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A Special Thank You to Our Sponsors: Access Pass and Design • Billboard Magazine • Bill Young Productions • Carbonhouse Facilities Magazine • FELD • Daktronics • Harlem Globetrotters • IP Advertising • Levy Restaurants • Live Nation • Pollstar Smucker’s Stars on Ice • Ticketmaster • Tickets.com • Tour Guide Magazine • VEE Corp • Venues Today • Verizon Center The Wiggles • White Stallion Productions • WWE con tvolumeents 1 issue 5 2008

on the cover 30 The Perfect Marriage of Technology & Tommorow Adamson 38 Thinking Inside the Box Atomic Pro Audio 40 Filling the Gap in the Northeast Christie Lites 42 Interview with Martin Kelley Market Profile 6 Milwaukee 46 Tour Breakout

Market profile Milwaukee 6 Discover Milwaukee 7 Wisconsin Center Distrrict Welcomes You 10 Hyatt Regency Milwaukee 30 A New Face 12 Clearwing Productions One Stop Shop

14 DiGiCo Flys High with Iron Maiden 16 XTA Gives you Extra 18 XL Video Celebrates 10 years of Westlife 20 All Access Coach Leasing 22 Pyrotek Special Effects 7 20 46 tours with Iron Maiden 25 Macspecialist spotlight 30 Linkin Park departments All Over the Map 4 Publisher’s Notes 20 Transportation 38 Adamson Systems Engineerinig Thinking Inside the Box 14 Market Profile 22 Pyro 40 Atomic Pro Audio 14 Sound 25 Spotlight Feature Filling the Gap in the Northeast 42 Christie Lites 18 Video 52 Advertiser’s Index Interview with Martin Kelley 46 Spice Girls take their audience on a trip to gag city

mobile production monthly 3 FROM THE Publisher HOME OFFICE STAFF Dear Readers, ph: 615.256.7006 • f: 615.256.7004 email: [email protected] What a strange year we are experiencing. January & February were tourguidemag.com hectic, but despite a strong start up, the season seems to be stalling. Summer tours are late and several companies and touring 750 Cowan St • Nashville, TN • USA 37207 personnel are scratching their heads in confusion. The industry appears to be searching for a direction. As we look into our crystal Owner: Larry Smith balls searching for an answer, the obvious reasons of higher fuel [email protected] costs and a recessionary economy do not seem to be the culprits. Rather, it may simply be that we are experiencing a lull before the storm. All indications Editor: Chris Cogswell are that tours are going to be exploding out of the gate soon, but the pre-plan- [email protected] ning is being kept very quiet and guarded. Do not hold your breath, because this Advertising Coordinator / Contributing Writer: Deslee Gonzales may very well be a shift in scheduling that will catch everyone off guard. [email protected] Our cover feature this month features Linkin Park, headed by two of our favorite Chief Writer/ Photographer: Michael A. Beck people, Tour Manager Mike Amato & Production Manager Jim Digby. Although [email protected] they possess very different personalities, these two are a formidable team. As Contributing Writer: Mike Wharton many times as we have been backstage at a show or an event, I am always amused at the way the personalities of the two head “honchos” dictate the [email protected] mood of the tour. This tour has the earmarks of a tight, professional crew that Contributing Writer: Bill Abner knows what they are doing and where they are going. That is a tribute to Mike [email protected] and Jim and their very complementary styles of management. Contributing Writer: Jessi Wallace Also in this issue is a break-out on the Spice Girls Tour. Again, great people [email protected] doing a great job and an innovative Tait set to boot. The old saying that “If it’s Art Director / Graphic Designer: Kristin Searcy Tait…it’s great” is on display with this show. Hats off to Winky and the boys for [email protected] another stellar achievement despite the time crunch and hurdles. Some day we [email protected] should find out what those guys are eating and go on a Tait diet. Webmaster: Michael Stalcup Finally, you will note that we have initiated a new section in the magazine called [email protected] a Market Profile. This feature will enable us to review select markets on a regu- lar basis and profile various venues, service companies, hotels and support ser- vices in different cities. We intend to expand on this type of coverage so that we can identify interesting destinations for events of all types. Our initial goal is to TOUR LINK BOARD OF ADVISORS avoid the large markets and look rather to the secondary cities that seldom gain Benny Collins, Nick Gold, Jon Nevins, Stuart Ross, any national or international publicity. Bobby Schneider, Jay Sendyk, Seth Sheck, Jim Digby, Nicki Goldstein, Chuck Randall, Michael Waddell tourlinkconference.com Larry Smith

ADVERTISING SALES OFFICE Jessi Wallace • Nashville [email protected] ph: 615.256.7006 • f: 615.256.7004 Luther Beckett • Nashville [email protected] ph: 615.525.1781 • 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 informa- tion 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

Market Profile Milwaukee

Discover Milwaukee the Jewel of the Great Lakes

ilwaukee is a magnificent Milwaukee is known as the “City M blend of arts, culture, of Festivals.” Stop by Henry entertainment, celebration W. Maier Festival Park along and fun set alongside Lake Milwaukee’s lakefront to find Michigan’s sparkling shoreline. out why. Here, a procession of Exciting new developments, one- ethnic festivals will take you on of-a-kind experiences, festivals a global journey, exploring the exploring the city’s diversity and arts, history, recreation, cuisine, a state-of-the-art convention music and genealogy of a new campus combine with our warm culture nearly every weekend. brand of hospitality to create an The grounds are also home to unbeatable destination. , the world’s largest . Eleven days of A multi-billion dollar investment continuous music on 10 grounds in its tourism product has pro- stages and the 23,000-seat vided Milwaukee with a number Marcus Amphitheater offers of must-see destinations. Riding diverse musical lineups of into town this summer to join the regional and national entertain- line-up is the Harley-Davidson ment including everything from Museum. Located on a 20-acre classic rock and cool jazz to parcel of land near downtown world music and country. Milwaukee, the 130,000-square foot Museum will serve as a At the heart of all this develop- showcase for the legendary ment is our convention center motorcycles, passionate riders campus. Made up of three and unforgettable stories that unique venues, the Midwest have made Harley-Davidson Airlines Center, Milwaukee famous around the world. Theatre and U.S. Cellular Arena, Special event space is available. these state-of-the-art convention facilities are perfect for host- Located just down the street ing meetings, assemblies, trade from the Harley-Davidson shows, consumer shows, sporting Museum, the area’s number one events, or theatrical pro- visitor attraction, Potawatomi ductions. Bingo Casino, will complete its $240 million More than two expansion later dozen museums this year. The For additional info. on all reflect the city’s expansion will Miwaukee has to offer diversity, offering triple the cur- visit: visitmilwaukee.org patrons of any rent footprint call: 1.800.544.1448 age the chance of the facility to explore their with an addi- areas of inter- tional 500,000 est. Milwaukee’s square feet of gaming space, two restaurant scene offers diners the new restaurants, a center lounge chance to experience everything and a food court. Try your from the traditional to the exotic hand at lady luck, enjoy dinner and the performing arts includes at restaurants that range from a one of the top symphonies in sports bar to 4-diamond elegance the country, a world-class bal- or take in a Vegas-style show let, two opera companies and featuring national acts at the The cutting-edge as well as classical Northern Lights Theater. theater. 5

6 mobile production monthly Wisconsin Welcomes You Center District ouring production staff and crews who book one of downtown Milwaukee’s Wisconsin Center District (WCD) facilities will be pleased at the way the organization’s three venues – theT Midwest Airlines Center, the Milwaukee Theatre and the U.S. Cellular Arena -- are equipped to handle all kinds of show needs. With a century of professional experience behind them, the WCD staff is prepared to provide seamless service at the highest professional level.

The Midwest Airlines Center The Milwaukee Theatre

The Midwest Airlines Center, a The historic, renovated Milwaukee $175 million convention center that Theatre is a 4,100-seat theater opened in 1998, is at the heart of built within the shell of the 1909 the trio’s technological capabilities. Milwaukee Auditorium. The Though there’s rarely a stop for Auditorium was a model for scores stand-alone stage productions, the of municipal auditoria built across Midwest Airlines Center’s 37,500 the country in the mid-20th century, square-foot ballroom is often the site most of which have since been razed. of banquets and assemblies with live The same fate was considered for entertainment or corporate theater. the Milwaukee venue, but its historic The ballroom is built and equipped status and a community interest in a like a hall, with over 600 large concert, assembly and theatrical amps of show power, a theatrical- facility, led the WCD to undertake quality sound system, built-in rigging points in the ceiling, and a 10-foot by a $42 million renovation that gutted 14-foot drive-in door. 5 its flat-floored arena and rebuilt it as a modern “destination” theater. The “new” Milwaukee Theatre opened in 2003 with sloped, tiered seating, the flexibility to become a smaller house of about 2,500, several large and spectacular ancillary spaces and a host of features and amenities that enhance patron comfort, facilitate move-in and accommodate a wide range of performer and crew needs.

Back-of house functionality is often an afterthought in theater construction, but the Milwaukee Theatre instead offers easily- accessible docks, a continuous flat

mobile production monthly 7 Market Profile Milwaukee

U.S. Cellular Arena The U.S. Cellular Arena’s raw Next door is the U.S. Cellular strength remains one of its most Arena, which opened in 1950 outstanding assets -- the ready- and has undergone some $15 to-rig ceiling boasts a live-load million in improvements in the capacity of 450,000 pounds or, past decade. The first venue of as WCD staff phrase it, “enough its kind built for the needs of to hang a tour motorcade of five television, it later found fame loaded tractor-trailers and a five- as the MECCA Arena, with a ton merchandise truck.” vivid basketball floor design. floor to the stage, spacious nicely-appointed dressing Today the U.S. Cellular Arena From excellent in-house catering and well-lit backstage areas, rooms offer performers has a capacity of 12,700, or by Levy Restaurants to detailed and ample production office, exceptional comfort knowledge of the three venues rehearsal, catering and and privacy. A host of about 9,000 for a typical concert storage spaces. Its massive telecommunications services configuration. The U.S. Cellular and the industry, touring stage and superstructure are available, and internet Arena offers productions drive- productions who come to the are equipped with all-new speed is unparalleled – on floor access, over 3,600 amps Wisconsin Center District will rigging, drapery, lighting and because the whole WCD of show electrical power, a find the staff easy to work with, high-performance sound campus is wired for more highly attentive to detail and technology supported by signal capacity than many 29,200-watt house sound system, 5 over 2,400 amps of show technology firms. 5 restored ice-making ability, always professional. power. Over 20 large and refurbished dressing rooms and a carpeted catering or press room.

8 mobile production monthly mobile production monthly 9 Market Profile Milwaukee

Stay

A new face coming to Hyatt Regency Milwaukee

ver two decades a great style which will be urban ago a pioneering casual, yet very comfortable for guests. Guestroom corridors will feature a new group of décor package to include new carpeting individuals and wall vinyl. Color will be introduced broughtO Hyatt Regency to downtown to walls which will liven up the entire Milwaukee. The Hyatt Regency atrium area. was considered the place to be when A new restaurant/bar combination will introduced to local residents and become a focal part to our lobby, and business travelers. will open up the remainder of public area for better guest utilization, comfort, Last August, Hyatt Regency and relaxation. The final plans are Milwaukee was purchased by Noble being introduced and will take place in Investment Group located in , late fall 2008 as well. Georgia. The vision of returning it to the icon of downtown Milwaukee “Now is the time to has begun with a renovation For additional info. about inquire about open the project, or to inquire completion date of Spring 2009! 2009 dates as space about available dates is selling fast,” stated contact: Jack Allison In November 2008, Jack Allison, CHSP, The renovation taking place has a 414.270.6065 work will begin on all Director of Sales & current renovation budget exceeding [email protected] $18 million. Work already in progress guestrooms, guestroom Marketing for Hyatt includes all new Hyatt signage, new corridors, lobby, Regency Milwaukee. exterior finish, and enhancements to restaurant and lounge “The renovation is entrances and landscaping. Another areas. A complete facelift in guestrooms being met with great anticipation and exciting feature of the renovation will be will occur including new wall vinyl, excitement, both from local and national a brand new elevator system for guests bedding, furniture, doors, flat screen clients.” 5 to expedite travel between the expansive televisions, telephones, data technology lobby and guestroom area. and bathrooms. The rooms will depict

10 mobile production monthly mobile production monthly 11 Market Profile Milwaukee

Show Clearwing Productions One Stop Shop

learwing Productions, Inc. is a complete resource for all event production needs. Clearwing offers C a complete line of equipment and services in intelligent lighting, sound, backline, staging, video and transportation. Incorporated in 1985, the company now has 40 full time employees and a second office in Phoenix, Arizona.

Started from humble Milwaukee beginnings, Clearwing Productions opened as a small sound reinforcement company. The company grew in the 80’s, specializing in the touring business. The company has expanded and now has diversification in festival, corporate theater, and religious markets.

Clearwing Productions epitomizes the true “one stop shop,” uniquely qualified to provide production for any type of event, anywhere. The gear is top-of-the-line, cutting edge equipment, and Clearwing only employs qualified engineers with years of professional experience. In 2003, Clearwing was bestowed best Regional Lighting Company of the year and Regional Sound Company of the year in 2006.

In recent years, Clearwing has been the primary source most commonly used for the largest and most intricate clearwing.com events being produced anywhere near its Milwaukee hub. In 2005, Clearwing won the contract to provide production labor, support labor, mainstage structures and delay towers at Miller Park for the Miller Brewing 150th Anniversary Big BrewHa, a corporate party and concert for 40,000 people featuring Bon Jovi. Clearwing is also one of the first calls for White House Communications and political campaign event managers. In April of 2008, they provided production services at the Bucyrus plant in Milwaukee for a town hall style meeting with John McCain. Clearwing has also provided production services for the Wells Fargo’s annual Client Adviser meeting, Lombardi Golf Classic, and the Milwaukee Urban League events typically held annually at the Midwest Airlines Center.

Clearwing also provides sound, lighting, staging and management services for various fundraisers, corporate parties and general sessions, business theater events, and product reveals in and around the Milwaukee area. Annual clients include Vince Lombardi Charitable Fund and Milwaukee Ballet. Some special event clients include Major League Baseball, GMR Marketing, and The National Football League. As the main equipment supplier to Summerfest- the largest music festival in the country, Clearwing is also very qualified and experienced in the festival arena. 5

12 mobile production monthly 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

mobile production monthly 13 Sound DIGICO D5 Is Flying High

With IRON MAIDEN, Somewhere Back In Time

Although it is not unknown for hugely With the exception of one outboard successful bands to have their own graphic EQ for drummer Nicko aircraft in which to tour the globe, it McBrain’s drum fills, Gonzo is using is highly unusual for the band’s lead just the D5’s internal effects, which he’s very happy with. singer to be the pilot. Yet this is the case with evergreen hard rockers Iron “The effects are very user friendly Maiden and, as they begin another and sound great, especially the major tour, the ultra-compact size EQ,” he says. “The built-in comps of Monitor Engineer Steve ‘Gonzo’ and gates also help to save a lot of Smith’s DiGiCo D5 console means space, which is crucial on this tour. that there is plenty of room on board I have just one small rack with a for it to travel with him. couple of effects for the guitarists, With his D5 recently updated with the the receiver for Adrian’s in-ears and Touring in a Boeing 757 might seem like latest V4 software, making it even more the EQ for Nicko.” the height of rock star cool but, as the ‘monitors-friendly’, Gonzo is running 18 band’s Somewhere Back In Time tour rolls monitor mixes for the six-piece band. Advantage is also being taken of the through India, the Americas and Europe, D5’s excellent audio quality to record there are certain drawbacks. A major one “Maiden are very ‘old school’,” he says. shows from it, the multitrack mixes being is that when you are carrying not only “The only band member on in-ears is kept for a range of different purposes, the band and 50-strong crew, but also an guitarist Adrian Smith. The rest are all including potential commercial release entire 12 tonne production suitable for on wedges, with sidefills and a number of and putting on the band’s web site. The venues holding up to 50,000 people, space full mono mixes through speakers placed console’s advanced gain structure means is at an absolute premium. by the onstage ramps, which the band run that a single cable is used to send a full around on. 1:1 multi-channel recording from the D5’s Before joining the Maiden crew, Gonzo MADI port to a computer, which can worked with reggae legends UB40 and it “Bruce (Dickinson, lead vocalist and 757 then be mixed down in the studio at some was during this period that he got to know pilot) also has additional fills at the back point in future, as required. Bob Doyle, who would later go on to join of the stage, projecting just a vocal mix DiGiCo. forward,” he adds. “Of course, wedges With thousands of fans on the tour, are essential for the classic Maiden ‘foot both old and new, taking up Dickinson’s So when the D5 was introduced, Gonzo on the monitors’ pose as well!” infamous exhortations to ‘Scream for me’, was introduced to it too. the DiGiCo D5 has become an essential With the band’s material being part of the Iron Maiden touring rig. “When I went to work for Maiden, they considerably more complex than most didn’t want to use it at first, largely due non-metal fans give them credit for, Gonzo “The console has been fantastic,” says to a bad experience they’d had with is taking advantage of the D5’s snapshots Gonzo. “It’s very straightforward to use recording on a different type of digital facility for certain songs, which means he and very reliable. And if there ever is a desk,” he says. “But I kept on and I finally can make major mix changes instantly. minor problem, there’s worldwide backup talked them into it and they’ve loved it “It’s really to make things a bit easier for 24 hours a day. You can’t really ask for ever since.” me, but it is a major help,” he says. more.” 5

14 mobile production monthly mobile production monthly 15 Sound

XTA gives you extra SAYS Pooch

Nu-metal rap rockers Linkin Park unleashed their third studio album Minutes to Midnight in May 2007. It sold more than 600,000 copies in the first week and went straight to the top of the Billboard 200 Charts. However, as their current world tour reminds us, Linkin Park is also a phenomenal live act — and has XTA very much at the heart of their sensational sound.

Linkin Park’s tour began back in amount of this equipment needs to be “I have used different types of January 2007 and is scheduled to run carried — 24 Adamson Y18s, 16 T21 processors from all around the world. until January 2009. They headline subs, 48 Y10s, as well as 28 Spektrix But XTA always sounds the best. The Projekt Revolution at the UK’s Milton boxes. combination of XTA processors, Lab. Keynes Bowl on 29 June 2008 and gruppen amplifiers and Adamson are expected to take in some of this The man responsible for Linkin Park’s transducers is my dream PA — it just summer’s key European festivals, before incredible live sound is none other sounds fantastic!” jetting off to Canada and the US. than legendary FOH engineer, Ken ‘Pooch’ Van Druten. He is no stranger So what does Pooch like most about The band has been playing sell-out to full on rock, having engineered XTA products? “The way they sound,” shows to around 15,000 fans a night, KISS for many years, and knows full he says. “That’s all I’m interested in. although at larger venues in Asia, for well that XTA will give him just what The band has no idea what gear I’m example, the crowd has swelled to a he needs. For Linkin Park, he is using using to make them sound good. They whopping 40,000. nine XTA DP448s and two DP224s trust me completely. And if I’ve made to process the loudspeaker system and the choice to use it, then they know The PA design includes a big front he is clearly a big fan of XTA. “I have they’re getting the best.” hang of Adamson Y18s and T21 used XTA crossovers and EQs for subs, while the side hangs consist of years, for many different bands,” he Linkin Park’s fans also know good Y10s and Spektrix. But the variation reveals. “It always works well. sound quality when they hear it. Some in venue size means that a massive have even created websites dedicated

16 mobile production monthly Audience Risers Lansing, MI - Orlando - Portable Stadium Seating 800.999.5278 Portable Concert Seating www.SGA.net - [email protected] to the celebrated Linkin Park sound — StageRight Stages lplive.net is a good example. ADA & Loading Ramps Production & Control Platforms Fans also leave comments on Elevated Walkways Observation Platforms Pooch’s personal blog (poochblog. Entertainment Scaffold evilentertainment.net). For example, on Risers over Theater Seats (RTS) 28 February 2008, Astat wrote: “I’d just like to say I appreciate all the work you do, the live recordings. You mix sound awesome and have actually gotten better with time.”

The Linkin Park Minutes To Midnight World Tour will continue to use the DP448s and DP224s until 2009. Beyond that, XTA will be the vital tool for the systems that Pooch designs for his other clients.

With two or four fully balanced inputs and up to eight fully balanced outputs, the 4 Series set a new standard in terms of performance, flexibility and ease of use. The DP448, in line with the rest of the series, has a completely new processing platform, running at a native sample rate of 96kHz. This provides a bandwidth of over 30kHz and a dynamic range in excess of 116dB. The range uses high-performance, 24-bit converters on the inputs and outputs. 5

mobile production monthly 17 Video

XL Video Celebrates 10 Years of Westlife

XL Video supplied the show, all of it commissioned by Baker surfaces measuring 13 modules high by 7 and produced by Blink TV. The tour wide, angled in a 45 degree V. To each side video equipment and crew for was produced by Production North and of these were a total of 4 landscape Stealth Westlife’s “Back Home” tour, production managed by Karen Ringland, panels, all measuring 9’ x 7’ modules and with XL Video’s Phil Mercer project in 3:2 aspect ratio, which flew in and out celebrating 10 years as a pop managing. through the performance.

Mercer comments, “Westlife have toured The Stealth was used almost exclusively prolifically for the last 10 years, and it is for showing VT playback material. I-MAG phenomenon. always a good challenge keeping the look of appeared on the central curved screen the show fresh and varied from one year to just once, during the unplugged section The live show – one of the most dynamic the next”. of the show. This was in black and white and visually exciting of their careers so far – – to contrast with the generally very rich has been designed and directed by William Downstage there was a curved section of colouration throughout the rest of the Baker. Stealth measuring 27 modules wide by 8 performance – and the screen was divided high, which flew in and out and was used for into 4 sections, each showing a tight head Westlife shows have always had a strong an innovative video reveal at the top of the shot of Nicky, Shane, Kian and Mark. video element, and this one was no show. This sequence was carefully crafted in exception, with 7 Stealth Mk2 LED screens collaboration with LD Baz Halpin, so the The live camera mix was directed by being instrumental in the look and feel video content and lighting worked seamlessly Billy Robinson. XL supplied four Sony of the show, bringing, texture, depth, in a gradually reveal of the band standing D50 cameras, which were positioned one movement and colour to every area of the behind the screen. at FOH, one in the pit on track & dolly stage. and two off in the wings of the audience. Upstage, near the back of the ‘W’ shaped Robinson cut the mix using a GV Kayak Custom video playback ran throughout stage set, were 2 portrait formatted Stealth switcher, and this was beamed up onto two side 14’ x 10’ screens each fed by a Barco SLM12 projector from XL.

All the playback footage was stored on 2 Doremi hard drives and triggered by MIDI timecode from the backline, controlled via Barco Events Manager. This was programmed and formatted for all the screens by Richard Turner during production rehearsals at Lite Structures in Wakefield.

continued on 51

18 mobile production monthly TONIGHT, YOUR BAND WILL MOVE 34,982 SCREAMING FANS.

TOMORROW, WE’LL MOVE YOU.

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 the power to move you, your trailers, and your tour to the next venue—whether it’s in the next county or in the next state.

www.powersourcetrans.com 1-800-438-8789 /-BGFZFUUF$PVSUt(SJöUI */

B002100100_Powersource_Roadbook_Dec mobile production monthly 19 Transportation

On the Road With All Access Coach Leasing

by Deslee gonzales

ife doesn't always play out the way we plan, and for most of us, it almost always doesn't. Three months L after Eric Blankenship moved to Nashville in 1992 for a record deal, he instead found himself on the road selling swag for Ricky Skaggs. Then, after getting a license to help drive while selling shirts for Lari White and Tim McGraw he decided to drive full time. In 1998, his plans changed yet once again when he decided to come off the road and into the office. At the company, he had just been on the road driving for, Blankenship began leasing and handling drivers. It was then he met Jim Borelli, the head mechanic.

Borelli, originally from Indiana, pm., but that's another story...". In Blankenship fills the role of Parts is known for taking great pride 2002, Blankenship found himself at a Manager and Adam Foster serves as in doing things right the first window of opportunity and decided their mechanic. All Access also has time; people really admire and to start his own bus company. Teamed a quality on-site maintenance and love that, especially the drivers. up with Borelli, 7 management buses repair service as well as a full licensed Speaking of the talent of his and a $5,000.00 dollar credit card, the and bonded cleaning staff. Eric Blankenship partner, Blankenship says of two started All Access Coach Leasing Borelli, "Jim is a mechanical located in Gallatin, Tennessee. genius. He has been fixing The coach company offers things for over twenty years Band buses, Star buses, and it shows in his knowledge Co-owners Blankenship and Borelli and Crew buses. Their of seeing the problem and head up the office as President coaches are equipped finding a solution. I've yet and Lead Mechanic accordingly. with six, nine or twelve to find anything he can't fix Blankenship handles sales and bunks and they also except for a 95 Chevy truck leasing and Borelli is in charge of offer slide-outs.

Jim Borell on a Friday afternoon at 5:00 maintenance. While John Hill heads A handful of the up Operations, you will find coaches are even Pat Blankenship managing built with full the office and Kay Thurman custom bedrooms "We strive to have the cleanest, handles driver compliance or convertible and helps takes care of all bedrooms. They best maintained and best driven the general office duties. Jack also offer trailers coaches in the industry!"

20 mobile production monthly in a variety of sizes and come stock with Blankenship also boasted about the E-track and ramp doors. Presently, the drivers at All Access, who he says are company has 41 buses ranging from "one of the key ingredients in this recipe." allaccesscoach.com 1998-2008, 17 trailers and a twenty two They have a terrific group of drives who passenger day coach perfect for company make doing a safe and proper job priority. trips, promotions and radio tours . They Having only the best, most professional plan to add four new coaches in 2008. drivers is vital to this company. They not only do wraps, but also offer their service with the conversion process It is no wonder All Access Coaches has to help anyone wanting to build and continued to serve so many great music lease coaches or alternatively to have for artists; they pride themselves on excellent private use. customer service. Blankenship explained that his team understands that this industry does not include a regular 8-5 When asked about their clients, workday. Not only are they accessible Blankenship boasts, "We have a 24 hours a day, 7 days a week but they wonderful client base. A lot of our also give out their home numbers customers are like family. We do about and personal cell phone numbers to sixty percent country, forty percent everyone. The company takes a hands rock-pop, comedians, Christian music on approach in the coach leasing industry and corporate stuff." Some of their and takes great pride in maintaining wonderful clients include: Trace Adkins, their equipment to ensure it to be at the Martina McBride, Larry the Cable Guy, very highest quality and safety standards. Josh Turner, Rodney Carrington, Jason Their website assures the public that "All Aldean, Santana, Ricky Skaggs, Billy Access Coach is large enough to handle Currington, George Thorogood, Denver all your leasing needs, yet small enough to and the Mile High Orchestra, Sara be accessible to each of our clients. Our Evans, and Black Stone goal is to make every travel experience Cherry. the most comfortable possible. We strive to have the cleanest, best maintained and best driven coaches in the industry!" 5

mobile production monthly 21 Pyro Pyrotek Special Effects Adds A Blast to the Maiden Tour

Pyrotek Special Effects Tours with Iron Maiden

he Somewhere Back in Time World Tour was inspired by T Iron Maidens’ recently released DVD, Live After Death. As Iron Maiden’s tour began, their USA and UK dates were selling out at a rapid pace; some shows sold out weeks in advance. Fans have been flocking to get tickets as the band will be touring to a number of cities which they have not played at for many years.

In order to bring back some of the old classic looks with a touch of new Pyrotek came on board to effects; Vice President of Pyrotek start the second lag of the Special Effects, Lorenzo Cornacchia North American tour. Shooter worked with Dick Bell (Iron Maiden’s Keith Maxwell, along with Production Manager) to incorporate the pyrotechnicians, Renato pyrotechnics into the show design. Salmon, Gary Bishop and Eric Cornacchia explained “The request Mucho were the crew at hand from the band was to implement a fuller that implemented the design and thicker look of effects while adding in into fruition. Working together some new aspects of pyro to the show”. with with stage Manager Bill Referencing prior touring films from Conte, Pyrotek became involved the 1980’s, Cornacchia collaborated during the last three shows of the with Bell to get a feel for the original first lag in Los Angeles, New York design, to create, not only a replica- and . Pyrotek, along with tion, but continue to provide fresh the band, the entire 50-man crew and innovative ideas into the show. and the 12 tons of equipment and “The Pyro was intended to not only be stage set, will continue the North apparent but accent the band. Between the American tour when it kicks off in st selection of songs played and the stage set San Antonio, Texas May 21 at the the implementation of the propane we really focused on re-acquainting the Verizon Wireless Amphitheater. The flamed Dragons within Aces High, st classic 80’s look. The legendary Egyptian tour runs through to June 21 , closing the tours introductory song, leads in theme from the PowerSlave Tour brought off at the Bell Center in Montreal, from a video intro which starts off back some great memories and when I had Quebec. After completion of the with transitions of classic military the chance to watch it live, I was pleased North American tour they will then footage. The opening guitar riffs lead to say that this was arguably one of the transition into the European lag. into a 1 x 25 all fire cue of gerbs that best shows I’ve witnessed of Maiden,” ignite from the upstage, stage right commented Cornacchia. Lighting The design of Number of the Beast and left, while fireballs erupt on the Designer, Robert Coleman was intri- demonstrates Pyrotek’s infamous downstage edge. Rime of the Ancient cate in synchronizing the lighting to propane Dragons into the show with Mariner begins with a succession of punctuate the pyrotechnics, ensuring transition of asymmetrical chases and air bursts while low lying smoke flows that the effects appeared predomi- all fire cues igniting the stage and from the upstage to down stage edge nant and not washed-out. exhilarating the audience. Aside from towards the floor level audience cre-

22 mobile production monthly ating and eerie atmosphere. The design for Powerslave starts off with 1 X 25 gerb fans that ignite across the entire upstage, stage right, and stage left. Involving the band in relation to the effects, a powerful red-flame wall located stage right accents lead singer Bruce Dickenson as he appears on stage. The look

has Dickenson emerge through the flaming wall which also incorpo- rates two fire balls cued on either side creating a fuller look to the pyrotechnics. Also included for this act are a number of all-fire Dragon sequences. The original stage effects for Eddie, (a colossal mummy from their past tours), were unable to fit on the Iron Maiden Boeing 757; NEW.ASHVILLE,OCATION0 flown by pilot and lead singer Bruce Dickenson for the first lag. As a result, Iron Maiden will be bring- ing Eddie along, (featured on the Live After Death DVD for the 2008 summer tour) with the intensions to incorporate additional effects built into Eddie’s facade. The final song Hallowed Be Thy Name; implements red flash with crackle mines cued to a chunky rhythm that closes the show. A 15-foot tall Cyborg Eddie appears for the song Iron Maiden after 20 X 20 gerbs fill the entire stage. With the recent addition of Pyrotek Special Effects, the tour thus far has created an anticipated buzz among fans worldwide, as the bands return has been a huge suc- cess. 5

mobile production monthly 23

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101110100010011010010001001001001001001001001000101010101010101010001001001110010101001 T: 312.755.0000 | F: 312.410.9011 001110101010100101010100101010101010001010101010100101010101001001010111010001001101001 E: [email protected] | W: www.macspecialist.com 000100100100100100100100100010101010101010101000100100111001010100100111010101010010101 010010101010101000101010101010010101010100100101011101000100110100100010010010010010010 010010001010101010101010100010010011100101010010011101010101001010101001010101010100010 Villa Park: 234 West Roosevelt Road, Villa Park, Illinois 60181 101010101001010101010010010101110100010011010010001001001001001001001001000101010101010 101010001001001110010101001001110101010100101010100101010101010001010101010100101010101 T: 630.858.0000 | F: 630.559.0186 001001010111010001001101001000100100100100100100100100010101010101010101000100100111001 E: [email protected] | W: www.macspecialist.com 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an immediate 01010101001010101001010101010100010101010101001010101010010010101110100010011010010001001 00100100100100100100010101010101010101000100100111001010100100111010101010010101010010101Support solution,” said Paul Bradley. 01010100010101010101001010101010010010101110100010011010010001001001001001001001001000101 01010101010101000100100111001010100100111010101010010101010010101010101000101010101010010 “Additionally, in the rare instance 10101010010010101110100010011010010001001001001001001001001000101010101010101010001001001· Professional Sales Staff 11001010100100111010101010010101010010101010101000101010101010010101010100100101011101000 that they are unable to provide 10011010010001001001001001001001001000101010101010101010001001001110010101001001110101010 10010101010010101010101000101010101010010101010100100101011101000100110100100010010010010· Certified Training in ProApps what I need, they’ll find someone 01001001001000101010101010101010001001001110010101001001110101010100101010100101010101010 00101010101010010101010100100101011101000100110100100010010010010010010010010001010101010and IT who can.” Bobby Schneider 10101010001001001110010101001001110101010100101010100101010101010001010101010100101010101 00100101011101000100110100100010010010010010010010010001010101010101010100010010011100101 adds, “MacSpecialist provides a 01001001110101010100101010100101010101010001010101010100101010101001001010111010001001101· Expedited Service and Shipping 00100010010010010010010010010001010101010101010100010010011100101010010011101010101001010 first rate product coupled with 10100101010101010001010101010100101010101001001010111010001001101001000100100100100100100to any location 10010001010101010101010100010010011100101010010011101010101001010101001010101010100010101 incredible customer service and an 01010100101010101001001010111010001001101001000100100100100100100100100010101010101010101 0001001001110010101001001110101010100101010100101010101010001010101· Data Management and Storage 0101001010101010010010 understanding of urgency, which is 101110100010011010010001001001001001001001001000101010101010101010001001001110010101001001 11010101010010101010010101010101000101010101010010101010100100101011101000100110100100010Solutions an irreplaceable asset in the 01001001001001001001000101010101010101010001001001110010101001001110101010100101010100101 01010101000101010101010010101010100100101011101000100110100100010010010010010010010010001 touring world.” 01010101010101010001001001110010101001001110101010100101010100101010101010001010101010100 10101010100100101011101000100110100100010010010010010010010010001010101010101010100010010 011100101010010011101010101001010101001010101010100010101010101001010101010010010101110100 01001101001000100100100100100100100100010101010101010101000100100111001010100100111010101 01001010101001010101010100010101010101001010101010010010101110100010011010010001001001001 00100100100100010101010101010101000100100111001010100100111010101010010101010010101010101 00010101010101001010101010010010101110100010011010010001001001001001001001001000101010101 01010101000100100111001010100100111010101010010101010010101010101000101010101010010101010 10010010101110100010011010010001001001001001001001001000101010101010101010001001001110010 10100100111010101010010101010010101010101000101010101010010101010100100101011101000100110 10010001001001001001001001001000101010101010101010001001001110010101001001110101010100101 010100101010101001001010111010001001101001000100100100100100100100100010101010101010101000100100111001010100100111010101010010101010010101010101000 101010101010010101010100100101011101000100110100100010010010010010010010010001010101010101010100010010011100101010010011101010101001010101001010101 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011010010001001001001001001001001000101010101010101010001001001110010101001001110101010100101010100101010101010001010101010100101010101001001010111 01000100110100100010010010010010010010010001010101010101010100010010011100101010010011101010101001010101001010101010100010101010101001010101010010 010101110100010011010010001001001001001001001001000101010101010101010001001001110010101001001110101010100101010100101010101010001010101010100101010 101001001010111010001001101001000100100100100100100100100010101010101010101000100100111001010100100111010101010010101010010101010101000101010101010 010101010100100101011101000100110100100010010010010010010010010001010101010101010100010010011100101010010011101010101001010101001010101010100010101 010101001010101010010010101110100010011010010001001001001001001001001000101010101010101010001001001110010101001001110101010100101010100101010101010 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mobile production monthly 29 Linkin Park by Michael waddell

30 mobile production monthly LP Is All Over The Map

Often when working a show backstage, one is overwhelmed by the pride crews take in their work. It should be noted that this is not pride in the boastful or vain nuance, rather a feeling of gratification on a difficult job well done night after night. mobile Production monthly often witnesses the aura of pride and being amongst a family when we are submerged back- stage. Seldom however, are we struck by the sense of owner- ship of a tour within a crew, which might explain why there are a number of award winners in this crew.

This is not to say there isn’t a hierarchy ably close to the end that exists, there is and must be on any product. tour. Notably, everyone backstage attri- butes the overwhelming positive vibration “It was the first time to the six very young men that make up in my career,” said Linkin Park. It’s frequently said ‘shit runs Pen, “I’d worked with downhill,’ well, so does humility. an artist who was so involved in the design An army, we have heard, moves on its process. Mike had belly. Tours of course, move on trucks. very specific ideas Prod. Coordinator Huge Remple, General Jim "George Patton" Linkin Park rolls 500,000 pounds of gear Digby (Production Manager) and Production Utilitarian Man- for what he wanted down the road in 11 trucks, including a Maurice Montalvo the stage to look like mammoth 72’ x 46’ multi-platform stage. founder) saw this and said, we don’t need including visuals being The stage, built by Accurate Staging, was those. We don’t fall off the front of the drawn from the movies Transformer and designed with a 360 all-purpose-play in stage, why would we fall off anywhere Tron as well as F14 Jets.” The challenge mind. There were four primary levels and else? So off they came.” in designing a show where the artist is so a fifth level was flown in mid-show. At the involved, Pen exclaimed was “just getting lowest point the stage deck was 5’ off the Not only was the stage innovative, the inside his (Shinoda’s) head.” , ground, at the highest point it was 12.6’. design process was unique. Initially Pen there are visual elements of an F14 and There were two 8’ x 10’ risers over scissor showed the band a design using a 60’ x Transformer when looking at the stage. It lifts which rested at a deck height of 8.5’ 40’ stage with side and rear elevation. appears Pen succeeded in getting inside on which stage left were drums and stage Shinoda wanted something ‘more exciting’ Shinoda’s head. right was the DJ. Interestingly, you will so Pen and Stephen Pollard did more ren- find no skirting around the bottom of the dering. Six weeks prior to the start of the The next thing to notice are the five 14’ stage. Instead, lighting is utilized in mak- tour they were no closer to a set. So, while x 16’ Stealth video screens hovering over ing the actual structure a part of the show. in rehearsals at Third Encore in North and parallel to the stage like spokes on a Hollywood, CA., Tour Guide Magazine's bicycle wheel. Each screen is suspended Initially, the highest points of the stage 2004 Production Manager Top Dog, Jim in the air about 20’ over the stage by four were built with a safety rail. Show Digby, Stage Manager Ethan Merfy and high-speed chain master motors provided designer and Tour Guide Magazine’s 2003 Pen bombarded Shinoda with Napkin by Show Distributions. Element Labs and 2005 Lighting Designer Top Dog AJ CADing, which prompted Shinoda to by VER provided the screens. They fly Pen told us, “ (Linkin Park come in with a sketch that looked remark- in and out and at a number of different

Tour Guide Journal 31 angles throughout the show, or they MAC700’s, MAC2000 Wash’s, virtually disappear when parallel to MAC2000 Profile’s MAC600NT’s the stage. This is done by Motion and a pair of DF-50 Hazer’s Controller Alexandre Blais, who plugged into a switch dimmer. The had 25 video screen cues. The front lighting rig hung on 36 points at a pair of motors on the screens were total weight of 54,000 lbs on the beam trolley drive wheels whilst the main grid. Hanging from around rear trolleys were chase trolleys. On the video screens were Martin either side of the stage were Fast- MAC2000 Profiles, MAC2000 Fold video screens. Wash’s and Atomic3000 Strobes.

Christie Lights provided the light- The overall lighting design was ing gear which consisted of Martin straightforward rock 'n' roll. There

32 mobile production monthly Linkin Park

Engineer Top Dog Kenneth “Pooch” gear desired. Enter Jesse Adamson, Van Druten subsequently went to the Adamson in Adamson System hear the boxes on a Van Halen show Engineering, who brokered a deal and was equally impressed. between Audio Analysts and Atomic Pro Audio. Atomic brought to the The challenge for Digby was that no table the coveted boxes and one audio US vendor at that time had enough crewmember. of the Adamson product in their inventory. The manufacturer worked In all, the tour was supplied with Alexandre Blais – Motion Controls directly with Pooch and Digby to the following Adamson gear: M-15 were often beautiful looks, and find a vendor who was willing to get monitor wedges, SX18 side fills, the artist(s) were always well lit. behind the product and provide an Y18 and Y10 (Main Cluster), T21 Unfortunately, this is not something A-list crew. At the top of both Digby (Flown Subs), Spektrix (Center that can be said about every tour. At and Pooch’s wish lists was Audio Cluster), Y10 (Side Hang), Spektrix/ no time did the video aspect overtake Analysts; due to each of their past Spektrix Wave’s (Far Side Hang), the show. In essence, the video and experiences with excellent AA crews. and T21 (Stack Sub). Also used were lighting melded together wonderfully. Lab Gruppen FP10000 and FP7000 AJ Pen did a beautiful job of mak- Amplifiers, and XTA 448 Processors. ing this show, though big (after all 11 The result was… loud! But it didn’t trucks 500,000 lbs. is big) look abso- hurt. In fact, it was brilliant! “That,” lutely huge! stated Digby, “is 100 percent Pooch, team audio and 100 percent this These aspects of the show, from box.” conception to completion, took three weeks and were a collaborative “Further, the success of the tour effort between Nocturne Production, needs to be equally attributed to the Accurate Staging, VER, Christie core backline team who have been Lights and Show Distribution. with LP since the beginning of their second record,” added Digby. “This While on a brief stint with INXS, includes newcomer wardrobe mistress Production Manager Jim Digby had Kenneth “Pooch” Van Druten – FOH Susie Steadman and everyone else an occasion to hear the Adamson in the current configuration of the PA boxes. “These Adamson boxes,” crew who come to work everyday explained Digby, “created a power “We lucked out,” said Digby, “in fact ready and happy to provide Linkin in the sound unlike anything I had when AA came on board they sup- Park with consistent production suc- ever heard. There is more mid- plied us with their A-List team who cess, that positive attitude is 100% led range punch and clarity than I had just finished a leg with Bruce by our Stage Manager Ethan Merfy had ever experienced before.” Tour Springsteen and whose work ethic and the great teams provided by our Guide Magazine’s 2006 & 2007 FOH is 100 percent.” However, Audio vendors.” Analysts did not have the Adamson

mobile production monthly 33 Linkin Park

This crew, who takes such pride in of the show they attended with warts at the same time recording work he their work and feel as though they and all, if any. must address tomorrow morning. are, in part, owners of the show, Whew, it makes your head spin. put together one hell of a tour. Pooch arrives at the venue early in Everyone’s attitudes were positive the morning, sits behind a Digidesign The result of this is Linkin Park Live and energy was vibrant. But wait, it Venue Profile and mixes the show (at your home town). For about $10, doesn’t end there. recorded on Pro Tools the previous a blank CD is sold with directions If you are Kenneth “Pooch” Van night. He then goes to front of house to a website and a user name and Druten, you have one long-assed to tune the speakers, returns to his password from all of the merchan- day. Every evening’s performance is secluded room in the bowels of the dise tables. As mentioned, three to recorded, mixed, and ready for dis- building to conclude his producer / five days later, the public can then tribution three to five days after the engineering job. Only to go back to download the performance they were performance. There are no overdubs; front of house to mix sound for the witness to. What a wonderful way to one will receive a live performance current evening’s performance, while keep CD’s viable.

34 mobile production monthly LP Crew Criscitiello, Natalie Vermiglio, Band: Mike Shinoda, Chester Zach Rudland Bennington, , , Security Director: Marcel Mathews Dave “Phoenix” Farrell, Security: Jerry Devorak, Kenneth Management: Mad Mac Payne, Larry Echols Entertainment / Rob McDermott, Merchandise: Ryan Demarti, Trish Evangilista Jill McCutchan, Ryan Bowman Business Management: Gudvi, SLO: Zach Niles Sussman, & Oppenheim/ Jonathan Bus Commanders: Harry Wing, Schwartz Keith Kaminski, Mike Hall, Bill Booking Agency/Agent: Artist Group Douglas, Tom Torrisi International/Michael Arfin Truck Drivers: Jody Winslett, Petey Henke, Robert Lenzen, Team Mike Meadows, Carl Roberts, Production George Wissert, Anna Hatch, Herb Tour Manager: Mike Amato Combs, Terry Christiansen, Leslie Production Manager: Jim Digby Washington, Dan Bergman Stage Manager: Ethan Merfy Production Coord.: Hugo Rempel Tour Support Tour Accountant: Jeff Mauss /Vendors FOH Engineer: Lighting Company: Christie Lights Kenneth “Pooch” Van Druten Set Company: Accurate Staging Monitor Engineer: Radio Communications: Kevin “Tater” McCarthy AAA Communications DJ Tech: Jason Lemiere Freight Forwarding: Guitar Tech for Brad: Sean Paden EFM Management, Inc. Drum Tech/Carpenter: Brad Stonner Video Company: Bass Tech: Ted Regier Nocturne Productions Pro Tools Tech: Dylan Ely Automation: Show Distribution Guitar Tech for Mike: Kurt Schneck Audio Company: Audio Analysts FOH Audio Systems: Brett Stec PA: Atomic Pro Audio Monitor Systems Tech: Paul White Credentials: Cube Services Audio: John Bruey, Rick Procopio, Catering: Culinary Underground John Brotherton, Evan McElhinney Band Security: SPI International Lighting & Visuals Director: AJ Pen Venue Security: Lighting Lead: Tim Solar NPB Companies, Inc. Lighting Programmer: Geoff Frood Bus Companies: Roberts Brothers Lighting Rigger: Mark Abra Coach Leasing, Four Seasons Lighting: Glen Rupert, Mike Kapler, Coach Leasing Currently, Digby and his crew are pre- Erin Charlton, Mike Hall, Trucking: Upstaging paring to take this show on the road in Motion Control: Alexandre Blais Merchandise: BandMerch Europe with an entirely new configura- Crew Travel: Protravel International tion. mPm is curious to see what they Carpenters: Angel Aguirre, Samuel / Kathryn Pechenik come up with. In addition to the inher- Harrington, Frank Medina Band Travel: Entertainment Travel / ent issues with touring overseas, the Video: Stanley Twitchell, Nelson Nick Gold routing is, shall we say… challenging. Funk, Omar Montes, Scott Grund, Insurance: Dewitt Stern Group While on the subject of routing, Mike Matt Howe Radio Promotions: Ron Cerrito Amato, Tour Guide Magazine’s 2004 and Utilitarian Man: Maurice Montalvo Publicity: BWR Public Relations 2005 Tour Manager Top Dog Winner, Lead Rigger: Michael Dunn Record Company: Warner Brothers has more than a little work cut out for Dressing Rooms: Susie Steadman him getting the band party where they Catering: Michael Glazer, Jeremy need to be. 5

mobile production monthly 35 Linkin Park

36 mobile production monthly p i c t u r e d l e f t : (l to r, top to bottom)

Kevin “Tater” McCarthy – MON

Jeff Mauss – Tour Accountant

Brett Stec – FOH Audio Systems

Dylan Ely – Pro-Tools Tech

Sean Paden – Gtr. Tech (Brad)

Mike Amato – Tour Manager p i c t u r e d b e l o w :

Nocturne Video Tech – Omar Montes

On top of video screen is Nocturne Video Tech – Scott Grund p i c t u r e d o p p o s i t e p a g e : (l to r, top to bottom)

Tim Solar – Team Lighting Lead, Geoff Frood – Team Lighting Programmer

Maurice Montalvo “In the Hat” – Utilitarian Man

Ethan Merfy – Stage Manager

Susie Steadman – Dressing Rooms

Skip Twitchell – Team Video

mobile production monthly 37 ADAMSON SYSTEMS ENGINEERING Thinking Inside the Box

byBill Abner

a time when most companies are trying to branch out and diversify their base, Adamson Systems Engineering is focused on building quality products In delivered to a specific market. Namely, products directly focused on the touring and festivals market. Providing the loudspeaker systems for Linkin Park’s high profile Projekt

feature adamson systems Revolution’08 tour is just one example of their products being used in a specific niche market. While they acknowledge that there are other opportunities out there-and they do sell their products in those other markets-Adamson designs and builds products primarily for live sound reproduction in touring applications.

When asked how quality components designed and It has further capitalized on that that focus came built to its own exacting standards success by opening Service Centers about, Director of sets it apart from other big name throughout Europe designed to cut Marketing and Sales, speaker manufacturers. Jesse delivery times to the end user by Jesse Adamson, Adamson explains: “We are not stocking limited amounts of products, son of company limited by off-the-shelf products and and a select group of replacement Founder, President, standards by which most of the big parts. and CEO, Brock name manufacturers are limited. Adamson, explains We don’t have to pull from those The young company attributes much that it happened as same component selections that of its overseas success, again, to a natural progression. “My father everyone else does, so it allows us to quality. The European market, by was a live sound mixing engineer achieve higher levels of control and Adamson’s reckoning, hasn’t been as with Rocky Mountain Sound, and consistency in our product lines.” susceptible to the allure of big name my Grandfather was always into badges like JBL, EV, or Meyer as has engineering and manufacturing. One only has to look at the many been true in the US and Canada. When “my old man” (Brock) realized patents and innovations in speaker “The European Market was easier to that existing speaker boxes of the technology devised by the Canadian break into for us because they seemed day weren’t up to the task for touring firm to understand their point. For to be looking for products that would and live sound applications, he relied example, Adamson was among meet their specific needs instead of on his sense of manufacturing to the first speaker manufacturers to just reacting to the marketing of begin designing boxes that would fit develop and capitalize upon, line the larger and more well advertised the purpose. It developed more out array technology. It was the pioneer products in North America, just of a need from a sound company of Kevlar cone technology, and because they are a big name,” perspective than from some small many users agree that their “Shooter” explains the scion of the Adamson contractor-based organization.” The array modeling and configuration Empire. That edge transmits and byproduct of that nexus is a company software is at the top of the class in carries over to the European touring with a solid idea of who it is and line array calculators. Additionally, and festival season as well. Already where it is going, as well as a good its transducer innovations has set this year Adamson is on board for understanding of its position in the it apart from the norm by allowing several major summertime festivals marketplace. much higher power and higher SPL in Germany and other European where it was previously unattainable countries, and it looks to be a busy Adamson designs, develops and with any level of consistent quality. summer for the company’s systems manufactures as many as possible “One of our main focuses at techs in addition to their Linkin Park of the components needed for its Adamson is the real technology inside commitment. speaker systems right in its own 37,00 the box,” adds Jesse. square foot plant outside Toronto. Looking to the future, Adamson is That alone sets it apart from most While Adamson is still a small, committed to continuing to build speaker builders, marketers, and family-run business (around 50 innovative touring systems, by manufacturers. From the 5/8” employees in its Port Perry, Ontario keeping its ear to the ground so Baltic birch cabinets themselves, facility), their influence is felt to speak, and by delivering a high to its patented rigging and flying worldwide. Its foot is firmly planted quality, well designed product, system, and even its own wave in European markets from Belgium intended to keep the touring world’s guides and transducers, Adamson and France, to Germany, Italy, believes that its ability to provide Switzerland and The Netherlands. continued on 50

38 mobile production monthly mpm feature On the Road with:

Linkin Park World Tour

Nelly Furtado “Get Loose” Tour USA & Canada Keith Urban “Love, Pain & the Beauty Whole Crazy” Tour, Australia

Peter Gabriel "Warm Up Summer 2007” Tour, Germany

“Project Revolution Tour” with Linkin Park, , Placebo...

V-Fest Toronto 2006 with The Flaming Lips, MUSE, The Strokes... V-Fest Vancouver 2007 with The Killers, Hot Hot Heat, Metric...

Les Vieilles Charrues Festival 2006 & 2007 with Peter Gabriel, Arcade Fire, Brian Ferry... France

Gurtenfestival 2006 & 2007 with Avril Lavigne, Scissor Sisters... Switzerland

Austin City Limits 2007 Austin Venture & AT&T Blue Room Stages, USA

Skanderborg Festival 2007 with , Peter Gabriel, Status Quo... Denmark

Gigi D’Alessio “Made in Italy” European Tour

O Rappa, Chiclete com Banana, Ivete Sangalo Brazilian Tour Die Fantastischen Vier Beast “Fornika Für Alle” Tour

Happily Ever After

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mobile production atomic pro audio feature visit: mailto: P: VT.Rutland, 05701 Lane Quality 112A Audio Pro Atomic information Contact monthly

802.775.5550 eaefnigavno iheog fthedesired gear. became findinga vendor with enoughof use Adamsonsoundboxes. out,thechallenge Asitturned FOH EngineerKenneth ¨Pooch” Van Drutenwantedto W gig really built the sound company,”sound the builtreally gig PM business. “The additional an reinforcementas sound at looking began shows,he arena and field, manager,production theater,running successful manager.a as years After production a workas rep promoter national some gavehim his of friend years,a four or three After Margolin. said fun,” for this doing mostly just YorkNew Vermontwas and “I area. the around and in bands bar for sound doing himself found Margolin 1987 In preconceivedideas.realany with than rather organically more together came AudioPro Atomic professional. seasoned a of experiences and insights of full conversationwas hour the and had, we interview phone the in through came businesswhat’s in ¨do right¨ to desire intense and fessionalism demeanor.friendly Margolin’s pro- warm, his to attest will Margolin with talking time anyhave spent who Audio. ProThose Atomic of Kevinfounder Margolin,with speak to privilege delightful the had mPm expertise.touring and crew,package recordingconsoles, the supplied whoAnalysts, Audio based CO Springs, Colorado and system speaker the supply to Audio Pro Atomic Rutland,based bine VT com- to able was tour the Adamson, Jesse of assistance Withthe AtomicProAudio.com mpm [email protected] feature that Production ManagerJimDigby and Map tour, learned mobileProduction monthly hile covering LinkinPark’s AllOver the Filling The Gap In The Northeast… The In Gap The Filling

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Mobile Production Monthly was able just lit me up, and his company it doesn’t matter if I’m at FOH for to flag Kelley down for a few brief was geared to lighting only. I was a Linkin Park Stadium show or in moments to find out where he’s attracted to the intensity of his focus a small theatre event, when those been, how he got here and what lies and his passion for the work, so I house lights go out, I get goose ahead. went for it.” bumps… every time. I truly enjoy my job… and I get paid for it!” He had his first taste of the business Kelley was exposed to the local in the theatrical department in high film industry almost immediately Some days you just have to work a school and working weekends with as a pani- projector tech. Around little harder than others to earn that a local AV company called Stage the set he would hear some of the pay, though. Tech. “They did it all - audio, video electricians talk about wishing they and lighting,” says Martin. During had more control of their lights. Christie Lites was the supplier and the three or four years of learning That started a whole dialogue Kelley was working with lighting his skills as a tech for the company, about dimmers, socapex, and how Designer Jason Jennings on a Super he worked in many of the local theatrical lighting could be used on Bowl 2008 event in Phoenix, which venues, which led to some runs location. consisted of massive rigs on the as Production Manager in several tarmac lighting B17 bombers, not to theatres. “I realized then and it is still true mention all of the party tents… today, my clients have been my Martin continues, “Around ’94 Dan best teachers,” Kelley emphasized. Kelley laughs now as he explains, Tulloch, who was one of my first Christie also recognized that his “one of the six trucks didn’t show mentors, left Stage Tech to go to intuition, technical expertise and up… just fell off the face of the work for Huntly Christie. I was kind design capabilities could be utilized earth! The domino effect that of at a crossroads, not sure whether more effectively, thus becoming an followed in the wake of this really I wanted to start my own production account representative. taught me a lot about handling company, or just try something clients’ expectations and the value completely different.” Around ’97 Cinematographer of being honest, no matter what. Alexander Gruszynski asked Kelley Finally, 11.5 hours later he ( the An invitation from Dan to come to come on board as the lighting driver) shows up. It was one of check out Christie’s operation designer for the club scenes in the the most challenging events in my changed all that. Huntly, who film, “ Studio ’54.” Huntly agreed professional life, and we pulled it off, started his company in his father’s to a short leave of absence and so ultimately it was one of the most garage in’85, was at that time Kelley spent the next six months rewarding.” pulling shows together out of working on the shoot in the Toronto a warehouse across from Lake film studios. Kelley ends, “You know, like they Ontario. say, the show must go on and it does, “My long time friend AJ Pen was but I’ve found that the people in Kelley reminisces, “I’m the kind of brought on this project as board op this business also realize that family guy who jumps in with both feet, when we went to do re-shoots in comes first. I’m really fortunate to you know. I was hesitant to go down New York,” Kelley recalls, “It’s guys have Lesley as my wife and our two and check the operation out – if I’m like him and Jim Digby that make year old son Cooper… well let me going to commit to something, it’s me realize how lucky I am to be just say - that little guy is going to all or nothing. Huntly’s enthusiasm working in this business. You know, teach me a lot!” 5

42 mobile production monthly mpm feature mobile production monthly 43 44 mobile production monthly

crew list spice girls the band Musical Director: Simon Ellis spiceTake Their Audience girls on a Trip to Gag City Percussionist: Thomas Dyani Bass: Scott Firth by Michael A. Beck Guitar: Paul Gendler, Greg Hatwell Drummer: Vinnie Lammi One of the biggest concert tours of 2007-08 Keyboard: Nick Nasmyth has been Spice Girls. All one had to hear about the creative team this show was the players involved. With names like Show Creative Director: Jamie King Mark “Springo” Spring, Scott Chase, Tim Shanahan Set & Light Design: Roy Bennett Asst to Jamie King: Carla Kama and, of course, the ever dynamic Roy Bennett, you Video Content: Dago Donzalez have to know that this is going to be big regardless Asst to Roy Bennett: Peter Aquinde of the number of shows projected for the tour. Lighting Programmer: Troy Eckerman, Cory Fitzgerald

the Production Team In addition to the high-end Production Manager: Mark Spring Stage Mgr: Scott Chase members of the produc- Show Mgr: Mike Morobitto tion and design team, there PRG Project Co-Ordinator: Robert Cooper was the presence of venders Production Co-Ordinator: Dian Eichorst like Clair Brothers, PRG, FOH Engineer: Ray Furze Monitor Engineer: Matt Napier Nocturne and Tait Towers. Lighting Director: Mac Mosier The production lived up to Lighting Crew Chief: Ian Tucker all expectations. However, Lights: Kathy Beer as one might expect, it had US Lights: Jason Winfree, Matt Schneider, Russell Lyons, MIchelle Brummett, Marc more than its share of chal- Wuchter lenges. The elegance of the UK/Euro Lights: Craig Hancock, Glenn design lived in the way these Poower, Luke Prithcard, Jason Dixon, Carl Boswell, Craig Saunders challenges were met and Pryo: Kevin Hughes overcome. Lasers: Alan Gomberg, AJ Seabeck Production Manager Mark “Sringo” Spring FOH Systems: Simon Rogerson First, there was audio. The & Set and Lighting Designer Roy Bennett MON Systems: Nick Mooney Radios / Ears: Stephanie Thompson biggest issue was the crowd Having worked previously on the Sound: Demetrius Moore, John Switzer noise. FOH Engineer Ray Furze UK / Euro Sound: Simon Hall, Don Parks, Rob George Michael show, Rogerson explained, “The initial scream is 115 Priddle, Nick Davis faced a similar issue. But instead of Video Director: Dave Neugebauer db. You can’t compete with that. I having a straight runway out into Video: Leon Roll, Stefaan Michels, Troy Baccheschi, don’t even try,” Furze says. “Above a the center of the room, there was a Jay Strasser, Michael Sienkiewicz, John Moore certain level your ears shut down and Backline Crew Chief / Keyboards: Vince Barker horseshoe shaped deck that arched then what’s the point of being out Guitar Tech: Andrew Ball, Adam Birch out into the crowd and back. This Drum Tech: Andy Henderson here. So I add a little extra high end had Michael directly under the main Percussion / Keyboard Tech: Clint Lockyer in the beginning and then when the Riggers: Mike Farese (Head), Danny Machado, Rick hang. Ragerson explained, “We tried crowd comes back down to a more Wilmot, Steve Genovese, Bill Macklin a number of different approaches reasonable level, I ease the high end Electrician: John Zajonc to that situation. We tried feedback Carpenter: Tim Shanahan (Head), Gino Cardelli, back to a normal level.” eliminators, different programs on David Medrano, Jim George, Tina Skjerseth, Randy Wilson, Curtis "Duewerk" Baker the crossover and even me sitting However, that wasn’t the only rub Motion Control: Jacques Richard on the graphic.” When the matter Catering: Marcus Jones (Crew Chief), Kate the audio team had to deal with. A of five mics out front came up there Drummond-Brassington, Sean Leitch, major feature of the show was a run- Chris Desmond was a whole list of possible solutions way that extended out from the main Wadrobe: Dana Carr to choose. In the end, the simplest stage to a “B” stage in the center of was the best. “On this show we tilted the drivers (US) the room. FOH System Engineer Sid the PA out about 10 degrees,” said Crew Bus Drivers: Vince Grecco, Geoff Daubney, Rogerson spoke to Mobile Production Donnie Leach, John McNutt, Doyle Andrews, Rogerson. Monthly about it, “You’ve got five Raymond Jacobs, Richard Lundeen Truck Drivers: Cary Stembridge, Jay Usgaard, Jorge live mics that spend much of the The speakers were German made Delgado, Walter Layman, NIck James, Jeff Anders, night out on the thrust in the center D&V J-8’s that have an 80-degree Randy Cook, Jerry Dvorak, Matt Anderson, John of the room.” Canning, Mike Smith, Sam Green, Danny Harelson, dispersion angle. By turning the Mark Reese, Ron Kilburn, Herb Cohn, Larry arrays outward the afore mentioned Hockensmith, Jim Turner, Hosea Goodwin, Danny Martin

46 mobile production monthly tour related offices Tour Promoters: (USA) AEG Live (UK) Sim Concerts (Germany) X-WHY-X Konzertagentur GMBH & Co. (Spain) Troubleshooter Trucks: Edwin Shirley Trucking Bell Lane Flight Cases: Road Case Rentals Freight Forwarding: Rock-It Cargo UK, LA Tour Expendables: Tour Supply Itineraries: Smart Art Management: 19 Entertainment UK, USA Touring: 19 Touring UK, USA Accountancy: 19 Entertainment UK Donenfeld Management Financial Management: Sycamore Consulting International Agent: Creative Artists Agency Record Co.: EMI Music UK Insurance: Robertson Taylor Tour Public Relations: The Outside Organization Artistic Design & Direction: Jamie King Productions Lighting & Set Design: Dakana Designs Tour Management: World Wide Touring Central Music Service: Geoff Donkin Production Management: Decision Point Consultants Catering: Eat Your Hearts Out Special Effects: Pyrotek Special Effects (left to right, top to bottom) Communication: Road Radios Carpentry Crew – (front row) Tim Shanahan – Head Merchandise: Bravado International Group Carpenter, Flory Turner – Motion Control, David Medrano, Ground Transport: Daitz Personal Logistics Jim George, (back row) Gino Cardelli, Tina Skjerseth, Randy Charter (US): Airworks Wilson, Jacques Richard – Motion Control Charter (Europe): Premier Aviation UK Buses (US): Phoenix Bussing Lighting Crew – (front row) Ty Brooks, Jason Winfree, Bits Trucks (US): Upstaging Lyons, Kathy Beer, Mac Mosier – Lighting Director, (back Sound (UK): Wigwam Acoustics row) Robert Cooper – PRG Project Co-ordinater, Rob Semineau, Mike Ryder, Jim Petrussion, Bill Suttle Sound (USA): 8th Day Sound Lighting: PRG Mike Morobitto – Show Manager In Ears: Ultimate Ears Power: Legacy Power Rigging Crew – Rick Wilmot, Shaker, Chuck Melton, Set Construction: Tait Towers Danny Machado – Head Rigger Additional Set Pieces & Design: Planview Staging: Accurate Staging Scott Chase – Stage Manager CAD Services: Brungardt Enterprises Tour Passes: Access Pass & Design Video Crew – (front row) Leon Roll, Kim Hampton, Dave Neugebauer – Video Director, Jerry McReynolds – Video Video: Nocturne Productions Engineer, Jay Strasser (back row) Stefaan Michels, Eugene Security: Celebrity Protection McAliffe – Assistant Director, Michael Sienkiewicz, Video Content & Design: Veneno Rob Church Travel Agent: The Tour Company Travel Agents: Altour (A Party). The Appointment spice girls spice girls spice girls spice girls spice girls spice girls spice girls spice girls spice girls John Zajonic – Tour Electrician Group (B&C Party)

mobile production monthly 47 spice girls

10 degrees, the dispersion patterns Bennett’s answer was simple; build as and on Tim and Faith. They merged at a point just down stage of much into the stage and set as possible they sat on the stage, and they were the “B” stage and the feedback threat and pick the rest up “over there.” The always getting knocked out of focus.” was eliminated. result was that with the exception of a few Martin Mac 2K’s that were used This was an important facet of the “B” Now we come to laser. There’s not on a silhouette gag that happened once stage. Had they been mounted to the much to say about the laser portion of in the show, all of the hard edged light- top of the stage, they couldn’t encircle this show. That’s not because it wasn’t ing was done by Vari*Lite 3000 Spots, the whole thing as there would have noteworthy, but because it was used and the wash lighting was done by the to be room on the upstage edge for with such elegant discretion, that one monster VL-3500 Wash’s. There was performers to enter the platform. In never got bored with seeing it, as can also a strong compliment of Atomic this case, however, because they were so often be the case. Strobes as well. “Because I had to imbedded in the stage and covered, make the lighting system very generic, the foot lighting could offer 360-degree Ah, but then there was lighting. As is I went with Vari*Lites because you coverage. usually the case with a Roy Bennett pick them up everywhere,” Bennett design, you could have Mount Fuji in told mPm. “Then I made the set sort There was a line of fascia that bor- full eruption upstage of the artist and of a lighting instrument in and of itself dered the stage facing out toward the the artist would still be the highlight more than I’ve done in the past.” audience. This was lit from the inside of the show. But because this show with RGB Color Blasters. Again, these opened in the States with limited All of the foot lighting for the stage were built into the stage and traveled engagements, then headed over the was provided by LED IW12 Blasters - with the stage. pond for several UK/European dates, built into the stage so that they could and returned to finish out in the States, travel with the stage. But having them The band played in elevated enclosures there was a strong desire to make the recessed into the set and covered with called garages on either side of the show as portable as possible for trans- clear Lexand offered another advan- stage. The inside of the garages were oceanic travel. tage. Lighting Director Mac Mosier also lit with LED. The front of the explained, “We used these things on unit was bordered with VersaTube that

48 mobile production monthly played behind opaque panels that were Back to the Flaggevator. Obviously, it something on this one that is com- clear enough to get an image through had a platform and that platform had pletely different from all of our previ- and diffused enough to soften the look. to constantly remain level. The plat- ous motion control projects.” Davis We’ll come back to that. form was attached via a gimble arm added, “In our previous motion control to a carriage that traveled horizontally systems all motion control data such as Almost every part of this show was in that was pushed by a single motor. As limits and decoding would home run some way affected by the stage that was the arm lifted the platform (that was on back to a rack. In this we had distribut- some of the strongest innovation that the top of a small tower) into position, ed control. Everything that moves has Tait Towers has ever shown. The show the carriage traveled toward the plat- its own onboard processing. All we’re opened with the Spice Girls entering form to a position under the platform/ doing is telling it where to go, how fast on individual lifts. This may sound like tower. The result of that movement to go and when to go.” something that’s been done before. But was that the arm was now part of the it’s not. There was a limitation that vertical lift and gave the platform four The main reason for this innovation required some serious thought. The more feet of lift. This approach not is cable management. As anyone who elevators had to get ten feet of lift out only gave the lift incredible power but has ever toured can attest, one of the of a 6-foot envelope. The solution was it also ensured a silky smooth ride. biggest headaches on any given tour is just elegant and beautiful as the women cable management followed closely by who rode on them. The solution was a In addition, this is the best part of the power. By handling the motion control device called the “Flaggevator.” Before Flaggevator. From concept to com- at the point of movement, there is a we go into the explanation of this thing pleted manufacturing of six of them significant drop in the amount of cable it must be pointed out that Tait Towers (one for each “Spice” and a spare) the that has to be dragged throughout the built 40 elevators last year, and no two project took two weeks. production to all of the places that were alike. This company is about need motion control. It also creates an solving the puzzle in front of it with There was another aspect of the stage equally significant drop in the number original thought rather than adapted that was a joy to behold. Motion con- of connectors that will eventually need technology from projects gone by that trol. Tait Vice President Adam Davis to be soldered. “just might work.” explained, “There’s a lot of motion control on this show, and we have done continued on 50

mobile production monthly 49 Adamson continued from 38 Spice Girls continued from 49

needs well in focus. Additionally, it is The trade off is that there are, according to a more rigid version of its more pliable looking to increase its exposure into Davis, 28 processors around the production predecessor known quaintly as “Shower contracting, or installations, because site providing motion control and feedback. Curtain.” The entire upstage wall was it realizes there is a huge chunk of However, no one seemed to complain made up of Helix. business out there that can benefit from about said trade off at all. their products. However, lines of VersaTube were laid The most impressive part of what Tait in over the Helix and were all covered by Passion seems to be the catchword Towers accomplished was that it took what looked like very large clear plastic for this company though. One can the three weeks to design everything and restaurant bus trays. Because of the way hear it in the way Adamson speaks another three weeks to get it all show they protruded out from the wall, Bennett about their products, its mission and ready. Six weeks from day one of design to was able to hit them with light and add their goals. From the paternal Brock loading it up for rehearsal. That's just not both color and texture to the look. The whose life of innovation and vision is natural! “garages” that the band played in on either well documented and hailed, through Jesse and on down the food chain to Video was delivered to the show through side of the stage also had a rear wall made the office staff, the design teams, and seven spectacular walls of (LSI/SACO) V-9 of Helix minus the VersaTube. even the box builders in the plant. LED video, which has become something They all speak about their systems with of a signature for Nocturne who provided A large portion of the upstage wall, aptly conviction, care and pride. “Basically, video on the tour. There were two large called “the garage door,” flew out to allow we like to think that we build something landscape (horizontal) walls that played an opening for a motorized platform that everybody else can’t build, and we up stage of five smaller portrait (vertical) dubbed the “Mobilator” which would trav- try to apply that to the touring market,” panels. Each of the landscape panels rep- el down stage for the duration of a song. At says Adamson. resented (much of the time) one of the five the end of the piece, the Mobilator would Spice Girls. However, they could be flown then retract into its upstage position to be On the surface, Adamson Systems together for one large and absolutely seam- reset for the next gag. At one point in the Engineering appears to be a family less image. The same could be done with show, it was fitted with “strippers polls” for enterprise with its manufacturing roots the two larger screens upstage. a song. During a tune called The Lady is a dating back through three generations. Vamp, the band members come down out Jesse however is quick to point out The motion control for the video walls was their garages and set up on the Mobilator. that the real heroes are the guys like handled by the Tait Towers system that was When it came out, a large rectangular Kenneth “Pooch” Van Druten, FOH used for the stage. Control for these panels frame that was ringed with very large stan- engineer for Linkin Park and Jim Digby, had to be super sensitive and controlled dard incandescent light bulbs, known as Linkin’s venerable Production Manager with a feather touch in order to keep these the “picture frame” (what else would it be who are out there in the trenches every wildly expensive walls from turning into called?), flew in front of it. day putting the systems to work and airborne bumper cars. Once they were providing valuable feedback to Brock flown together, they had to fit without This show never ramped up. There was no and Jesse, so that they may continue to develop, design, and build speaker any delineation between them. It had to point where it peaked as most shows do. It systems that will exceed expectations, look like one single image. Nocturne took started like the amplifier of Spinal Tap’s continue to meet the challenges and that project to Tait (as usual), and the job Nigel Tufnel… on eleven. And that’s where rigors of life on the road, and allow was completed with the same precision as it stayed for the duration of the night. Even them to think inside the box. Inside the everything else that comes out of Lititz, PA. the times when Bennett used only minimal speaker box that is. 5 lighting on stage the show had power. It Background low-resolution video was was gag city, and that is just what this audi- provided by a fairly new product out of ence came to see. From a purely produc- Element Labs called Helix H37. Helix is tion stand point, it was a great show. 5

50 mobile production monthly XL Video continued from 18

XL supplied 7 crew for the tour, under the direction of crew chief Stuart Heaney, systems engineer Graham Hollwil, Stealth tech’s Andy Tonks and Patrick Vansteelant and camera operators Luke Levitt, Thomas Levitt and Mark Cruickshank.

Playback footage was created by Blink TV’s Marcus Viner, Tom Colbourne and Helen Stringer. They worked on the project at Blink’s studios for about 2 months, including a 2 day video shoot with the band at Centre Stage Studios in Islington, London.

Working with cinematographer Angus Hudson, this produced material that was used in the ‘beauty’ shots for “Swear It Again” along with footage for other songs, and they also filmed a dancer and a pole dancer. The dancer was shot with a series of different brass instruments, the footage was then composited and layered to create the eye-catching multi-coloured pop art style brass band for “Easy Way”.

The pole dancer was treated with chrome and gold effects and appeared in spectacular James Bond style fashion in “If I Let You Go”.

Westlife tours again throughout May, culminating in a massive show at Croke Park stadium, Dublin, after which they will take a year’s break. 5

mobile production monthly 51 ADVERTISER’S Index

Access Pass & Design...... 2 Accurate Staging...... 24 Adamson Systems Engeering...... FC,39 All Access Limo...... 51 Arie Crown Theater...... 49 Atomic Pro Audio...... FC, 41 Celebrity Coaches...... 49 Christie Lites...... FC, 43 Clay Paky...... 1 Clearwing...... 15 Coach Quarters...... 29 Creative Stage Lighting...... 23 Cube Services...... 13 D & S Classic Coach...... 18 Daitz Personal Logistics...... 52 Dewitt Stern Group...... 11 EAMC...... 2 EBTECH - Sound Enhancement...... 52 Fame Advertising...... 11 EFM...... 16 IAAM...... 45 Littlite...... 19 Meyer Sound...... IBC Motor Coach Industries (MCI)...... IFC Music City Coach...... 17 Nitetrain Coach...... 13 Northeastern Production Services...... 23 On Cue Systems...... 50 Ozark Mountain Tour Trucks...... 23 Potenza Enterprizes...... 13 Powersource Transportation...... 19 Precise Corporate Staging...... 19 Prevost...... BC Professional Wireless...... 11 RIC Corporation...... 11 Roadhouse Coach...... 17 Roadshow Services...... 17 Roberts Brothers Coach...... 5 SGA...... 17 Sedan on Demand...... 15 Sound Image...... 11 Soundcheck Nashville...... 44 Star Gift Alliance...... 23 Taylor Tours...... 14 Tour Supply...... 13 Tyler Truss Systems...... 51 UpLight Technologies...... 4 Wisconsin Center District...... 9

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