volume 5 issue 6 2012 mobile production monthly 1 lighting

trucking production support

sales

service

storage

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 LambertMiranda On Fire

volume 5 issue 5 2012 contents

In the News 14 Sound A Vegas Weekend with Lenny and 6 Lighting High End Systems Adds Musical Laurie and Dan 12 Colors to Tangerine Dream’s 2012 Tour / Over 300 Robe LEDWashes for BMW at Geneva Motor Show 16 Transportation Point to Point Touring 7 Sound D.A.S. Audio Aero 50 Line Arrays Make A 'Taxing' Problem for Canadian Bus Companies their German Début / Elcea to manufacture Sensa- Q & A with Joe Bamford of HalJoe Coaches phonics custom sleeves in Europe 8 Video WorldStage Devises Smart Solutions for 18 LD Feature National Tour of “American Idiot: The Musical” / XL Paul Dexter Puts Lighting Writing Online Video Steps Up To Stadiums with Coldplay 10 New Hires Alan Kemp Appointed Adap- tive Technologies Group's Director of Business 22 Miranda Lambert 14 Development / AES Names Steve Green Business As Straight Forward As It Gets Development Manager / Community Appoints Rod 26 Crew Members / Vendors Falconer as Director of Technical Training and Edu- cation / Mark Engebretson Joins VUE Audiotechnik Engineering Team 28 Moo TV On Fire with Miranda Lambert

12 Road Eats Memphis Barbecue Company When Outstanding is the Only Option! 32 Advertiser's Index

28 mobile production monthly 3 FROM THE Publisher

This issue of mPm features the Miranda Lambert On Fire tour. This show features some of the best production companies in Nashville. On a personal note, the people heading up those companies had a lot HOME OFFICE STAFF to do with my early success in Nashville when I moved to town. Scott Scovill of Moo TV, Ralph Mastrangelo of Clair a 7 % g and Pete Heffernin of Bandit all have been supportive of ph: 615.256.7006 • f: 615.256.7004 my work and understood what we were trying to achieve 2961 Armory Dr • Nashville, TN • USA 37204 with a different look at the touring industry. There have mobileproductionpro.com been several other people in town who were significant For advertising inquiries: in my tenure, including Ben Jumper, Everett Lybolt, Chip [email protected] Huffman, Mike Slarve, Mark Dodd, Steve Daniels and many, many others. Publisher: Larry Smith My experience has not been unique. The industry in [email protected] Nashville is certainly insular, to some degree, but once Managing Director: Chris Cogswell the community accepts anyone into the rank of trusted [email protected] professionals, life becomes a lot easier. This community is Chief Writer / Photographer: Michael A. Beck certainly competitive, but not in the same manner as I have [email protected] experienced in other major markets. In Nashville, personal Art Director / Graphic Designer: Kristin Salaway qualities are important. Professionalism, honesty, integrity, [email protected] client service are all old fashioned qualities that are still Office Manager: Melanie Reininger respected and appreciated. That is the core of the industry [email protected] in Nashville and the people involved in this tour personify Contributing Writers: those qualities. Bill Abner / [email protected] Hank Bordowitz / [email protected] As the summer continues, the busy time of the season Bill Evans / [email protected] can cause everyone to be so focused on the day-to-day Todd Kramer / [email protected] tasks that are time and energy consuming, that it may Bill Robison / [email protected] be a good time to reflect on some of the issues that are Mike Wharton / [email protected] pressing on all of us. Stage safety, certainly has become a primary focus for many of the industry leaders. New DOT regulations as well as new pending State and Federal TOUR LINK BOARD OF ADVISORS regulations will be discussed in detail once the season Benny Collins, Jim Digby, Jon Nevins, Stuart Ross, winds down at the end of the year. To that end, we are Bobby Schneider, Jay Sendyk, Seth Sheck, Nick Gold already starting to make plans for Tour Link 2013. The Nicki Goldstein, Chuck Randall, Michelle Freedman discussions will continue to expand and action groups are tourlinkconference.com bound to be formed. This is a very healthy development in an industry that has always tried to address issues before PUBLISHED BY they become major problems. Anvil Productions, LLC ph: 615.256.7006 • f: 615.256.7004 So, have a safe and profitable Summer and try to make plans early to attend the annual Tour Link gathering in FOLLOW US January and add your voice to the continuing discussions Tour-Guide-Publications / Tour-Link-Conference that are shaping our business. @mobileprodpro / @TourLinkConf

Larry Smith

©2012 Anvil Productions, LLC. Nothing may be reproduced without written permission of the publisher. The publisher reserves the right to edit any and all editorial content included in this publication. The publisher has made every attempt to insure accuracy and consistency of this publication. However, some listings & information may be incomplete due to a lack of informa- tion provided by various companies listed. Please send any inquiries to the attention of the publisher. All advertising appears at the paid solicitation of the advertiser. Anvil Productions, LLC, can not be held liable for any errors, omissions or inaccuracies appearing in this journal in the form of editorials, listings or advertising. Member of:

4 mobile production monthly

In theIN News THE NEWS Lighting High End Systems Adds Musical Colors to Tangerine Dream’s 2012 Tour

High End Systems prod- ucts play an instrumental role in Tangerine Dream’s spring/summer Electric Mandarine Tour 2012.

The German electronic music group has become internationally known not only for their mind- entrancing concerts but also for their film soundtracks for Risky Business, Firestarter, Sorcerer, Near Dark, Legend and others. Over 300 Robe LD Andreas Fink, from Austria’s LEDWashes for BMW Preworks, specified 2 High End Systems DL.3 Digital Lights at Geneva Motor Show and 2 SHOWGUN 2.5 and 2 this and past tours, describing it “The HD SDI input is also really Over 300 Robe ROBIN 600 SHOWBEAM 2.5 automated as the console that gives him “the great for using custom content LEDWash and PureWhite luminaires. He’s controlling the rig power and intuitive handling” of which can be produced in real moving lights were speci- with a Road Hog Full Boar with current Wholehog OS. time,” Fink adds. “So we had fied by LD Peter Heilig of Road Hog Full Boar Playback saved time with the quick set up SfS Project Aschaffenburg Wing including DMX Extension Preworks’ Andreas Reinbacher possibilities and didn’t lose any of to light a special pavil- Kit. praises Andreas Fink’s quality our creative time to work with all ion area showcasing the work created with using the HES the other features.” new BMW 6 series Gran The DL.3 Digital Lights, which Digital Lights in combination with Coupe on the BMW stand feature an on-board media server, the Wholehog consoles, saying Fink was also able to cre- at the 2012 International allow Video Designer Michael it is a perfect pairing of skill and ate intensive looks with the equipment. Geneva Motor show. Koschorreck to use his custom SHOWGUN 2.5s (spot luminaire) content in HD quality. “Incredibly, and SHOWBEAM 2.5s (wash A steel superstructure was it was my first experience with luminaire), using them as designed in collaboration with Digital Lights from High End back lights - even in per- architects Puchner & Schum from Systems,” he said. “The light formance venues which Munich, together with engineers output and quality of the images allowed no smoke or haze. Structure GmbH from Frankfurt. matched my imagination, and the Both fixtures offer the real time access to all parameters innovative LED tracking This was then clad with fibre - all I can say is wow. We placed system ring around their glass to create two curved three the DL.3s on the road cases left lenses, allowing the design- dimensional latticed set piece and right side of the band; it was er to use them together walls surrounding the two Gran so easy!” with the exiting beam or Coupe vehicles, one of which was alone as an LED wash and on a revolve. There was a circular LD Fink points out that the effect light. ceiling above the area with three DL.3’s Collage Generator fea- rings of trussing for lighting posi- ture - which allows the seamless “The mix between tions, and at the back of the pre- merging of multiple DL.3 units SHOWGUN 2.5 and sentation space was a circular hi to project one panoramic image SHOWBEAM 2.5 gives res LED video screen. - is “the simplest” way to quickly the possibility of playing manage displays across big screens with different beam sizes For the duration of the show, using more than one projector. and splitting beam looks. the car’s promotional video was They mostly used a projection size The LED tracking system looped and shown on the screen, of 12 x 5 meters (39 ft by 16.4 ft) makes the fixtures unique,” accompanied by a stylish light- to enhance the music using non- Fink says. He chooses the show that integrated the cars specific images, concentrating on Road Hog Full Boar on within the set, so choosing the movement and textures.

6 mobile production monthly right luminaire was absolutely cru- Coupe arena – cial to Heilig’s lighting design. both on the floor and in the air, Previous to this event, he had not and they lit a used Robe products, and before cyc wall behind, making his decision, he conducted as well as the set several shootouts. He was looking itself. The rest for a luminaire with a good qual- of the fixtures ity of light, a flat and even beam were rigged on field, smooth colour mixing and a the three circular good zoom range. trusses in the ceiling. organisers for several years now and by D.A.S. Audio, we were able to After the first couple of shootouts enjoys an excellent reputation in the determine all of the parameters in it fast became apparent that the Heilig had to create three dif- field. This was an ideal opportunity advance of the concert, which saved only LED wash fixture meeting all ferent lightshows for the overall to introduce the as-yet unknown us a great deal of time, particularly his criteria was the Robe ROBIN event – one for the BMW Group in Germany Aero 50 Line Array in terms of construction, in combi- 600 LEDWash and the ROBIN Conference, one for the DTM system by D.A.S. Audio to the crowd nation with the excellent handling of 600 PureWhite SW (the smart- (racing series) press conference, of demanding music-lovers that the system. Speaker performance is white version of the luminaire). plus the one for the on-going show descended on Hamburg’s O2 World very strong. Both systems have excel- presentation. arena to see the Persian idol perform lent output reserves and reproduce Robe pulled all the stops out to live. music extremely accurately, some- deliver the LEDWashes in a short thing that was particularly noticeable lead-time, and made a special Lars Schnier, D.A.S. Audio System during the complex arrangements order for the 42 SmartWhites as Sound Engineer in Germany, opted for a performed by the artist.” Cree normally produces this LED left/right configuration of 10 Aero multi-chip only in the US. Ninety- D.A.S. Audio Aero 50 50 units on each side of the stage A 6,500-strong audience followed four of the 311 units used for the Line Arrays Make their as the main PA system, plus eight every nuance and delicate syllable installation were supplied in white German Début Aero 12A systems as PA out fill. uttered by the singer, and the highly housings. The system was supplemented by percussive and dynamic repertoire Googosh is a star among 15 LX-218A powered subwoofers played by Googosh made for a A hundred and twenty LEDWash Persians with good rea- in cardioid formation with the aim goose bump inducing performance. 600s were ensconced in the nar- son: she is feted world- of limiting the low end to just the row corridors behind the latticed wide as an idol and a stage. The self-powered Aero 50 Soundart is to provide support to set walls either side of the Gran pioneer of a unique system was operated using 16 Lab. D.A.S. Audio in Germany from singing style. However, a gruppen FP 10000Q amplifiers and now on. In cooperation with Lars Googosh live concert is a four Lake LM 26 processors, which Schnier, who is in direct contact rare event, and Hamburg, actively powered Aero 12A systems with the Spanish manufacturer, the Germany, was lucky via two D.A.S. DSP-4080 system successor to the tried-and-tested enough to recently host controllers. Aero product line, the Aero 2 Series, one of her very rare live has been introduced to Germany. performances. Lars Schnier had only positive Close collaboration with the D.A.S. things to say about the process and network means that each and every Soundart GmbH & Co. KG from results of the D.A.S. systems at the challenge can be met head on by a Bochum has been the technical O2 World arena, “Thanks to the competent, reliable support service. firm of choice for Persian concert very useful planning tool offered

mobile production monthly 7 In the News

Elcea to manufacture For more info, please Sensaphonics custom visit: sensaphonics.com elacin.com sleeves in Europe

Custom-fit sleeves for Shure SE Series earphones will now be available Video directly to European IEM WorldStage Devises users. Smart Solutions for Sensaphonics, the in-ear monitor- National Tour of ing technology leader, and Elcea, “American Idiot: The the Netherlands-based specialist Musical” in custom hearing solutions under the Elacin brand, have reached Hailed as “the first an agreement whereby, effective great musical of the immediately, Elcea will manu- 21st century” by the facture Sensaphonics custom-fit Toronto Star, “American of video images for the show. ing system within our budget.” sleeves for Shure earphones in the Idiot: The Musical” is now Imagery for each song ranges European market. on national tour with AV from Iraq war footage and clips He points out that the stage support from WorldStage, of Britney Spears to graffiti art, set used on tour, which is black “We are very pleased to be the new brand for Scharff home movies, test patterns, paint with gray and white elements, is working with Elcea,” says Weisberg and Video splatters, color bars and live video. “much darker” than the one used Sensaphonics President and Applications. on Broadway. “We had to have founder, Dr. Michael Santucci, “I’ve always respected WorldStage projectors strong enough to pop Au.D. “Our companies share a Playing dates in Los Angeles, a lot, and when it was time to do against the dark background,” he common heritage and mission: Dallas, Seattle and San Francisco this show I had to put together a says. One of the Christie S+16 to provide our customers a safe, in the recent and upcoming package that would be extremely projectors is mounted stage left high fidelity listening experi- months, the tour commenced road-worthy,” says the tour’s tech- and projects onto the right wall of ence without compromise. Now directly after the Broadway run of nical supervisor Rhys Williams. “I the set. Two S+16s are mounted European users of Shure SE the show, based on Green Day’s needed a team that could support stage right and project onto the Series earphones can get the same Grammy Award-winning multi- me and everything I needed to get larger left wall. “Nobody can tell custom-fit silicone sleeves that platinum album. accomplished. WorldStage, with that there isn’t one projector shin- Sensaphonics provides in North Lars Pedersen and TJ Donoghue, ing from the front,” says Williams. America.” The production features an exten- was the perfect complement to “Three images appear on stage as sive amount of video with more what I needed.” if they are one – it’s pretty amaz- A leader in promoting hearing than three dozen flat-screen moni- ing. health in the European market, tors, provided by Vizio, suspended According to Williams, all the Elcea already possesses the manu- in frames throughout the obliquely video elements “make a really A major dilemma for the facturing expertise to produce the angled warehouse-like living space strong impact on the show.” WorldStage team centered around precision-fit soft silicon sleeves by set designer Christine Jones, Before the tour’s current technical finding an economical solution to that set Sensaphonics apart. who netted a Tony Award for the team came on board it had been meet Maloney’s desire for an inde- Broadway show. The set’s walls determined that front projection pendent feed for each of the mon- “The cooperation with also serve as large projec- could not be used. But Williams itors and projectors. In total, 40 Sensaphonics and tion surfaces. thought that point deserved channels of video were required Shure is a very reconsideration. After meet- to feed the various display devices. welcome addition WorldStage was tasked ing with Maloney and members Initially, budgetary constraints in delivering what to provide a cost-effective of WorldStage’s New York City looked as if they would restrict the we promise to video package that would office, Williams felt it was indeed design to just six or eight discrete our customers: an satisfy and support the feasible to do front projection for feeds to the monitors – a major outstanding sound sophisticated design a tour that would play a variety limitations for Maloney’s design. experience,” states requirements and which of different theatrical venues from “But by working with Lars and Joris Wels, CEO could also withstand coast to coast. other members of the WorldStage of Elcea. the harsh and rigorous team we were able to get 37 dis- environments of a tour- Williams set up the show’s walls crete images on 37 monitors,” says Sensaphonics ing show. In the end, the and a trio of Christie Digital Williams. is Shure’s pre- Joris Wels, CEO of Elcea delivered package was S+16 projectors from WorldStage ferred provider comprised of a special- near his shop to test the projec- WorldStage’s solution? Three of custom-fit ized playback system, a tion system they devised. “I felt United Visual Artists’ D3 4ru earphone sleeves, allowing users high-brightness projection con- we couldn’t do front projection quad-output media servers each of the SE Series earphones to figuration, and a one-to-one signal from a balcony rail since we outfitted with a 4x multi-display achieve a secure, comfortable fit distribution system capable of wouldn’t always have a balcony adapter. Two United Visual with improved isolation. Elcea delivering the bold and brilliant rail in the theaters on the tour,” he Artists’ D3 2ru machines served will manufacture and sell the imagery created by projection and notes. “We needed a system that as main and backup masters and same sleeve design in Europe, co- video designer Darrel Maloney. would work and be within our provided additional video feeds. branded with its Elacin mark and envelope. WorldStage instantly WorldStage also designed the the Sensaphonics name. Maloney crafted hundreds translated our desires into a work- signal distribution system includ-

8 mobile production monthly ing the aforementioned 4x units, XL Video Steps Up The screen layout for this leg of fitted with long lenses, stationed a large matrix router and various To Stadiums with the tour - developed by produc- at the FOH mixer position and signal converters. Since fragile and tion and lighting designer Paul on the base of the house left fol- expensive fiber optic cable was Coldplay Normandale - features five striking low spot tower; two hand-helds not a practical option for a tour- circular F-12 surfaces onstage. are at the front-of-stage, one on a ing show, the company opted for XL Video continues to The central one measures 9 tripod; two cover either side of the HD-SDI via coax, which is prov- supply Coldplay’s Mylo metres in diameter and is flanked central ramp coming offstage into ing to be a robust choice. Xyloto (MX) world tour by two at 8 metres and then two the audience and the final one is a with LED screens, camer- at 10 metres on the outside. The hand-held onstage. “Thanks to the collaboration as / HD PPU, media serv- two 8 metre screens are slightly of Darrel, WorldStage, D3 and ers and control plus crew, angled to maximise site lines for Bramley is using a GV Kayak 2.5 [UVA’s] Ash Nehru we were able which has stepped up to the audience seated on the sides M/E mixer/switcher with Evertz to come up with an extremely play stadiums shows in of the stadiums. router and Zander Multiviewer good solution,” says Williams. the UK and Europe. and also running Thundering “The system is rock solid The live camera mix is cut by Jack’s Video Dust effects software and does more than Andy Bramley, and the media on two Macs. we ever hoped it could. The expanded server system is designed, pro- We believe we’re doing design features grammed and operated by Ben Ben Miles is running two active more video more aggres- XL Video’s new Miles. They work closely on the Catalyst media servers via a sively on tour than on Pixled F-12 show’s very memorable aesthet- grandMA lite console each with Broadway. That’s partly LED screen ics with Normandale, Coldplay’s a hot backup and fitted with because the set’s walls are product. XL creative director Phil Harvey and a tripleHead2Go, giving three a little over half as tall Video is the Misty Buckley who styled the outputs per device – allowing all as they were, but there first company lively graffiti themed set decora- the screens to receive indepen- are still the same num- in the UK to tion with the help of graffiti artist dent feeds. He takes in four of ber of monitors so their take delivery of Paris. Bramley’s seven camera feeds plus density is greater. As a this impressively his program TX as an HD feed, result, they have a bigger bright and clear The screens contain over 1140 and 90 per cent of the show is full impact.” surface. Pixled F-12 tiles, flown as squares HD with 720 pixels output to each from special screen sup- screen. port towers supplied by StageCo and masked A number of effects, including with circular set fascias flips, solarization, monochrome constructed by Tait and the frame drops which bring a Technologies - splattered filmic quality to the images in key with graffiti. songs, together with the masking and all routing to screen, is done XL Video worked closely within the Catalyst system. All with Tait Technologies to Catalyst signal /data distribution design a custom touring is run via an XL Video custom system for the F-12 screens DVI fibre system. to make rigging straight- forward and safe. This also The tour is project managed for includes sets of dollies in XL by Phil Mercer and Tracey which the screen panels Donnelly. Mercer comments, “We are stored for transit, giv- are thoroughly enjoying playing ing full portability and our part in XL’s continuing long expedient truck packing. association with Coldplay, particu- larly enjoying the challenges, both XL Video is supplying technical and logistical, of keeping seven Sony HXC-100 them visually at the very top of cameras in total. Two are their game.”

mobile production monthly 9 New Hires

ALAN KEMP our goals.” AES Names One of the unique attributes of Appointed STEVE GREEN the AES is the incredible diversity Kemp brings in the interests and focus areas ADAPTIVE more than 25 Business Development of our members. Facilitating the TECHNOLOGIES years of diverse Manager exchange of ideas and knowledge GROUP’S Director sales experience both within and between these of Business in the rental New Job Title Reflects groups is something that only the Organizational Evolution and staging AES is in a position to provide. Development industry to his I look forward to meeting with DIRECTOR Recognizing the importance new position. many old friends and to building of engaging directly with its Prior to join- many new relationships on my Kemp’s Extensive stakeholders, Executive Director ing Adaptive new journey.” Experience in Bob Moses has named Steve the Rental and Technologies Green AES Business Development Staging Industry To Boost Group, he worked for Video Steve Green has worked for the Manager. An accomplished audio Company’s Presence in Applications, NEP/ScreenWorks, past 20+ years with integrated systems and applications engineer, the AV Market Further BlueWater Technologies and circuit manufacturers focused on and skilled technical marketing SmartSource Event Technologies. audio products, primarily with manager, Green will focus his Crystal Semiconductor/Cirrus energies on expanding the AES Adaptive Technologies Group, Kemp distinguished himself ear- Logic. He has held various posi- constituency and maximizing comprised of Allen Products, lier in life as a boxer. He was a tions including Applications the value of its many assets and ATM Fly-ware and Adaptive three-time Buffalo Golden Gloves Engineer, Applications Manager services. Video Walls and Displays, and Champion and a successful pro- and Technical Marketing a premier developer of state-of- fessional Manager. In November 2010 he “I’ve known Steve Green the-art rigging and mounting middleweight. was awarded an AES Fellowship over twenty years,” Moses solutions for a wide range of He was “In recognition of two decades of said. “I was his customer audio and video applications, has inducted into valuable contributions to mixed- for more than half of them, appointed Alan Kemp as the com- the Buffalo signal audio design and imple- and I learned that I could pany’s new Director of Business Boxing Hall mentation.” go to Steve whenever I Development. In his new role, of Fame in needed an honest answer to Kemp will help lend direction to 2011. Kemp The Audio Engineering Society a question, or help getting all aspects of business develop- humorously was formed in 1948 by a group my project out the door. I ment from the Adaptive offices, says that his of concerned audio engineers. want that experience for all located in Signal Hill, CA. “battles in The AES counts over 14,000 AES members, exhibitors the ring” members throughout the U.S., and attendees. His mission “We are excited to have Alan prepared him Latin America, Europe, Japan is simple – talk to people Kemp join our team,” says for the demands of the industry. and the Far East. The organiza- and find out how we can make Paul Allen, president, Adaptive The father of two daughters in tion serves as the pivotal force in AES better. Then, as we used to Technologies Group. “With college, he currently resides in San the exchange and dissemination say in the manufacturing business, Kemp’s talent and experience, Juan Capistrano with his wife of of technical information for the ship it.” we are confident he will help us 25 years. industry. aes.org increase our brand visibility in the Sharing his thoughts for his new rental and staging markets signifi- position, Green remarked, “As an cantly. We look forward to work- ing closely with him to achieve AES member for over 30 years, I Community Appoints have a personal interest in the Rod Falconer as continued Director of Technical success of the Training and Education organization. My primary Community Professional goal is to Loudspeakers is pleased to increase the announce the appointment of value of the Rod Falconer to the position of AES for the Director of Technical Training individuals, and Education. An industry vet- companies and eran with nearly 30 years’ experi- educational ence, Mr. Falconer first joined organizations Community in 2007 as Regional within Manager for the Western United the audio States and Canada. This new role community. is a natural extension of his prior experience.

10 mobile production monthly “Technical training is increasingly ity to develop Prior to joining VUE important in today’s sophisticated and leverage Audiotechnik, Engebretson held contracting business,” stated Julia seemingly eso- influential leadership positions Lee, Community’s Director of teric concepts at some of professional audio’s Sales and Marketing. “Rod has into industry- most respected companies. effectively taught numerous ses- defining prod- Most recently he was the VP of sions on understanding and select- ucts. His repu- R&D and chief design architect ing the appropriate technology for tation speaks for QSC. Prior to that he led given applications.” for itself and JBL Professional’s Northridge, his experience California-based R&D depart- Mr. Falconer brings a wide range said Dave Howden, Community’s will be a huge asset as we pursue ment. Other highlights include a of engineering knowledge to the Director of Technical Services. new performance standards with stint at Summit Laboratories, Vice position, including first-hand “We’re very glad to have him on unique designs that challenge President of Product Development experience in networked con- our team.” commonly accepted conventions.” for Altec Lansing, and VP of trol systems and systems design R&D for Paramount Pictures. for projects ranging from small “I’m excited about what I see churches to performing arts facili- happening behind the scenes In 2002 Engebretson was honored ties to airports and other large- Mark Engebretson at VUE Audiotechnik,” com- at the 74th Academy Awards area notification systems. He is Joins VUE mented Engebretson. “There’s a with a Scientific and Engineering experienced with all types of loud- Audiotechnik powerful combination of passion, Award for his contributions in speaker systems, and has a strong Engineering Team experience, and a commitment to the design and engineering of the background in array physics in exploring all options in order to modern constant-directivity, direct theory and practice. VUE Audiotechnik today drive innovation forward. At VUE radiator style motion picture loud- announced that pro audio lumi- I can bring something totally new speaker systems. “I really enjoy helping people nary, Mark Engebretson, has to the industry I love. It’s a level understand the tools that are avail- joined the company’s San Diego- of creative freedom that I’ve not able to them as designers, getting based engineering leadership experienced in a very long time.” past the rhetoric and marketing group. hype to really comprehend what’s appropriate for a given situation,” In his role at VUE he explained. “I love watching Audiotechnik, the light bulb come on.” Engebretson will work as an As Director of Technical Training engineering con- and Education, Mr. Falconer will sultant, overseeing be responsible for developing and development and delivering programs and training patent efforts for support materials for Community several advanced customers and dealers worldwide. audio technologies He will slated for deploy- manage the ment through- company’s out the VUE field train- Audiotechnik line ing efforts, over the next 24 developing months. curriculum to enhance “Mark and I have the techni- worked together cal skills numerous times and product over the years and knowledge I couldn’t be more base of excited that we’ll Community be collaborat- users, focus- ing once again,” ing on the appropriate applica- commented VUE tion of Community products and Audiotechnik’s design tools. Design Chief, Michael Adams. “Rod is the ideal person to take “I have tremen- on this challenge and be an effec- dous respect for tive resource for our customers,” Mark’s innate abil-

mobile production monthly 11 Road Eats

Memphis Barbecue Co. When Outstanding is the Only Option!

– by Michael A. Beck A little over a month ago, I went over to a little town called Southaven, Mississippi to catch Miranda Lambert’s show. It’s important to note that Southaven is just across the border from Memphis, Tennessee. So when it was finally decided (at 2 p.m. the day before the gig) that the trip was on, I packed up my stuff and headed out on the eight hour drive during which I had plenty of time to think about one thing – Memphis Barbecue.

When I got to the hotel – a couple miles find some really good barbecue and warned before my nose could take over the helm away from the gig in Horn Lake, MS - I him not to give me the name of a chain. and lead me in. skipped right past any conversation of registration to the biggest issue of the day. He barely looked while saying, “Memphis Walking into Memphis Barbecue Company I scanned the counter that was covered in Barbecue Company.” The matter of fact I wasn’t struck by the decor of the res- promo sheets from local businesses includ- way he said it made me know I’d was about taurant but rather the fact that the place ing restaurants. The only barbecue I could to find greatness. With my mind at rest was packed and lunch hour had come find was a chain called Corky’s BBQ. I’d after having been assured that my “holy and gone by an hour and a half. That told been to this place a few times in various cit- grail” was in sight, I slept well and woke me this place has been around a while; ies and it wasn’t bad, but I was in [greater] up the next day charged with the notion of certainly long enough to do this kind of Memphis and “not bad” wasn’t an option. satisfying my quest (oh and checking out business flow. However, that’s not the case. Corky’s BBQ would have to take a seat. Miranda Lambert’s show). When I drove to Co-owners Pete and Melissa Cookston I needed something outstanding! After I the place, I did so with my windows down opened the Memphis Barbecue Company finally settled into my room (which proved because I wanted to take note of how far in December of 2011. When asked how to be a bit of a hassle that involved mal- away I would smell the inviting aroma like it is that things are going so well so early functioning locks and TV’s) I went out to a siren’s call. Because the restaurant was Cookston explained that between herself the desk and asked the guy where I could pretty close to the hotel it didn’t take long and her husband the two have over 50

12 mobile production monthly Co-owner Melissa Cookston

years of restau- rant experience.

However, she had another explana- tion that seemed to trump their wealth of experi- ence, “I pretty much attribute it to a bunch of luck. Dumb luck. I’m really not quite sure how it happened, but hey, I’m not looking a gift horse in the mouth. We were thinking about doing something on a small scale and this place became available and we took it. We had certain projections when we opened and those projections got thrown out the window immediately. We’re doing four times better than we thought we would.”

Luck notwithstanding, it’s hard to imagine how this venture could have failed. Several years of working in what Melissa called the “corporate rut” (Ruby Tuesday’s, Applebees, Lone Star) she and her husband gained a solid understanding of how to establish a successful system by which to run a thriving restaurant. Keep in mind, this isn’t just another fern bar. This is serious barbecue in an area that is known worldwide for a style of barbecue that borders on religious.

When Melissa and Pete started dating, Pete suggested they go check out a barbecue com- petition. After watching from the stands for several years they decided to throw their hats in the ring as serious competitors in 2007 and found success early on. Although Melissa was reluctant to talk about her achievements in competition I was able to find out that since ‘07 they have won the “Whole Hog” cham- pionship at Memphis in May under the team name Yazoo’s Delta Q three out of the five times they’ve competed and they’ve twice won the Grand Championship including this year. In addition to her success at Memphis in May, Melissa also has a national championship under her belt.

All of that notwithstanding, Melissa is reluc- tant to discuss her competition credits, “I don’t keep track of how many contests I’ve won,” continued on 38

mobile production monthly 13 Sound

A Vegas Weekend with Lenny and Laurie and Dan By Bill Evans

ing, some of the other acts on the birthday recorded the song and now they are playing gig might or might not be appearing at the the song. They should be representing the show that evening as special guests. No one is song in a f%#@ing reasonable shape, manner really sure. or form. Therefore, all I should be doing is making it louder. Other people I’m sure have And that is the scene that was their own opinions.” set for this writer’s first- ever conversation with the His point is pretty hard to argue with. As long famously curmudgeonly Laurie as he is on the subject of what’s wrong with Quigley. Laurie has a resume acts and engineers... that reads like a who’s who of rock and melodic metal bands. “There are too many people out there who Kiss, Motley Crue, Aerosmith, do not even know what a proper sound con- Van Halen and, for the bet- sole is. I’m not going to turn around and ter part of the past decade, start picking on people, but half of the kids Lenny Kravitz. And it is a engineering bloody country acts these days... great match. Kravitz’s music They are just video game players. They’re not is modern but harks back to sound engineers. They’ve never stood behind rock roots established nearly and XL4 and done anything with it. They 50 years ago, and Quigley uses wouldn’t know what an XL4 was. If they saw cutting edge gear but it is it in a road case they would think it was a in the service of a totally grand piano.” old-school approach to audio Photo by Linda Evans and the entire role of a live Stuff Laurie Likes sound professional. Laurie Quigley: JBL VerTec and Crown amps: It looked like a piece of cake gig. A one- Kravitz has been a Sound Image client for- nighter at the MGM Grand in Las Vegas with The Out of Sight Out of ever and the rig in the air has been VerTec arrival and load in a full day in advance, and Mind Theory for about the same amount of time. On the maybe even time for a bit of R&R. But those recent Australian leg of his Black and White who have been in the touring game for any “I am a big believer in the out of sight out of tour, Quigley drove a VerTec rig driven by significant period of time know that the gig mind approach. People have forgotten what Crown’s new VRACK amp and control- on the itinerary that looks like a piece of cake this job is about and they take themselves way ler system. The PA system consisted of JBL is generally the one to be most wary of. too seriously. Some think they are bigger rock Vertec; 12 deep on the mains and nine deep stars than the rock stars onstage. We should on the sides with12 subs a side and eight subs So, of course, that full day of down time come in, do our jobs and go away. And our in the center. The JBL VerTec was driven turned into just a few hours when a one-off job is simply to support the artists onstage and by 12 VRACKs, six a side situated behind private gig celebrating Muhammad Ali’s 70th make it loud enough to cover a large crowd,” the subs on stage left and stage right. “The birthday was added to the schedule, which Quigley states. VerTec and the VRACKs worked really well meant an additional load-in and load out. on the Australian tour and I was extremely When we arranged to go down to the MGM Some might ask Quigley what he thinks about happy with the sound,” he commented. “The and chat with Laurie Quigley, we figured it the acts that depend on Pro Tools and pitch VRACKs are very versatile; you can do what- would be easy-peasy. So it was a bit of a sur- correction plug-ins? ever you want with regards to turning certain prise to arrive at the venue expecting a quiet, amps up or down. laid back vibe only to find a total bee-hive “You say ‘Some people need plug-ins.’ Well, level of activity as the crew tried to make up I disagree,” counters Quigley. “That is if the Audio Technica mics—especially for that unexpected gig and get it all together product is reasonable coming off the stage— the dual element AE2500: for the show. To make it even more interest- and it should be. They wrote the song, they “The AE2500 is possibly the best mic ever

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made,” Quigley tells us. “It’s an incredible he’s not above asking for a tip now and again. A Vegas Weekend kick drum mic, but I also use it on guitar “Lenny likes a very compressed vocal sound. with Lenny and Laurie and Dan cabinets. The first time I used the AE2500, So that LA2A is running at about 12:1 and I shoved it in front of a guitar cabinet just to back into a channel on the console labeled see what it would do, and I was frightened by ‘Crush.’ I actually got that from my buddy the sound—it was that good.” Kevin Glendenning who had this gig. Before I took the gig, I called him and asked if there was DiGiCo Consoles: anything he could tell me and he told me about “Let’s forget all the BS and just plug a the super compressed vocal and the 12:1 thing. mic into a channel and let’s see which one I gotta give him the credit.” of these wonderful digital control consoles sound like a soundboard. DiGiCo products So, credit where credit is due. At the end of sound like soundboards, like the analog the day, Quigley and Horton are a team. And boards, that we who are old enough to as a team they serve as a great illustration of remember, were brought up on. The SD7 Quigley’s take on the importance of great gear sounds like a soundboard; like a more versus the importance of great people. He convenient version of an XL4, but better, knows that as great as the gear is, it is not the smaller, lighter, quicker and more adaptable. only part of the puzzle. “A good sound system, It’s all there under one console, not two or good crew, good company. The gear is only as Photo by Linda Evans three very large and HEAVY soundboards. good as the company that preps it and only as Quigley adds, “And the new DiGiCo SD DiGiCo SD7 to match Quigley’s out front. good as the crew that puts it in the air.”  96kHz racks rock!” On this tour, they have supplemented the SD7s at both FOH and “I started on the SD7 about three years MON with a couple of diminutive SD11s. “We ago—right when they first came out. When have done a lot of small clubs where we would I started with Kiss we are on the SD5 and go in and do two or three songs, plus one-offs then switched to the SD7. On the D5 for companies like Facebook and Google where you can move things around to suit your we played a short set in their lobbies. We only individual needs, but on the D7 I find that Shred your needed 32 inputs but wanted to give Lenny the for me configuring a show is really easy. sound quality he is used to. The SD11 allowed The addition of things like multi-band guitar, not us to do that. It was a bit weird to go in with compressors was really useful. So switching something so small and set it up yourself but it to this console has been great.” your hands! was the perfect solution,” he says. Even with all of the bells and whistles of Dan Horton: the SD7, Horton carries a fair amount of The Other End of the Snake outboard processing. “Lenny is very into an analog sound but we are using digital Take a look at Quigley and monitor engineer consoles. Therefore, just for his mics, I have Dan Horton standing next to each other and an API Channel Strip because that is what it appears to be the stereotypical study in he prefers in the studio. From there it goes contrasts. Quigley is the very definition of the into an AnaMod which is kind of like a crusty older, super experienced sound guy. Fairchild clone and then the next gain stage x Horton is a lot younger and the ever-present is a UA LA2A compressor.” baseball cap just accentuates the stereotype. perfect He may be a kid, but he’s no rookie. Before Also in the rack—specifically for Kravits’ taking the MON reigns with Lenny Kravitz (a vocal is a Bricasti reverb. “It is his favorite Hand CAre FOR gig previously held by A-Listers including Brian reverb in the studio so we use it here, Hendry and Kevin Glendenning) he did stints too. He has a preset built called A&M guitar players with Kiss (also a Laurie Quigley client) and Chamber—their vocal chamber. I can’t shared Monitor World with Jerry Harvey on match it on any console. I can’t make that ... studio, live, the Glee Live tour. specific sound.” & touring ! The MON package—also provided by San Talk with him for just a few minutes and www.guitar-hands.com Diego, CA-based Sound Image—includes a it is clear that Horton knows his stuff, but

mobile production monthly 15 Transportation Point to Point Touring A 'Taxing' Problem for Canadian Bus Companies Q & A with Joe Bamford of HalJoe Coaches

HalJoe Custom Coach has been in business Canada, the original base of operations for the for over 20 years. The family owned business led company. by Harold and Joe Bamford started as a hobby with the purchase of a single Eagle Coach, which In 2003 Joe Bamford found it necessary to shut they eventually hoped to convert into their own down physical operations in Canada and estab- motorhome. More purchases soon followed and lish a new base in Florida. What started with a as of ten years ago the company owned fif- simple question at Tour Link 2012 of “How’s busi- teen busses, making it the largest Canadian bus ness in Canada?” developed into the following leasing company. These were license-plated in conversation with him.

by Mike Wharton Everything I purchase in Canada; fuel, when I speak to them about this problem, wheels, grease, etc., I must pay that tax. they just shake their heads. They have no What are your concerns about the I also pay the tax on the price charged to interest in buying new coaches, and I can’t law regarding US busses picking up the band for the leasing contract. When afford the purchase for my company. clients in Canada? a US coach comes in, and they’re coming in all the time, and they go point to point, Your website says you have offices They’re not just concerns; they’re facts. they are not paying that tax! So I have a 13 in Florida and Canada. Is this what Let me give you a little background. The percent disadvantage. That’s my problem, prompted the move to Florida? way the transportation industry works, that’s my issue. I no longer have any bus- you’re allowed to go “point to point” in ses plated in Canada because I couldn’t Yes. I originally added an office in Florida your country where you are from, but you afford to. I was driven out of business by to beef up service to my US customers and are not allowed to go “point to point” American competition that were, in my then just gave up on keeping busses plated in another country. In other words, a opinion… my opinion mind you, operating and registered in Canada. I’m a Canadian Canadian bus cannot go to the US empty in Canada illegally.” citizen and I still have a Canadian busi- and pickup goods or people in one state ness. I just don’t have any coaches plated and then deliver them to another state in Does that hold true for all US busses in Canada. When I do work in Canada I the US. That is known as “point to point.” that enter Canada? get the bus brokered in, and pay the proper taxes to get a temporary import. There’s Sounds like a fair law as long as it No. International tours, which are tours a cost involved in that and I have to pass applies both ways at the border. that start in one country, travel to another, it onto my customers, to do it legally. With then back to the point of origin is legal. I Tragically Hip, who we have hauled for “It does apply both ways. The American don’t have a problem with a US bus com- twenty years, I do a temporary importation government does an excellent job of pany picking up a band, starting their tour to cover their Canadian tours. enforcing this law, which has been around in the US and then continuing Canada since before the North American Free for a tour. What I do have a problem with I’ve got drivers that have been with me Trade Agreement (NAFTA) came into is when the bus crosses the border empty, since the beginning twenty years ago. They effect. My government doesn’t do a very doesn’t pay the HST, then picks up a band are Canadian citizens. They show up at good job at all. I no longer have a business to do an entirely Canadian “point to point” the border going into Canada and because in Canada because of this lack of enforce- tour. And here is my point, when I had they are Canadian, customs may think ment.” Canadian plated busses and they went they’re trying to bring the bus in perma- to the border to enter the US, they were nently, which is illegal. So I do everything Does this lack of enforcement cre- asked, “Where are you going?” American by the books to protect them and their ate an increase in competing com- coaches coming into Canada don’t get families as well as my company. I don’t panies from the US? asked that. want my government coming to me one day and saying ‘what’s going on here.’ It’s not competition from the US coach The other problem is unfair application companies that I have a problem with. of the tax. When a Canadian band hires a Any ideas as to why there is this That’s just a fact of doing business. It is the US coach to do their tour in Canada, the apparent discrepancy at the bor- unfair advantage the US competition has, band is not charged that HST. When I had der? and here’s why... coaches in Canada, I paid that 13 percent. I was at a disadvantage to begin with. How I’m trying to get an answer as to why my Canada has a federal and provincial sales these companies are getting around this, government allows this to happen and tax. These two taxes have been combined I do not know. I have tried and tried to wave a red flag to the US companies. One into a bill called the Harmonize Sales get an answer and I just can’t. There are of these days an auditor will come along Tax (HST) which comes to 13 percent. only four other companies in Canada and and start questioning what’s going on.

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One of the ways I think the US coach com- panies get around this is that for instance, hockey arenas are known in Canada as “Exempt Buildings.” The driver doesn’t need a work visa for these type buildings, so the border agents never bother to walk across the hall from immigrations to check the bus through customs. This is just my assumption. I don’t know this for a fact, but I think this is what happens. I believe the promoters and managers in Canada who don’t support Canadian industries and that operate in the country are part of the prob- lem as well. But, maybe they don’t know the rulings.

What other, if any, situations have become apparent to you?

One of the aspects of the coach business is rotation of stock. Older buses are replaced with newer ones by profits made in the company and the selling price of the older buses to secondary or private markets. HalJoe is at a disadvantage because we are unable to purchase newer stock due to revenue losses from the inequity applied through the tax payment process. The lack of newer busses puts HalJoe at a disadvan- tage competing in the market too. This has an effect on the economy as well. Less new product is being purchased because of it. The coach business is very cyclical in that replenishment of stock generates business and cash flow to the manufacturers and the secondary market purchasers.

What do you hope to accomplish by bringing this up?

My government needs to be a little stricter. Competition is competition, but fair is fair. I want American coach companies to under- stand they are actually bending the rules by not paying the tax to operate in Canada. I want to raise this flag, ‘cause one day, maybe, one of these custom officers will see the situation and pounce on it. The rami- fications for that are the same in America as Canada. The bus could be impounded, fines levied, all sorts of financial problems. But… it is what it is.

I’m too old to fight this fight, get a lobby- ist and go to Ottawa, which is our nation’s capitol, and lobby for adherence, or change. I have no interest in maintaining any physi- cal coach presence in Canada. Its financial suicide is what it is. It’s just not a 100 per- cent playing field, and that’s all I know. 

mobile production monthly 17 feature Paul Dexter Puts Lighting Writing Online by Michael A. Beck

Paul Dexter has been involved in lighting since 1970 when he had an epiphany, “I went to see Redbone in a gymnasium and I swear it was like a little angel came and sat on my shoulder and said ‘this is what you’re doing’. At the time I was in high school and people were suggesting I go in the Coast Guard, join the Navy, or go vintage radio shows such as the several years Paul has worked to college and I didn’t want any of that.” Orson Welles classic “War of through his design company the Worlds” as well as live con- called Masterworks Lighting certs ranging from Westwood (www.masterworkslighting. One and King Biscuit Flower com). However, a number of Hour (James Taylor), and sold other projects have sprung forth Not long after that moment of Eventually Paul became an “A” series to BBC Radio 4. including Road Cases (www. enlightenment, Paul teamed circuit lighting designer work- roadcases.tv), which is a website up with Frank Zappa Road ing with an enormously diverse In 1996 Paul came back to whose mission is to “To record Manager Dick Barber and built range of clients spanning from America and took up where on film and print, the years of his first lighting system out of The Carpenters and Air Supply he left off ten years earlier – untold, and so far undocument- “Hawaiian pineapple cans”. to Rick James, LTD to Ozzy LIGHTING. However, the light- ed extraordinary stories/tales Osbourne and Ronnie James ing he was now working with of our unique road life direct With his 42 light system Paul Dio. “Ronnie James Dio and I was not just limited to concert from crew, side musicians and was on his way. Although his became very close friends after I design as he studied graduate rock stars, for worldwide media primary gig was working with came on board with him,” Paul level courses in architectural distribution.” a band called Central (which recalls. “We had a great partner- lighting. At the same time he came close but imploded just ship in all things creative. This got involved in music videos and Another project he has recently prior to being signed), he did was during the Holy Diver tour. film, eventually designing all the completed is the co-authoring work for other bands as well. “I That tour was when his career concert scenes in the 2001 Mark of “Concert Lighting, Third did lights for Van Halen before took a meteoric climb. We went Wahlberg film “Rock Star”. Edition”, a Focal Press pub- they even had a record deal,” from doing small theaters to lication, which he wrote with he recalls. “They played shows arenas very fast. I was redesign- Since 2005 Paul has been the longtime friend and renowned down in Hermosa Beach in ing systems during the tour to production designer for REO Lighting Designer James L. ballrooms. I would get hired to accommodate the demand.” Speedwagon which is cur- Moody. The book is an A-Z go and do these jobs for $50. I’d rently out with the Styx and Ted volume of lighting topics. With take my truck full of gear and Despite his long list of concert Nugent on the Midwest Rock and the completion of the book, it set them up and do their lights.” lighting credits, there have been Roll Express tour. occurred to Paul that the job stretches during which Paul wasn’t done. Therefore, he has In 1973 Paul went out on stepped away from lighting to In keeping with the entrepre- embarked on what he consid- his first tour, which was Billy follow other entrepreneurial neurial spirit that has always ers to be a natural extension Preston. Soon after that his pursuits. In 1986 he relocated guided Paul’s life, touring is of Concert Lighting, Third friendship with Dick Barber to England where he created not enough to feed his creative Edition. The project (online as paid off in a big way and he Heritage Media, Ltd. through jones. With that in mind, he has of July 12, 2012) is a website went out with Frank Zappa. which he imported well known his hands in several pies. For called www.lightingwriting.com.

18 mobile production monthly � Competitively priced, 7KW to 100KW commercial-grade generators powered by a rugged Kubota or Cummins diesel engine. � RVIA-approved models and multiple options available. � Enclosed units feature convenient single side service and removable doors for easy access to maintenance parts. � Experienced engineering and support staff to help guide you. Generator service in the Atlanta and Charlotte areas. “Lighting Writing was born from navigating the vast subject mat- � From simple repairs to complete replacements on most makes and models, with convenient interstate access. Mobile service available! ter posted on Facebook - every- © 2011, EPS thing from bashing politicians to romantic messages - to find any information of real value to the lighting community,” Paul explains. “The website provides a topic specific community within which to exchange ideas and observations, and engage with others who are equally as pas- sionate. One key to the success of Lighting Writing will be my ability Atlanta Area: 3412 Florence Circle ❙ Powder Springs, GA 30127 to bring top designers to converse Charlotte Area: 348 Bryant Boulevard ❙ Rock Hill, SC 29732 with everybody. I was interested to know how Bruce Rodgers of Tribe Design achieved such vivid and large projections at the Super Bowl halftime show, so I wrote to him on Facebook, and he gra- ciously wrote back with an answer. I believe it will be the same for anyone who needs to ask questions or comment on Lighting Writing. It’s is a new way to allow all of us and our projects to be easily reached.”

In the final analysis light is light, and while light sources may vary, the nature of light will always remain what it has been since the first flicker became visible in the universe. So the question is how one puts light to it’s most effective use. It comes down to discipline of application. Paul believes Lighting Writing will tie the big picture of the lighting universe together, “Lighting Writing is all of those www.hecargoworld.com disciplines. It’s proving the cross- pollination of all areas of light.”

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20 mobile production monthly 21 mobile production monthly Lambert

22 mobile production monthly Miranda On Fire As Straight Forward As It Gets Story and pictures by Michael A. Beck

When Miranda Lambert’s On Fire tour hit the road for the first time in the fall of 2011, it only had a portion of what the show is sporting in its current configuration, as it had to fit in the number of trucks and crew the budget would sustain. However, when the tour Lambertbroke for the holidays, the decision was made to expand the visual aspects of the produc- tion. In its first incarnation the show had a central 12'x 24' 10 mil LED video wall provided by Nashville based Moo TV which, aside from the IMAG projection screens, was the extent of the video technology. The LED wall was surrounded by ten flown set pieces that had the look of window panes and were toned with Bandit Lites’ GRN Lite technology.

When the tour went back out, the upstage space above the stage was still anchored by the aforementioned LED wall. However, the ten “window panes” were replaced with 14 4‘x 4’ ten mil video panels flown in pairs from curved truss sections that are also toned with GRN Lite units. The video content that appears on the small video panels or the “pods”, as they’re known on the tour, comes from a Catalyst media server while the main wall and side screens are fed by a Knockout media system that is con- trolled by Video Engineer Eric Heidel.

While the main focal point of the video element is the large video wall, Show Designer Chris Lisle places high value on the pods. “The pods are what tie this show together. They help this make a big picture. I’ll use them to enhance the color pallet in the same way I’ll use a light. They don’t have to have moving content on them all the When I put that truss and toner around time. It’s fun just to put a static color on it and let that the screens, I widened the look of the paint the picture.” stage by another 30 feet. It’s kind of like magic. We’re making things look The out-rigged IMAG (directed by Video Director John Breslin) projection screen is nothing new, but in this case bigger than they are. This is a four the screens are framed truss that is also toned with GRN truck tour that looks bigger than it is. - Show Designer Chris Lisle

mobile production monthly 23 On Fire

24 mobile production monthly I’m really into big saturated color looks. On the

Lites. “From my end it’s all about filling dark space,” adds other hand, I tell the guys I work with that Lisle. “When I put that truss and toner around the screens,Lambert black is a color too, and we will use it. I also I widened the look of the stage by another 30 feet. It’s kind believe that just because a light can move it of like magic. We’re making things look bigger than they are. This is a four truck tour that looks bigger than it is.” doesn’t mean it has to. It’s about that voice and her performance, and if we can enhance that, The lighting of the show is another area wherein the task at great. We don’t want to distract from it. hand was to make the production look bigger than it is. With - Show Designer Chris Lisle a total 71 fixtures (14 VL300’s, 20 Mac 2k Washes, 6 Alpha Beams, 15 Atomic Strobes, 16 four light Moles) the lighting rig isn’t the biggest system on the road, but Lisle puts what he her performance and if we can enhance that, great. We don’t has to excellent use. “We don’t have a ton of light there and want to distract from it.” that’s why I combine the video and lighting systems to create big looks,” he explained. “My job is to accent what Miranda is Lisle puts those principles into practice several times though- doing because the audience is paying to see her. It’s not about out the show when he goes from a big huge ballyhoo look dur- a big light show and I’m really glad to be able to do it with the ing the classic Rick Derringer “Rock and Roll Hoochie Koo” gear that we have.” to subdued ballads wherein he uses four lighting instruments. Incredibly, when the system was brought down to minimal In keeping with the general style of his design theory, Lisle’s levels, the huge amount of video gear and truss hanging over lights employ a deeply saturated color pallet, “Nine out of 10 the backline completely disappeared even when the star drop shows that I light are going to be basically that kind of look,” lit up. Lisle proclaimed. “I’m really into big saturated color looks. On the other hand, I tell the guys I work with that black is a color FOH Engineer Jason “Pone” Macalik has the same straight too, and we will use it. I also believe that just because a light forward approach to mixing the show as does Chris Lisle does can move it doesn’t mean it has to. It’s about that voice and doing his job. He mixes the show on a Midas Heritage 3000 Band Miranda Lambert Angaleena Presley (Pistol Annies) Ashley Monroe (Pistol Annies) Electric & Upright Bass - Aden Bubeck Keyboards, Steel & Utility Instruments - Chris Kline Electric Guitar - Alex Weeden Electric & Acoustic Guitar - Scott Wray Drums/Band Leader - Keith Zebroski

mobile production monthly 25 Todd Ortmeier – Production Manager

Catering Crew: Jesse Hood, Miller Himelright, Vanessa Barthold, Crew Michael Yarbrough, Not Pictured - Shawn Hines (owner)

Crew Tour Mgr Jordan Powell Production Mgr Todd Ortmeier Stage Mgr/Set Carpenter Fred Yanda Production Asst Blu Sanders Merch Jose Raices Backline Techs: Sammy Bones, Scott Fowler FOH Engineer Jason “Pone” Macalik FOH system Tech Pat Oneill Jason “Pone” Macalik – FOH Engineer, Pat Oneill – FOH system Tech, Monitor Engineer Chris Newsom Adam Tart, Monitor / Backline Tech, Chris Newsom – Monitor Engineer Monitor / Backline Tech Adam Tart Lighting Director Craig Richter Lighting Crew Chief Dave Butzler Lighting Tech TylerVeneziano Video Director John Breslin Video Engineer Eric Heidel Screens / FOH Camera: Edwin Lewis, Dylan Taylor, Aaron Barbatti VendorsManagement Bus Drivers: Charlie Sherman, David Shopkeeper Mgmt. Sherman, Mike Martin, William Brown, Booking Agent Aaron Bass William Morris Endeavor Truck Drivers: Andy Vest, Brian White, Shorty Westra, Bruce Kenyon, Jerrel Dave Butzler – Lighting Crew Chief, Craig Richter Entertainment – Lighting Director, TylerVeneziano – Lighting Tech Tour Accounting "The General" Haberer FBMM Tour Publicist True Public Relations Tour Promoters Police Productions Audio Clair Global Lighting Bandit Lights Video MooTV Scott Fowler, Sammy Bones – Backline Techs Staging Accurate Staging Trucking Fred Yanda – Stage Manager/Set Carpenter Stage Call Buses Diamond Coach Tour Caterers Knoxville Catering Lighting Design / Programming Lisle Designs – Chris Lisle

John Breslin – Video Director, Dylan Taylor, Screens / Camera Operator, Edwin Lewis – Screens / Camera Operator, Eric Heidel – Denise Garrett, Brad Garrett – Tour Promoters Technical Director, Aaron Barbatti – Screens / Camera Operator

26 mobile production monthly I use as little compression as possible. I like to let the band and the music breath and sound as natural as possible. I think a lot of people these days are trying to reproduce something that’s not there. They’re not doing sound reinforcement. They’re trying to make it sound the way they want it to sound rather than letting the band do their thing on stage and reproduce that. - FOH Engineer Jason “Pone” Macalik

provided by Clair Global, which, for our readers who don’t the air. Her theory behind her music is simple and straight for- know its audio gear, is an analog console. ward and that’s what she wants everything to fall into.”

The desk is not the only place where he avoids digital technol- As the tour progresses through the year, the biggest challenge ogy. Indeed, the entire system is analog, “I keep everything is to make the cuts needed in order to fit safely into stages on analog. It sounds warmer and bigger than most of the digital the fair circuit and some sheds. As challenges go, there have stuff out there,” Macalik explained as he went on to discuss been bigger. his aversion to other effects. “I use as little compression as pos- sible. I like to let the band and the music breath and sound as When mPm caught up to this tour outside of Memphis, the natural as possible. I think a lot of people these days are trying one thing that seems to be missing was a sense of urgency. To to reproduce something that’s not there. They’re not doing be sure, everyone was about the task of getting the room show sound reinforcement. They’re trying to make it sound the way ready, but the pace was gentle and easy. This was no doubt they want it to sound rather than letting the band do their fueled by the [unofficial] motto of the tour as expressed by thing on stage and reproduce that.” FOH Engineer Jason Macalik... “Be nice or go home.” 

One thing that seems to hold true throughout the production is the sentiment that while Lambert has very specific ideas on how she wants her show to look, sound, and feel, she gives her team a great deal of latitude within which to get the job done. “One of the things I love about Miranda is that she is great about *STAGES giving broad stroke directions and big picture *TRUSSING *TURNTABLES ideas,” Lisle explained. “She is one of those *LIFTS *BACKDROPS artists who believes that when she hires a team *SEATING PLATFORMS to accomplish something, she lets us run with *CUSTOM SETS it. Every now and then during programming WWW.ACCURATESTAGING.COM she’ll give us some feedback on blackouts or LOS ANGELS 310-324-1040 NASHVILLE 615-639-2175 SAN FRANCISCO 510-636-1576 spotlight moments, but she’s really good about giving us our creative freedom.”

That being said, Lambert is very clear on the overall picture of what she wants to pres- ent during the show according to Production Manager Todd Ortmeier, “Budget obviously plays a part in everything these days, but when it comes down to design theory, Miranda doesn’t want all the bells and whistles and gags. She doesn’t want 500 moving lights in

mobile production monthly 27 TVOn Fire 'The 'Zoo TV' for Country Artists Story by Mike Wharton

When asked where the name Moo TV came from, Chuck Young, General Manager for the video production company gives his “reader’s Moo digest” version of its history. Scott Scovill, the owner of Moo TV was on tour with the Rolling Stones Steel Wheels tour navigating for a position on the upcoming U2 Zoo TV tour. At the time, Scovil was on on the Stones tour with Lee Griffin. Griffin had approached Scovill about opening a Nashville office to service a “new” client Alan Jackson. Scovill agreed only to find out the Zoo TV position was offered to him. Keeping his commitment to his friend and co-worker, Scovill set up Griffin’s Nashville video company which was named Moo TV. “We’re the Zoo TV for country artists,” jokes Young.

MORE INFO visit mootv.com It is this commitment and down to earth philosophy that has been the guiding principal behind the company. He emphasizes too that, “Anybody can buy a bunch of gear and rent it out. It’s the people who make or break the success Chuck Young and Scott Scovill share a long working history of that company.” of friendship, having first crossed paths in the early 90s on an Alan Jackson tour. Eighteen years later, Jackson is still a loyal Moo TV also is in the enviable position to work on projects client. Scovill had been trying to convince Young to come to and tours much the same way. work for him over that course of time, “I had never imagined myself behind a desk and fought all my life not to have office “I know it’s almost heresy but we will turn down projects that hours,” says Young. aren’t a good fit for the company or that may jeopardize our loyal clients,” says Young. In 2008 though, Scovill had an immediate vacancy and asked Young to “fill in” while he sought a permanent general man- The Miranda Lambert On Fire tour is a good example of a ager. By this time Young had been heavily involved in the good fit Young is talking about. Scovill is the account rep Nashville scene as an event producer, which while rewarding, for the tour, but Young, while working Chevy and Wal-Mart was tending to burn him out. promotional tours, had crossed paths with her when she was just starting out. Scovill‘s association with Lambert began Young agreed to step in, shortly afterward making a per- while she was opening for another client of Moo TV. Todd manent move to come on full time. The pace was no less Ortmeier, Miranda Lambert’s Production Manager, whom demanding, but he enjoys working with the staff at Moo and both men had known for years, gave Moo TV a shot at the the artist roster that has developed from his, Scovill’s and bid for the 2012 tour. Production Coordinator Craig Stahl’s contacts. “We were lucky enough to get it,” says Young, “and it’s been Each of them has over thirty years experience in the tour- great. They’re a happy bunch out there; it’s just a real com- ing industry, and have sought to staff their shows with people fortable place to be.” Young adds too that his crew would defi- whom are happy with what they do, as well as technically nitely mutiny on him if he tried to send them elsewhere. “She proficient. Consequently the fifty plus technicians staffing the treats her people real well out there, knows all their names.” dozen tours currently out aren’t necessarily full time employ- Young speaks with respect and admiration in his voice when ees, but Moo TV keeps them working all the time. he talks about how involved Lambert is on the creative deci- sions regarding her show, and how vocal she is in that process. “We like working with people who are happy,” states Young. continued on 30

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I T ’ S S H O W T I M E . Moo TV continued from 30 Memphis BBQ continued from 13

“We create video content for our the specs. Even cameras have to she says. “Someone does, but I I just kind of took the lead. Of clients as well as provide crew be ordered and built. Due to this, don’t. I try to be the Chicken course I could never do what I do and hardware. A lot of times we maintaining a good relationship Little of barbecue. I’m not the without him [Pete].” don’t get feedback until we’re in with preferred vendors is essential. arrogant one.” rehearsals, and the client may As I said, when I walked into the know what they don’t want but Once a system has been assem- On the other hand Melissa does Memphis Barbecue Company they aren’t too sure about what bled, it is set up and “burned in” recognize the importance of the I was too preoccupied with the they do want. Miranda, on the for a couple days to make sure accomplishments. Her business smell of what I was about to other hand, is very decisive about there are no glitches. The new card says “Pit Master,” which on thoroughly enjoy to pay attention these things.” warehouse Moo moved to after its face looks like someone impor- to the very comfortable décor. tant. However, Melissa is dubious It’s important to know that if the 2010 flood destroyed the space of the claim in general, “It’s over you’re looking for Beverly Hills art Lambert’s tour utilizes the at Soundcheck, currently affords used in my opinion.” She conclud- food this probably isn’t the place Watchout computer/server multi- the area to do this. “We have ed, “Anybody who has a grill and for you. Melissa isn’t shy about display system. Made by Dataton about reached capacity though enters in a competition considers presenting a menu of comfort and Windows® based, this is not and are looking for a bigger facil- themselves a pit master. I feel like food, “We don’t do small plates a proprietary system unique to ity,” Young says. you have to have the creds to back here,” Melissa says. “I’m from the Moo, however the company does it up.” Mississippi Delta and Pete’s from send it out on practically every True to form with Moo’s commit- a small town in Tennessee and tour. Toward that end, the chief ment to the community, the studio That doesn’t seem to be a prob- comfort food is what we grew up engineer on staff at Moo, Tim suites for editing and creating lem as the company notoriety on, and in this economy it really Monnig, is certified by Dataton on were rebuilt in the Soundcheck extends well beyond the patrons makes sense.” the Watchout system. He teaches facility. The capability to bring of Memphis Barbecue Company a class each winter in-house when these systems online in the new and barbecue competitors around From the time I walked into business is slow. warehouse for a client to view in the country. A couple weeks before this place to the time I left the real time with the touring system I found out about the place, Guy second time (after I left the gig), Young points out that while this is an option, too, but Soundcheck Fierri, host of the Food Network’s I felt completely at home and helps the company in the long is where “they do their magic” as “Diners, Drive-ins and Dives” pro- as comfortable as the food they run, it also gets their touring Young puts it about the creative gram featured Memphis Barbecue serve. So the next time you look personnel a bit of work during staff. Company in a show that will air at your itinerary and see a date slow times. “We bring them in for during the new fall season. Team in Memphis with a day off, plan training, have a cookout, and pay On the horizon for Moo is a Toby “Yazoo’s Delta Q” was featured to take the 20 minute ride out them for their time. That comes Keith tour which Young says will on TLC’s “Barbecue Pitmasters” to Horn Lake, Mississippi to the from Scott [Scovill’s] philoso- feature prominently the “Red Solo and Melissa was also contestant Memphis Barbecue Company. on Food Network’s “Chopped.” If you like barbecue, you’ll love phy of keeping everyone happy, Cup” fan favorite. The company this place. The donut burger and informed and treated like family,” is also doing Nashville’s Fourth of While Melissa get’s most of the donut bread pudding are pretty he says. July Celebration, The Daily Show, face time she is quick to give cred- incredible as well. Don’t worry, Zac Brown, Peter Frampton, it where credit is due, “When we while I didn’t see it, I’m told they  While artists and their manage- Vince Gill just to name a few. decided to get serious about com- have a defibrillator on site.  ment can submit gear specs, for petition we decided against having the most part, these items are not a big team and it would just be “off the shelf ”. Systems are built the two of us. When we did that, from the ground up according to

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