Trans-Siberian Orchestra

volume 2 issue 12 2009

BROWN BURNOIWTEND UNITED www.B r o w n U n i t e d .com B 1-800-442-7696 [email protected] BB 1-800-44-BROWN Int’l 1-626-357-1161

BLEACHERS . STAGING . SEATING . SCAFFOLDING

mobileproduction monthly con volume 2 issue 11 2009tents features 6 Video Video Scenic Convergence: Tait Technologies Takes the Mantra to Reality 8 Transportation Spirit of America Tours /Corporate Transport The New Transportation Specialists 10 Sound Meyer Sound JM-1P Makes Africa’s Gospel “Experience” Uplifting Everywhere 12 Trans-Siberian Orchestra Bigger, Better, Brighter 14 TSO Tour Personnel 18 TSO Tour/Business Credits 24 U2 360° Tour The Largest Tour to Ever Go Out 32 Jan Paulsen - An Amazing Story of Loyalty, Friendship and Perseverance 24 33 U2 Tour Personnel/Offices 34 Clair U2 360° Redefines Live Production 36 Upstaging Upstaging U2 200 Trucks. No, Really. 38 Sound Moves Moving U2 From There to Here and Back! 40 Stageco The Bigger the Better 6 12 34 48 Advertiser's Index

MobileProductionPro.com Mobile Production Pro features the world's most comprehensive searchable database of music and entertainment touring contacts including equipment rental and sales (sound, lighting, staging, video, etc.), hotels, production, talent, transportation, venues, services and more. Create a FREE Account Today 36 38 40

mobile production monthly 3 FROM THE Publisher

With this issue we wrap up our coverage of the industry in 2009, and we felt that U2 would be the appropriate tour to feature. After such a difficult year for many of us, we wanted to feature the outstanding show of the year – U2. Several other shows were strong candidates, but I admit to having a personal bias for the people on this tour. People like Dennis Sheehan, Jake HOME OFFICE STAFF Berry and Rocko Reedy are the primary reasons that I am still doing this business. Their support of me personally and the work a 7 s 3 p 2 ph: 615.256.7006 • f: 615.256.7004 we do have made life a lot easier and certainly more productive mobileproductionpro.com for our entire team. So, first and foremost, our thanks and mine 2961 Armory Dr • Nashville, TN • USA 37204 personally, go out to those three people, their entire crew and all the vendors. Publisher: Larry Smith [email protected] Also in this issue, we are again taking a look at my favorite holiday Managing Director: Chris Cogswell show, Tran-Siberian Orchestra. This show has evolved over the past [email protected] couple of years to become a holiday staple, much like the Radio City Rockettes. TSO delivers their style of Holiday Rock (as I call it) Chief Writer / Photographer: Michael A. Beck in a highly professional and polished manner that is a real treat for [email protected] anyone who loves a blend of sharp production and good music. I Contributing Writer / Tour Link Coord.: Jessi Wallace hope we can continue our tradition of covering this show every year. [email protected] It gives me a great excuse for an enjoyable evening out with my wife. Art Director / Graphic Designer: Kristin Salaway I get to see the show, cover a great production and make my wife [email protected] happy all in one evening. That is a treat for any guy! [email protected] Office Manager: Jennifer Russell As we wrap up the year, all of us here wish all of you the best of [email protected] holidays and our hope for a much better year in 2010. We pray that Webmaster: Michael Stalcup things will be brighter, more productive and a lot less stressful for [email protected] everyone in our beloved business. Contributing Writer: Bill Abner [email protected] Contributing Writer: Michael Waddell Larry Smith [email protected] Contributing Writer: Mike Wharton [email protected]

ADVERTISING SALES OFFICE Jessi Wallace • Nashville [email protected] We understand your needs ph: 615.256.7006 • f: 615.256.7004 TOUR LINK BOARD OF ADVISORS “TSO has used Potenza Enterprizes since their first tour. Benny Collins, Jim Digby, Jon Nevins, Stuart Ross, They’ve grown with us from 2 trucks to 26 . Their attention to detail, the caliber of their drivers & equipment is the Touring Bobby Schneider, Jay Sendyk, Seth Sheck, Nick Gold reason we use them and will continue to do so. They are Nicki Goldstein, Chuck Randall, Michael Waddell part of the TSO family”. Elliot Saltzman, Transportation tourlinkconference.com Tour Director -Trans-Siberian Orchestra. Specialists !!! PUBLISHED BY Anvil Productions, LLC ph: 615.256.7006 • f: 615.256.7004 Toll free 1.877.832.5546 [email protected] www.potenzaenterprizesinc.com

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

4 mobile production monthly

Video Video Scenic Convergence: Tait Technologies Takes the Mantra to Reality

ait Technologies takes the next logical step into the future of LED video and Thigh tech scenic applications; seamless integration for a unified solution.

Tait Towers and Frederic Opsomer, founder ➤ Custom designed of System Technologies - both well-known mechanical structures names in the entertainment design industry - for the Integration of today announced the joint founding of the new video products. Tait company, named Tait Technologies, effective as Technologies will also of 1 February 2010. design and develop bespoke mechanical The new company will be lead by Frederic structures to integrate Opsomer, who assumes the position of CEO of with demanding Tait Technologies. The company will have its creative video headquarters in Waardamme, Belgium. applications for the entertainment sector. By setting up Tait Technologies, both parties have taken a strategic decision to refine their ➤ Development of focus on the converging video and scenic standard and custom- industry. The company will develop and made automation supply standard and bespoke mechanical solutions. With and automation solutions that allow easy an unparalleled and seamless integration of video and scenic understanding of products. the demands of the entertainment industry, For additional info. Backed by long-standing reputations in Tait Technologies will design and deliver contact Frederic Opsomer the live entertainment design industries, both standard and custom-made automation tel: + 32 491 123321 Tait Technologies will focus on providing solutions; solutions that enable their customers [email protected] the entertainment and event design to seamlessly integrate video and scenic taittechnologies.com industry with the following key services: products into sophisticated presentation applications. ➤ Rental of scenic and mechanical Stones Voodoo Lounge and U2 Popmart tours. products. Tait Technologies will carry a full, Tait Towers and Frederic Opsomer have an The founding of Tait Technologies will serve European-based, rental fleet of Tait Towers’ unparalleled history of successful cooperation to further consolidate and enhance the close renowned scenic and mechanical products on major projects throughout the live relations between both parties. ) used throughout the world of live design and entertainment design industry. Amongst others, entertainment. the companies collaborated on The Rolling

6 mobile production monthly 010100101010101001001010111010001001101001000100 100100100100100100100010101010101010101000100100 111001010100100111010101010010101010010101010101 000101010101010010101010100100101011101000100110 100100010010010010010010010010001010101010101010 100010010011100101010010011101010101001010101001 010101010100010101010101001010101010010010101110 MACSPECIALI100010011010010001001001001001001001001000101010ST 101010101010001001001110010101001001110101010100 101010100101010101010001010101010100101010101001 001010111010001001101001000100100100100100100100 100010101010101010101000100100111001010100100111 010101010010101010010101010101000101010101010010 101010100100101011101000100110100100010010010010 010010010010001010101010101010100010010011100101 010010011101010101001010101001010101010100010101 010101001010101010010010101110100010011010010001 001001001001001001001000101010101010101010001001 001110010101001001110101010100101010100101010101 010001010101010100101010101001001010111010001001 101001000100100100100100100100100010101010101010 101000100100111001010100100111010101010010101010 010101010101000101010101010010101010100100101011 101000100110100100010010010010010010010010001010 101010101010100010010011100101010010011101010101 001010101001010101010100010101010101001010101010 010010101110100010011010010001001001001001001001 001000101010101010101010001001001110010101001001 110101010100101010100101010101010001010101010100 101010101001001010111010001001101001000100100100 100100100100100010101010101010101000100100111001 010100100111010101010010101010010101010101000101 010101010010101010100100101011101000100110100100 010010010010010010010010001010101010101010100010 010011100101010010011101010101001010101001010101 010100010101010101001010101010010010101110100010 011010010001001001001001001001001000101010101010 101010001001001110010101001001110101010100101010 100101010101010001010101010100101010101001001010 111010001001101001000100100100100100100100100010 The Music Industry’s #1 Mac101010101010101000100100111001010100100111010101 Resource! 010010101010010101010101000101010101010010101010 100100101011101000100110100100010010010010010010 010010001010101010101010100010010011100101010010 011101010101001010101001010101010100010101010101 001010101010010010101110100010011010010001001001 MacSpecialist Offices: 001001001001001000101010101010101010001001001110 010101001001110101010100101010100101010101010001 Chicago: 500 North Wells Street, Chicago, Illinois 60654 Villa Park: 234 West Roosevelt Road, Villa Park, Illinois 60181 010101010100101010101001001010111010001001101001 T: 312.755.0000 | F: 312.410.9011 T: 630.858.0000 | F: 630.559.0186 000100100100100100100100100010101010101010101000 E: [email protected] | W: www.macspecialist.com E: [email protected] | W: www.macspecialist.com 100100111001010100100111010101010010101010010101 010101000101010101010010101010100100101011101000 100110100100010010010010010010010010001010101010 TourGuide_5x5_Ad.indd 1 8/19/08 3:29:13 PM Transport

Spirit of America Tours/Corporate Transport The New Transportation Specialists

pirit Of America Tours is a division of Corporate Transport, LLC located in Solon, Ohio. Having been S in business for five years, Corporate Transport has focused solely on the corporate and high-net worth indi- viduals and their ground transportation needs.

Two years ago, Spirit Of America Tours was companies throughout the tour. By explaining founded as a division of Corporate Transport, it once to SOAT’s team, it is carried out and LLC with the sole purpose of meeting the executed consistently throughout the tour. needs of the touring individual. This division was formed due to the many requests they ➤ Managers can allow the backhouse team were getting from athletes, authors, public to assist them when it comes to making dinner figures and royalty to provide a consistent reservations, shopping outings, etc. for their service during their various tours that it was clients. embarking. Unlike any other service that was being provided in the industry, Spirit Of ➤ All team members have undergone extensive ➤ The team must have what it calls the America Tours rose to the top and set new FBI background checks, and many have been SERVANT GENE. What we are talking about standards for their touring clients. cleared at the highest security levels. here, is that they have a gene inside of them that creates a need in that individual to serve SOAT’s Ray Duval comments, “We like to say ➤ For the tour manager or tour accountant, our clients in a manner that is unheard of in that we are like ‘Disney on Wheels’, because imagine the ease of booking the entire tour the industry today. They need to serve the our unique form of service is magic. Our at one time with one company that insures client in order to be fulfilled inside. experience is one that creates a need in our the delivery of consistent service levels and clients, one that becomes so indispensable that equipment type throughout the entire tour. ➤ The selection process for an individual is they cannot live without it. Spirit Of America very rigorous: Tours delivers a world-class experience, we -Full and extensive FBI background checks are just happen to use luxury vehicles as one of done on all team members the tools to help us attain the end result.” Contact Ray Duval -A 4-hour intensive interview is done with Spirit of America Tours, Inc. an industrial psychologist to determine if the What exactly makes SOAT unique in 34208 Aurora Rd, Ste 153 Solon, Ohio 44139 individual has the correct DNA and will be the industry? direct dial: 440.465.4212 fax: 440.348.2301 able to handle the rigors of an extended tour. co. email: [email protected] -Three days are spent with an expert in the ➤ Managers can make one call and explain personal email: [email protected] field of customer loyalty, teaching our team the entire tour requirements. They book the members how to create a unique experience tour once, and they can move on to other for the client, anticipate the needs of that client aspects that need attention. and be pro active, rather then re active. ➤ It does not HIRE team members it ➤ Security personnel make one call to us and SELECTs them. The difference is that it is not ➤ When on tour, SOAT provides company explain the security protocol for the tour. This trying to put a warm body in a position, but personnel and equipment, thus eliminating is a plus to them, because they don’t need to rather it is selecting the correct individual for any chance for failure in experience levels explain the protocol to multiple limousine the job... with the correct DNA, as it were. continued on 44

8 mobile production monthly

Sound Meyer Sound JM-1P Makes Africa’s Gospel “Experience” Uplifting Everywhere

“The Experience,” a non-denominational gospel music concert in Lagos, Nigeria has grown to become by far the largest music event in Africa. A Woodstock-sized throng estimated at 450,000 jammed into the Tafawa Balewa Square and spilled over into an adjacent cricket field for a spiritual celebration featuring 14 American and Nigerian gospel artists, including head- liners Kirk Franklin, Phil Driscoll, and Bebe and Cece Winans. The event’s ongoing sound system supplier, GQ Acoustics of Lagos, pampered the enlarged crowd this year with an expanded Meyer Sound system that had been boosted with more MILO® line array loudspeakers and 700-HP subwoofers, plus a new complement of problem-solving JM-1P arrayable loudspeakers.

“The main venue is an open quadrangle The main stage system comprised 14 about 170 meters across, with the stage on MILO line array loudspeakers plus one long side, grandstands opposite, and 14 MICA line array loudspeakers three-story pavilions on the short sides,” per side for side fill. Two UPA-1P explains David “dB Dave” Dennison, a loudspeakers covered immediate consultant engineer who assisted with front-center while 36 700-HP system design and technical support. “The subwoofers at the stage arranged for extreme width made it impossible to cover cardioid response plus two at each the far corners effectively with only the line delay tower supplied bass impact. arrays. Fortunately, the JM-1Ps were perfect The stage monitoring complement for delays and fills because I could add 20 included 16 MJF-212A stage For additional info. about the Meyer Sound degrees of horizontal coverage by simply monitors, four MTS-4A full range JM-1P arrayable loudspeaker adding another box until I had exactly what I loudspeakers, and two USW-1P visit: meyersound.com/products/jm_series needed. That was priceless.” subwoofers. A Galileo® loudspeaker management system with two Of the 16 JM-1P loudspeakers, four were Galileo 616 processors was employed Achibiri of House on the Rock, the organizer placed on each of the two delay towers for for signal processing, and the system was of the event. back corner coverage, three per side were aligned using GQ Acoustics’ own SIM® 3 aimed far off-stage toward seating areas audio analyzer. “The sound this year was awesome, beyond the coverage of the side arrays, and absolutely out of the world,” says Achibiri. one per side was used for VIP areas adjacent Except for a few groups bringing their own “I’m certain we will have GQ Acoustics and to the stage. engineers, FOH mixing was entrusted to Meyer Sound back again next year. No other GQ Acoustics’ Andrew Adesina and Ifeanyi company in the region can do this kind of work.”

Peter Iriah, managing director of GQ Acoustics, was pleased that his bolstered system stayed one step ahead of the swelling attendance. “Also, the high level of technical support we received from Meyer Sound was invaluable, going far beyond what most companies provide,” adds Iriah.

As in past years, the 2009 Experience was convened by Paul Adefarasin, founder and senior pastor of the House on the Rock. Based in Lagos, House on the Rock is a multi-racial, multi-tribal church with 35 sites in Nigeria as well as branch ministries throughout Africa and Europe. )

10 mobile production monthly

Trans-Siberian Orchestra Bigger by Michael A. Beck Better Brighter

12 mobile production monthly PHOTO BY LEWIS LEE

The centerpiece of the production has years back when I had straight truss,” always been the visual aspects of the Hartley told us. “But I have so much Every year starting in October a tour- show. The philosophy of the produc- more going on up there now that there ing phenomenon unlike any other tion design has always been to include really is no comparison.” experience on the road takes place. as much of the audience as possible in a front row experience of sorts. This has He’s right. This was the first year he was And every year it is our pleasure to been accomplished by extending produc- cleared to use video in large amounts, go out and cover it just to see what’s tion elements out into the house both in and he didn’t waste the opportunity. next in the mind of gonzo produc- the form of flown pods and an elevated Opting for video content rather than platform behind the mix position. Over I-MAG, he was able to insert video imag- tion designer Bryan Hartley. The tour the past three years, the main rig over the ery on the vertical surfaces of two truss we’re speaking of is, of course, Trans- stage consisted of three large pods. Last lines of the flown rig as well as using it Siberian Orchestra. The production year’s show was expanded to use three as a three-floor mounted 6 x 15 foot set sets of two concentric pods which either piece called firewalls. In addition to the is exclusive in nature for many reasons. functioned independently of one another panels in the air and on the deck, Hartley First and foremost, it has no individual or could fly inside one another to func- mounted six 4 x 8 foot panels dubbed tion as three dense pods. “TV screens” on Panagraphs and sur- stars on stage. Yes, there are searing rounded them with VL-3500 Washs and performances by the musicians out on This year, Hartley departed from the pod 3000 Spots. While the lighting system the tour. However, the real star of the design over the stage opting for a massive was indeed a configuration of straight array of linear truss. However, as mun- sticks, the longest runs of truss were able show is the production itself. dane as that may seem, the finished look to articulate utilizing hinges that were was anything but. “It’s similar to several custom designed by longstanding TSO photos by Michael A Beck photos by Michael

mobile production monthly 13 14 mobile production monthly pictured on opposite page - MEC (Catering Crew): Top: David Rell, Brent Beimfohr, Tim Lawler, Diane Gonzales, An- West Performers gelo Francavilla, Eric Gratton, Mark Gratton, Bottom: Henry Miller, Emily Diller, Matt Mosley | Production: Andy Omilianowski, Jeff Boguski, Billy Flynn (floor), David Comeau, John Warren, Candice Simmons, Carl Musical Director: Al Pitrelli Acampora, Paul Serio | Chaos Crew: Tyler Munson, Steve Burkholder, Dave Sheppard, Dustin King, Wayne Keys: Jane Mangini Matlock, Joe Finn | Laser Crew: Brian vanTrigt, Wally Gazda | SGPS: Top Left: James Ford, Bottom Left: Kyle String Master: Roddy Chong Wolfson, Top Right: Jeremiah Anderson, Back Right: Tony Micheals, Middle Right: John Kehoe, Bottom Right: Jeremy Bass Guitar: Chris Altenhoff Sorensen | Audio Crew: Back-left to right: Ricardo Avila, Mike Connors, Scott Fraser, Jay Muth, Front-left to right: Guitar: Angus Clark Kurdt Vanderhoof, Chris Hoffmann | Syncro Crew: Robbie Sheene, TJ Benton | Riggers: Tim Finncan- Keys: Derek Wieland non, Mark Ward, Russel Keith | Lighting Crew: Trevitt Cromwell, Marty Langley, John Lunio (computer image), Drums: John OReilly Justin Dowbiggin, Dan Cassar, Mark Donahue, TJ Benton, Robbie Sheene, Daniel Brooker, Alan Gregg, Matt Narrator: Tony Gaynor Tucker, Jason Bowman (on road case), Brad Wagg (floor) | Carpenter Crew: Top: Russel Voyta, Scott Wienclaw, Singers: Tommy Farese, Bart Shatto, Kristin Jason Hahn, Bottom: Bob Madison, Bill Watkins | Backline Techs: Eric Gormley, Ron Hise, Ed Halverson | Gorman, April Berry, Katie Hicks, Andrew Ross, Pyro Crew: Noam Sigal, Gregg Pearson, Hans Lundberg, Adam Cryderman, Keith Maxwell, Clint Ranse Erin Henry, Abby Lynn Mulay, Jeff Scott Soto Strings Musician Caitlin Moe

West Crew Tour Mgr: David Comeau Production Mgr: Jeff Boguski Prod. Co-ord.: Carl Acampora Road Mgr: John Warren Asst. Road Mgr: Candice Simmons Stage Mgr: Andy Omilianowski Prod. Asst: Paul Serio Drum Tech: Ron Hise Guitar Tech: Ed Halverson, Eric Gormley FOH Eng.: Kurdt Vanderhoof vendor, Epic Entertainment Technologies. being totally immersed in the production. Lighting Director: Dan Cassar Riggers: Mark Ward, Russel Keith, Tim Fincannon The primary challenge of this production is This year’s lighting system contained a much Carpenters: Russel Voyta, Bill Watkins, Scott higher concentration of automated lighting Wienclaw, Jason Hahn, Bob Madison how to get 17 trucks into the venue in time SGPS Grid/Crew Chief: John Kehoe for a matinee performance, something that than in years past. While there was a smat- SGPS Grid Tech: PRGM Kyle Wolfson, Anthony occurred on a fairly regular basis through- tering of ACLs and conventional pars loaded Michael, Jerimiah Anderson, Jeremy Sorenson, James out the run. Whereas logistical efficiency with LED panels, the bulk of the show Ford is a standard mantra on all productions, it consisted of Vari*Lite 3000 Spots and 3500 Epic Lighting/Crew: John Lunio, Matt Tucker, becomes a religion on this tour. The result Washs. Alan Gregg, Jason Bowman, L Mark Donahue, Trevitt was an ingenious integration of form and Cromwell, Daniel Brooker, Marty Langley, Justin While in years past the effort to extend the Dowbiggin, Brad Wagg function. The vast majority of truss used in rig out into the house consisted of two enor- Syncrolite Crew: TJ Benton, Robbie Sheene the rig were WinVision video panels as well Chaos Video Crew: Joe Finn, Dave Sheppard, Dustin as Versa TUBE. Although the end result was mous pods, this year the look was comprised King, Steve Burkholder, Tyler Munson, Wayne Matlock dazzling, the notion of having to uncase hun- of eight small pods hung in two rows of four. Clair FOH Eng/Crew Chief: Mike Connors dreds of feet of video panel and Versa TUBE These arrays were made up of the truss and Clair Monitor Eng.: Chris Hoffmann then mount it to the truss on a daily basis was corner sections used in the pods that flew Clair Sound Crew: Scott Fraser, Ricardo Avila, Jay beyond unworkable. over the stage in previous years. Mr. Hartley Muth allows nothing to go to waste. Laser/Crew Chief: Brian Van Trigt Laser Tech: Wally Stan Gazda Fueled by the reality that what Hartley wants EFX Tech: Adam Cryderman Hartley gets, the geniuses on the tour and Two other elements of the production that Pyro Shooter/Crew Chief: Keith Maxwell in the shops of both Epic and Chaos Video have been mainstays from the beginning are Pyro Tech: Clint Ranse, Hans Lundberg, Noam Sigal, devised a system through which both lighting pyro and laser. Pyro, presented by Toronto- Gregg Pearson and video panels never left the truss with very based Pyrotek, had a spectacular array of Merchandise: Billy Flynn few exceptions. Additionally, the video panels colored flames, dragons and a great looking Bus Drivers: Dave Harrison, Jeff Hay, James Red that played independently of the lighting gold gerb waterfall to finish the show among Murphy, John Morgan, Jimmy Holmes the 15 different pyro effects that were used in Truck Drivers: Joe Lephew, Paul Fyffe, William rig rode in custom racks similar to set carts. Ferguson, John Pyle, Wally Brown, Joe Frank, Johnny All of this made for a sensational execution this production. However the standout effect Winn, James Fyffe, Tom Sims, Jeffrey Thomas, Jamie of the show from a video perspective, but it for this writer was the sensational use of Outen, Dave Faulkner, Reginald Haynes, Raymond wasn’t enough in and of itself for Hartley’s Fire Screen which was developed by Pyrotek Waterman, Troy Baumgartner, Troy Metts, Theodore tastes. So he backed the stage with a massive and put to better use on this tour than ever Paiva, Glenn Hoffman wall of Soft LED, which offered an outstand- before. As the temptation to get wildly ver- Catering: Mark Gratton, David Rell CEC, Matt ing backdrop for the show. He then drove bose about lasers in this show is pressing, the Moseley, Henry Miller, Brent Beimfohr, Angelo the video as far into the house as possible reality is that it doesn’t take a lot of language Francavilla, Tim Lawler, Erik Gratton, Emily Diller, to describe what happened. It was simply big- Diane Gonzales by running it through the arena’s LED ban- Catering Bus Driver: Roger Burris ner strips. This gave the audience a sense of ger and better than ever before.

mobile production monthly 15 photos by Michael A Beck photos by Michael

16 mobile production monthly pictured on opposite page - Bryan Hartley – Production Designer | Yader Mena - Rigger, Ken Mitchell - Head Rigger, Tom Cusimano - Rigger | Patrick Zales President of the Charlotte chapter of the Bryan Hartley fan club, Bryan Hartley East Band - Lighting Designer | Front: Jorge Del Angel - Syncrolite Crew, Roseanna Capuano - Syncrolite Crew | Erik Swanson - Musical Director: Bob Kinkel Clair Sound Crew, Michihiro Tanikawa - Clair FOH Engineer, Dave Wittman - FOH Engineer, Scott Evans - Clair Sound Narrator: Bryan Hicks Crew, Robert Taylor - Clair Sound Crew Back: Bryce Ferris - Epic Lighting Crew, Allyson Solar Epic - Lighting Crew, String Master Anna Phoebe Will Anglin - Epic Lighting Crew, Tim Solar Epic Lighting / Crew Chief | Jeff Snider - Production Coordinator, Patrick Guitars: Chris Caffery, Alex Skolnick Whitley - Production Manager, Elliot Saltzman - Tour Director, Kenny Silva - Road Manager, Stephen Levy Mazin - Bass Guitar: John Lee Middleton Production Assistant, Ken Brown - Assistant Road Manager, Steve Roman - Stage Manager | Nick Zangari - EFX Tech, Drums: Jeff Plate Jason McEachern - Laser / Crew Chief, Jason Bridges - Laser Tech | Front: John Bedell - Chaos Video Crew, Brandon Keys: Luci Butler, Vitalij Kuprij Oosterhof - Chaos Video Crew Back: Wayne Boehning - Chaos Video Crew, Kenny Ackerman - Chaos Video Crew / Chief, Vocalists: Jay Pierce, James Lewis, Steve Kevin Levasseur - Chaos Video Crew, Dave Duca - Chaos Video Crew | Kyle Sabel - Guitar Tech, Imy James - Drum Broderick, Tim Hockenberry, Rob Evan, Tech, Cris Lepurage Guitar/Keys Tech | Front: Tristan Ford - Pyro Shooter / Crew Chief, Nick Zangari - EFX Tech, Jan Jodi Katz, Danielle Landherr, Alexa Sanderse - Pyro Tech, Back: Sean O'Donnell - Pyro Tech, David Domanski - Pyro Tech,Danny Silvestri - Pyro Tech Goddard,Valentina Porter

Pyrotek’s sister company Laser Design two guitar players positioned downstage left Productions has always been a standard fix- and right and the lead violinist mid-stage East Crew ture on the tour as well. However, this year center. As the music began they all rose into Tour Director: Elliot Saltzman laser designer Doug Adams brought a little the air on scissor lifts. This show also unit- Production Mgr: Patrick Whitley more than ever before. The centerpiece of ized the rising mix position platform, which the laser array for this show was two 25-watt has been the case in years past. However, this Prod. Co-ord.: Jeff Snider lasers that were originally designed for last time it got a bit a face-lift as the sides of the Road Mgr: Kenny Silva year’s Michael Jackson production. When platform sported a rounded fascia of “mirror Asst. Road Mgr: Ken Brown that show was tragically canceled, the lasers ball” type mirrors. Stage Mgr: Steve Roman became available and Adams put them to use Prod. Asst: Stephen Levy Mazin on the tour. Although only two units were This show offered something that couldn’t Drum Tech: Imy James created for the Jackson tour and both were have been expected, and it only happened Guitar Tech: Kyle Sabel designed into the TSO look, Adams and at the Charlotte show. John Zales, local resi- Guitar/Keys Tech: Cris Lepurage company had to hustle and get two more dent of the area, asked if Bryan Hartley was FOH Eng.: Dave Wittman online for this tour. anywhere to be found and as it happened Lighting Designer: Bryan Hartley Hartley was at the console. Zales explained Riggers: Ken Mitchell, Tom Cusimano, Yader Mena “The thing that distinguishes these lasers that his nine-year-old son Patrick was a huge Carpenters: Scott Nordvold, Steve Robinson, Eric from everything else is not just their power,” fan of Hartley and asked if it would be pos- Bolenbaugh, John Prater, Manny Medeiros Adams told us. “It took us a long time to sible for the youngster to meet the master. build these things. The colors are absolutely SGPS Grid / Crew Chief: Jesse Sugimoto pure. Red is red and there is no doubt about Hartley agreed, and up came Patrick. When SGPS Grid Techs: Vince Gallegos, Buzz Gibson, it, and we went one step beyond standard asked what made him a fan of Hartley’s Zales Will Wilkison, Daniel Wright, Mark McKinney RGB. These have yellow as well.” explained, “I love the way lighting works with Epic Lighting / Crew Chief: Tim Solar music. I found out the lighting designer of Epic Lighting Crew: Will Anglin, Allyson Solar, In addition to the high-end visual technology this show, and my dad helped me find out Bryce Ferris, Ryan LeComte, Marshall Blair, Jarret this show presented, there was also a repre- what other shows he did. So I looked them Borodenko, Terry Smith, Glenn Rupert, Mark Abra sentation of gold stage craft worked into the up, and I became a fan.” Hartley just smiled. Syncrolite Crew: Jorge Del Angel, Roseanna show’s main reveal. The show opened with 7 Capuano Chaos Video Crew/Chief: Kenny Ackerman, Brandon Oosterhof, Dave Duca, John Bedell, Kevin Levasseur, Wayne Boehning Clair FOH Eng.: Michihiro Tanikawa Clair Mon Eng./ Crew Chief: Tony Luna Clair Sound Crew: Robert Taylor, Scott Evans, Erik Swanson Laser/Crew Chief: Jason McEachern Laser Tech: Jason Bridges EFX Tech: Nick Zangari Pyro Shooter / Crew Chief: Tristan Ford Pyro Tech: Jan Sanderse, David Domanski, Danny Silvestri, Sean O'Donnell Merchandise: Don Hall

mobile production monthly 17 Tour Credits TSO Founder/Composer/Lyricist/Producer: Paul O’ Neill TSO Composer/Music Director/Co-Producer: Robert Kinkel TSO Composer: Jon Oliva Music Director: Al Pitrelli Director Of Touring & Production: Elliot Saltzman Lighting Design: Bryan Hartley � Commercial grade quality and competitively priced! bryanhartley.com Production Design: Bryan Hartley, Elliot Saltzman � 7KW to 100KW generators, powered by a rugged Kubota or Stage Design: Jeff Boguski, Patrick Whitley Cummins diesel engine. � RVIA-approved models and multiple options available. Business Credits � Enclosed units feature convenient single side service and Management: Night Castle Management Band Artist Development: Dina Fanai removable doors for easy access to maintenance parts. Accounting: Robert Bandman for Prager and Fenton � Booking Agent: William Morris Agency Experienced support staff to help guide you, including Record Label: Lava/Atlantic Records electrical and mechanical engineers. Legal: Rooks & Ferrara Merchandising: Bravado Merchandising Additional Photos: Beth Kelly of Beth Kelly Generator service in the Atlanta and Charlotte areas. Photography, Matt Wignall � From simple repairs to complete replacements, we handle it Publicity: Cataldi Public Relations String Contractor: Steve Trudell all on most makes and models. TrudellOrchestras.com Lighting: Epic Production Technologies � Convenient interstate access and mobile service available! © 2010, EPS Sound: Clair Showco Chicago Trucking: Potenza Enterprizes Inc. Buses: Wildfire Coach Leasing Inc. Lasers: Laser Design Productions Pyrotechnics: Pyrotek Special Effects Inc. Truss Automation & Custom Grid : SGPS, Inc / ShowRig, Inc Video: Chaos Visual Productions, Syncrolites Stage Set : Touring Resources Rolling Stages: All Access Staging Scaffolding: Mountain Productions Freight: Sound Moves Radios: Road Radios Gear & Expendables: Tour Supply Inc. Touring Generator Services: JRW Generations, Ltd Tour Passes: Cube Passes Travel Agent/Flights: Imperial American Express Travel Services Travel Agent/Hotels: TNT/Relativity Travel Tour Security: East End Protection Services Atlanta Area: 3412 Florence Circle ❙ Powder Springs, GA 30127 Rehearsals: Studio Instrument Rentals (New York City) Charlotte Area: 348 Bryant Boulevard ❙ Rock Hill, SC 29732 Production Rehearsals: Mid-America Center

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u2.360° Tour the largest tour to ever go out

24 mobile production monthly In the latter part of 2008, the ground started to rumble from across the pond. The word was that U2 was preparing to set sail with the largest thing to ever go out. that was interesting, but if we had a dime for every time we’ve heard “this’ll be the biggest thing ever” we could afford tickets to see Madonna. However, this is U2 and wherever U2 goes so goes the army of huge thinkers like Willie Williams, Mark Fisher, StageCo and, of course, Jake Berry among many others. All of the sudden “the largest thing to ever go out” deserves a lot more than passing interest of “we’ll see.”

For those who haven’t heard The answer to the weight anything about this leviathan we’ll distribution was to tie it all start out simple. The tour was together and create a shoe so stiff designed for stadiums and it is safe that the weight would cover the to say that this stage is without entire area between the legs. At a doubt the most unique and the end of the calculation, the ambitious touring show design in load was only about a ton per pad history. on the ground, which isn’t any more than one would see on any While it was not designed to other stage. The feet were tied play in the round, it did play to together with tension rods that ran a 360º crowd from an “end-on” diagonally under the center of the position in the stadium. Although stage and in a square all around. this certainly added more seating This stopped them from spreading availability, it brought the age-old outwards. matter of site line obstruction into play. The answer was as elegant The arched design of the legs as it was functional. Fashioned created another challenge. They after Los Angeles International Air couldn’t be built as freestanding Port’s iconic “Theme Building,” bits and tied into one another at the structure of this show stood the top. The solution was amazing 100 feet tall with a center spire because of the arched design the known on the tour as the “pylon” legs couldn’t be built from the that reached close to 100 feet bottom up. The only answer was above the main structure. to build them from the top down. Sounds odd don’t it? The crown The structure weighs 250 tons of the structure was built first and prior to the production hang. It flown by 4 huge hydraulic lifts that only touches the ground at four climbed between 2 truss towers. points and after the production These lifts traveled on 7 trucks hang, the total weight capped out and were brought in for the build, 420 tons. Although this isn’t a lot dismantled and removed from the more than other stadium shows, building until the load out when THE BAND what made this one different the whole process took place in Bono, The Edge was that it seemed to apply 105 reverse. Adam Clayton, Larry Mullen Jr. tons of downward thrust at each Paul McGuinness – Manager foot. And because the legs ‘arch’ Because this was a serious rather than stood vertically, the balancing act the lift had to be load isn’t completely downward. done with extreme precision. This It presses down and out from the couldn’t be left to one person center. With all of that in mind, controlling each tower. Thus, all 4 two of the engineering challenges lifts were controlled from a central were the need to disperse the load controller. When the centerpiece the largest tour to ever go out evenly, and keep the legs from of the roof was completed, it was spreading at their bases. flown high enough to attach the by Michael A. Beck first leg section. Each leg section

photos by Michael A Beck

mobile production monthly 25 26 mobile production monthly grass. Berry added, “The flooring system assured that there was no way we were going to save the grass, but without it we would still be loading out of Barcelona.”

The power needs on this show were what one might imagine for a show of this size. CAT Entertainment Services’ Mitch Margolin discussed, “In the beginning you have to have more out there than less because you don’t know what looks Willie [Williams] is going to put up and when. We started out thinking we’d need about 2,000 kw, and once things settled down and we saw what the show was doing every night, the real total mutated down to about 1,400 kw.”

In the beginning, the show required 90 runs of 4/Ø (weighing at a pound a foot) feeding into the stadium. Margolin offered some personal perspective, “When I was running power out on U2’s Zoo TV Tour, we were running 36 runs, and I was thinking ‘man this is insane.’ When I saw this, I realized what insane really is. But that’s what this show takes.”

This amount eventually shrunk he told us. “I just make my gear. Tour Production Director down to down to 65 runs. That living in rock ‘n’ roll. I could Jake Berry explained, “On most being said, it’s still a massive introduce you to a thousand stadium shows you’re carrying 32 amount of copper to be pulling architects and engineers who to 38 trucks of gear. On this one around the stadium. Where it could design this stage as well when we get to 38 trucks, we still really got ugly was getting it up or better than I did.” have ten more trucks to go.” to the roof. There was significant workspace in the ceiling of the Fisher went on to explain that Berry explained that the massive structure for crew to load in and had 4 attachment points per end it was something of a pleasure size of this production carried with maintain lights and sound, and where it pinned together with to get a design that was any kind it larger than normal logistical although there were 2 elevators in the other sections and ultimately of stretch at all. Although there concerns. Put quite simply, there the roof to get gear up and down into its footing. Then the leg were some challenges inherent was more truck movement and because there was not a personnel section would be craned up in a in project, the biggest one was more gear to be distributed around lift. The crew got up and down horizontal attitude. When it was designing this thing to be taken on the floor. Therefore, it was decided by way of ladders inside the legs. at the right height, it was gently the road. Fisher explained further, early on for the tour to carry its This was also the way that power connected to its outside 2 points “What we bring to the project own flooring system provided got up there. by riggers who were inside the through our relationship with by German based APF (Arena roof. These outside points would Stageco is the ability to put a team Panel Flooring). “It’s common The requirement was to pull five then act as a pivot point. As the together that can take the thing knowledge that if you do a show lines of 4/Ø up each leg. The crane lowered the leg section, it out on the road, put it up and tear on concrete it’s easier because mere thought of that is enough guided itself into its final position it down every 5 days. That’s the you can drive your tucks in and to have anyone who understands where the riggers would connect real magic trick. For me, the thing things push easier and forklifts the process reaching for hard the bottom points. The riggers that the rock ‘n’ roll world delivers drive better, and you don’t trip liquor and tall glasses. It was Jake would then move down through that the conventional construction over the edges of plywood.” Berry Berry and Green Site Coordinator the inside of the legs and repeat world couldn’t is the ability to told us. “By laying the arena deck Seth Goldstein who found the the process until the structure was deliver it time after time on time we were in essence creating our solution – Aluminum 4/Ø. Who complete. in cities 400, 500 and even 1,000 own concrete floor, and by taking knew? Margolin admits that the miles apart. That’s what the rock it with us we had the same floor aluminum was not as soft and The buzz within the touring ‘n’ roll world should really be everywhere we went.” pliable as copper. On the other industry is the amazement at the proud of because it’s developed a hand, it didn’t have anywhere the sleek look coupled with the sheer culture and skill base that allows Of course the decking system weight of copper and that made size of this stage and that nothing that to happen.” added another 15 trucks to the all the difference. So much for tall like it has ever toured before. count. glasses. However, rock ‘n’ roll’s architect In order for this show to get in and extraordinaire Mark Fisher has out of a stadium it took 5 cranes, The down side is that there was The actual stage area was a a different view of it all. “I am 38 trucks per roof (there were 3 no way to avoid killing the grass circular platform that was built by an architect first and foremost,” roofs) and 48 trucks of production wherever the show played on Tait Towers. It took up the entire

mobile production monthly 27 u2.360° Tour the largest tour to ever go out

center area between the legs of the get deeper into the crowd and Flower units positioned on 7 When it all boiled down to structure. With the exception of interface with fans both inside platforms placed around the upper gravy, the result was a collection the backline gear on stage, it was and outside the Red Zone. It also levels of the stadium, along with of follow spots, Bad Boys and extremely clean. had the added benefit of offering Gladiators that the tour carried as Nova-Flowers on 7 platforms at the odd goober the experience of house spots, provided additional 5 different locations that needed There was an upstage walkway getting tossed out of the show for lighting for the stage. In addition nothing more than local power, that allowed the band to get hitching a ride on the bridge as to lighting the stage, the Bad Boys which was dropped by the house. relatively close to the fans behind it flew over the crowd. It takes all and Nova-Flowers were also used the stage. There was also runway kinds. to light the skin of the roof. There is one interesting note about that contoured the shape of the the PRG Bad Boy. Show Designer stage leaving about 30 feet of PRG brought a major effort to this However, controlling all of this / Director Willie Williams used space between the “B” stage as show, with 196 Bad Boy™ units, gear around the house posed an the process of a blind shootout to the runway was called on the tour 8 Big Lights, 156 Atomic Strobe interesting challenge. Depending decide what his main source of and the main stage. This area was 3ks with color changers, 6 Nova- upon the venue the show might be stage light would be. The event called the Red Zone and was filled Flower 2Ks, 12 Lycian truss spots playing in, the amount of DMX took place in Wembley Stadium with audience members who paid and Strong Gladiators as well as a and ICOM cable needed to make where they shot from the end of to be in there. While the Red Zone few other knick knacks. the satellite lighting positions the floor up across the seats and was the area where fans could happen could be unspeakable. onto the scoreboard. In addition to have the closest access to the band, The bulk of the heavy lifting in The only logical solution was to the Bad Boy, the audition included it was the least expensive ticket in the lighting system was done by do it all wirelessly. PRG’s Tim the VL3500 and the MAC 3000 the house. This was done in an the Bad Boys. Most of them were Murch discussed that with mPm, as well as a few others. Murch effort to beat scalpers at their own hung in the legs and roof of the “We actually found the limit to explained what happened next, game. structure. The lights in the legs the distance you can go with “When we fired them all up, I was provided key light and back light wireless DMX. It was one of those standing next to Willie and he The “B” stage was only accessible depending upon where the band interesting little challenges we had turned to me and said, ‘I’ll bet you from the main stage via motorized members were as they moved in Barcelona. The first system really want yours to be the one on bridges. Their home positions about the stage. Backlight was we had didn’t work so we had to the left don’t you.’ He was right. It were at 10 and 2 o’clock relative also provided from the lights in change it out then we had to have turned out to be the case” to the stage, and they were able the pylon that pointed down out some RF techs come and sort it to move anywhere around the of the center of the roof. Bad out.” Not only did the Bad Boy blow stage. This allowed the band to Boys and high-powered Nova- the completion out of the water in

28 mobile production monthly the shootout, but also it stood up right from the very beginning, and touring event is that we have a throw. O’Herlihy said the parallel to the strain of touring with equal it only got better from there.” substantial amount of headroom, line array configuration was part success. Murch told us that the which is a saving grace in all of what made that possible. breakdown rate was less than one One cannot talk about U2 without of this. We also have a system percent. to mentioning FOH Audio that is distributed magnificently When asked if there we any Director Joe O’Herlihy. He joined regarding the area that we are able stadiums that beat him in his quest In addition to the Bad Boys and the band on September 25, 1978. to specifically direct sound into. for the highest possible quality strobes in the structure, each leg When mPm discussed this tour That means that we don’t ever sound, O’Herlihy was graciously had a truss section that contained with him he was typically low key. have to have the system running non-specific saying that there were 3 Lycian truss spots. When the “When you have a show this big at it capacity in any way, shape a few places that gave him more operators strapped in for the show, and you’re playing in nothing but or form to deliver the quality of trouble than others. However, he the truss flew up in a diagonal stadiums, you’re going to have audio first and foremost to get did add that the design of newer attitude and tucked neatly into the your challenges. Every room has up into the nether reaches of the stadiums don’t seem to take into leg of the roof never to be noticed its sweet spot. In all but a few cases stadium.” account that in addition to the again. It was a very sleek design we were able to hit it if I may be 8 or 10 football games there are feature. so rude as to say so.” Because the show was designed actually going to be concerts to play to all sides and the stage played in the venues as well. The Mirch was specific about bringing O’Herlihy went on to explain that structure had 4 distinct sides, result is a copper box loaded up two matters of concern to the the amount of headroom built the system was hung facing 4 with thousands of square feet of story; his ardent respect for both into the system was a big benefit to equally distinct directions by all reflective surface that kills a good Willie Williams and Lighting some of the more difficult to mix outward appearances. However, mix. Director Ethan Weber. “Willie’s rooms such as Atlanta’s Georgia at a closer look, the rigging was vision, that I was introduced to in Dome. “Preventing the room from positioned to spread the system The one visual aspect of this show 2008, and what we all achieved reacting badly is half the battle out to offer outstanding coverage that most assuredly had people in Barcelona was truly amazing. in difficult situations,” he told us. throughout the room. However, walking away talking was the Willie really drove it beautifully. “But you have to run your show the show didn’t play in the round video presentation. It is also the I had never worked with Ethan as it is, after all, it’s a rock ‘n’ roll in the classic sense. As was said most difficult to describe. Indeed Weber, but I can now say that he show, and you have to have the earlier, the stage played end-on. when asked to describe it before is one of the best moving light energy that goes along with the That meant that the SPL (Sound the show Jake Berry simply said, programmer/operators I have ever concept. You will find that with the Pressure Level) had to be greater “It’s too hard to explain, you’ll see seen on a show. He really hit it system we’ve created with the 360° on the line arrays making the long it.” Because of the 360º nature of u2.360° Tour the largest tour to ever go out

mobile production monthly 29 the show the screen was a vertical McMillan – Bono, Niall Slevin importance to the guys under the for the crew. He went on to cylinder that tapered in from top – Edge and Dave Skaff handled stage. explain, “It didn’t take too long to bottom like a funnel. It was Adam Clayton, Larry Mullen in Barcelona for everyone to get made up of several plates that Jr. and Programmer/Keyboard Once the stage is built, 48 trucks a feel for the big picture on this varied in size (larger at the top). player Terry Lawless. On the last of production gear rolls in. Half thing. They understood early on Each pixel of the overall display tour, two people off of the same of the gear that has to be stored that with this much gear how and was individually loaded into its desk ran monitors for Bono and was put back in the trucks, as where it comes into the room is respective plate and then had to be Edge. This time out, the 2 were there was precious little storage critical, and they showed a great mapped into the overall look. The put on separate consoles, which room to be had wherever the sense of cooperation with one screen contained roughly 450,000 gave the engineers more precise show was. The task of getting another understanding that this pixels. The show started with the control. everything where it all has to go isn’t a race.” screen at a high trim above the falls to the one and only Rocko stage. At one point during the Because there is so much gear Reedy. There’s no arguing that Seeing it come in the door show it flew into a lower elevation. needed to fill the monitor needs this is the largest tour to ever go and spending time with those From there the top of the unit of this show it all had to be based out, but Reedy takes it all in stride involved and making it happen expanded up to an elevation that under the stage. That’s nothing while handing the praise to those is the only way to g et a feel was several feet higher than where it started at its first position. In the process of this expansion the individual plates separated 1 Jack Richard - Automation Tech, Raffaele Buono - Head of Automation, Timothy “TK” Woo - Automation Tech, Simon Twigg creating an entirely different kind - Automation Tech 2 Front Row: Niall Slevin - Monitor Engineer, Dave Skaff - Monitor Engineer, Alastair McMillan - Monitor of display. This meant that in Engineer/Recording, Jennifer Smola - Audio Tech, Jo Ravitch - Audio Tech/Crew Chief, Vincent Perreux - Audio Tech, Tom ‘Duds’ the mapping process the vertical Ford - Audio Tech, Jason O’Dell - Audio Tech Back Row: Hannes Dander - Audio Tech, Pascal Harlaut - Audio Tech, Dave Coyle - expansion had to be accounted Audio Tech, Chris Fulton - Audio Tech, Jason Brace - Audio Tech, Josh Flower – Frequencies, Lunch Box - Audio Tech, Kelsey for as well as a light twist that Gingrich - Audio Tech, Blocker - Audio Tech 3 Russell ‘Bits’ Lyons - Lighting Tech – High Platforms, Ethan Weber - Lighting occurred as well. It also revealed Director, Alison Triplett - Lighting Tech, Craig Hancock - Lighting System Crew Chief, Mick Stowe - Lighting Tech Dimmers/ the bracing of the display which Distro, Jessica LaPoint – Lighting Tech, Jake Sullivan - Lighting Tech – Moving Lights, Stuart Lee - Lighting Tech: General/ now became an active part of the Mains, Alex Murphy - Lighting Associate, Andy Beller - Lighting Tech – Moving Lights, Chris Keene - Lighting Tech, Gareth display. Morgan - Lighting Tech, Christopher Davis - Lighting Tech, Nick Barton - Lighting Crew Chief, Blaine Dracup - Lighting Tech/ Moving Lights 4 Jake Berry - Tour Production Director 5 Dallas Schoo - Guitar Tech: The Edge 6 Rocko Reedy – Stage Once fully deployed, the thing Manager 7 Terry Lawless - Programmer/Keyboards 8 CAT power crew - Cisco Reyes , Erich Nemier, Jon Boss - CAT Crew fully encompassed about 90 Chief, Dennis Crespo, Todd Miklos, Jimmy Angerami 9 Todd Mauger - Head Rigger, Riggers - Scott Fremgen, Robert Slepicka, percent of the area between Dion Pearce 10 Philip Docherty - Guitar Tech: Bono 11 Joshua Kapellen - IT Specialist 12 Scott Nichols - Security Director the roof and the deck. The 13 Jessica Berry - Production Coord, Sarah O’Herlihy - Security Assistant, Helen Campbell - Production Coord 14 Front Row: deployment of the unit was Adam “AJ” Rankin - Asst Head Carpenter/Bono Stage Assistant, Jesse Thayer - Carpenter, Rick Beulink - MOJO Barrier, Johnny very slow, and like all large-scale Mendez Gonzales - Carpenter MiddleRow: Carpenters - Kerry Rothenbach, Andrew Johnstone, Appy Thörig, Hajime ‘Haji’ Minatodani automation moves, it had a soft - Back Row: Flory Turner - Head Carpenter, Gino Cardelli - Carpenter 15 Front Row: Patrick VanSteelant LED Tech/Crew Chief, Eoin start and stop. Of all of the McLoughlin - Camera Operator, Jeroen “MyWay” Marain - Video Engineer, Tobias Kokemper - LED Tech, Richard Jewell - Camera engineering solutions put forth Operator, Luke Levitt - Video Tech, Stefaan Vanbesien - Video Engineer, Ollie Clybouw - LED Tech Back Row: Jeroen Mahieu - LED in this production, this one may Tech, Jan Bonny - LED Tech, Mark Cruikshank - Camera Operator, Frederik Goemaere - Video Tech have been the best. The challenge was to create this funnel shaped cylinder and make it expand vertically and still maintain its new as they were under the stage around him. “Well what I’m most for this production. This is an shape. on Vertigo as well. But on this fortunate with, and it’s easy to say exceptional group of people, tour, they were under a walkway it but it’s the God’s honest truth, but there is no question that the The answer was in the structure it that served as the band’s entrance is that I’m surrounded by the best most extraordinary among them hung from as well as the frame of from upstage. This had them a people in the world.” Reedy told is Jake Berry. He has a grace the unit itself. The frame consisted good distance from the action. us. and ease about him that seems of a series of X braces that could Contact between them and the to spread throughout the entire scissor out in order to allow the backline guys who were in direct “They brought George Reeves out building. When asked what the cylinder to deploy. The unit, contact with the band members and gave him the title of assistant biggest challenge of the tour is, which was divided into 4 tears, was critical. This was achieved stage manager which I don’t get he finally settled in on letting the hung off of a circular frame. The through an open mic. because you’re either the stage crew answer the question, “I’ll bet tears were supported off of spars manager or you’re not. But he’s if you asked the crew what the that extended into the center of That wasn’t enough. By the time a spectacular stage manager, and biggest challenge is they’d say it’s the circle. Eight hoists with the an issue got from Edge through his he’s much younger than me, so I’d storage.” exception of the “C” tear, which guitar tech Dallas Schoo and on to better watch myself. Then there’s was lifted at 16 points, lifted each Niall Slevin time is lost. Therefore, Jake. The thing that Jake always While walking the site with him, tear. All of this was operated by a there was a separate video cut brings to the table whether he’s mPm asked what it was like in motion control system. Regardless specifically for the monitor guys doing Dinosaurs, The Stones or the beginning. He admitted that of where you watched the show so that they could see exactly what U2 is an organizational skill that there were some rough spots to be from, this was an incredibly was going on onstage at all times. is unmatched by anyone else. So rubbed out, and then he gestured dramatic display. This was a tough to pull off given following his lead makes it all to the ballet of work going on that the cut was pulling from the pretty easy.” around us, smiled and said, “Look Monitor world on this tour is a same cameras that were going into at it, you don’t see much panic good bit more complicated than I-MAG, and what was important Big respect for Jake Berry and going on here now though do on most tours. The show has to Video Director Tom Krueger George Reeves notwithstanding, you?” Nope. 7 3 monitor engineers, Alastair may not have been of paramount Reedy had equal admiration

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mobile production monthly 31 Jan Paulsen An Amazing Story of Loyalty, Friendship and Perseverance by Michael A. Beck

In September of 2000 Jan Paulsen was rigging out a television shoot in the German city of Kiel. He’d finished what he was doing in the roof and noticed that some of the guys on the ground were having some difficulty in breaking down the stage. So he called down and asked if they needed help. They accepted the offer and down he came.

Jan Paulsen & Lennie Watson

When he got under the stage one and see the gang in Copenhagen. But when Christmas of 2008 came and would be reclaiming his of the beams of the deck fell in He explains, “There’s no way I around and he heard that the 360º position for the American leg. on him and severely cut his head. was going to let them see me in tour was going out he took his Heartbreaking as it was, Jan He told the guys he was helping a wheelchair. I managed to train shot and contacted some friends understood the situation possibly that he needed to sit down, have a myself up until I was on crutches he knew in Dublin to ask if there better than anyone else, but he smoke and let the profuse bleeding and my girlfriend and I took the was room for him on the tour. In hated the prospect of losing his subside. While he was resting he plane down to see them. We had addition to undergoing a withering spot on the tour. looked up and noticed that there a wonderful reception there. They regiment of physical therapy for was cable that had been left up in invited me up onto the stage with years, he’d also gone to school and Patrick Martens who was the crew the ceiling. He thought, “Damn, the band during rehearsal and gotten his bachelor’s degree in chief of the Stageco’s red crew did I’d better go up and get it.” they had a little prayer with us video engineering. U2 Manager some checking as did McGuinness and it was very nice time. They Paul McGuinness had heard of and they found a hole on Martens’ Not knowing the severity of his were quite impressed with the Jan’s new skill set and suggested crew. The circle was now complete head injury he climbed back way everything was progressing that he contact Tour Production as was Bono’s prophecy that he up. This was a move that would and the fact that I was even alive Director Jake Berry or XL Video would work for the band again. change his life. When he got up at all.” and inquire if there was room on Jan was now engaged in the work to the cat walk he passed out the video crew. he was doing when this odyssey and fell some 40 odd feet onto While this was a heartwarming began nine years earlier. It was the a concrete floor. He suffered experience, the real world No Joy. By now the tour was set one thing he never thought he’d extensive internal bleeding and eventually intruded as U2 and ready to go. The temptation do again. massive head trauma. He was in continued on with the tour and to sink into the dumps at the a coma for two months and when Jan continued with the journey prospect of a career that may have “I had my doubts at times,” he he came to his entire right side was of recovery. A couple of years passed him by was certainly there. recalls. “But then I would say, paralyzed. later the band came through But the support he was getting ‘Now hang on, you’ve done Oslo and he received yet another from those around him and within this stuff before. It’s in there He would be in a wheelchair invitation to come and visit. the U2 camp telling him to not somewhere.’ And I was getting for a year and he would have When he showed up everyone give up was stronger than the positive feedback from those to completely relearn to walk was universally amazed at the temptation. In June of 2008 he got around me. I figured if it was a and talk. But he mounted the progress he’d made. His speech the call asking how soon he could hopeless case they’d tell me. I’m challenges. was completely restored. get to Barcelona. A member of the tremendously grateful. When I was video crew had gotten injured and in hospital Bono sent me a CD While he was in the process At one point Bono assured Jan had to leave the crew. in which he’d written a personal rebuilding the function of his that we would be working for the message to me, which was very, body, U2 had gone back out. He’d band again. Although those words At very long last he was back in very nice. Everyone stood by me been getting enormous support were certainly flattering and filled the game. But it wasn’t to last. and never gave up and never let from the band and crew all the with earnest Christian kindness, By the end of the European me give up.” way through his ordeal. At one Jan knew the score. leg the crewmate he’d replaced point they invited him to come out had recovered from his injuries continued on 44

32 mobile production monthly Principle Management: Brian Celler Carpenters: Gino Cardelli, Bill “Sox” Shewmake, Management Associate: Susan Hunter Johnny Mendez Gonzales, Andrew Johnstone, Hajime TOUR Management Associate: Shan Lui ‘Haji’ Minatodani, Jesse Thayer, Kerry Rothenbach, OFFICES Band Assistant: Miketta Lane, Catriona Garde Kenneth Bonnet, Appy Thörig Tour Manager: Dennis Sheehan MOJO Barrier: Rick Beulink Management Tour Business Mgr: Bob Koch Head of Automation: Raffaele Buono Principle Management (Dublin, NY) Assistant to Tour Mgr: Sevvy Enfield Automation Techs: Jack Richard, Timothy “TK” Woo, Tour Promoter/Producer Band Advance & Travel Coordinator: Bret Alexander Simon Twigg Live Nation Global Touring Style Consultant/Head of Wardrobe: IT Specialist: Joshua Kapellen (Los Angeles/Toronto) Sharon Blankson Frequencies: Josh Flower Tour Production Direction Tour Ticketing Mgr: Cynthia Oknaian VIP Party Coords: Jared Braverman, Jessica Yaccino FADER HIGHER PRODUCTIONS Press Coord Frances: McCahon Red Zone: Fran Coombs Show Design Personal Chef/Head of Catering: Sandy Hylton Ambience Director: James Jacques NEAL STREET STUDIO LTD. Massage Therapist: Jeremy Baber Ambience Assistants: Mark Caldwell, Chris Ricalis Production Services Personal Trainer: Bruno Villers De-lux Merchandise: Richard Carter, Jonathan, SOS // SATELLITE OFFICE Tour Production Director: Jake Berry Ellis Jeff Show Architect Tour Director: Craig Evans Merchandise: Joe Heden MARK FISHER STUDIO Show Designer/Director: Willie Williams Ncompass: Andrew Kloack, Joseph Lucchese, Crew Travel Agency Tour/Production Accountant: Ian Jeffery Scott Graves, Leroy Michaux, Samantha Stormo, (Europe) RIMA TRAVEL Stage Mgr: Rocko Reedy AmberFeinstein Immigration Attorney Assistant Stage Mgr: George Reeves Videographer: Cutter Hodierne GIBNEY, ANTHONY & FLAHERTY LLP U 2 . P ERSO NN EL Trucking Mgr: Sean Robinson Catering: Steve Quinn, Joshua Ireland, Courtney Set Construction Blue Site Coord: Toby Fleming Keene, Tai Lopez, Natalie Parkinson, Christian BRILLIANT STAGING Red Site Coord: Robert Hale Streppel, Marisa Zoccolan, Rebecca McCartney, TAIT TOWERS Green Site Coord: Seth Goldstein Bonnie Simpson, Gemma Peacock, Bruce French Automation Truss Fabrication FOH Audio Director: Joe O’Herlihy Advance Caterer – Blue: Adrian Morson WI CREATIONS BV Production Coords: Helen Campbell, Jessica Berry Advance Caterer – Red: Paul Kennedy Set Fabrication Tour Coord: Alison Larkin Advance Caterer – Green: Matthew Pierce STEEL MONKEY ENGINEERING Crew Chief & Drum Tech: Larry Mullen Jr, Stageco Blue Steel Crew Chief: Johan ‘Bellekes’ Staging Sam O’Sullivan Van Espen STAGECO NV (Belgium/USA) Guitar Tech: The Edge Dallas Schoo Stageco Blue Crew: António Alves Monteiro, Tim Lighting Programmer/Keyboards: Terry Lawless Beckers, Olaf Brinkmann, Austin Brown, Ben Bryant, PRG LIGHTING (Europe/Los Angeles) Bass Tech: Adam Clayton Stuart Morgan Cees Dazler, Arne De Knegt, Mark Gandy, Rene Sound Tour Tech: Rab McAllister Havermans, Jonathan Hawkins, Michael, Hillebrand, CLAIR Guitar Tech: Bono Philip Docherty Tambani Lokoza, Joel Olbeira, Franz Rieger, AUDIO RENT Security Director: Scott Nichols Christian Rouelle, Jasper Ruebens, Fran Schilte, Video Security: Brian Murphy, Jerry Meltzer, Steve Kurt Schneider, Sonya Schubert, Tom Strauf, Karsten XL VIDEO Denelsbeck, Darren Murphy Truyens, Michiel van den Boomen, Martin Van Eijk, Automation Production Security Coord: Knute Brye Jan Van Eyck, Johan Van Lieshout, Jesse Winn KINESYS Security Assistant: Sarah O’Herlihy Stageco Red Steel Crew Chief: Patrick Martens Video Screen Wardrobe Associate: Karen Nicholson Stageco Red Steel Crew: Kim Achterberg, John INNOVATIVE DESIGNS NV Wardrobe Assistant: Chloe Bloch, Eva Maguire Campbell, Koen Daems, Eivind Haugen, Ludo Power / Generators Audio Tech & Crew Chief: Jo Ravitch Hoebrechts, David ‘Cinch’Lanosga, Marc Melotte, CAT ENTERTAINMENT SERVICES Monitor Engineer/Recording: Alastair McMillan Dalibor Misura, Jan Paulsen, Lothar Schader, Lennart Trucking Monitor Engineers: Niall Slevin, Dave Skaff Siik, Bjorn Steegen, Jim Stoner, Robert Szerszyn, (Europe) TRANSAM TRUCKING Consultant: Robbie Adams Jimmy Termaat, Carly Thomas, Elmer Vallejos, (USA) UPSTAGING, INC. Audio Tech: Tom ‘Duds’ Ford, Dave Coyle, Chris Bart Van Damme, Michel Van Der Veken, Erwin Buses Fulton, Ben Blocker, Hannes Dander, Kelsey Gingrich, Van Duyse, Mark Van Gorp, Gregory Vervoort, Jaap (Europe) BEAT THE STREET Pascal Harlaut, Joel Merrill, Jason O’Dell, Vincent Vriens, Lennie Watson, Norbert Wiesinger, Ryan (USA) SENATORS COACHES, INC. Perreux, Jennifer Smola Worsham Barricade Lighting Director: Ethan Weber Stageco Green Steel Crew Chief: Hendrik Verdeyen MOJO BARRIERS BV Lighting Associate: Alex Murphy Stageco Green Steel Crew: Milt Angelopoulos, Jason Field Cover Lighting Crew Chief: Nick Barton Bond, Wim Carens, Wilfried Celen, Ken De Roovere, EPS GMBH Lighting System Crew Chief: Craig Hancock Randy Ellson, Gilles Gemberling, Magnus Harding, Tour Security Services Lighting Tech – High Platforms: Russell ‘Bits’ Lyons Iain Hardwick, Ben Hommers, Hughes Imschoot, SEQUEL TOUR SOLUTIONS Lighting Tech – Moving Lights: Andy Beller, Blaine Oisin Kelly, Janos Kerekgyarto, Patrick Lively, Passes Dracup, Jake Sullivan Erik Muhm, Dan Ravas, Florian Sadrawetz, Benny CUBE SERVICES Lighting Tech Dimmers/Distro: Mick Stowe Sterckx, Marc Van Dijck, Christophe Van Hostauijen, Radios Lighting Tech General/Mains: Stuart Lee Maarten Van Kruijsdijk, Pieter Van Tulder, Florus Van AAA COMMUNICATIONS LightingTechs: Jessica LaPoint, Alison Triplett, Chris Zaten, Zachary Wennmacher Tour Phone Systems Keene, Gareth Morgan, Christopher Davis Field Cover: Okan Tombulca, Sebastian Tobie, CASBAH ONLINE Video Director: Tom Krueger Markus Kaiser, Dirk Henneberger, Matthew Kelly, Frequencies Video Tech Director: Stefaan Desmedt Richard Dunne, Luis Steffen WIRELESS FIRST, INC. LED Tech / Crew Chief: Patrick VanSteelant Lead Bus Driver: Vince Grecco Rigging Services Video Engineers: Stefaan Vanbesien, Jeroen Bus Drivers: Jeff Feightner, Geoff O’Connell, Tom FIVE POINTS PRODUCTION SERVICES “MyWay” Marain Blauvelt, Scott Seeley, Joe Folk, John Kubus, Lyman Health & Safety Camera Operator: Mark Cruikshank, Richard Jewell, Cantrell, Mike Lee, Tracy Key, Brian Brown, Terry THE EVENT SAFETY SHOP Eoin McLoughlin, Gordon Davies Rogers, Fred Anderson Tour Catering LED Techs: Jan Bonny, Jeroen Mahieu, Lead Truck Driver: David Heath SWEET CHILI CATERING Ollie Clybouw, Tobias Kokemper Truck Drivers: Scott Rottler, Brent Morrison, George Freight / Shipping Services Video: Frederik Goemaere, Luke Levitt Berlingeri, Bill McMichael, Dave Patch, Vicki Plattel, SOUND MOVES (UK/NY) CAT Crew Chief: Jon Boss Tim Carpus, Joe Clark, Anthony Horton, Gary C.A.D. Services CAT Power Crew: Dennis Crespo, Todd Miklos, Stembridge, Danny Martin, Phil Sauls, Leo Johnson, BRUNGARDT ENTERPRISES LLC Erich Nemier, Cisco Reyes, Jimmy Angerami Kurt Mannhardt, Tony Vallejo, James Needham, Merchandising Head Rigger: Todd Mauger Matt Chesnut, Terry Chesnut, John Phipps, Pat DE-LUX MERCHANDISE Riggers: Scott Fremgen, Robert Slepicka, Mudgett, Joe Harrison, Fred Rice, Pat Blount, Richard Furniture Dion Pearce Genereux, Don Rolofson, Mike Milligan, JR Edwards, GLD PRODUCTIONS LTD Head Carpenter: Flory Turner Phyl Richards, Dale Vaughan, Ken Weddle, David Blackberry Tour Sponsorship Activation Asst Head Carpenter & Bono Stage Assistant: Tidwell, Jay Usgaard NCOMPASS Adam “AJ” Rankin

mobile production monthly 33 U2 360° Redefines Live Production

t’s almost a given for U2 to push the creative envelope when it comes to

CLAIR feature live production, and U2 360°, the band’s current tour in support of its latest I album No Line on the Horizon, more than lives up to that reputation by totally redefining the live production experience and outdoor stadium sound.

establish design criteria and structural requirements. Notes O’Herlihy, “We knew that the PA system, type, and application design had to be a line source array system, and the new Clair i-5 was the most timely and perfect solution to accommodate the off center stadium 360-degree configuration.” Final versions were approved almost a year later, and featured a system which was based around the Clair i-5™ line array and fully integrated into the set design (See Sidebar).

In early 2009, the team tested their theories and ideas by setting up the i-5/i-5B stadium system at Toronto’s Rogers Center (Sky Dome). Tests included verifying sonic calculations and phase references, and establishing low end time alignment. The goal was to maintain full 360-degree coverage, and cover the audience right up to the edge of the stage with an even, uniform distribution of high SPL, full dynamic range, and high quality sound.

The massive sound system covers 15 zones with a combination of hangs: L/R hangs of 36 i-5 & 36 i-5B each side at FOH; L/R 24 U2 is playing stadiums everywhere this “The ‘360’ concept was first envisioned by i-5 & 24 i-5B, Rear; 16 i-5 & 16 time out, with a 360-degree audience the band at the end of the Vertigo tour in i-5B at House L; and 16 i-5 & 16 i-5B at configuration, ambitious staging, a Honolulu’s Aloha Stadium in late 2006, House R. Main stage front fills include 24 cylindrical LED video screen, and a Clair but had really been a plan since the Joshua FF2 and 24 BT218 subs, while a “B” stage sound system which marks what might be Tree days,” says O’Herlihy. “They presented area includes 72 S4 subs. the largest collection of speaker cabinets the idea as a goal for the next tour, and in touring history. The 170-foot “spider” I was charged with developing, planning For additional coverage and intelligibility centerpiece structure, inspired by the and implementing an audio design which in hard-to-reach areas, the main system Theme Building at LAX, incorporates would not only set new industry standards, is supplemented with four hangs of eight lighting systems, manned cameras and but would also maintain what U2 and their of Clair’s new 2-way delay cabinet, the spotlights, the massive video screen, and fans have come to expect—sonic quality, iDL™, which was developed specifically to speaker arrays. high dynamic range, and crystal clear meet the unique requirements of the tour. stadium sound.” U2 360° also marks a 30-year relationship According to Jo Ravitch, senior systems between U2, Clair, and the band’s O’Herilhy and show designer Willie engineer and Clair crew chief, the system audio director and FOH engineer, Joe Williams, along with Mark Fisher and is powered by the largest number of O’Herlihy, who has been involved with Jeremy Lloyd from production architects/ amplifiers ever put together by Clair for the groundbreaking production from designers Stufish, worked collaboratively a tour, with more than 150 Lab.gruppen conceptualization to implementation. with Clair’s R&D and engineering model PLM 10000Q and 14000Q, resources beginning in early 2008 to continued on 46

34 mobile production monthly

36 mobile production upstaging feature to an industry stalwart suchasthem.to anindustry season, this is a staggering number by any standard even theheightoftouring during atpeakcapacity trucks usually operates aninventoryupwards ofaround 200 USA tour. Taking intoconsideration thatUpstaging fleet transportationsincethebeginningofU2360° from start to finish. to start from project tour,the on collaborated two the groundbreaking this of complexity the to Due road. the on and door the out drivers and equipment transport the getting of aspects Reganoperationaloverseeing the with done havebe that to negotiations whateverhandling providesand client the schedulerouting tour the pricing pre-production; of end front the on Typicallyinvolvementher be would staff.production U2’son coordinators site various the with conferring as well as driversdispatching hiring,logistics,and coordinating on worked department operations its ReganUpstaging’sand Gregwhile negotiations,contract and scheduling handing U2 with liaison as acted DiCarlo sales.” does “just she that out point to quick is and years 11 only company the with havingbeen “newbie” a herself considers jokingly DiCarloproduction. movethe to took actually it trucks manyhow just on answerdefinitive a tour,the for get manager to account TransportDiCarlo,Upstaging Chanon to out reached monthly Production mobile T monthly around conversationsregarding andarticles the he phrase “over 200 trucks” has been floating

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CHICAGO LOS ANGELES 821 Park Avenue 415 North Canon Dr., Suite 1 Sycamore, Illinois 60178 Beverly Hills, California 90210 Ph. 310-859-9800 www.upstaging.com 815.899.9888 Ph. 815-899-9888 Fax 815-899-1080 Fax 310-859-2804

38 mobile production sound moves feature logistics experts SoundMoves.logistics experts feat totheefforts isdueinlarge part andorchestrations ofglobal and around the world on a daily basis, and never miss a beat. That amazing is how this production is able to move across the country productions thathave beenoutthere over theyears, even more that alone is noteworthy considering the scale of some of the continuation of the largest production ever to hit the road. While W Moving monthly Sound Moves Linden, New JerseyNew MovesLinden, Sound fromcrews customs, cleared had and US the in arrived gear the Once Carbone.done,”postulates moveanybody’s biggest the everbe industry.entertainment live might It the of history the in project logistical time.“Weone largest atit’s the think JerseyNew in depot the to London movefromthe made systems rack flat and cubes foot 40 250 of combination A containers.” 48 another took alone system flooring the and containers, 55 another filled elements production The that filled 48 ocean containers containers ocean 48 filled that systems steel identical 3 is “U2 mPm: for numbers the down breaks Carbone Moves'JustinViceSound President water.the across movebig one for London in gear the amassing Moves'began crewsSound Wales,Cardiff, and England Sheffield, Glasgow,in August last Scotland, ending wereshows up,and wrapping was tour the of leg European the As US.the to Europe from Ocean Atlantic movethe across the scale,especially this on done been neverhas it but trick, leapfrog the do RebaMcIntyreto Rolling Stones The new. nothing is another.to itself in That destination one fromtriple-leapfrogs city.show whythe reason That’s one to city movingfrom unit production single a just with operate could this as such show a way There’sno

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Cummins Station 209 10th Ave. South Suite #216 Nashville, TN 37203 tel 615.322.9900 fax 615.322.9379 www.collinsworthbright.com

Spirit of America Tours continued from 8

due to the use of a sub-contractor. is complete loyalty between the two By utilizing its own equipment and parties. Once this is achieved, each personnel throughout the tour, party becomes indispensable to the it essentially become part of the other, and the bond between the two family, and the client base feels more is not easily torn apart.” comfortable overall in this type of environment. Duval concludes, “One of the main reasons that we are entering ➤ Team members sign a non- the music industry is that we saw a disclosure with the company. This need for consistent limousine service way, any business or personal throughout the tours. I am aware conversations that are discussed in that there are a few companies out their vehicles remain private and are there that are providing a full service not leaked out to the public. type of booking for the managers, but the consistency factor is at risk ➤ Team members operate at all times by using sub-contractors during the in the most professional and ethical tour. Our team will actually run the manner. The client’s privacy is always entire tour just as the coaches do now the number one concern. for the artist community. We provide a 24-hour, on-call service while on Previous experience has helped to tour for the artist, and we deliver put our company at the top of many an experience not just an everyday high-end clients when it comes to service.” ) selecting a ground transportation service for their tours,” explains Upstaging continued from 36 Duval. “I have spent 28 years in the event management industry and the opprotunity to meet and discuss have designed and implemented logistics in London. DiCarlo points client retention programs at many to this as yet another component companies as well.” of the team mentality exhibited “My belief is that relationships are throughout the U2 road production built on trust, morals, values and and Upstaging’s home staff. integrity,” he continues. “With these basic building blocks in place, the “The difference between the last leg relationships with our clients continue and the upcoming leg,” she says, “is to move towards an end result that that now we’ve done it, so obviously and know what to expect when it goes out again this year.”

The tour resumes in June of 2010. 5

Jan Paulsen continued from 32

Today when he’s not touring with the band, Jan works locally both rigging and in various aspects of television production, and he still does physical therapy three times a week. When the days get long, he remembers that he fell more than 40 feet onto concrete and survived. Through his own perseverance and the support those around him, he climbed back.

In May 2010 when U2 hits the road again, Jan Paulsen’s ticket to the States will be stamped along with everyone else on the tour. When asked for the last word on the story, his answer was quite simple… “It’s a good story. It’s kind of a sunshine story.” 7

Writer’s note: In the four years I’ve been writing for this publication, I have only had the opportunity to stumble across a story like this a few times. When I have, it has reminded me that in among the thousands of paragraphs of detailed descriptions about the technical and logistical aspect of what it takes to bring a design to life, there is flesh and blood. I am deeply grateful to Jan Paulsen for sharing his experience, and I would like to urge our readers to impart any similar accounts you may have. We’d love to hear them, and so would you mates on the throughout the industry.

44 mobile production monthly mobile production monthly 45 CLAIR continued from 34

plus racks of Powersoft K10 units to power the low end. By conducting measurements with proprietary Clair AlignArray™ software, the crew has : Built for Sound been able to calculate SPL required for Clair i-Series an audience of up to 95,000. For more than four decades, Clair has O’Herlihy chose the DiGiCo SD7 remained a pioneer in the development console for its multi-matrix capacities of industry-standard sound reinforcement and onboard effects. Two SD7s run products with constant research and identical shows; each has three stereo development, lots of road experience, and outputs for inside L/R, outside L/R in-house manufacturing which keeps quality and the matrix L/R, a combination control and specifications in check. of the inside and outside L/R for side hangs. There are two 40-input main According to Rick Lehman, Director of stage racks, with one distributing AES Engineering for Clair, what began as a to each leg, and a backup system of response to increasing industry demand for analog feeds to each amplifier. more compact, lighter weight loudspeaker design led to the development of the Clair Monitor duties are shared between i-Series vertical line array system and its first Dave Skaff, Niall Slevin and Alistair generation model, the i-4, a 4-way cabinet McMillan. Slevin and McMillan mix which was put into circulation around 1999. on DiGiCo SD7s, with one assigned to Bono and another for The Edge. Skaff “The i-4 applied some of the same mans a Digidesign D-Show Pro for component technology used in the successful bassist Adam Clayton, drummer Larry Clair S-4, but in a much smaller package,” Mullen Jr. and an offstage keyboard explains Lehman. “Our research showed that excellence, but also represents a reduction player. With the literally subterranean the future of touring sound reinforcement of the design to a more coherent 3-way location of “monitor underworld,” the was in smaller systems that could be hung, design. Each i-5 array module is available three have no direct sight lines with the positioned and tuned quickly, safely and in dedicated stage left and stage right band, and work off video monitors. accurately, and deliver consistent SPL and configurations, and has a defined horizontal frequency response throughout the venue— coverage pattern of 90°. Vocal effects include a Manley Vox full bandwidth, total coverage without peaks, Box for Bono and an Avalon 737 for overlap or dead spots regardless of room The fully expandable system consists of three The Edge. A Summit Audio DCL- acoustics, sight lines or show design. So this proprietary long throw, medium throw and 200 comp/limiter handles guitar type of system was very attractive in terms near throw vertical coverage patterns (near compression, with the remaining of acoustics, aesthetics and economics. We throw is available in 90° and 120° horizontal limiting provided onboard by the SD7. engineered the i-4 with new component dispersion for additional nearfield coverage). Band members use Future Sonics in- combinations, crossover configurations, and With the development of the cabinet’s ear monitors paired with Sennheiser integrated rigging – all of which made an Coherent Transfer Midrange™ (CTM), the G2 hardware, except for a selection attractive package for the medium-to-large system is able to create a wide-bandwidth, of Clair 12AMII “Stealth” wedges scale touring market.” high-output consistent waveform with even for Bono, making for a virtually clean coverage, more headroom and superb stage. Today, the Clair i-Series line array arsenal efficiency. includes the i-3, i-5 and i-DL. Each utilizes “This has been a huge challenge for Clair’s AlignArray™ integrated rigging Clair developed the i-DL specifically to meet both Clair and for me, but we were hardware and prediction software, and the unique requirements of the current U2 able to complete it, despite working consistent upper crossover frequencies to tour. Designed as a completely modular on a very stringent timetable,” says ensure that combining systems will minimize system, the 2-way i-DL features a single O’Herlihy. “A project of this scale any phase anomalies. low/mid element and an interchangeable would probably not have been horn module, providing either 60° or 90° attempted ten, or even five years ago. Originally developed as a rearfill speaker horizontal dispersion and 10° vertical But thanks to lighter weight, lower for use with larger systems, the 3-way i-3 coverage. profile speaker cabinets and digital featured a more compact design, a centrally mixing consoles, a show—even of this located mid/high section, dual low frequency “This i-Series is the product of research, road magnitude—can be designed, set up, tuned reflex chambers, and exceptionally testing and input from a lot of leading sound run, and loaded out in a timely manner. wide dispersion. Initial response hailed the i-3 reinforcement engineers,” notes Lehman. Technology caught up with the concept as a formidable ystem, potent enough to be “The U2 tour has provided some high profile and made it possible.” used as mains on tours in smaller venues such exposure for the line, and has also been a as theaters and amphitheaters. great litmus test for the new U2 toured Europe through late i-DL. The cabinets are performing well, and August, arrived on American shores in The flagship i-5 is Clair’s latest innovation we look forward to keeping the line on the September, and played North America in large format line array system technology. road for years to come.” through Oct. 28. The tour will return According to Lehman, the design not only to the U.S. in June, and has scheduled answers the industry’s demand for total For more on the Clair i-Series: international dates through 2010. ) system flexibility, efficient mobility and sonic visit clairglobal.com/i-series clairglobal.com

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

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48 mobile production monthly

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