volume 6 issue 12 2013

SelenaStars Dance gomez

Plus Inside: EVENT SAFETY ALLIANCE GALLAGHER STAGING FLORIDA COACH

PINK Truth About Love

CONTENTS vol.6 issue 12 2013

Chaos Visual Productions 4 Event Safety Alliance 16 Gallagher Staging

Selena Gomez 7 Christie Lites 18 Stars Dance Tour

8 Meyer Sound 22 Selena Gomez Crew

Pink 11 Staging Concepts 26 Truth About Love Tour

New Hires + 13 Holiday Celebrations 31 Pink Crew

14 Florida Coach FROM THE Publisher So, we finally hit the last issue of the year. This issue features the Selena Gomez tour and some of her key support companies as well as an in-depth feature on Pink. As always, we invite your comments on our work and hope you see fit to support our advertisers. This has been a particularly difficult year for us and we HOME OFFICE STAFF appreciate all the support we receive from our readers. ph: 615.256.7006 • f: 615.256.7004 2961 Armory Dr • Nashville, TN • USA 37204 In this issue are features on two mainstay companies in mobileproductionpro.com the industry, Gallagher Staging and Florida Coach. For a tourlinkconference.com moment, I willl step aside from my role of objective analyst For advertising inquiries: and be totally subjective...... I love these guys! Jack Calhoun [email protected] of Florida Coach and his brother Jerry were two of the first companies to support my work when I started over thirty Publisher: Larry Smith years ago and Jack is still there. It is hard to express what it [email protected] means to have clients that loyal and supportive for so many Director of Operations: Lori Meadows years, and believe me, the gratitude comes from my heart. [email protected] Operations Assistant: Wendy Catto Joe Gallagher has been another long-time supporter of Creative Director/Content Manager: Anna Cherry this publication and he is always there for us when we [email protected] need advice or help and the personal relationship we have Contributing Writers: developed is special. His son Joey is following right in his Bill Evans father’s footsteps. Michael McLaughlin Mike Wharton Richard Bennett Finally, Tour Link is shaping up to be another big success with the host hotel already sold out. Overflow hotels are Printing and Website Design/Maintenance: already booking up, so if you have not yet made plans to Warehouse Multimedia attend, this is going to be a good one, so don’t miss it. PUBLISHED BY Anvil Productions, LLC Publisher ph: 615.256.7006 • f: 615.256.7004 Larry Smith FOLLOW US Tour-Guide-Publications / Tour-Link-Conference @mobileprodpro / @TourLinkConf

©2013 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:

2 mobile production monthly HOME OFFICE STAFF ph: 615.256.7006 • f: 615.256.7004 2961 Armory Dr • Nashville, TN • USA 37204 mobileproductionpro.com tourlinkconference.com

For advertising inquiries: [email protected]

Publisher: Larry Smith [email protected] Director of Operations: Lori Meadows [email protected] Operations Assistant: Wendy Catto Creative Director/Content Manager: Anna Cherry [email protected] Contributing Writers: Bill Evans Michael McLaughlin Mike Wharton Richard Bennett

Printing and Website Design/Maintenance: Warehouse Multimedia PUBLISHED BY Anvil Productions, LLC ph: 615.256.7006 • f: 615.256.7004 FOLLOW US Tour-Guide-Publications / Tour-Link-Conference @mobileprodpro / @TourLinkConf >> Event Safety Alliance

The Guide Has Arrived editions of the guide will be available soon for purchase on the Event Safety Alliance website. Additionally, eBook versions of November was a landmark month in the Event Safety Guide will be available the history of the Event Safety Alliance. for download at several online retailers After nearly two years of development including Amazon, iTunes and Barnes and input from industry, regulatory and & Noble. Both formats of the guide will safety professionals, attendees of the LDI be sold for $49.95, with proceeds from 2013 Conference and Tradeshow were all purchases helping the ESA develop able to get their first look at The Event additional resources and further the Safety Guide, the live event industry’s message of “life safety first.” first comprehensive reference guide of industry best practices. Over the course of As 2013 draws to a close, the Event Safety three days, hundreds of people stopped by the Event Safety Alliance booth to learn Alliance would like to offer our sincere more about the guide, the mission of the thanks to everyone who has supported ESA, and how they themselves could help this mission, and has worked diligently to increase safety awareness within the event thought has been expressed repeatedly - make live events safer for our performers, industry. employees, and guests. “It’s about time”. Additionally, dozens of attendees took From the beginning, our motto has been part in two seminars hosted by the Event That time has now come. The guide has “YOU are the ESA”. The successes of Safety Alliance. During the first session, arrived. Now the real work begins. this past year demonstrate how true that “The Event Safety Guide: A Roadmap statement really is. Expect exciting things For Safe, Responsible Show Production”, Regardless of how informative the to come in 2014. ESA President and Executive Director Jim contents may be, a guide without Digby led a lively discussion on the history application is little more than a collection Have a safe and enjoyable holiday season. and rationale for the Event Safety Guide of words. To realize it’s full potential, We’ll see you at Tour Link! and how professionals can utilize the guide the guide must be taken into the field to improve safety at their own events. and utilized whenever possible. Users of www.eventsafetyalliance.org. The second session, entitled “You Are the the guide must embrace and implement ESA”, was an open roundtable discussion the applicable best practices in order that expanded on many issues raised to test drive it, make improvements during the earlier session, and offered where needed and raise the bar of safety attendees an opportunity to express their consciousness within their organizations. ideas and suggestions to help shape future As they apply the guide, we hope users editions of the guide and the direction continue to provide feedback to the ESA of the organization. The demographics regarding what works and what can be of each session were remarkably broad, improved upon in future versions. with representation from universities, theatres, touring production, IATSE, and Those attending this year’s Tour Link even NASA offering their insight on this Conference will get their own opportunity critically important subject. to learn firsthand about The Event Safety Guide. Following our earlier Since its release, reaction to The Event model, the Event Safety Alliance will be Safety Guide from inside and outside the hosting two sessions at February’s event. event industry has been immediate and The first session will center around the almost universally positive. The guide has development and use of The Event received accolades from many industry Safety Guide, with the second being a veterans, including those whose careers “roundtable” discussion focused on the have laid the framework for modern event larger safety issues facing the live event production. Major media outlets such as industry. Both sessions will offer ample NBC News have reported on the release opportunity to engage leaders of the of the guide and what it may mean for the ESA, and to make your voice heard as attending public. Artists such as Linkin the organization continues to grow and Park’s Chester Bennington have offered evolve. Copies of The Event Safety their praise and gratitude for the ESA’s Guide will be available for review and efforts in ensuring the safety of performers purchase, as well. For those who don’t and their audience. In all instances, one want to wait until February, printed

4 mobile production monthly

monthly

5 mobile production production mobile

Fax 815-899-1080 Fax

Fax 310-859-2804 Fax

815.899.9888 www.upstaging.com

Ph. 815-899-9888 Ph. Ph. 310-859-9800 Ph.

Sycamore, Illinois 60178 Illinois Sycamore, Beverly Hills, California 90210 California Hills, Beverly

821 Park Avenue Park 821 415 North Canon Dr., Suite 1 Suite Dr., Canon North 415

LOS ANGELES LOS CHICAGO

storage

service

sales

production support production

trucking lighting

>>

monthly

7 mobile production production mobile

www.christielites.com

productions across North America. North across productions

festivals, theatre and entertainment entertainment and theatre festivals,

osriea vricesn ito of list ever-increasing an service to

in the U.S. and Canada. CL continues continues CL Canada. and U.S. the in

brands at the five top-tier motor shows shows motor top-tier five the at brands

for more than 20 major automobile automobile major 20 than more for

Deere, Boeing, CES, Dell, and booths booths and Dell, CES, Boeing, Deere,

clients have included: Microsoft, John John Microsoft, included: have clients

Pretty Lights and more; corporate event event corporate more; and Lights Pretty

KISS, Motley Crue, Fun, Bassnectar, Bassnectar, Fun, Crue, Motley KISS,

Buble, Keith Urban, Dierks Bentley, Bentley, Dierks Urban, Keith Buble,

tours such as Justin Bieber, Michael Michael Bieber, Justin as such tours

growing client roster including: concert concert including: roster client growing

lighting and rigging equipment for a a for equipment rigging and lighting

May, the company has been providing providing been has company the May,

Canadian office in Winnipeg earlier in in earlier Winnipeg in office Canadian

Lites. In addition to opening a new new a opening to addition In Lites.

2013 has been a busy year for Christie Christie for year busy a been has 2013

of the holy grail of dining!” of grail holy the of

now we are finally in the neighborhood neighborhood the in finally are we now

excellent sushi, steak and BBQ and and BBQ and steak sushi, excellent

deli. We already have locations near near locations have already We deli.

wanted to have a shop close to a decent decent a to close shop a have to wanted

In addition, he joked, “We have always always have “We joked, he addition, In

its opening. opening. its

new office when word leaked out about about out leaked word when office new

business atmosphere surrounding the the surrounding atmosphere business

was extremely pleased with the brisk brisk the with pleased extremely was

Christie Lites CEO Huntly Christie Christie Huntly CEO Lites Christie

2014 and beyond. and 2014

provides the perfect avenue to reach reach to avenue perfect the provides expansion offices in Las Vegas and and Vegas Las in offices expansion major part of its business growth in in growth business its of part major

client base like never before and also also and before never like base client then has opened Christie Lites Lites Christie opened has then is excited to have CLNY added as a a as added CLNY have to excited is

service our already loyal Northeast Northeast loyal already our service career in 2010 in Seattle and since since and Seattle in 2010 in career management system. The entire team team entire The system. management

expansion which allows us to directly directly to us allows which expansion Tom Cowdery, who began his CL CL his began who Cowdery, Tom as a part of the national Rentals Rentals national the of part a as

Alexander, “We are proud of this new new this of proud are “We Alexander, CLNY Operations Manager is is Manager Operations CLNY through the New York location location York New the through

Ken Ken Rentals VP Lites Christie Said also already supplying their clients clients their supplying already also

special event projects. event special Other CL Rental Account Reps are are Reps Account Rental CL Other

ment rentals across North America. North across rentals ment – and along with several corporate and and corporate several with along and –

plying full service stage lighting equip lighting stage service full plying - and Meredith Vieira’s talk show pilot pilot show talk Vieira’s Meredith and Lumineers U.S. tour and more. and tour U.S. Lumineers

- sup network multi-office Lites’ Christie packages such as “The Carrie Diaries” Diaries” Carrie “The as such packages 2013, Amazing Spider-Man 2 film, the the film, 2 Spider-Man Amazing 2013,

This 14th location further strengthens strengthens further location 14th This Phantom of the Opera – as well as TV TV as well as – Opera the of Phantom has supported include: NFL Draft Draft NFL include: supported has

13B Division Street in Fairview, NJ. NJ. Fairview, in Street Division 13B rsnain orn rdcino of production touring Presentations marketplace. Recent events McMeen McMeen events Recent marketplace.

renovated 30,000 square foot space at at space foot square 30,000 renovated preps including a new NETworks NETworks new a including preps in the touring, Broadway and TV TV and Broadway touring, the in

ness. The warehouse is in a newly newly a in is warehouse The ness. CLNY office has fulfilled several tour tour several fulfilled has office CLNY to serve his career long-term clients clients long-term career his serve to

- busi for open officially is York New announcement. Since October, the the October, Since announcement. Lites in July 2012 and has continued continued has and 2012 July in Lites

The new office for Christie Lites Lites Christie for office new The prior to any official opening opening official any to prior is Chris McMeen who joined Christie Christie joined who McMeen Chris is

accumulating equipment inventory inventory equipment accumulating Leading the New York Rentals team team Rentals York New the Leading

few months while ramping up and and up ramping while months few

America

unofficially operating for the past past the for operating unofficially said.

Rigging Rentals in North North in Rentals Rigging

Christie Lites New York has been been has York New Lites Christie network model completely,” Alexander Alexander completely,” model network

for Stage Lighting & & Lighting Stage for which emulates the Christie Lites Lites Christie the emulates which

Establishes its 14th Office Office 14th its Establishes come.” another topnotch team and facility facility and team topnotch another

new clients in the months and years to to years and months the in clients new Nashville. “In New York, Tom has built built has Tom York, New “In Nashville. York Office: Expansion Expansion Office: York

Christie Lites Opens New New Opens Lites Christie >> Lighting >> Sound

arena of screaming fans, Sheeran and his acoustic guitar were supported by a powerful and transparent Meyer Sound LEO linear large-scale sound reinforcement system that kept the shows intimate despite the arena’s size.

According to Chris Marsh, Sheeran’s FOH engineer and production manager, it was important to maintain a per- sonal connection between Sheeran and his legion of adoring fans. “That feeling of immediate presence is crucial,” he says. “It helps everybody feel that Ed is up close playing an Meyer Sound LEO Lends Intimacy to Ed Sheeran intimate show, despite that fact that he may be 80 meters Concerts at Madison Square Garden. This fall, British singer- away. With LEO, we’ve managed to make the transition songwriter Ed Sheeran headlined three solo acoustic shows at from clubs and small theatres into arenas without losing that New York City’s Madison Square Garden. Performing to an sense of closeness.”

8 mobile production monthly

monthly

9 mobile production production mobile

www.stagingconcepts.com.

and “News & Events” page. page. Events” & “News and fully redesigned website, www.stagingconcepts.com. website, redesigned fully

company’s latest happenings in the new “Featured Projects,” Projects,” “Featured new the in happenings latest company’s the brand is complete with the roll-out of its new logo and and logo new its of roll-out the with complete is brand the

mobile. Additionally, viewers are able to keep up with the the with up keep to able are viewers Additionally, mobile. prahadeouino ispoutlns h neln f of unveiling The lines. product its of evolution and approach

the site across multiple devices from desktop to tablet to to tablet to desktop from devices multiple across site the brand identity to better reflect both the company’s modern modern company’s the both reflect better to identity brand

Website visitors will find a seamless experience as they view view they as experience seamless a find will visitors Website is a positive outcome of Staging Concepts’ plan to update its its update to plan Concepts’ Staging of outcome positive a is

easier navigation and overall improved user experience. experience. user improved overall and navigation easier equipment, announces the launch of its rebrand. The launch launch The rebrand. its of launch the announces equipment,

The newly redesigned Staging Concepts website includes includes website Concepts Staging redesigned newly The Staging Concepts, an industry leader in portable staging staging portable in leader industry an Concepts, Staging

are as a cutting edge staging designer and supplier.” and designer staging edge cutting a as are forward-thinking approach forward-thinking

and Marketing. “I believe our brand now speaks to who we we who to speaks now brand our believe “I Marketing. and Company’s new brand identity mirrors its its mirrors identity brand new Company’s The The

solutions,” said Bob Randall, Staging Concepts VP of Sales Sales of VP Concepts Staging Randall, Bob said solutions,”

in our industry for high profile, highly customized staging staging customized highly profile, high for industry our in

Rebranding

“Staging Concepts has evolved into the go-to company company go-to the into evolved has Concepts “Staging

Launches Company Company Launches

Staging Concepts Concepts Staging

express a forward-thinking company. forward-thinking a express

design uses sleek, clean lines and a contemporary logo to to logo contemporary a and lines clean sleek, uses design

continuous advancement in the industry, the rebranded rebranded the industry, the in advancement continuous

Inspired by the company’s vision of innovation and and innovation of vision company’s the by Inspired

effortlessly on top of the mix.” the of top on effortlessly

in the harmonies with superb separation, and the vocal sits sits vocal the and separation, superb with harmonies the in

www.meyersound.com no other system has handled them as well. I hear every part part every hear I well. as them handled has system other no

he builds with his loop pedal can be deep and complex, and and complex, and deep be can pedal loop his with builds he

though Ed performs solo with acoustic guitar, the harmonies harmonies the guitar, acoustic with solo performs Ed though for the first show, and Taylor Swift for the second show. second the for Swift Taylor and show, first the for

- “Al Marsh. says rig,” open-sounding incredibly an is “LEO Sheeran’s New York run featured special guests Snow Patrol Patrol Snow guests special featured run York New Sheeran’s

and stage systems. stage and Avalon U5 direct box. direct U5 Avalon

processors supplied drive and optimization for both FOH FOH both for optimization and drive supplied processors in his Martin LXE1 acoustic guitar was connected via an an via connected was guitar acoustic LXE1 Martin his in

Galileo Callisto 616 array processors and two Galileo 616 616 Galileo two and processors array 616 Callisto Galileo an 865 capsule was used for Sheeran’s vocal. The pickup pickup The vocal. Sheeran’s for used was capsule 865 an

CallistoT loudspeaker management system featuring two two featuring system management loudspeaker CallistoT console, while a Sennheiser 2000 Series wireless system with with system wireless Series 2000 Sennheiser a while console,

stage monitors and four 600-HP subwoofers. A GalileoR GalileoR A subwoofers. 600-HP four and monitors stage Marsh mixed the New York shows with a DiGiCo SD11 SD11 DiGiCo a with shows York New the mixed Marsh

The onstage mix was fed to Sheeran with six MJF-212A MJF-212A six with Sheeran to fed was mix onstage The

ditional six 1100-LFC loudspeakers stacked on the ground. ground. the on stacked loudspeakers 1100-LFC six ditional ‘I want the sound system from Ireland for New York.’” New for Ireland from system sound the want ‘I

- ad an with spacers, array MAS-1100 using arrays cardioid sounding shows we’d done in two years. Basically, Ed said, said, Ed Basically, years. two in done we’d shows sounding

Ten 1100-LFC low-frequency control elements were flown in in flown were elements control low-frequency 1100-LFC Ten and his management, we all agreed those were the best- the were those agreed all we management, his and

loudspeakers, while six UPA-1P loudspeakers provided fill. fill. provided loudspeakers UPA-1P six while loudspeakers, Belfast,” Marsh recalls. “In a production meeting with Ed Ed with meeting production a “In recalls. Marsh Belfast,”

Side hangs were comprised of 16-each MILOR line array array line MILOR 16-each of comprised were hangs Side “We had done five arena shows with LEO in Dublin and and Dublin in LEO with shows arena five done had “We

loudspeakers and four MICAR line array loudspeakers. loudspeakers. array line MICAR four and loudspeakers

was built around dual main hangs of 12 LEO-M line array array line LEO-M 12 of hangs main dual around built was experience in Ireland. in experience

Provided by UK-based Major Tom Ltd., the LEO system system LEO the Ltd., Tom Major UK-based by Provided LEO was chosen for the New York shows based on prior prior on based shows York New the for chosen was LEO >> Sound TOUR LINK SCOTTSDALE Talking Stick Resort Scottsdale Arizona AWAITS Network with professionals in concert touring & their related industries. There are educational sessions, good laughs & friendships to be made.

-8 ARY 6 FEBRU 4 1 INK R L 0 e TOU EB 6-8 s on F 2 show i ds Awar gs of p Dog evenin 2014 The To cipated ost anti of the m MORE INFO: 615.256.7006 nk Tour Li REGISTER ONLINE tourlinkconference.com/register Staging >> TOUR LINK SCOTTSDALE Talking Stick Resort Scottsdale Arizona AWAITS Network with professionals in concert touring & their related industries. There are educational sessions, good laughs & friendships to be made.

-8 ARY 6 FEBRU 4 1 INK R L 0 e TOU EB 6-8 s on F 2 show i ds Awar gs of p Dog evenin 2014 The To cipated ost anti of the m MORE INFO: 615.256.7006 nk Tour Li REGISTER ONLINE tourlinkconference.com/register

mobile production monthly 11 MOTOROLA COMMUNICATIONS Pricing to meet your production budget

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12 mobile production monthly New Hires and Holiday Celebrations >>

production field, he is now putting his Smith and I’ve experienced the quality of knowledge and experience into designing his work in many other settings, as well. and creating systems for these spaces that He really is one of the best there is.” present unique challenges where sound is critical for musical performances as well as With a resume that highlights work with clarity of the spoken word. Sugarland, Billy Currington, The Tonight Show, David Letterman, NBC Today After earning a scholarship to Wichita Show, The View, the CMA Awards, and State University to pursue a degree in the Tree Lighting at Rockefeller Center— Music Performance and then later gradu- just to name a few— “Eric is a consum- ating in the top of his class from The mate professional possessing a rare blend Recording Workshop in Chillicothe, OH, of clear task orientation and big picture Eric has worked with top names in music creativity,” says Dez Dickerson, President/ and television production throughout CEO of The Pavilion Group. TI is excited his impressive career. As a sought-after to see what Eric’s experience will bring to Audio Engineer, Production Manager, its design and engineering professionals Tour Manager, Performer, Producer, and and what that will mean to its clients. more, he’s recorded and mixed over 50 major label releases and was honored with “Eric’s expertise, experience and back- Eric Elwell puts the Christian music’s highest achievement, ground in pro audio is a critical addition “Pro” in ProAudio a Dove Award, for production and engi- to our pro audio Design Engineer and neering. Project Management Teams,” explains Technical Innovation brings a sought-after David Berndt, Regional Director of the Front-of-House Engineer to the front line According to Chaz Corine, Manager for Nashville location. “This combination of AV Design. Michael W. Smith, “Eric understands of talent will offer our clients state-of- the nuances that make great sound. He the-art design, build and integration in Technical Innovation welcomes Eric understands it’s more than just great gear the pro audio market. Having known Elwell to its Nashville team as the new – he takes into consideration the environ- Eric professionally for the past 15 years, I front man for the ProAudio Systems mar- ment, the room – all the details that some- truly understand how fortunate Technical ket, focusing on Houses of Worship, audi- one with less experience or intuition might Innovation is to have him join our Team.” toriums, and other large venues. A 25-year miss. He provided us with great sound in veteran of the music and entertainment the many years he mixed for Michael W. www.proaudio.com

Left: MPM’s Lori Meadows with LMG’s Craig Mitchell at the LMG Nashville Christmas Party and below with LMG’s Scott DeLancey and Josh Turner guitar tech, Riq Lazarus at Sound- check Nashville’s Very Scary Christmas Party.

mobile production monthly 13 >> Florida Coach

Florida Coach by Mike Wharton

lorida Coach is in their 37th year of delivering quality “We have an amazing team in our shop, all of who pay Entertainment Coaches for the music touring industry attention to every detail on the conversions. Details that may Fand has just completed outfitting Willie Nelson’s seventh not be immediately noticed but make a big difference in the new bus. Willie is a long standing client of more than thirty quality and solidarity of the coaches we build. The conversion years. Caleb Calhoun, son of Jack Calhoun, the founder of staff has been working non-stop for the past few years. We Florida Coach, attributes this longevity to many factors. want to continue to set the highest standards in our industry. Caleb has been active in the family business for as long as he can remember, working in the conversion shop learning the Between the shop staff and the office, the home front consists business from the ground up. So in 1996 when the company’s of thirty plus. The company has a total of nearly ninety long standing business manager, John Wimberley was retiring, team members made up of artisans, engineers, drivers, and it seemed only natural for Calhoun to take the reins of that family. Many of them have been with Florida Coach for over position. fifteen years or more. A few have been with the company over thirty years. “It is the people in the company that make The business manager role rapidly expanded to the point that all the difference,” says Calhoun. “They don’t just fill out Calhoun found himself involved in virtually every aspect of the interior of a bus shell. They detail it into a comfortable the company. A self described “very hands on type”, he notes and safe place to be while on the road.” Calhoun notes that that while the hands on approach is vital for maintaining while that is extremely important, having the right driver is client relationships, it’s the love of the work that really drives even more important. “We can have the nicest bus on the him. He looks after conversion details with a discerning eye road, but if we don’t have a good driver in the front seat, it that follows the fundamentals he learned from his father. will not work. However we can put an older bus out and with the right driver, they will make it happen.” When asked how Calhoun is quick to point out that the true success of the he determines drivers positions, Calhoun says, this is another company is owed to the entire team at Florida Coach. hands on learning experience, however, he also harkens back to the basics his father Jack taught him.

14 mobile production monthly Florida Coach >>

The facility still sits on the seven acres originally purchased by “I just don’t believe you really need to tell someone what you’re Jack Calhoun when he started the business. He may no longer be doing, you need to show them. It’s what I have learned from my in the office day to day but the company is still strongly influenced dad, Jack, who started it all. I have followed his example and by his drive. continued to build our success on his footsteps.”

Like any company of longevity a constant flux and flow occurs. Florida Coach continues to purchase new Prevost shells on a At times Florida Coach has had an over abundance of buses and regular basis. While quantity has never been a goal and quality other times not quite enough buses. Currently there are 50 in the has always been a standard, both of these have been predicated fleet. on the desire to take care of the long standing relationships and new clients alike. “We are very fortunate to have developed some Calhoun states that having the biggest fleet of Entertainment great relationships and work with some amazing people, they Coaches is not the goal. “We want to have the best buses on the deserve the very best,” says Calhoun. road. We pride ourselves on the fact that there is always someone available 24/7 to support the buses and drivers on the road. Our A few of Florida Coach’s recent clients are Harry Connick, Jr., goal is to set the bar that others will try to aspire too.” We use Bob Dylan, Selena Gomez, Dave Matthews Band, Tom Petty and the latest cutting edge technology and our years of experience to the Heart Breakers, Bonnie Raitt, Train, and Neil Young. produce the end product. www.floridacoach.com Florida Coach’s approach to the market does not entail much conventional advertising. Word of mouth has been the source of growth.

570 826 5566 | mountainproductions.com

mobile production monthly 15 >> Gallagher Staging

Contributing writers Michael Mc Laughlin and GallagherGallagher StagingStaging Lindsey M Chapman GALLAGHER – THE DYNAMIC DUO

The words “Gallagher” and “Staging” both have a long-standing partnering up with his son, Joey Gallagher. history in the live event industry. With 40 years of combined staging experience between Joe and Joey Gallagher, this dynamic Joey supported the idea of starting a new business endeavor with duo continues to gain recognition and respect when it comes to his father in hopes of taking full advantage of his natural business event production. sense and entrepreneurial spirit.

After establishing Gallagher Staging and Productions, Inc., their Joey states, “I knew what starting a new company entailed, and I success and client following within the last two years has grown at was up for the challenge. When I was only 19, I started a cell site an exponential rate. From basic ideas to the most intricate custom company on my own, as well as working part-time staging gigs at work, the growing team does what they can to make every client’s night. After working for myself for 3 years, I sold my company in vision a reality. “No one in the industry can match our ability to 2003 to work full-time under my father and his two partners (at a design for better efficiency and execution,” Gallagher says. competing staging company) to learn the ropes of the industry. I worked my way up from being a stagehand, to a project manager, THE APPLE DOESN’T FALL FAR FROM THE TREE and eventually landed a sales position. It was an accumulation of our experience in the live event industry that made me 100% The Gallagher story stems back to the 1970’s, when Joe confident that my father and I would succeed on our own.” Gallagher, a California native, started out in this business promoting and booking local bands in the Greater Los Angeles THE BUSINESS PLAN area. During Joe’s early years, he started out as a rookie driving trucks and working long hours as stagehand. Although it was not the best time to start a new company during the pit of the recession in 2011, the Gallagher’s were optimistic in Between 1992-2011, Joe worked for two different staging and paving a new path where they made their own decisions. lighting companies, before co-founding what became a successful endeavor for him and his two partners. After a decade long run Their business plan was simple: work to do things better and of working alongside two deciding factors, Joe made an executive more efficiently for their clients. “We’re about new ideas, using decision to leave his secure position in late 2011. After much new technologies, doing things faster, better, and more efficient. thought and consideration, Joe jumped in head first into Our comprehensive range of products and services provides our

16 mobile production monthly Gallagher Staging >>

clients with effective staging solutions that enhance the outcome working solely with musicians and artists, to adding on more of any event we take on”, says Joey. corporate clientele like Viacom, Disney, and Universal. As much as I love expanding and growing as a company, I will never steer Knowing the staging industry inside and out, the Gallagher’s have away from the music.” narrowed their product and service offerings to the essentials: staging, truss, The G-Block line of products, turntables, custom It is this shared love for the touring and music industry that have sets, touring support, crowd control, lifts, seating platforms, in- landed Gallagher Staging with such a respectable list of clients, house digital printing, and backdrops. “We take pride in our including: Avenged Sevenfold, Selena Gomez, John Legend, Kid extensive inventory, along with all of our custom gear. We will Cudi, Miguel, Imagine Dragons, Chris Brown, Kid Rock, and always be looking to make packaging easier, shipping easier, and Paramore to name a few. all of our gear will be constructed in a way that won’t fail.” When asked what’s next for the Gallagher team, only few GALLAGHER GEAR words were said… Expansion. Innovation. Simplicity. “We are committed to satisfying our client’s needs on an individual basis, Each day, the young business continues building upon a and simplifying the production process as a whole. Jumping foundation of industry experience. Along with the knowledge through hoops, answering our phones at any hour of the day, and of what works and what doesn’t, the Gallagher team has an coming through on eleventh hour jobs, is what sets us apart from understanding of what is needed in the staging industry. The our competitors.” G-Block, The G-Deck, and their G-Walls are a great illustration of this. www.gallagherstaging.com The PATENTED, award winning G-Block Line of Products provides a universal anchor that allows for endless truss designs. Used for truss grids, truss arches, and for dead weight, the 3,500-pound, 36-inch cube G-Block has revolutionized the Contributing writers standard for ground support systems. The Michael Mc Laughlin and product features bolt patterns for 12” x 12” and Lindsey M Chapman 20.5” x 20.5” box truss on five sides, is forklift- accessible from two sides, and receives screw jacks for leveling. The MINI G-Block brings a finer focus to the concept, allowing truss configurations in more intimate settings.

The G-Deck features custom-grade aluminum extrusion, and is the foundation for Gallagher Staging’s inventory. Joe states, “Our G-Decks are what set us apart from our competitors. Our stage decks are structurally designed to support a uniform, distributed live load of 130 PSF.”

Last but certainly not least, The G-Walls make the list of exclusive “Gallagher Gear”, being the most innovative wall system available on the market. These aluminum-scaffolding structures are rated at 125 PSF, which exceeds most industry standards. G-Walls are lightweight, can be accessorized to roll or remain static, range in width, and can be stacked to accommodate any height.

TEAM GALLAGHER

At the end of the day, the Gallagher team thrives on the diversity of the staging industry.

“I started out working with small bands and surrounding myself with everything music” Joe says. “In such a short time, we expanded from

mobile production monthly 17 LMG Selena Gomez Stars Dance 2013 Tour By Mike Wharton/Photos by Ben Dickman

18 mobile production monthly nly a talented artist who hired as Selena’s Creative Director and phenomenal wash light,” says Convertino. practically grew up on television, Production Designer for her first tour in Ofilm and theatrical stages, could the summer of 2011. Brent Sandrock Four venue spots keep Selena well lit for so smoothly command, on their first was with me for that first tour, doing all IMAG, occasionally breaking away to pick outing with an arena sized production, of the video content design and the tour’s up special moments of the eight dancers the massive set that is supporting Selena Video Director. Brent and I jumped at the on stage with her. Gomez’s Stars Dance tour. Of course chance to work with Selena again, and the artist needs to feel comfortable on Nathan Scheuer joined the team for the Video Director Sandrock operates from the stage as well. That comfort level is 2013 tour designing lights.” All three are backstage independently from the Grand achieved with a production staff such part of a collective of designers known as MA2. The upstage center video screen is as the one on board with Production Visioneering. very bright and crisp, but complements, Manager John Lafferty. rather than overpowers the lighting “Visioneering is a collective of system. Selena makes most of her Lafferty, an industry veteran who has independent designers that come together entrances and exits walking the massive set taken the likes of Nine Inch Nails, Blink whenever we get the chance. Over the of steps that lead upstage center under this 182, and 311, to name a few, around the past four years I have had the privilege of screen. She negotiates costume changes world’s arenas, explains how this came working with Brent Sandrock and Nathan this way. about. W. Scheuer on a host of projects. They are both successful in their own right, The show starts with a film of her asleep “The tour manager Mark Holloway and I but whenever we can bring the team at a desk in what is probably her bedroom, have known each other a bunch of years. together, I know the results will be quite a a star map laying under her arm. This The two of us had just finished Blink 182. bit stronger. After years of working solo, underlines the “galaxy stars” dance, not to He gave me a call afterward to talk about I relish in the collaborative approach to be confused with the TV show. Awakening Selena’s upcoming tour. He told me what design. Those two in particular make or entering into a dream, depending on a great young lady Selena is and how my job that much more enjoyable and your mindset, she is confronted with four much he has enjoyed working with her successful,” adds Jackson. doors on four unseen walls of the room. the last five years. He gave me a bit of her Thus the concert and story lines unfold as history as an up and coming artist doing “Initially, Brent and I ended up meeting she steps through each door. minor shed stuff mainly. This was her first with Selena and her family, says time out with a big arena size production, Jackson. There were several people that Jackson continues, “This was something so the management team felt dedicated they met with but the fact that Brent and people in positions were a necessary Brent and I developed. As we started I walked in the room with an idea for her breaking down the show we needed change, instead of what they had done in show that we had fully rendered in a 3D the past, of people wearing multiple hats. a cohesive story-telling element that animation hit the nail on the head for would carry us through the show. Brent He also mentioned that it was a good tour; Selena. After a second meeting, we were a good time.” suggested the opening sequence of the off to the races. dream state that led to the multiple doors and I added the various places the doors Lafferty came on board and brought a few Brent Sandrock, and board op/ would take us. When we presented it to of his core people to fill those positions. programmer David “Fuji” Convertino Selena, she fell in love with the idea. She These are Monitor Engineer Tom Vein, have created a very classy and beautiful then added elements to each piece that Production Coordinator Meg Dieter, space for Selena to work. solidified the story she wanted to tell even Stage Manager/ Rigger Brad Child, further.” Carpenter Manny Medeiros. The vendors Convertino and Jackson have worked that round out the production staff came together in the past on various projects, about through the usual bidding process. most recently on Carrie Underwood’s Selena was extremely specific about the All have done previous tours with Selena. tours. A Grand MA2 is the platform used tour,” says Jackson. ‘We had several phone Lafferty points out that for the first time in to operate lighting, with a backup FOH as conversations and a couple of meetings his career he saw the entire production up well, monitored by Lighting Crew Chief as the tour design evolved. She was and running in six hours the first day of Jason Workman. fascinated with ‘50s Hollywood glamour rehearsals. and stars like Judy Garland. She wanted “The Robe Pointes hands down are my the show to be approachable to her young “You know how some tours can be, there favorite new fixture out here. They add fans but present a grand style and elegance is usually some glitch or rift between a lot to the look of the show. They are at the same time. We focused subtly on departments. These guys, though basically much better than the Sharpy with a better the idea of ‘old Hollywood’ starlets as our a bunch of strangers, all work well selection of colors and gobos. The rotation core.” together, and everyone helps everyone is quicker. Just the effects wheel alone gives else when needed. That mode has never you great looks, better rotation. I think While the myriad costume changes reflect changed this entire tour. It’s a real pleasure it’s brighter, the optics are cleaner, and we that concept, it is the set that truly captures being out here.” haven’t touched one this entire tour. So far they’re the most reliable thing we have. the elegance. Production Designer, Seth Jackson, tells Then there’s the Robe 1200 which is just a Mobile Production Monthly, “I was

mobile production monthly 19 The stage is very clean and almost sparse Reinforcement is provided by Clair Aside from the fact that this is a crew giving Selena and the dancers plenty of Brothers i5’s and i5B’s, fourteen each per of professional veterans who work cool, room to work. It is covered in black mylar. side. There are also six BT-218 subs per calm and collectively during the set up A custom built “S” extends from the stage side, and twelve i3’s per side round out the and in show mode, the Monitor Engineer as a thrust so Selena can get closer to her PA for side hangs. has perhaps the most consistent contact audience. A bi-parting cream colored with the artist. His mood and response to sheer drape opens and works as the reveal Ferenchak operates an Avid Profile, as does change can very well have an impact on at the top of the show. The film begins Tom Vein, Monitor Engineer. the artist’s as well. playing on the upstage center screen and the two side screens just off stage right “I’m currently back on an Avid Profile,” “As far as keeping her comfortable on and left. As Selena reaches for the first says Vein. “After starting with a console stage I make sure the mix position and I door, dancers lit from behind, descend the that I actually loved but had constant are easy to see from stage. I keep myself staircase. issues and reliability problems with, I as far down stage left as possible. That had to quickly switch back to the Profile way I can see any issues from my point As Selena appears, lights fade up, revealing between legs of the tour to something I of view and she can easily relay any her and the regal-looking set. The twelve- knew, something that is easy to use, and messages back to me. I always keep an foot wide by six-foot tall staircase is framed something I could throw seven ear mixes eye on stage towards her during the show by red velour thirty-foot tall drapes. up quickly with only one rehearsal day. and run her post fader mostly riding the And the Profile pulled it off.” VCAs the whole time while always having The screaming of the crowd erupts. one hand on her vocal to her ears. That The clean stage mentioned earlier is way, no matter where I am page wise on When FOH engineer is asked how just one aspect enhanced by the in-ear the console, I can always have access to he balances the PA volume with the monitor’s use. Vein gives a little history of specifics of her mix and duck and boost high pitched noise of the crowd, Gary his choice of in-ears. her vocal as needed.” Ferenchak, who first worked with Selena back in 2009, explains, “The set list “Selena had a couple pairs of JH10x3’s Vein also believes he’s part of a great crew contains a lot of low end heavy modern from her tour a couple years ago that we but most importantly “I always have to dance material so while 12,000 or more have been using this tour. For in-ears, I’m give it up to my sidekick Steven Carter screaming tweens does at times make it now a definite fan of JH Audio. Their on this tour who makes sure I don’t have hard to hear vocals, there is still a lot of clarity and response in even their cheaper to worry about anything on stage. He music punching its way through all of that. models are above and beyond any of the makes sure all my 22+ frequencies are Also, we are using a full complement of competition. In both quality and customer clean, stage is pinned properly so all I Audio Technica mics including 5000 series service there really is no other choice then really have to do is worry about mixing. handheld wireless.” JH.” He is definitely the backbone to the whole stage operation and I really couldn’t do it

20 mobile production monthly without him.” The system is fairly compact, consisting of hoped the show would become is what the aforementioned screens, two catalyst, ended up on stage. Sandrock, mentioned earlier as part of the four cameras, and a switcher. Playback is Visioneering group, is the Video Director manual as opposed to time code. It may sound a bit unbelievable, but this on the tour. He majored in film in college, was a perfect experience. Everyone on but became a lighting guy when he first An RTS intercom system keeps video the design team was on the same page got into the business. The progression of world communications completely isolated from day one. Selena, Brent, Nathan, interfacing of video and lighting has his from the rest of the production staff. choreographer Fatima Robinson and hand in each discipline, though he leans Sandrock adds that he is on radio channel myself were in sync. When we hit more towards video. There are three in case interdepartmental communications rehearsals, Selena set such a tone of screens on set. One 12 mil LED is upstage become necessary. professionalism that we were ahead of center. It’s thirty foot wide by twenty- schedule the entire time. Things came four foot high surface portrays the main Finally, Jackson speaks of his overall together beautifully and everyone was content service. Side screens off left and experience with the production: exceptional in their various roles. You right are mainly for IMAG. Transition couldn’t ask for a more successful rehearsal content plays across all three screens. “I could not be happier with the success process. We added numbers, cut numbers, of this show. The concept we started kept changed video content, you name it, and All content is custom. This aspect of evolving beautifully and everyone was still we were in front of the schedule at the the design came about by Sandrock and on the same page. I think what we all end of the day. It was fantastic.” Jackson’s desire to utilize real images rather than computer generated stock footage. Water with food coloring shot through it, for example, replaced digital animation giving us a much more organic emotion. Many images were actually staged and shot with various lighting effects.

“In speaking with Selena at the beginning,” says Sandrock, “we asked her the moment she loved the most in the last production and then we built on that. We tried to have a little bit of an act during the show, not just one story. Each time she goes through a door, a different part of the act takes place.”

mobile production monthly 21 Selena Crew Mandy Teefey-Manager Bradley Lake -Backline Tech Tony Temples-Crew Bus Driver Brian Teefey-Manager Manny Medeiros-Carpenter Jimmy Guinn-Crew Bus Driver Mark Holloway-Tour Manager Lisa Nishimura-Wardrobe Director Truck Drivers John Lafferty-Production Manager Daisy De Jesus -Wardrobe Assistant Ruth Sanderson-Lead Truck Driver Band Priscilla Deleon-Assistant to Selena Todd Arnold -Truck Driver Drew Taubenfeld-Musical Director / Guitar Marcus Grimmie-Assistant Bill Kelley -Truck Driver Michael Torres-Bass Jamey Rodgers-Security Director Anthony Costa-Truck Driver Grant Michaels-Keyboards James “Boothy” Booth-Venue Security Jack Crawford-Truck Driver Greg Garman-Drums Director Lynne Fyffe-Truck Driver Alexandra Isley-Background Vocals Jerrell Evans-Audio Crew Chief Franklin Warfe-Merchandise Truck Driver Charity Davis-Background Vocals Tour Related Offices Dancers Stephen Carter-Audio Tech Management-LH7 MANAGEMENT Charmaine Jordan Brandon Schuette-Audio Tech Booking Agent-CAA Jason Workman-Lighting Crew Chief Charity Baroni Tour Management / Accountant-MBRENH Joshua Fenn-Lighting Tech Ashley Cinq-Mars LLC Scot Sepe-Lighting Tech Aja DePaolo Production Design-VISIONEERING, INC Noel Frias Patrick Cowden-Lighting Tech Business Management-NIGRO, KARLIN, Casey Motley Brent Sandrock-Video Director SEGAL & FELDSTEIN, LLP Chris Castillo Bob Larkin-Video Engineer Michael Martinez Simon Cadiz-Video LED Tech Travel Agency-DEBRA COPELAN / TZELL TRAVEL GROUP Crew Paul Bange-Video LED Tech - Projection Meg Dieter-Tour Assistant / Road Manager Scott Ayers-VIP / Meet n Greets Choreography-FATIMA, INC Brad Child-Stage Manager / Rigger Ty Zeigler-Merchandiser Production Management-JML Gary Ferenchak-FOH Engineer Lew Lewis-Merchandiser PRODUCTIONS, LLC Tom Vein-Monitor Engineer Bus Drivers Stylist-BASIA RICHARDS Marco Gamboa-Pro Tools Engineer Jay Tonini-Selena Bus Driver Set & Stage Construction-GALLAGHER Michael McNight-Pro Tools Engineer Jimmy Orcutt-Band Bus Driver STAGING & PRODUCTIONS INC David “Fuji” Convertino-Lighting Director Michael Forges-Dancer Bus Driver Lighting-BANDIT LITES Timothy Pak-Backline Tech Vel Bell-Production Bus Driver Confetti-ARTISTRY IN MOTION Buses-FLORIDA COACH, INC. Freight-HORIZON ENTERTAINMENT CARGO Video-CT TOURING, LLC Audio-CLAIR BROTHERS AUDIO ENT. INC. Security-NPB COMPANIES Trucking-OZARK MOUNTAIN LEASING INC., Ground Transportation-DAITZ PERSONAL LOGISTICS Storage-AUNTIE M Merchandise-F.E.A. MERCHANDISING VIP Meet & Greet-VIP NATION Credentials-CUBE SERVICES 2-Way Radios-ROAD RADIOS Supplies-TOUR SUPPLY Itineraries-KNOWHERE

22 mobile production monthly mobile production monthly 22 Simon Cadiz (Video LED Tech) and Joshua Fenn (Light Tech) and Paul Bange (Video LED Tech) Patrick Cowden (Light Tech)

Jason Workman (Lighting Crew Chief)

Gary Ferenchak (FOH Engineer) and Jerrell Evans (Audio Crew Chief)

Meg Dieter (Tour Assistant) Tom Vein (Monitor Engineer)

James “Boothy” Booth (Security Director)

Brad Child (Stage Manager/Rigger) David “Fuji” Convertino (Lighting Director)

John Lafferty (Production Manager)

Bob Larkin (Video Engineer) and Brent Sandrock (Video Director)

Crew photos by Mike Wharton

mobile production monthly 23 24 mobile production monthly mobile production monthly 25 ink’s current Truth About Love tour is a fine example of the collective elements If Music be the Food of Pof the touring industry, working together Love, Then Play on….. to create one hell of a show. As any literary academic will tell you, there By Richard Bennett are fundamentally only seven basic storytelling plots: overcoming the monster, rags to riches, the quest, the voyage and return, comedy, tragedy and finally rebirth. While these plots form the basis of all tales, it is the nuances of the individual plot that create the visual imagery that entertains us all.

This limitation of a basic scenario can be attributed to any number of areas within life, none more so than the live touring industry. There is only so much any production can work with, whether it be video, pyro, props or effects, the basics are the same. The magic comes from how you not only use it but more importantly how far you are prepared to take it.

The sight of a band member flying around stage on a wire is nothing new, we have all seen it, done it, been there and got the T-shirt. Taking the effect from an amusing insert of a performance, to building a complete show around it takes not only vision but also a fair amount of balls.

As Pink’s Truth About Love tour worked its way across Europe, the production team can justifiably lay claim to having both in pretty large amounts.

“There are some acts out there that will have some type of aerial flying within the show. Show Designer Baz Halpin and the production team wanted to take advantage of the technical developments in automation, by taking the flying part of the show to a new level. It’s not the be all or end all of the production, but it is the principle thing and is as important as the lights and the audio,” says Production Manager, Richard Young.

The task of integrating the acrobatics into the production and avoiding turning it into a circus show, whilst remaining true to Pink’s rock ‘n roll performer ethos, was a challenge that London-based automation company, Stage Technologies actively embraced.

The tours automation team of Michael Pettit, Chris Clark and Archie Chan, together with Lead Rigger Gabe Wood and his team of Chuck Anderson, Steve Davidson and Shawn Gibson brought their collective experience together, to ensure everything went right on the night.

26 mobile production monthly “The opening number, Raise Your Glass, their own pelican case with dry packets scenery, but for that song I am one of the Alicia (Pink) shoots out of the stage floor inside, and so they are always protected six people on that chandelier, the track in to the rig above to be caught by three from the environment. We re-run that is the same and we use timecode but I dancers suspended upside down. We use opening number at every city with a stunt believe that in every moment I’m making a BT100 one ton, single aerial winch, performer beforehand, who is equivalent the decision on what to do. It’s humans which is a very static piece of equipment. to Alicia (Pink) in weight and build, so we directing humans. All the time through The winch is attached to custom built can see if the catcher needs to give a little the number I am constantly checking the apparatus, with the bungees attached to more or less pull. The key to it is putting interior and exterior cages, which are that. There are three people hard attached the winch in exactly the same point at spinning in opposite directions, so I am to the heart video screen centre piece, with every show, so we know the hooks are making sure that the dancers don’t get Pink attached to that using a bungee. From going to be 11.5 meters off the deck. And caught in the thing,” he says. a program and show running standpoint then the dancers have the opportunity to we have to be very aware of the way the try the bungees out a couple of times to The moment within the production where bungee is going to stretch and the way get the right feel. We currently have three the envelope within the context of flying Pink is going to bounce on it to fit within sets of bungees. We have replaced one the artist is well and truly pushed beyond the set routine,” says Pettit. once on this tour. It’s mainly a case of its boundaries, is at the end of the show replacing on an as-needed basis. The same during the performance of “So What”. The effect is spectacular and appears goes for all of the aerial equipment on In what can only be described as the to be seamless, thanks to Pettit and his this tour, we carry several spare units and ultimate B-stage experience, Pink flies

team. The preparation for all of the aerial change them when it’s needed.” around the venue in a waist harness at a sequences within the show is something speed of seven and half meters a second. that everyone takes very seriously; after all The automation throughout the show is Considering that free fall travels at nine they are effectively playing with people’s not only slick in presentation and visually point eight seconds a meter, the speed of lives. stunning but beautifully adds a sense the movement provides a visual excitement of vaudeville to the whole proceedings. second to none. When she dive bombs A lot of the control of the equipment is No more so than halfway through the the audience, she is reaching a G force of handled manually throughout the show performance, when what the crew refer to point seven. That’s enough to put anyone’s by the automation crew, and a number as the chandelier is lowered from the truss heart in their stomach. The system allows of safety checks are carried out during to sit suspended in mid-air and populated Pink to reach the highest and furthest the day of each performance, as Pettit by several dancers and Pink herself. For nooks and crannies of the arena, getting explains: Pettit, its operation is the most dangerous close up and personal to the fans up in the aspect of his contribution to the show. back of the venue. “Bungee behaves differently in different environments, depending on the humidity, “It’s the only thing that Alicia’s (Pink) “Sometimes during that routine you can temperature and age of the bungee itself. safety is totally dependent on herself and see her stop singing and start giggling, and To sort this out we have some really smart not any of the other control systems we that’s because I have put her heart in her guys on this crew, who had worked with have in place. I know I am going to put stomach, by going a bit too fast,” laughs Cirque Du Soleil, so they know what the ball in the same place every night, but Pettit. they are doing when it comes to flying. I have to make sure that the movement The bungees are kept in a humidity is exactly the same every night. I don’t The flying aspect of the show not only controlled environment. They have think of it as I am moving a piece of brings its challenges to the automation and

mobile production monthly 27 rigging teams, but also keeps the lighting of stuff, 42 x 500 effects and they will still I may be occupying the big chair now, but crew and Lighting Director Steve ‘Six’ punch through all that,” says Schwind. I never forget where I came from. I could Schwind on their toes. not do what I do if I didn’t have a good With over four weeks of rehearsals in reliable bunch of guys around me. I don’t “During ‘So What’ she is flying directly in Phoenix, Arizona before the start of the make this happen, they do. If you don’t to a 4K spot, that’s happened a few times, tour, the lighting crew had plenty of time have a crew that respects each other and and she has given the finger to the spot to work on things and play around with more importantly respects the LD then guys, so when she flies, we back the spots different effects, along with sorting out the you don’t have anything. There is not one down,” says Schwind. timecode and programming. That has not thing I would ask my guys that I wouldn’t stopped the odd curve ball coming his way do myself.” Like every other aspect of this visually once the tour got underway, as Schwind outstanding production, the lights play an explains: It’s this humble admission and his important part within the whole collective experience, which allows Schwind to stage show. With a highly experienced “One of the challenges on this tour is that produce an exceptional light show with PRG team of Tom Bider, Ty Brooks, Jason ease. With so much motion going on at Fugitt, Craig MacDonald, Mike Merle, sometimes at the soundcheck the band will be playing a song that they haven’t played any one time on stage, and also within the led by Lighting Crew Chief Ian Tucker arena, the lighting crew has their work cut and an equipment list consisting of 102 before on the tour, and it’s a case of “why is the band playing that” because you’re out for them. For Schwind the challenge is Clay Paky Sharpy 189w, 42 Vl3500 FX, embraced with the help of the M1. 44 Elidy Panelsm 47 GLP Impression going to hear it in the show tonight, so we 120z, 38 SGM XC-5 Color LED Strobe, have a number of songs programmed that 54 Color Force, 6 4k Robert Juliat are not always in the set, which we can just “The Martin is a great little desk; it’s the Lancelots all in a PRG BAT truss, run add in.” right tool for the right job. I used to be a through 2 Martin M1 consoles, Schwind Max’s guy, they were fast and it’s the same has everything he needs, as he explains, Taking up two and a half trucks of the with the M1’s, they are super fast, which “to mash the buttons every night” to twenty on the tour, Schwind has enough is great in a show like this when you have create an evocative and stunning pallet of equipment to more than do his profession the set designer sitting next to you saying light. justice, but he is the first to admit that it “I want this, I want that.” Fast is always is down to more than just the equipment better, not just for us but the designer too. I would rather be able to throw something “We have so many Sharpy’s in this show, that creates what the paying public sees. up quickly that the designer can say, “that’s we call it Sharpyville, the beam on them great” or “that’s crap, lets move on,” than is just incredible. Right now, it’s the only “Its all about your crew, that’s where it starts. You could have no gear breaking spend 30 minutes working on something light that can punch through the majority that he says is crap, and you wasted his of the layers on this show, it’s a one trick (if there was a such a thing) and rigs that flew themselves, but if you don’t have and your time. The accessibility on the pony, but the prisms in them are really Martins is fantastic. I really like the fade neat for breaking up things, you can run the right guys then it’s still going to be a crap show. Ian Tucker and I picked the and delay functions, you can grab fade and them like a gobo. They move really fast delay to any attribute anywhere, it is that and they’re bright, you can load all sorts crew for this tour, which was a key thing.

28 mobile production monthly fast. You can see it in your cue list all the the “So What” section when she is flying Just when you thought you couldn’t time, which makes things so much easier.” around the arena. fit anything else into this mammoth Sound duties for Pink’s little road trip production, up pops (pun intended) David around the globe are taken care of by “For that part of the show, we use a Banks from Quantum Special Effects, FOH Engineer Chris Madden and custom built Sennheiser headset mic which with an array of interesting toys, adding Australian based JPJ Audio. is directional and points into her mouth that finishing touch to the whole show. in the corner. This helps me enormously Using their collective experience gained Madden’s main set up consists of the to maintain vocal clarity during that from working on some of the biggest tours Avid Profile console, running with 96 song. The only thing I really need to be during the past few years, including the inputs, a ProTools system for virtual sound aware of is that the very high end doesn’t impressive Olympic Rings for the recent checking, as he multi-tracks every show. feedback,” says Madden. opening ceremony, Quantum delivers a As for FX and dynamics, Madden uses subtle but effective backdrop to the set. a selection of plug ins from the console including TL space (reverbs), Echo Farm, Keeping track of everything happening on and off stage during the show is a Working closely with the design team, Fairchild and Bomb factory comps, with Quantum have created a set of effects the EQ taken care of via the console. task that would send many a strong man crying towards the local sanatorium after geared towards highlighting the hit songs just a couple of shows. For the video team while also enhancing the set design. As the To make sure his crisp and clear mix gets from Creative Technology, the job of show kicks off, three gerbs are fired from into every nook and cranny of the venue, capturing the whole extravaganza, so even the aerial rig, complemented by a series Madden is using 14 L-Acoustic K1’s with the paying fan situated in the highest and of mines and comets behind Pink. Other 6 Kara down fills. In the air alongside furthest reaches of the venue can get up products within the Quantum arsenal the main hang, sit 8 K1 delays and 8 close and personal to Pink, is just another include low fog, G-Flames and medium K1 subs. Under the stage you will find challenge. air bursts, with everything being fired 12 SB28 subs, configured in a line of 2 wirelessly via a Galaxis system. high and 2 stacks of three per side in an Sitting center stage, and standing at end fire configuration, right underneath Not only is the tour an outstanding visual the outside ego ramps. To complete the 6 meters tall is a unique heart-shaped screen containing digiLED MC7 modules and audio feast, but it is also a testament system, there are side and rear hangs of 60 to having a strong and cohesive production Kudo’s. supplied by specialist display LED. The heart-shaped screen is in a static position team and crew who enjoy what they do, as throughout the show, and is finished off Schwind so poetically sums it up: “In my opinion, the K1 is the best system with foam Fleur De Lys, which can be in the world at this time. I have used the easily detached for easy transportation. “Every night I can’t wait for the show to console exclusively since 2005, and it has Situated above that is a TAIT custom light start. For two hours I get to sit behind this never let me down,” says Madden. box banner, declaring the Truth About desk, nothing else matters. When Pink hits Love message. Another innovation from the stage I am up out of my seat and when With a hand-picked crew, Madden and his TAIT and Creative Technologies are the it’s done I sit down and I am covered in team have got the sound element of the large custom built dollies for transporting sweat. If you don’t get off on doing this show down to a fine and seamless art. This the main screen, making it easy to load in job, you shouldn’t be doing it; let’s face it even includes the challenge of making sure and out. we are just carnies with laminates.” Pink’s vocals can be clearly heard during

mobile production monthly 29 30 mobile production monthly Pink Crew Simon Farrell-Audio Austin Wavra-Video Crew Coach Service GmbH-Buses Nick Giameos-Audio Deb Collins-Video Crew Chief McGuinness Forwarding Ltd.- Jack Murphy-Audio Gavin Thomson-Video Crew Chief Trucking Chris Madden-FOH Engineer Larn Poland-Video Director Sound Moves-Freight Ulf Oeckel-FOH Technician Krystle Rodriguez-Wardrobe Media Travel-Travel Agency-A/B Horst Hartmann-Monitor Engineer Laura Spratt-Wardrobe (Hotels) Jon Lewis-Monitor Engineer Sophia Phonsavahn-Wardrobe ET Travel Ltd.-Travel Agency-C Ben Byford-Monitor Technician Tony Villanueva-Wardrobe Super- (Hotels) Archie Chan-Automation visor Bruvion Travel, Inc.-Travel Agency Chris Clark-Automation (Flights) Michael Pettit-Automation TOUR RELATED OFFICES Five Points Production Services- Katie Wilkinson-Backstage Coor- RDWM Services, Ltd.-Artist Man- Rigging dinator agement (UK) Quantum SFX-Special Effects Stephane Hamel-Bass Technician RDWM America, Inc.-Artist Man- Load Cell Rental Unlimited-Load John Pelligrinelli-Drum Technician agement (US) Monitoring Roger Veage-Guitar Technician RDWM Pty. Ltd.-Aristt Manage- Bravado Int’l Group-Merchandise Terry Lawless-Keyboard Techni- ment (Aust) ShowFX Inc.-Props Construction cian Chapman, Bird & Tessler, Inc.- Tourtechsupport Inc.-IT & Tel- John Williamson-Lead Carpenter Business Management ephona Todd Green-Carpenter Sony Music Entertainment UK Cube Services-Passes Brad Imrie-Carpenter Ltd.-Record Company Eat Your Hearts Out UK Ltd-Ca- Stuart Simms-Carpenter Gang, Tyre, Ramer & Brown, Inc.- tering Hoda Elmustafa-Catering Legal Road Radios-Radios Scott Findlay-Catering The Law Offices of Mario F. Gon- Knowhere-Itineraries Will Jamieson-Catering zalez, Esq.-Legal Silent House-Set Design, Show Elliot Neave-Catering Wirebird Music-Churchill Manage- Direction & Lighting Design Robbie Grantham Wise-Catering ment TAIT Towers-Set Construction Dan Lefevre-Lead Chef Motion Music LLC-Tour/Produc- PRG-Lighting Tom Bider-Lighting tion Management JPJ Audio-Audio Ty Brooks Lighting Beat the Street-Buses Creative Technology, Ltd.-Video Jason Fugitt-Lighting Craig MacDonald-Lighting Mike Merle-Lighting Ian Tucker-Lighting Crew Chief Steve “Six” Schwind-Lighting Director Rich Stevenson-Lead Merchandiser Mike Conley-Merchandise Brian Wares-Stage Manager Colin Lish-Venue Security Director Jessica Chranowski-IT Services & Prod. Asst. Tara Larimer-Production Coordi- nator Richard Young-Production Man- ager David Banks-Pyrotechnician Chuck Anderson-Rigger Steve Davidson-Rigger Shawn Gibson-Rigger Gabe Wood-Lead Rigger Rob Brewer-Video Dylan Etherington-Video Steve “Jonesy” Jones-Video Josh Levin-Video Tim Jones-Video

mobile production monthly 31 ADVERTISER’S Index Volume 6 Issue 12 2013

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