimes Firehouse Productions of Red Hook, SB28 subwoofer enclosures, all driven by find myself going to switch off my near- NY, served as the sound provider for the L-ACOUSTICS LA8 amplified control- field monitors in an arena show, only to US tour legs, with Wigwam Acoustics of lers. find that they are off already. The clarity Heywood (Manchester), UK, handling and precision of the V-DOSC system the European dates. “With the exception of two shows at continues to surprise me even after 10 Bercy in Paris, all of the concerts are years of using them in just about every The tour’s FOH loudspeaker configu- outdoor shows – stadiums, sheds, green live sound environment there is.” 5 ration, designed by Freelance System fields, or amphitheaters – which make Engineer and L-ACOUSTICS Certified the sound design very challenging,” notes V-DOSC Engineer Sherif el Barbari, el Barbari. “However, I am impressed features left and right arrays each com- by the power of the 32 L-ACOUSTICS l-acoustics.com

6 mobile production monthly ALL I NEED IS MY XTA

has been manning Gary Moore’s front of house Dave Wooster position for two years and has been working as an audio engineer for, he says, too many years. He is no stranger to the festival scene, working under varying conditions and with whatever equipment is thrown at him. However, experience has shown him that there are certain bits of equipment that are easy to carry and make like a whole lot easier. Enter the XTA DP448.

This summer, Moore appeared at PA, instead of one going through the Wooster got the interpreter to ask how festivals in Scandinavia, Montreux, other. It gave us two inputs, saved an long the system had been like this. Germany, Spain and - Wooster’s per- argument and made it work for both The answer: since they had installed sonal favourite - a biker’s festival in bands because they each had separate it four weeks previously for this sum- Portugal. “As a traveling engineer, I’m EQ over the front end of the PA, mer’s series of shows. “We were the still surprised at the lack of knowledge which was distributed via the XTA.” last band to use it and no one had that is out there,” he says. “Systems checked or modified it,” says Wooster. are set up and sometimes just don’t At another gig, Wooster found that the “So without the 448 on that occasion, work properly. Having the DP448 with local sound company had supplied a goodness only knows what I would me worked a treat.” line array that had three XTA DP224s have done. The local guys stood with per side as system control, but no their mouths open at the end of the The DP448 meant that Wooster did computer there to check or correct the show because the system sounded so not have to reconfigure the front of system and no one who was able to fix different.” house desk each day, as integrating things. into the available system was easily The XTA DP448, alongside his done by turning it into a glorified “On an initial listen it was obvious Digidesign D-Show Profile, were the matrix mixer, providing extra EQ and that problems were abundant,” he only pieces of kit that Wooster carried delay settings. says. “After managing to explain things with him throughout the summer. His in sign language, all the XTAs were final verdict? “It fixed a multitude of “At one show, there were two front connected to my 448 and the reason problems at the most basic of levels of house consoles and they refused the system sounded so bad became and saved me a whole heap of trouble. to make mine the main desk,” recalls very clear: each one of the DP224s It was invaluable!” 5 Wooster. “So as a compromise we put was configured with random delay both desks into the XTA and used it times, completely throwing the arrays xta.co.uk as a summing mixer. This meant that out of phase.” both desks connected directly to the

mobile production monthly 7 Sound SANTA FE OPERA Selects Lectrosonics Wireless Technology

Sound quality, compact size, and remote control capability are key attributes

known for introducing new and Internationally innovative operas as well as were particularly impressed with the SM’s small form factor. These transmit- for its productions of works from the standard operatic repertoire, The Santa ters get buried beneath the costumes, so Fe Opera has grown to become recognized as one of the world’s leading their diminutive size was really important cultural festivals. This highly acclaimed opera company treats theatrical and to us.” The SMDa’s dual battery design musical values as equally important, and the organization also plays a vital was an equally important consideration role in the development of aspiring young opera singers. The Santa Fe Opera for Dillman. “The extra battery life these recently made a substantial investment in wireless technology, and after transmitters provide means a lot to us,” careful evaluation; they selected products from the Lectrosonics catalog. says Dillman. “I’ve been very please

According to Dave Dillman, Audio/ Video Manager for The Santa Fe Opera, contemporary operas frequently require modern day logistical support. “Just as Mozart relied on the orchestra for his operas,” said Dillman, “many modern day operas incorporate signal process- ing and other audible effects. A perfect example of this is our current production of the opera, ‘Adriana Mater.’”

“Adriana Mater” takes place in an unnamed country at war,” continued Dillman, “and its themes include revenge, forgiveness and redemption. For this production, there is a dream sequence that from the opera Adriana Mater p h o t o c r e d i t Photographer Ken Howard and The Santa Fe Opera. requires reverb on the voice. Wireless mics become a necessity. As SMDa Super-Miniature Digital Hybrid Wireless™ UHF beltpack transmitters, we examined our options, it with them. Signal strength is consistently and an RM remote control for the SM became increasingly clear strong, operating duration is very good, Series transmitters. “As a precaution- and the sound quality is first rate. that, for us, Lectrosonics ary measure,” notes Dillman, “we place was the best possible two transmitters on each performer for It’s crystal clear, natural, and never choice.” redundancy— configured for separate sounds processed— unless we want it frequency bands. While we’ve never to sound processed. With no compand- The Santa Fe Opera ultimately selected encountered a single issue, we wanted ing, the audio quality is everything we a 12-channel Venue receiver system that extra measure of comfort. Since the had hoped for. Combined with our DPA with twelve VRS modules, twelve performers wear two transmitters—we

8 mobile production monthly microphones, the entire system has been terrific.”

Dillman is also quite enamored with the TONIGHT, YOUR BAND WILL Lectrosonics RM remote control. “With the transmitter buried under several layers MOVE 34,982 SCREAMING FANS. of costumes, it can be a monumental task to get at the transmitter should it require adjustment,” Dillman said. “With the RM remote, we can make adjustments without having to dig down into the costume. Whether it’s waking the system up, changing the input gain, or altering the RF operating frequency, this is a tremendous benefit and was a very strong selling point for us.”

The Santa Fe Opera purchased their Lectrosonics equipment in mid April through TC Furlong of Lake Forest, IL. In addition to the responsive support provided by their dealer, Dillman also spoke very highly of Lectrosonics’ customer and technical support services. “Both the dealer and Lectrosonics took an active role in helping us select the right equipment for our requirements,” said Dillman. “Being roughly TOMORROW, an hour away in Rio Rancho, NM, Karl Winkler from Lectrosonics even made a personal visit and performed a full spectrum WE’LL MOVE YOU. scan to help us determine the best equipment. We were very impressed. At the end of the day, it all comes down to this: The system’s frequency flexibility, its remote control capability, and all the various fea- We’re Powersource Transportation, Inc., one of the nation’s leading power-only trucking companies. Wherever you’re going and whatever you have, we’ve got tures are perfectly aligned with our require- the power to move you, your trailers, and your tour to the next venue—whether ments.” 5 it’s in the next county or in the next state.

www.powersourcetrans.com For additional information about 1-800-438-8789 /-BGFZFUUF$PVSUt(SJöUI */ the Santa Fe Opera, visit them online atsantafeopera.org. For more information about TC Furlong, visit the company’s website attcfurlong. com. Lectrosonics is available online at lectrosonics.com

B002100100_Powersource_Roadbook_Dec mobile production monthly 9 TM q&a Tour Manager Q&A q&a with DJ WALTON

obile Production Monthy recently had the opportunity to chat with DJ Walton, mTM for Alicia Keys and owner of FTGU

mPm: Is this something you Chris Balogh and Tour Managers like David such an A-lister since she really never stops, have always wanted to do? “5-1” Norman and Steve Dixon. So from day jumping from Albums, to promo, to tour, to one I really took notes and learned from the movies, etc…but It’s amazing to work with DJ: Not necessarily. My degree is in Public pros. It definitely took some time though. It’s someone you truly believe in as an artist and Relation. I went to college thinking I would really amazing to see how far I’ve come once I a person, and who, perhaps most meaningful, play football in the NFL or work in marketing, really started looking at tour management as a believes in you just the same. Her work ethic but I have always had a deep-seeded love and career not just a cool gig. is amazing and I have learned a lot working appreciation for music in general. In college alongside of her! I promoted a lot of special club nights, par- mPm: Tell us about landing the ties and worked with a lot of local struggling Alicia Keys gig? Seems like a TM's mPm: Tell us about FTGU Music. artists. I produced a few events that were suc- dream job. cessful in Florida, from Miami to Jacksonville. DJ: FTGU Music is my vision for a One happened to a be a Youth Talent Showcase DJ: After I graduated college in 2002, company that provides elevated artist repre- that Alicia Keys hosted and performed at when Alicia & Jeff Robinson (Alicia’s manager) sentation and Tour Management. We have she was relatively new to the industry. I was asked me to come aboard as an assistant road recruited some of the industry’s most respected always very interested in touring but never manager, to learn the ropes for six months to and ambitious Road Managers, Production really thought it was a realistic goal until see if this was something I was interested in. Managers and Production Assistants to pro- approached with the opportunity. Now that I’m Alicia’s project manager at the time recom- vide full service tour logistics and operations in it, I realize this is something I was born mended me for the job after working with me management. My Assistant Tour Manager, to do. on one of Alicia’s non-profit organizations, Lydia Bourgeau, who is out with me now, that I founded my senior year at Jacksonville is an FTGU Music employee. She has over mPm: Where did you get your University. I was able to recruit Alicia on twenty years of experience in the touring world training, if any? our board of directors. Alicia and Jeff were and has served just about all positions possible. impressed with the way I was operating the Outside of the road, FTGU Music manages DJ: What training, ha? I was thrown to organization sa well as a showcase I put some amazing up-and-coming talents such as the sharks when I first started and it was very together, which Alicia was the host. So Alicia songstress Erika Rose (www.ErikaRose.com) much sink or swim for me. All of my training asked me to come out and give it a try. My who has co-written one of Alicia’s biggest hits was literally “on-the-job” which, in retrospect, first day on the job was working the guest list “A Woman’s Worth” and one Florida’s newest was the best way to learn especially consider- at the door of her album release party, then a talents Dukwon (www.myspace.com/dukwon- ing there’s no school to learn how to be on tour, few weeks later I was assistant road manager. smusic). One particular project we are all very much less a Tour Manager. Most importantly, A few more months went by and I became excited about is an artist I am working closely I had the privilege to work alongside some Road Manager and after a year, I became with MBK Entertainment, Alicia’s manage- very established touring professionals such as Tour Manager. I have experienced good growth ment company, on Jermaine Paul who has Production Managers like Jake Berry and within the camp and yes, it is a dream job! been Alicia’s background vocalist since 2003. Of course it can be challenging to work with Jermaine has been nominated for two Grammy

10 mobile production monthly 010100101010101001001010111010001001101001000100 100100100100100100100010101010101010101000100100 111001010100100111010101010010101010010101010101 000101010101010010101010100100101011101000100110 100100010010010010010010010010001010101010101010 100010010011100101010010011101010101001010101001 010101010100010101010101001010101010010010101110 Awards and also opens as support for the MACSPECIALI100010011010010001001001001001001001001000101010ST 101010101010001001001110010101001001110101010100 Alicia Keys “As I Am” World Tour. 101010100101010101010001010101010100101010101001 001010111010001001101001000100100100100100100100 100010101010101010101000100100111001010100100111 FTGU Music is a small company with a 010101010010101010010101010101000101010101010010 101010100100101011101000100110100100010010010010 large network of resources. We only have a 010010010010001010101010101010100010010011100101 010010011101010101001010101001010101010100010101 total of three full time employees but our pool 010101001010101010010010101110100010011010010001 001001001001001001001000101010101010101010001001 of Road Managers, Production Assistants 001110010101001001110101010100101010100101010101 010001010101010100101010101001001010111010001001 and Production Managers is plentiful. 101001000100100100100100100100100010101010101010 101000100100111001010100100111010101010010101010 010101010101000101010101010010101010100100101011 mPm: Other artists you have 101000100110100100010010010010010010010010001010 101010101010100010010011100101010010011101010101 worked with? What about future 001010101001010101010100010101010101001010101010 010010101110100010011010010001001001001001001001 gigs? 001000101010101010101010001001001110010101001001 110101010100101010100101010101010001010101010100 101010101001001010111010001001101001000100100100 I have worked primarily with Alicia 100100100100100010101010101010101000100100111001 DJ: 010100100111010101010010101010010101010101000101 since 2003, however I have done a few other 010101010010101010100100101011101000100110100100 010010010010010010010010001010101010101010100010 AEG Tours. Most recently I was the Tour 010011100101010010011101010101001010101001010101 010100010101010101001010101010010010101110100010 Director for their summer 2007 Streetball 011010010001001001001001001001001000101010101010 101010001001001110010101001001110101010100101010 National tour and I have done talent man- 100101010101010001010101010100101010101001001010 agement and production for countless one offs 111010001001101001000100100100100100100100100010 The Music Industries #1 Mac101010101010101000100100111001010100100111010101 Resource! and special events. As for the future, I am 010010101010010101010101000101010101010010101010 100100101011101000100110100100010010010010010010 looking towards the opportunity to touring 010010001010101010101010100010010011100101010010 011101010101001010101001010101010100010101010101 with different music genres and with emerg- 001010101010010010101110100010011010010001001001 MacSpecialist Ofﬁces: 001001001001001000101010101010101010001001001110 ing talent. We have a few offers in 2009 010101001001110101010100101010100101010101010001 Chicago: 500 North Wells Street, Chicago, Illinois 60610 Villa Park: 234 West Roosevelt Road, Villa Park, Illinois 60181 010101010100101010101001001010111010001001101001 thatFTGUMusic:HalfPage we are very excited about. 7/21/085 7:02 PM T: 312.755.0000Page 1 | 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 100100111001010100100111010101010010101010010101 010101000101010101010010101010100100101011101000 100110100100010010010010010010010010001010101010

mobile production monthly 11 fly on the wall mpm listens to 2 Lighting Designers

obile Production Monthly listens in as a fly-on-the-wall conversation between Lighting Designers Bryan Hartley and Roy Bennett. Bryan’s CV includes his work with KISS, MTrans Siberian Orchestra, Motley Crue and Marilyn Manson among many others. Roy Bennett has worked with many artists over the years including Nine Inch Nails, Madonna, Paul McCartney and Prince.

Bryan Hartley: the past. You’ve got more tools to work RB: Actually, in reality, the first tour You obviously have with that you can use in very blatant I ever designed was a Sammy Hagar been doing this (Lighting ways and very subtle ways, like being tour. Design) for a long time, so what still able to create different atmospheres does it for you? What inspires you? that you couldn’t have created 20 years BH: What has been your most chal- ago. It’s the technology and develop- lenging design? Roy Bennett: Well, the only rea- ment of all that stuff that constantly is son I’ve ever done it and still do it exciting because it enables you become RB: They’re all challenging to a cer- is because I enjoy entertaining people. more organic, more tain extent. It doesn’t matter how big I don’t do it through being on the or small the challenge is, it’s what you stage. At a very early part in my life, I BH: Diverse? place on yourself and I’m always hard didn’t want to be on stage, but I could on myself. still entertain through doing it visually RB: Yes, more diverse! What I don’t through lighting and the whole show. like, it’s hard to say. I don’t usually BH: Which ones did you maybe have That is what still stimulates me. Paul McCartney never uses time code, BH: You obviously still love it, right? never. He's old school, the real deal. They RB: Oh, absolutely! I don’t know who aren't many of those left. He's the analog in else gets to do things like that in any a digital world. -Roy Bennett other business. You know, things that we do in the rock and roll industry.

BH: We’re very fortunate, but what think about things I don’t like. I don’t the most fun doing? I mean it’s tough would you be doing if you didn’t do spend a lot of time on the negative. I to pinpoint just one because every this? try to spend more time on the positive. one’s a little different.

RB: Well, at this point I think I’d BH: What’s your typical design pro- RB: Most recently, I guess, one of probably own a restaurant. cess, say for instance someone like Paul them was the Tim McGraw-Faith Hill We all like to eat, right? McCartney. I’m sure it varies some- Show in the round. Taking the time times but does he give you an idea or to present a seamless, non-stop show BH: What differences do you like or do you just get to come up with it between the two performers, that was don’t like as far as from 20 years ago totally on your own? fun. Doing the Madonna shows there’s until now? Your kind of processes from always a lot going on. She’s theater, twenty years ago to now, what changes RB: With Paul, I will come up with and not rock n’ roll‚ and there’s always do you see that you like and don’t like? some ideas and then we’ll bounce it new, crazy things going on. She’s back and forth and then it becomes known for her theatrical, spectacular RB: For me what’s changed and what more of a collaborative thing. It’s fun! event shows. They’re always entertain- I do like is that the technology has got- I refine it and then the show develops. ing and pushing the boundries of what ten closer for me to be able to express she can and can’t do. visually what I always wanted to do in BH: What was the first design tour that you did?

12 mobile production monthly Brian Hartly & Roy Bennett

BH: On Madonna or even Paul He’s (Trent Reznor, NIN frontman) the guy probably McCartney, did you guys do any time code at all? I know it probably depends on the sitting in there directing it, producing it, doing all the artist. edits and everything. It’s really his vision more than it is another guy producing the video. -Brian Hartley RB: Paul never uses time code, never. He’s old school, the real deal. They aren’t many of those left. He’s the analog in a digital world. It’s the warmth, its the real way BH: They’re great!! I love them! RB: Yeah, I had Stealth on Madonna and of doing things. You can’t run time codes Ricky Martin. I have used that quite a bit. with him because things are always slightly RB: They are just work horses. You know I like Stealth. It's semi-transparent, a very changing from night to night. Madonna on what you’re going to get, you the other hand, because it is a very heavily know? They're reliable for choreographed show, everything is within the most part, and the colors the inch, within the second, then the sec- are always the best. Actually, ond to the frame of how things work. So I have used them a couple of anytime I have a situation like that, I always times with the Alpha Spots like to take advantage of the time code. from Clay Paky. I was really impressed by what they could BH: I’ve got Motley Crue talked into time do, and not only with what code, and 'veI also got Trans Siberian they could do but the way that Orchestra using it too. There are a lot of you can swap gobo's out. things you can do with the time code that you can’t do manually. BH: They are a moving head, right? Not a moving mirror? RB: Oh yes, there is some timing stuff that Nine Inch Nails p h o t o c r e d i t Michael A. Beck you just physically couldn’t operate a show RB: Yea they are a mov- that way with the delays, and the mechanics ing head. Both the spot, and of lamps. Sometimes the cuing of the light the wash lights are cool, and I was pretty delicate screen. As far as traveling, or road happens split seconds before you actually impressed with the Coemar Wash lights as worthiness, it just needs a little bit more visually see it. It would be very difficult to well. help, but I was impressed with how it looks, try to run a show that way. as well as the resolution.It is high mainte- BH: They aren’t bad either, but you know nance. But there are some new products BH: What’s the coolest products you know that 3500,boy, that thing is bright! coming out now that are based on the same out there? I mean anything interesting out principle that are a little bit more road wor- there that you’re liking? RB: That thing kicks! If you need power, thy, low watts, low power. There is a whole 3500 Wash Light, that’s the real deal. bunch of new L.E.D. products coming RB: What have I seen recently that I like? around, new screens. As far as moving lights go I have been using BH: What about Stealth? Did you have the Vari*Lite 3500 Wash. Stealth on Madonna? BH: Yeah, it’s amazing how Time Square looks so different than it did 20 years ago!

mobile production monthly 13 fly on the wall

RB: There is so much of it that you which will start in August. I also BH: Nine Inch Nails. That should be don’t really notice it, I mean other have Nine Inch Nails going out then a good one. Have you got something than it is just bright. It has become Paul McCartney going out later in pretty cool planned for that? I'm really over-saturated. None of it the year. sure it's huge! really means much anymore. BH: I am getting ready to go to RB: Yeah, a lot of video stuff is BH: Here’s an idea, and you are the Europe with KISS for about six going on with that one. Trent Reznor perfect guy to do it - for a band to weeks, and come back and do the (NIN mainman) always puts on an play in Time Square and to use all Motley Crue thing. The Motley Crue awesome show. the L.E.D. stuff, now that would be thing should be great. Lot's of video cool! and huge pyro. Anything else you BH: He does. I was telling my Trans think you want to add, Roy? Do you Siberian Orchestra guys about RB: Oh absolutely! But politically, have a company name or anything, Reznor's hands-on ethic. He’s the Holy Crap! (laughter) Let me tell or do you just pretty much do it all guy probably sitting in there direct- you, I know the politics of Time yourself ? ing it, producing it, doing all the Square, and to get all the people edits and everything. It’s really his on the same page to be able to use RB: My company name is Eakana vision more than it is another guy there stuff, that’s a lot of work! It Design. producing the video. Is that right? would be awesome! Unfortunately, it just comes down to advertising and BH: When you come up with your RB: It’s basically Reznor doing the how much people pay for that stuff. renderings, does someone do free- whole thing. (laughter) It’s a nutty world in that hand drawings for you and you pres- little part of town. ent them like that, or do you do it on BH: Well, all right then Roy, thanks computer - animated drawings? for talking to me and enjoy the rest BH: What are your projects coming of the year. up? Tell me what are you working RB: Basically I do the whole thing in on now? VectorWorks (CAD software). I have RB: My pleasure Bryan. Take care. art directors and I give them the file RB: Right now we are working on and they put the skins on it and do 5 designing Madonna’s promo tour all the color rendering.

14 mobile production monthly OLI25504.01.a_Ad.qxd:OLI25504 8/22/08 2:54 PM Page 1 v e d . r e s r i g h t s A l C o r p a t i n . H y a t © 2 0 8 C o r p a t i n . H y a t o f t r a d e m k s a r e m a r k s r e l a t d a n d T A H Y t r a d e m k T h e

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Video Wisconsin brings an exacting blend of Of course, all of the energy doesn’t have 5000… but the excitement is unlimited! skills and capabilities to the art of the corpo- to be contained in one room. Events can rate meeting, along with decades of experi- include video streamed over the World Wide Whether a meeting is a half-day or a month, ence in helping businesses communicate. Web to share the event across the globe. as some can be scheduled, it is all about the From its home in Southeastern Wisconsin, Video can also be recorded and edited to details. An audience comprised of brand this media powerhouse has staged corporate document the event and DVD’s can make managers, sales people, distributors, or con- events across the United States and Canada, the memories mobile. According to John vention delegates puts the meeting planner as well as in Europe., Video Wisconsin is a Barto, President, and one of the founders in the spotlight for performance plus scruti- capable partner, providing all the elements of Video Wisconsin, “Visual impact is very ny and a team, focused on results, can make necessary for a high-impact, turn-key event. important to meetings and working in a the meeting planner shine. This can include the planning, scripting, facility such as this with state of the art tech- and creative services necessary to establish nology in production and post production The end product is a blend of show busi- the communications foundation. Graphical capabilities and a 40’ x 60’ sound stage can ness and professional business communica- themes and speaker support in the form make the difference”. tion, executed with seamless precision. If of graphics or video segments package the motivation or inspiration is your goal, you message with eye-appeal. Staging, with large Video Wisconsin’s corporate meeting cli- can do no better than a group of people screen projection and surround sound sup- ents have included Women’s International gathered with a common focus. Think of it port brings the art of the theater into the Bowling Congress, Wisconsin Dells Visitors this way- many sporting events can be seen meeting room. All of the elements come and Convention Bureau, General Electric for free, yet fans continue to buy tickets. The together with impact that impresses through Medical Systems, Mercury Marine, Superbowl is always sold out! 5 staged sound, video projection, and lighting Brunswick and Shopko, just to name a few. using one source to handle the details. Audiences can range in size from 300 to

16 mobile production monthly mobile production monthly 17 Video

PID at PLASA 08

Projected Image Digital – digital video solutions specialists – will feature three hands- on areas on Stand F92 - highlighting a selection of their range of digital video products.

The three areas will be focused on the Catalyst V4 features include multiple cam- PID also illustrates some of its versatile Catalyst V4 software and media servers; era inputs and remote triggering, and non- range of digital output devices, popular for the various digital output devices that PID DMX control surfaces for Catalyst are also numerous projects from entertainment to distributes plus a full range of digital content available for projects not required to run via architectural. These will include high and products. Each area will have seating and a lighting or other control console. This is low resolution LED screens, surfaces, pixels hands-on stations, and PID staff will be on in addition to up to 14 layers of video play- and tubes, plus partner brands Element hand to answer questions and offer advice. back, dual output, 8 mixes and the 10 DMX Labs and High End Systems’. HES Digital Universes that are all available with Catalyst and Pixelation luminaires will be high- Catalyst – the first established digital media PRO software. lighted, along with their WholeHog lighting server for the entertainment industry, offers consoles. huge creative flexibility combined with PID will also show an array of Catalyst affordability in a wide range of options from related hardware such as the new single Digital Content collections from PID include ‘Lite’ to ‘PRO’ versions to suit all budgets and dual input HDSDI cards from Active the popular Digital Juice, Frame FX, Motion and applications. Silicon, plus Luminex, MTRON and others Loops, Dosch Designs and Beacon software. which allow users to configure Catalyst to suit their exact needs.

18 mobile production monthly With content becoming so integral to many shows, events and installations, having access to the right sources is increasingly important. PID distributes a carefully selected range offering the most creative options.

PLASA 08 is also an ideal opportunity for anyone interested in training on Catalyst, Hog lighting consoles and HES moving light fixtures plus Element Labs technicals – to sign up for a session at PID’s new and expanded facility in Chiswick, West London.

PID is committed to providing full and ongo- ing training on the products it distributes, and is highly proactive in organizing and promot- ing digital product awareness events like the recent Digital Light University and Catalyst/ DL-3 Test Drive.

The company is running Catalyst training and hands-on days immediately after PLASA, featuring a fully dedicated training area. This is a perfect opportunity for those wanting to learn Catalyst V4 or just to practice in a relaxed ‘non-show’ setting. On the Thursday evening, PID hosts a BBQ and social night for all those attending. 5

pi-digital.co.uk

mobile production monthly 19 Venues

North Carolina Cultural Center

Credibility Beyond its Size

in the front row and introduces many artists, but he is not dis- couraged by the limited number of seats, “Several of us talked about the possibility of a bigger facility but factors such as cost, the unknown, space available, etc., encouraged us to limit seating to 191. There have been a few occasions where we could the Holly Springs (NC) Cultural have seated 20 to 30% more, however. Overall, it is good” When Center opened in December of 2006, the hope was that the facility would become a The reputation of the Holly Springs Cultural Center is growing great place for the community to gather and enjoy when you look at the quality of entertainment that has graced the cultural, performing and visual arts. In less than the stage, and there are no delusions of grandeur to try to 18 months, the response from the area, southwest compete with the Progress Energy Center or the RBC Center. of downtown Raleigh, surpassed expectations with Booking agent, Larry Weaver, who has provided numerous acts over 100,000 visitors. The Holly Springs Cultural Center, for the venue is overwhelmed by the response of audiences which shares a common lobby with the Wake and artists alike, “My entertainers love performing there and County library also provides programming through it has an intimacy that other area venues just can’t match and the recreation department for the Town of Holly the audience and performer are just a few feet from each other. Springs (pop. 22,000) from classes in dance, music, The low stage and stadium seating create a connection that acting, cooking, and even provides space for side- really adds to the magic of a live performance. walk chalk art.

Holly Springs Town Manager, Carl Dean looks back at the The Center has hosted numerous concerts which include blue- beginning of the process that created this community facility grass, gospel, jazz, classical, country and stand-up comedy. This and is very pleased with the results, “While the intent was never intimate facility, which seats only 191 people, continues to sell to be Radio City Music Hall, the direction and function of the out many of the shows. With a limited number of seats one building was to serve our area which it has accomplished suc- would think that the talent level would be considerably less than cessfully. We provide a wide range of programs and services, professional in that it would be difficult for ticket revenue to and the partnership between the County and Town has been cover costs, but with artists like Mike Cross, Livingston Taylor very successful. We wanted quality product that would meet and Mike Seeger working in this venue, it has built a level of the needs of our residents, and I think we succeeded in that credibility far beyond some venues three times its size. objective.”

Holly Springs Mayor, Dick Sears, is one of the biggest sup- The HSCC programming is enhanced locally throughout the porters of the facility, attends many of the performances and Performing Arts Alliance which allows 14 local and regional is not disappointed in the level of talent that takes the stage, “I performance entities to use the building as their home theatre. envisioned that this dream would be big and had really put no The alliance is made up organizations that provide bluegrass, limits on the possibility of bringing in talent. So far, with the jazz, dance, community theatre and a local community band exception of Tony Bennett, the Boston Pops, Liza Minnelli, that is reminiscent of the community bands that thrived in the etc., I have not been disappointed.” The mayor generally sits early 20th century. According to Cultural Center Director, Don

20 mobile production monthly c o n t a c t Don Briscar Cultural Center Manager Town of Holly Springs, NC 919.567.4015 [email protected] hollyspringsnc.us

Briscar, “the Performing Arts Alliance provides a base for entertainment and music education that seems to be growing in many areas of the country. While the music and entertainment industry is alive with major tours, concerts, music videos and cross-promotion of everything from sporting events to major fundraising events, every one of those artists and musicians had some form of music education or local venue to help them plant the seeds for their successful careers. My hope is that the Holly Springs Cultural Center is the stepping stone to someone’s career in the entertainment business.”

As the summer ends, and the Cultural Center’s second anniversary approaches, this December, the Cultural Center will feature a number of nationally-known comics, theatrical productions and concerts. With the diverse entertainment events offered to residents of Holly Springs and the Raleigh metro area, the hope is that the tickets continue to sell, the seats get filled and those who took the time to dream big can celebrate and smile that they have created something special for many years to come. 5

mobile production monthly 21 Lights THE GRANDMA ROCKS THE HOUSE FOR “WRESTLEMANIA”

World Wrestling Entertainment’s (WWE) slammin’ “WrestleMania” At there’s even room for grandMA. Media server programmer Peter Acken tapped one grandMA, one grandMA Light, and grandMA on PC for “WrestleMania XXIV” at Orlando’s Citrus Bowl, where they were primarily used to control servers, and the “Big Lights,” Syncrolights, which were utilized for the big crowd shot moments. A.C.T Lighting, Inc. is the exclusive distributor of the grandMA in North America.

Peter Acken has chosen the grandMA Platform surfaces with a giant curved screen for text in exclusively on other projects such as Disney’s the middle and a “WrestleMania” sign on top. “The Little Mermaid,” “Das Rheingold,” In addition, there were three enormous can- Symantec ‘08 Meeting in Las Vegas, Blue shaped LED walls on stage deck right behind Man Group, and soon “Faust” at the MET the wrestlers’ entrance; a Versa Tube sculpture in NYC, utilizing the grandMA to control all that gave the whole intro area a 3D thrust; and the major show elements over a vast LAN. low-res LED stick surfaces above and to the “The grandMA is great: It can control sides that completed the hotel set. “Those low- anything that takes DMX commands res LED surfaces are what really makes the total or anything that can be modified to. experience that much more intense, as your eye You can switch cameras, output fills in the gaps for what’s not there. ‘Total Eye sources, even control projectors Candy’ is the end-result.” directly from the grandMA, as well as utilize remote “It was a gargantuan, over-the-top playground control with a keyboard -- something WWE fans have come to expect,” through MIDI,” Acken Acken declares. explains. With that kind of workflow they’d, be ready He was challenged to port the show from to tackle Wrestlemania! another control console over to the grandMA when grandMA became available for the “WrestleMania” is event. Acken had a day before moving on site WWE’s five-hour live, to rebuild the base show using the most current worldwide PayPerView show file, and to using all the detailed notes he event – a larger than life made of each wrestler, which included entrance extravaganza that rocks videos, music and the Hippo media library the house for wrestling structure -- which amounted to hundreds and fans and, as such, requires hundreds of cues. That way onsite, Acken an intense focus on detail. and Dan Cerasale (The WWE’s best 3D Compositor) would be ready to upload and With a theme of Art create all the new custom media that would Deco/Florida beaches/fun comprise the look of WrestleMania 24. in the sun -- and Wrestling of course – production “I like the grandMA’s view buttons and designer Jason Robinson command line macros,” Acken says. Combine crafted a 150 x 120 foot that with timcode shows and then you’re really replica of a South Beach talking “Mad Science!” hotel from various LED The thing about ‘WrestleMania’ is that there are 130 wrestlers. “We made a macro for every single wrestler and used a macro number for them instead of a page. We let the console automatically reload itself.”

“Jason and Peter had an enormous job and a strict time schedule that needed to be adhered to. The grandMA proved to be the perfect tool for the job. The console’s live & real-time abilities, tied with Peter’s programming magic made this work,” comments A.C.T Lighting President and CEO Bob Gordon.

Acken enjoyed his gig with WWE and “WrestleMania.” “It’s a great organization,” he reports. “The show required a lot of last-minute stuff, but WWE does nothing subtle, and that is why working for them is so much fun!” 5 actlighting.com

mobile production monthly 23 Staging Milos sets the stage in Belarus

MILOS MR3 staging/roof system available on the market – the deck- custom manufactured from fire-retar- complete with S4 decking has ing is adjustable from 1 metre to 2.5 dant grey PVC, and securely fastened been supplied to the City of A metres in height and fits together and tensioned using ratchets. Minsk’s local government via company using straightforward connection Art Ramos Studio a.l.c. nodes based on scaffolding tech- The Minsk stage/roof has already nology to provide very stable and been used on numerous events, includ- versatile performance areas. Heights The 20 x 14 meter stage/roof offering ing the state’s recent Independence are determined by the number of an impressive 6 meters of headroom, Day celebrations at Victory Stella in half-metre profiles used per leg section is being operated for the City Council central Minsk – a free concert starring in combination with the connection by the company MinskReklama. A a host of Belarusian and Russian sing- nodes. The final height can be levelled competitive tender was issued for the ers and bands, culminating in a stun- and adjusted by 0.4 of a metre via contract to supply the mobile stage ning fireworks spectacle. equipment, which was won by MILOS screw jack feet once the decking is fully assembled. and Art Ramos against stiff competi- For this, Art Ramos collaborated with tion. MILOS to design and supply a custom The M3 roofing system is one of MI- double-decker FOH tower to provide “MILOS was chosen by the clients LOS most popular such products. It is sound and lighting mixer positions. because it offered the best qual- a large roof system designed to cover This measured 5 by 4.5 meters and ity product and value for money,” areas of up to 280m² (3,014 square stood 6 meters high, offering 2 com- explains Art Ramos’ Anton Streltsov, feet) with a full height of 15 metres pletely independent floors and weather who has been working with MILOS (49.2 feet) and is perfect for concerts, resistant skins. It proved such an ideal products for the last 3 years. “It’s an festivals and outdoor events of all solution, that the FOH tower has now extremely quick and easy system to rig types. The MR3 is constructed using become one of MILOS new standard and de-rig,” he says, adding “it’s also MT2 towers with M400 & M520 series product ranges. very flexible, and end users like components, giving great strength and all these attributes”. stability plus speedy construction. The The Minsk stage has also been utilized canopy is to celebrate the City’s birthday and for He further comments that the State Annual Festival of MILOS products also have Agriculture. 5 a good reputation for being very robust and well engi- neered. milosgroup. com MILOS’ S4 staging system is one of the most flexible

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mobile production monthly 25

22282_Syncrolite_2.38x10ad.indd 1 7/9/08 10:00:58 AM Nothing Between the Band and the Crowd But Music Bruce•Springsteen

26 mobile production monthly by Michael A. Beck

is a natural fact that until you’ve seen a Bruce Springsteen show live, you simply can’t understand the power of the music. AIndt until you’ve seen this show in New Jersey’s Giants Stadium with close to 60,000 New Jersey natives, you’re just letting one of life’s biggest parties go on without you.

Bruce•Springsteen photos by Michael A Beck photos by Michael

mobile production monthly 27

We caught the indoor show in Atlanta and the outdoor That richness was demonstrated in no small part by the show in Jersey. The interesting thing was that there was fore mentioned complete lack of medium in the air. This little diversity between the shows. The biggest difference allowed Ravitz’s beautiful color palette to register with was in the video rig. greater impact on the stage.

There quite simply was none in the indoor show with the Ravitz commented on this fact, “Being a haze free show, exception of two satellite I-MAG screens flown up next and there aren’t very many of them out there, the one thing to the top of the audio arrays. The whole idea of this that it takes out of the equation is the graphics of all those seemed to be the elimination of any extraneous tech- beams in the air that tend to clutter up the visual from the nology that might stand between the raw music and truss level down to the floor. So all that is left to see is the the audience. way the people on stage are sculpted out of the darkness and that’s kind of fun to do.” Video did indeed have a larger presence in the stadium show, as the need for I-MAG was much The result was an insanely clean crisp look that left no greater outdoors. There were two panels, one room for the usual accoutrements of modern day visual hung on either side of the stage. They had the production. shape of an inverted “T.” This allowed the image to be shown either in a landscape or The stadium show had two very impressive delay towers portrait configuration or, from time to time, on the field. Until this tour, there had been a prohibi- the image would fill the entire panel. These tion on structures on the field. However, on this tour the screens were used all-night and only for audio team mounted an argument for audio delay that was I-MAG great effect. accepted. This opened room for discussion concerning put- ting crowd lighting and, more importantly, spot lights on In the outdoor show there was a low-res the towers. video wall that became invisible when it was not being used. It gave a great look This obviously gave more punch to the spots because the but was only used for a couple of songs distance to the stage had been closed and enhanced the throughout the close of three-hour show. ability to ring the color off the stage out into the crowd.

In the arena show, there was nothing While the show is a fairly straightforward rock show with upstage. The house was sold 360º. While very few challenges, the monitor and FOH engineers have very few shows do that, it gives a great to stay on their toes. Springsteen has 112 songs that were sense of depth to the show. rehearsed for this tour, and he doesn’t lack impetuousness when it comes to pulling the most obscure song out of mid A big reason for that depth was the light- air regardless of what is on the set list du jour. ing. When one thinks of the idea of visual depth in a concert look, one often thinks in As a result, the audio guys had a total of 80 inputs (includ- terms of haze and beams. These two ele- ing eight audience mikes) and only used about 55 or 60 ments, which can have a great affect when of them on any given night. FOH engineer John Cooper not over applied, were conspicuously missing explained, “I’ve got inputs I’ve never used on this tour. But in this show by decree from on high. I’ve got to have them just in case.”

Designer Jeff Ravitz explained, “After being A big part of the E Street organization is the archival pro- with him for close to 25 years, It's loud and cess. Every show is recorded for posterity and as of this clear that this show needs to be scaled down to its tour, a video record of the show is being kept as well. The simplest form and yet give it some richness. That’s show has 80 audio inputs that are tracked along with video. always in the back of my mind.”

mobile production monthly 29 The show is saved to three 500 GB hard drives every night it all happens with and dumped to digital LTO tapes that hold about 200 GB lightening speed. uncompressed. For the uninitiated, LTO (Linear Tape- Open) is an open standard for a backup tape system, pro- The software is called Shad- viding formats for both fast data access and high storage owscript Teleprompter Software capacity, developed jointly by Hewlett-Packard, IBM and and is now well past the prototype Seagate. stage. Lee says that the system has been bullet proof on the Springsteen tour and IBM released the first LTO products in August 2000. is currently being used by two other touring LTO was developed in two different formats - one for fast acts, but he was reluctant to release the names data access and another for greater storage capacity. The of those acts at this time. More information Accelis format uses 8mm-wide tape on a two-reel cartridge on Shadowscript Teleprompter Software can be that loads at the mid-point of the tape to provide fast data found at Shadowscript.com access, specifically for read-intensive applications, such as online searches and retrieval functions. LTO is the chosen The stage of this show was as impressive as it was archival tool for the library of Congress and is said to have a austere. “Made by Tait Towers” should be all that 100-year life span. needs to be said. The same stage was used for both the arena and stadium shows. The stage came togeth- The Ultrium format uses a single reel of half-inch wide tape er with lightening speed. Head Carpenter Aaron to maximize storage capacity, specifically for write-intensive Cass told us that the biggest challenge of the day was applications, such as archival and backup functions. figuring out what to do with all the free time. “We dump our trucks early, we build early and an hour In past years production was sending hard drives back to and half into it we’re pretty much done.” The big the warehouse where they were dumped on the tapes, then time saver was the magnetic decks developed by placed in Bruce’s vault for storage. Now the dumping takes Tait, which we will go into in depth in an upcom- place on the road and the tapes are sent directly to the vault. ing cover story featuring the ubiquitous think continued on 38 The spontaneous nature of the show gave birth to an interesting entrepreneurial venture. Dan Lee is the tour’s teleprompter tech. That’s such a tough gig when crew photos t o p t o b o t t o m , l e f t t o r i g h t : the band has the same show every night. But when Power Crew Chief Beanie Perez, Dennis Crespo, there are 112 songs that could pop up at any time, the Kalvin Escalera, Jordan Centola show takes on the feel of square dancing through a minefield. Lighting designer Jeff Ravitz, Managing Partner for Morpheus Lights Paul Weller

Lee explained, “With this many songs to have to Dan Lee – Telepromter access, I really needed software that would act fast. So I downloaded every teleprompter package out there Shelly Shaunessy – Production Coordinator and the fastest response time I could find was a five Travis Braudway – Lighting Tech, Todd Ricci second delay. Anything more than two seconds and – Lighting Director, Brad Brown – Crew I’m dead in the water.” By then, they’re already into Chief, John Hoffman – Board Op., Bryan the song. Added to the number of possible audibles Humphries – Lighting Tech, Carl Hues – that Springsteen could call on the line is the potential- Lighting Tech, Kevin Humphries – Lighting Tech ity of a guest singer on any given night. John “Boo” Bruey – Audio System Tech, The packages that Lee found had two major problems. Ray Tittle – Audio Tech, Rob “Z” Zuchows- One was the latency that he mentioned. The other ki – Audio Tech, Monty Carlo – Stage Left was the fact that he couldn’t see all of the songs in one Monitor Engineer, John Cooper – FOH Engineer, Brett Dicus, Troy Milner – Stage view to pick from. Right Monitor Engineer

So Lee bumped into a retired Disney programmer, Aaron Cass – Head Carpenter, Denny Rich told him what he wanted and got the prototype. The - Carpenter package allows him to grab the songs on the night’s Back Row: Kim Hampton – Camera Op., set list and put them in a folder much like an iTunes Rob Villaobos – Camera Op., Chris Hilson play list. He then labels the folder with the date of – Video Director, Dave “Legs” Driscoll – the show, and he’s set for the show. He has a redun- Camera Op., Paul Whitfield – Video Engi- dant computer in the event his primary goes down. neer, Madison Wade – LED Tech/Camera Op., Mike Colucci – Camera Op., Front Row: He saves the list to a memory stick, loads it into the Kevin McGrath – Mesh Sceen/Hippo Op. backup machine, and he’s ready to go. Bottom Row: Kevin Buell – Guitar Tech,, Tracey In the event of a guest singer on any given day, he’s Robar – Violin Tech,, Roy Witte – Guitar Tech,, Next Row Up: Harry McCarthy – Drum Tech, able to handle that with equal ease. Let’s say the guest Joe Lopez – Horn Tech, Kurt Wolak – Stage Left is going to sing the second verse of Glory Day. Dan is Keyboard Tech, Aron Michalski – Guitar/Bass Tech, able to highlight that part of the song, paint it a differ- Marty Gelhaar – Keyboard Tech ent color from the main body of text, serve it up, and

30 mobile production monthly

Bruce Springsteen – Guitar/Vocals Chris Hilson – Video Director Ricky “Chainsaw” LaPointe – Patti Scialfa – Keys Paul Whitfield – Video Engineer Guitar/Violin Tech Roy Bittan – Sax/Percussion Dave “Legs” Driscoll /Mike Colucci / Brian Collins – Rigger Danny Federici – Keys Rob Villalobos/Kim Hampton/Phil Thom Moore – Rigger/Telepromter Nils Lofgren – Guitar/Vocals Summers – Cameras Dan Lee – Telepromter Garry Tallent - Bass Paul Quiroga/Rich Whitney – Merch Aaron Cass – Head Carpenter Stevie Van Zant - Guitar Toby Scott – Recording Engineer Denny Rich – Carpenter Max Weinberg – Drums Thom Zimny – Video Archivist Mary Ann Flippin – Wardrobe Soozie Tyrell – Violins –––––––––––––––––––––––––––––– Rolando Ramos – Catering Charlie Giordano – Keys John “Stranger” Adams Coordinator –––––––––––––––––––––––––––––– – Lead Truck Driver Jennifer Jacobs – Dressing Rooms Jon Landau – Manager John “Pops” Berneche /“Big Mike” –––––––––––––––––––––––––––––– Barbara Carr – Manager Mason /Donn Rupert/Scott Dishotel/ John Cooper – FOH Jan Stabile – Management Dave Nickerson/Jeff Masservy/Mo Monty Carlo – SL Monitor Engineer –––––––––––––––––––––––––––––– Hassan/Richard Foxton/Mike Lavelle/ Troy Milner – SL Monitor Engineer Wayne LeBeaux – Road Manager Tom Conklin –Truck Drivers John “Boo” Bruey – Audio Systems Fred Girello – Road Manager –––––––––––––––––––––––––––––– Tech Lenny Sullivan – Asst. RM Blair Camp – Lead Bus Driver Brett Dicus - Audio Systems Tech Michael Lorick – Accountant Em Lehman/Lee Roy Sommons/ Rob Zuchowski/ Ray Tittle/Todd John Czajkowski – Accountant Emory Tiner/Les Wethington- Bus Hartman – Audio Techs Andrew Courtney – Ticket Logistics Drivers –––––––––––––––––––––––––––––– Mateo Ambrose – Hair/Makeup –––––––––––––––––––––––––––––– Todd Ricci – Lighting Director Scott Ritchie/Nicole Barsalona – George Stipanovich – PM Brad Brown – Lighting Crew Chief Personal Assts. Lyle Centola – Site Coordinator Johnny Hoffman – Console Operator ––––––––––––––––––––––––––––– Tom “Zep” Lyster – SM Bryan Humphries/Kevin Humphries/ Jerry Fox Jr. – Security Director Kelly Shaunessy – PC Carl Hugh – Lighting Techs Gil Gamboa – Security –––––––––––––––––––––––––––––– Travis Braudaway – Lighting Tech Jerry Fox Sr. – Security Kevin Buell – Guitar Tech ––––––––––––––––––––––––––––– Harry McCarthy – Drum Tech Gary Schiavone – Accommodations Joe Lopez – Horn Tech Gabriella Barta Tony Strollo/Clay Marty Gelhaar – Keyboard Tech Burwell – Trainers Aron Michalski – Guitar Tech George Travis – Tour Director Kurt Wolak – Keyboard Tech

32 mobile production monthly Travel/Charter – US Trucking – Europe Sound – US Services Airworks Edwin Shirley Audio Analysts Merchandise Travel/Charter – Trucking/Redburn Lights Signatures Europe Transfer Ltd. Morpheus Credentials Premier Aviation Trucking – US Lighting/Set Design Cube Services Freight Fowarding Roadshow Services Visual Terrain Itineraries Rock-It Cargo Coaches – Europe Video Book of Lies Travel/Hotels - Europe Phoenix Bussing Pete’s Big TV Radios The Travel Company Coaches – US Stage Communication Travel/Hotels – US Roadhouse Tait Towers Direct Tzell Travel Sound – Europe Power Backstage Wireless Sirius CAT Entertainment Casbah Online Showequipment

mobile production monthly 33

audio analysts feature added more digidesign more added says,“We’veLecesse Mario Operations recently of VicePresident arsenal, its in toys the haveof alreadyall to seems thatcompany yearold 35 this forexciting and However, itself.for speak what’sgear asked new when the let and laurels its on rest to willing be would tory inven - of kind this with company a that think would One Analysts.Audio yearwith this road the on be,out will are,thator acts major the of few a just are Wonder,Stevie tours. these Group; Man Lang,Blue KD its of all for this like lists providesgear awesomesoundco venerable The Analysts.byAudio manned provided and ProTools technology—all wireless state-of-the-art rigs, Yamaha!),and digidesign controllers,(both tablet consoles digital arrays,there. Line out companies sound most for list wish a like reads list gear alone,the perspective audio From arts.production an the in toys and tools newest the of all has magnitude this say,to Needless of show a tour.the of rest the for west heading beforeshow Jersey,outdoor another for Boston to movedon then New in shows out sold threeproduced gate, it the of out Europe.Right of out straight tour the of leg US the up picked day’sIt work.another it’sColorado,Springs, just Colorado of out Analysts,Audio for But that. than better Forcompany,sound or a muchdoesn’t bigger get just it the rest ofthetour. for west heading before show outdoor another for Boston to on moved then Jersey, New in shows out sold three they produced gate the of out Right Europe. of out straight tour the of leg US the up picked They work. day’s another just it’s however, Colorado Springs, Colorado of out Audio Analysts, For that. than better or bigger much F B engineer can get a good idea of what the room is going is room the what of idea good a get can engineer the so ProToolsback venue,in nextit playthe at and night givenany on show the record will engineer The check.” sound “virtual the is tour on guys sound for thing newest The consoles.” digital other our and them with ProToolsmorebuildingalong currently go are to racks or asoundcompany, get itjustdoesn’t audio analysts in New Jersey. outdoors, live Springsteen, ruce Profile s to our inventory and we inventoryand our to s It's Still Audio

assess the validity of the info, and know how to interpret interpret to how know info,and the of validity the assess info, of bit a or result a take to how knows engineer an that important is It paid. don’tweget or un-muted be ter bet it mic, that to up walks singer the When audio. still it’sthat haveremember webut to tools these of haveall to “It’sasserts,great Lecesse inventoryhigh-techthough. the out round to seems basics to dedicationstrong A guy,”IT an Lecesse. suggests of more be to has almost “He pages.control amplifier and files processorfiles, console like things building and programming time that spending is He dynamics. and effects limiters,comps, and gates of racks building time shop his spends longer many,boast Analysts Audiowhom no engineer,day of changing.modern is The time prep shop how as basic as something is consoles digital of advent the with change changing.is major One industry the how to as note ing tak- and future the to looking also is Analysts Audio though.” cable speaker and stands mic cable,however,feeder warns He “You’ll of rid neverget mix.” each of off pounds couple shavesthata and nology tech- new and components lighter using monitors floor of We’veseries new wholestart. that’s a a - designed also them that’sin gear the than don’tmore weighracks the that so compact, more and it’slighter that so gear the of size the “Werereduce adds,to Lecesse trying transport. to less costs and quickly more out and in space,goes smaller,and truck smaller less requiresgets it gear the as possible.Weas light that and haveseen all compact as heavyequipment the make to tries company this with, To general? in begin economy the mention to not prices, show,Springsteen the today’sfuel considering of size eventthe other any or concert a approachtransporting youdo How size? this of show a for logistics about What States.United the in here use to beginning is Analysts Audiothat one shows,and outdoor large-scale forEurope in used being workingand is approachthat Lecesse.It’ssaysan highs,” and mids just not and range full- more be to need delays those so audience,and the into back technology,further broughtnow is stage the and screens video larger new the of there.“Because out throwto FOH behind stuff some stacking just of instead towernow, platform/delay spot combination a using delays as side twelveboxesper flying actually are neers engi The market. touring European the from gleaned two or thing a evenincorporated has Analysts Audio Lecesse.says neers,” very,engi a the is for tool “It helpful room.verythat in live band the everhavingheard without -- like sound to by Bill Abner continued on38 - - -

Communications Direct In Direct Contact with “The Boss”

ommunications Direct is a full line Motorola authorized two- way radio dealer specializing in two way radio sales, rental andC service. Eric Cokee is Vice President and has been head of rental operations since 1994. All the gear is Motorola. Cokee explains, “We are competitively priced and have the best products on the market, brought to you by a

communications direct feature direct communications dedicated staff and expert technicians.” Communications Direct prides itself on the numerous custom orders it fulfills and carries all of the accessories anyone might need. Communications Direct also has a 24/7 customer service line that is Communications Direct has been awarded the Motorola Pinnacle Club Award for ten consecutive years. It is in answered by a real person. recognition for the top performing Motorola dealers, based both on sales volume and customer service. You are defi- It would seem that the combination nitely not going to get this Pinnacle Award unless you have of superior customer service and the customer service to back up your huge sales volume. the best products out there may be The two go hand in hand. one of the reasons it recently got a call from Production Manager, Lyle When dealing with such a large volume of sales and rentals, Centola, to equip the current Bruce challenges present themselves on a daily basis. The biggest Springsteen tour. “When you get challenge for Communications Direct these days is just sim- a call to do a major tour like this, ply having enough gear. Cokee further explains, “We have it is exciting even with everything seen exponential growth and there is that challenge of keep- else we do,” Cokee said. Although ing up. We are waiting for some new stuff coming down the Communications Direct gets many pike, so I am trying to hold steady, since we’ll have a huge calls for tours, its expertise origi- capital expenditure next year when this new technology is nated in the big music festivals like available. When it does, we will be at the forefront to bring Lollapalooza and Memphis in May. it to market for our customers.” It has also sponsored Farm Aid for eight years. Cokee and his team feel it is great for the local, family –owned farmers While getting ready for the new technology, and think it is important to give something back. Communications Direct is already taking care of all the prep-work for Austin City Limits, working to clinch It’s expertise also lies in customer service. When dealing Bonnaroo, and going out with its new client G. Love and with numerous tours and big music festivals, that expertise is Special Sauce. After rolling through Austin City Limits it necessary. For example, if it gets a call at two in the morn- will continue with the Voodoo Fest in New Orleans, and ing because a radio goes out on tour, Communications then starts to prepare for the Grammy’s. Don’t exhale yet… Direct expedites the radio or part needed to the crew’s next if that is not enough, right after the Grammy’s it moves its site, problem solved. This company also likes to stay one gear to across L.A. to the Kodak Theatre for the Oscars step ahead and will typically provide spare gear from the and then into Coachella. When asked about the never end- beginning. “Let’s say Bruce Springsteen needs 125 radios,” ing craziness, Cokee replies, “Well, you try to manage the comments Cokee. “We might give them 135 radios. So, craziness!” if a radio goes down in the middle of a show they have a replacement immediately. It is simple, but it works.” Communications Direct has offices in Chicago, Dallas, Communications Direct does not charge for extras; the Florida and has a joint venture partnership in Southern spares are free. That is part of what makes it different from California. Its Dallas office is dedicated to convention cen- the competition and that’s why it gets so many calls, includ- ter services, with its top client being Microsoft. Recently ing Matisyahu who Cokee revealed, “is one of my favorites! in Cokee’s rental division, it has launched a new group We met him and his people at Farm Aid in New York last referred to as the Radio Roadies. The Radio Roadies go out year, and they have been using us ever since.” on-calls for big festivals.

continued on 38

36 Events Coast-to-Coast Choose Comm Direct Rental We go way beyond equipment rental to provide you with:

• FCC licensing for your event • Special event frequency coordination • Pre-event site surveys • Customized labeling • Complete turnkey solutions • Preprinted inventory control forms • On-site technical support on call 24 hoursurs • Online delivery tracking • Over 50 combined years of experience

When your special or seasonal activities demand dependable portable communication… Communications Direct Rentals … every time! Clients Include: • Utilize staff more efﬁ ciently Bruce Springsteen & the E Street Band • Improve security Kid Rock • Streamline operations Matisyahu • Better management control Josh Groban Bob Dylan • Increase productivity Umphrey’s McGee STS9 G Love & Special Sauce Wireless Camera Systems Lollapalooza • Flexible & scalable Austin City Limits Essence Music Festival • Real-time video surveillance Coachella • View from off-site location Rothbury Music Festival • Recordable record of events Grammy Awards And proud sponsor of Farm Aid

1-800-62-RADIO www.commdirect.com

Email: [email protected] mobile

DICD023v2_8x11.indd 1 8/13/08 11:57:37 AM Bruce Springsteen continued from 30 Audio Analysts continued from 34 Communications Direct continued from 36

tank in Litiz, PA. it - know how to use it.” At the end of These festivals demand more. The the day, after all the new tools and gad- CD staff will be there to take advance The tour did its indoor leg first but gets have been inserted, programmed, site surveys, budget analysis and planned to use the same stage when it and tweaked, -- it’s still audio. Lecesse need analysis. It also just built a new moved outside. So, the stage had to be enthuses, “You see, the people that trailer, the C.O.W. (Communications pre rigged for air-conditioning during come to see the shows are listening to it On Wheels) which is state of the art the stadium run. When summer rolled with their ears -- they’re not watching it vehicle equipped and ready for the around, the stage was set (as it were) for on the controllers and screens.” next generation Motorola products. easy conversion to an air-conditioned Additionally, CD has just developed a stage. Let’s go back to the Springsteen show proprietary software program to help for a moment. When met with the aid it in its on-site inventory control, The system used six five-ton A/C units special challenges arising out of a tour which contributes greatly to event for the European run, but they were with “The Boss,” Audio Analysts rose budget management and tracking. CD to the occasion there as well. Consider slow-boated back to the states and realized it needed something more for example the sheer number of peo- didn’t make in time for the shows at sophisticated when it started supporting ple on stage. There are wedges, there’s Giants Stadium. They were replaced these huge festivals and was check- wireless -- in-ear, instruments, and mics with two-ton models instead. The ducts ing out 700+ radios on a daily basis. – close to ninety channels of wireless were attached to the ports in the stage Communications Direct’s C.O.W. and among them. That takes a massive with quick connect collars made by Radio Roadies made their debut this amount of coordination. In fact, the past July at Rothbury Music Festival Tait Towers. The exhaust was jetted stage employs two monitor engineers in Michigan providing them round- from under the stage through holes in just to split up the duties. Both have the-clock staff. This includes the only the sub floor. wedges and ears in addition to instru- custom communications trailer with ment channels. Most of the vocal chan- a fifty foot tower, housing the most Everything about this show was built nels are on the Shure UHF-R system. sophisticated two-way radio system for efficiency and ease. The production The IEM’s are Sennheiser, and the ever presented to ensure that the entire had the same humble blue collar feel as instruments all tend to be Shure UA 700 acres of festival grounds had com- the music did. The goal was simple: or UP, and are mostly owned by the munication coverage. musicians themselves. “We almost sent Don’t let anything stand between the out a guy to do nothing but RF, but we Communications Direct has some band and the crowd but music. got out a big ol’ spreadsheet and put it really great things on the horizon and all together and it seems to work fine,” Cokee couldn’t be more thrilled. “We To use a slightly over played phrase, says Lecesse. love what we do, all my people do. We’re passionate about the industry “Mission Accomplished!” 5 and excited to be part of it. We are all Audio Analysts has been out there available around the clock and that’s “doing its thing” for over thirty-five how we have gotten to the point where years and doing it with top-notch gear. we are. The Rental division started In the words of Mario Lecesse, “Most out with 40 radios, now we have thou- of the latest technology, what’s the lat- sands. That’s where passion, drive and est and greatest, is in our inventory. If a commitment to our customers will you don’t keep up with all the latest take you.” In the words of a one-time technology, you are losing the race.” Bruce Springsteen manager, Cokee has That doesn’t seem to be a problem for been extremely successful because, “his Audio Analysts. After all… “It’s still shit works.” Direct contact. Plain and audio.” 5 simple. 5

38 mobile production monthly When there is more at stake than a decimal point. When you need advice.

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40 mobile production monthly

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