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THESKYISTHELIMITSHARPY2010HONORABLE MENTIONas Best Debuting Lighting ProductMiniature but massiveClay Paky presents the award-winning Sharpy, the light that stunnedthe PLASA judges who said: “We never thought we’d see a 190Wlight we could use in Wembley Arena!”Why not judge for yourself? Search for ‘Clay Paky Sharpy’ atto watch the videos or phone us to arrange a demo.www.claypaky.it8607 Ambassador Row, Suite 170BDallas, TX 75247Phone 214-819-3200 - Fax 702-942-4607E-mail info-NA@prgdistribution.comUSA – English Speaking CanadaA.C.T. Lighting, Inc.5308 Derry Avenue, Unit R - Agoura Hills, CA 910301Phone: 818 707-0884 - Fax: 818 707-0512www.actlighting.comEast CoastA.C.T. Lighting East122 John Street – Hackensack, NJ 07601Phone: 201 996-0884 – Fax: 201 996-0811www.actlighting.com

In the NewsIN THE NEWSLightingRobe Lights RogerDaltrey tourRobe ROBIN 600 LEDWashand ROBIN 600 Spotmoving lights were usedby LD Dave Farmer onthe recent Roger DaltreyUK tour - which sawthe legendary singer/songwriter and leadsinger of UK rock band,The Who, perform thelatter’s landmark rockopera“Tommy” in itsentirety.The original lighting scheme forDaltrey was conceived by thealmost equally legendary lightingdesigner Tom Kenny, who wasbusy with other commitments inthe US and so asked Dave Farmerto look after the show on tour.The two also work together on theannual week of Teenage CancerTrust shows at London’s RoyalAlbert. Hall, of which Daltrey wasinstrumental in starting.The lighting kit for the tour wassupplied by Leeds based Zig ZagLighting, who were contracted bythe promoters to provide a rig thatfitted Farmer’s spec. This consistedof the 14 Robe ROBIN 600LEDWashes and 14 ROBIN 600ESpots which were at the core ofthe rig, and did all the hard work!There were also bars of 6 PARs inpre-rigged truss sections, strobesand follow spots plus a Hog DP8000 for control.It was the first chance that Farmerhad had to use the latest Robetechnology, but he’s used otherRobe fixtures on many of his pastshows and projects, in particularthe 2500, 1200 and 700 seriesColorSpot and ColorWashes.For the Daltrey tour, both theLEDWash 600s and the 600 Spotswere arranged on two overheadtrusses with some on the floor,where their compact size enabledthem to be fitted unobtrusivelyaround the backline. They wereused to light the band and thestage in a colourful show, whichwas also completely smoke free,a fact that brought its own challengesin making the lighting workeffectively.Farmer thinks the gobos in the600 Spots are good, and in particularlikes the dots, the waterycones and the rotating propellerblade.The LEDWashes he had to runat about 15 per cent most of thetime to keep general light levelsdown so that projections onto anupstage screen could be optimised,and he commented that they dim“very nicely and smoothly”. Healso used some of the Spot 600sfor floor projections.Overall the Robes proved veryreliable on the tour, and Farmerreckons the efficiency and designof the LEDWashes will ensurethat they have a good‘shelf life’. He also usedthe LEDWash’s 3200CTO setting quite frequently,especially in thedownstate fixtures, andthe strobe function onboth types of fixtures togreat effect.Zig Zag’s technicians onthe tour were Andrew‘Bob’ Laidlaw and TomLoynes, both of whomsay it’s always a joy towork with Robes as theyhardly ever need anyattention apart frombeing hung and fired up!PassesAccess Pass &Design acquiresTour Supply INKAccess Pass & Design(APD), leadingmanufacturer ofevent credentials andmarketing collateral,announces theacquisition of Tour SupplyINK, the print division ofTour Supply Inc.Access Pass & Design acquiredthe print division of Tour Supplyas of September 13th, 2011.They will take over the productionof event credentials andmarketing collateral for previousTour Supply INK customers andwill expand their product line toinclude custom drum heads, concertbackdrops and scrims.Additionally, APD will enter intoa strategic partnership with TourSupply Inc, an industry leader inmusic and touring supplies andaccessories.Tour Supply and Access Pass &Design are excited to collaboratewithin the new partnership, thediscussions for which began atthe Tour Link 2011 conference inJanuary. The companies see theircooperation as an integral way tobetter serve their often overlappingcustomer base and expandtheir marketing reach.Access Pass & Design will beginimmediate order fulfillment of keycustom printed items like drumheads, concert backdrops andequipment scrims. Access Pass &Design has acquired the existingart files, necessary equipment, andkey personnel involved in TourSupply INK necessary to handlethe expanded product line andworkload. The two companieswill cross-promote their productlines to their new and existingclients, and their collaboration willbe apparent on both companies’websites, within all retail locations,and via other print and electronicforms of media.Access Pass & Design1-800-4PASSESaccesspasses.comTour Supply, Inc800-933-TOUR6 mobile production monthly

Pyro/FXPyrotek SpecialEffects & AvengedSevenfold bringThe “Uproar Festival”to Lifedeck of the set to be able to shootflames horizontally behind each“claw” of the skull wings. Eightdragon heads were also used, 4placed behind the skull bat, andfour spread out in front of the setusing transitions of asymmetricalchases to ignite the stage andexhilarate the audience.Avenged Sevenfold isknown as one of themost successful rockbands in the world. Incollaboration with PyrotekSpecial Effects, the 2011North American tour hasset out to showcase thepure intensity and passionthey bring to their fansaround the world.The stage is set with their signaturewinged skull bat as the backdrop,and right off the top of the showthe high intensity “Nightmare”reminds fans of the absolute powerthat Avenged Sevenfold bringsto the stage. Discussions betweenLorenzo Cornacchia (Presidentand Designer for Pyrotek SpecialEffects) Bob Ross (OperationsDirector, Pyrotek Las Vegas)and production manager JordanCoppersmith included decisionson pyrotechnic effects, placement,and ideas envisioned by the band.Flame cues were a priority as theyaccent the band and add excitementto the overall show design.Framed by ten firescreen modulesand eight blue flame projectors,the atmosphere of immense darknessand power emerges during“Buried Alive”. Eight GatlingGuns were added to the upperFlame units were placed in theskull’s eyes, while low lying fogwas incorporated into the set. 20’and 35’ Silver Mines were usedduring “Unholy Confessions” andstadium flashes were utilized tocreate a loud sound blast effect toenergize the crowd and emphasizevarious Avenged cues. Fireballswere also used and with the helpof Elia Popov, custom madeflame bars were integrated intothe skull bat to shoot flames eightfeet in height. To Cornacchia,detail is key “Each of the pyrotechniceffects were designed tosimulate the emotion that AvengedSevenfold shows are known for.You will see a number of fireballs,dragons, and custom propane elementsthat are designed to be cuedin sync with specific riffs or accentsof the music”.Pyrotechnicians Keith Maxwell,Clint Ranse and Rory Jonescoordinate to bring the designs toreality in every show and work toaccomplish the effects of specificcues. While it is not an easy task,the tremendous success of thetour proves to be a driving forcefor Pyrotek Special Effects to continuouslypush the boundaries ofdesign and creation for each artistthat the company is privileged towork with.SoundDiGiCo SD7 mixesGlee Live! In Concert!Glee’s transition to thestage has proved as hugea hit as the televisionshow itself. Following asold-out US tour in 2010,the show crossed theAtlantic for an equallysuccessful tour of the UK,including multiple soldout dates at both Londonand Dublin’s The O2 andManchester’s MEN Arenathis summer.Clair Global provided the show’ssound requirements, supplyingtwo SD7s, one for the cast andone for the band, with JH Audioproviding its JH 16 IEMs andfounder Jerry Harvey performingmonitor duties on the cast console.“On last year’s Glee tour I wasusing an analogue desk,” saysHarvey. “But this show has somany cues happening at the sametime it was almost impossible topull it off on an analogue desk, soI made the decision to go digitaland move to an SD7.“I have 96 inputs and 14 stereoIEM mixes for the actors and Ifind the snapshot function is veryuser friendly and a huge benefit tomixing a show like Glee.”Harvey had already used theSD7s for the US leg and says theyworked flawlessly.“The audio is amazing,” he states.“I have always been an analoguemixer and this is the first digitaldesk that doesn’t sound like agiant MP3 player.“The customer service has alsobeen amazing. I am a HUGE fanof this console. The flexibility andthe exceptional audio quality is soimpressive I will always have anSD7 on my spec going forward.”mobile production monthly 7

sound of the audience’s applauseat the end of each performance, Iwould say that this event blendeda perfect harmony of balletbeauty whilst bringing this art tothe masses.”ctlondon.comprojection screen, using BarcoSLM R12 projectors.For the production, there are threeSony HDC-1500 Multi-FormatHD cameras and four Sony HDbox cameras on pan & tilt remotecontrolled heads. The cameras areswitched using a RossVision console. An AvidDeko 3000 managesall the graphics for theproduction. Each city’sshows are recorded on aseries of Apple Xservecomputers runningApple Final Cut Pro.Pete’s Big TV crewincludes Video DirectorJody Lane, EIC PaulWhitfield, EIC2 BrianBrinckman, Projection/Hippotizer Tech RobVillalobos, Projection/Camera Brent Jones,Camera OperatorsErin Lynch and CybelleForbes, Video TechChris Hill and DekoOperator MichelleLippett.A panel of judges - sitting at theside of the stage - preside overeach city’s competition, while topnames in gospel music entertainas well.The biggest challenge in thelighting design is accommodatinga wide variety of gospel choirs onstage, Dalton said, as each choirdiffers in numbers of singers andcolors of robes.“We build the basic show cuelist, which remains the samethroughout the tour, then updateit based on the actual choirs’ sizesand robe colors for each city,” hesaid. “As with most competitionshows we try to keep the lightinglooks within certain boundaries tohelp level the competition.”Nook Schoenfeld programmed theshow and acts as lighting director.Dalton and Pete’s Big TVs haveworked together on How Sweetthe Sound since the concept forthe competition began. “Pete’s BigTV is a great crew,” Dalton said.“They’re easy to work with andwith great results!”Pete’s Big TVs Tourswith How Sweet theSoundPete’s Big TVs is for the fourthyear providing video support for“How Sweet The Sound,” anannual competition traveling thecountry seeking the best churchchoir in America.Guy Benjamin of Pete’s Big TVshandled their role in the touringproduction, which was designedby LD Michael Dalton and setdesigner Jeremy Thom.“Video projection is alarge part of the show,”said LD Michael Dalton.Four Barco FLM 20kprojectors focus on themain front projectionscenic screen, whichmeasures 30x80 feet.The projectors are fedby two Green HippoHD Hippotizer mediaservers. The Hippotizersblend and shape imagesto conform to the bigcurvature in the scenicscreen.Live I-mag is rearprojectedon screens onboth sides of the mainmobile production monthly 9

FestivalsSummerStageSummerStageRockin' The Parksby Hank Bordowitz“We’re constantly trying to keep up with the newest and latest,which is kind of difficult these days,” Rachel Black, GeneralManager of New York City’s Central Park SummerStage facilitycomments. “It changes every half year.”This is a neattrick at for-profittheaters, buteven slicker forSummerStage, asemi-autonomous,not-for-profitvenue. Located justoff the 72 nd Streetentrance to CentralPark, SummerStageproduces over 30free concerts andtheatrical eventsover the course offour months (June through September) at itsCentral Park venue. However, their parentorganization, The City Parks Foundation,also produce shows nearly six nights a weekat other New York City parks, often two thesame night.“SummerStage is New York City’s largest freeperforming arts festival,” says James Burke,Director of Arts and Cultural Programsfor the Foundation. “We present 110 freeprograms in Central Park and 17 otherparks around the city. We work with theMetropolitan Opera’s series of concerts in allfive boroughs as well.”Toward this end, they have the free standingvenue and several more … ephemeral stagesthey work from. For example, HurricaneIrene caused the postponement of one of thehighlights of the season, the Charlie ParkerJazz Festival, held at Tompkin Square Park inLower Manhattan’s East Village and MarcusGarvey Park, uptown Harlem. The ‘do-over’festival had to be condensedfrom three shows to one, whichwas presented, appropriately, inHarlem at Garvey Park at another of theParks Commission’s permanent venues, theRichard Rogers Amphitheater. “It’s probablythe nicest amphitheater in the City ParksSystem,” Burke says.The Foundation also owns a portable stagethat plays in the parks not so graced with preexistingconcert spaces. “Most of the time wehaul in our brand new Stage-Line 260 stage,”says Burke. “That takes about 4-6 hours toset up.”While Burke says that in the not-to-distantfuture, their next “capital improvement project”will be lighting that they own. Until thattime, they plan to continue to use Rainbowand One Dream for their lighting, Rainbowfor the “portable” concerts and One Dreamfor the theatre programs. CarrollMusic does the backline.For the more permanent SummerStage facilityin Central Park, “We do a lighting rentalevery year from B&L,” says Black. “As Jamesmentioned, through a couple of differentyears’ worth of capital purchases, we’ve gottena PM5V for monitor mixes that we purchaseda few years ago from Yamaha. We’vegot the brand new Meyer line array that wegot last year. We upgraded those speakersthrough a capital purchase as well. We havea new front of house board that we got thisyear, and a new Meyer wireless package.”Black continues.“The front of house board is anew Digidesign,” says Burke. “It’s a lot ofwork raising that money. Some of it comesfrom our operating budget, but we got adonation from the City Council a few yearsago.”“Every year we try to improve our audiocapability and what we’re able to do here,”says Black. “Not just audio. We try to improvelittle bits of everything from year to year. Acouple of years ago we got a new concessionaire,who really got into the food business,upped the ante on the food and beverage, sothat’s been our activity for the past few years,continually making our audience experiencebetter. That includes the new line array, thenew front of house board, and going digitalat front of house.”On any given day, between May and October,some 200 people will be working at the venue.“We’re not employing all of them,” Blacksays. “Some of them are volunteers. Wehave a very rich, very active volunteer pool,so we can have anywhere between 20 and40 volunteers a day. In terms of staff, if youinclude the vendors, there’s about 200. Weusually have about eight stage hands. We area union house. Our minimum call here iseight stagehands and two engineers. Thenwe have about five or six technical staff: Stagemanager, production director, technical director,and me. We try and not let the roadcrews outnumber us. When the big acts comein, they have from four to eight of their ownpeople.”10 mobile production monthly

Black is contemplating the seasonaltear-down. By November,usually before the snow flies inNew York City, the area whereSummerStage was will bemarked only in proximity to theCentral Park Field House, a historicbuilding used to store theentire facility and its travelingcompanion.“We’ve done it before,” says Black. “We callthese ‘managed events.’ It’s a nice way for theFestival to make some revenue so we can keepit free. The SummerStage Festival pays its artistsand pays its crew. There’s a lot of moneygoing out and not a lot coming in. “A lot ofpeople want to present in the park,” she adds.“We’re a private, non-profit organization, soit’s pretty easy to produce through us.”“This is the only turnkey venue in CentralPark,” adds James Burke.With the audience space pretty muchremoved, as we sit on the backstage platformwhere the offices and dressing rooms are,“We can store all of this stuff,which is why we can purchasethings for ourselves,” saysBlack. “It’s a giant puzzle eachOctober to get everything in.We also own all of our stage decks and ourrails and we pull all that out. We also pull outall of the lumber that we use for the VIP areaand this deck.“We stack all the lumber in first, then the stagedecks go in, then the truss gets lowered andthe truss and the roof get taken apart and allof that gets stored as well. It takes a long timeto go in. It takes about two weeks to go out.It took the month of April to get ready andbuild the site. We’re producing rental events inMay, so some of those events can’t have certainelements on the site yet. It’s a very staggeredbuild, which is why it takes a while. We havecontinued on 34“There are a lot of restrictions here, becausewe are in one of the most famous parks in theworld,” adds Burke. “We work very closelywith our partners in the Conservancy andthe Parks Department to make sure patronsare safe outside the venue. We always escortin anything that comes here. You can’t justhave random trucks driving in. We have littlebuggies, we bring them in, bring them up theback. We load them in in a very specific way,load them out in a very specific way. Thereare a lot of timing issues.”While the Parks Department’s restrictionslimit some of the things they can do (hencethe earlier remark about semi-autonomy),their status as an independent not-for profitoffers opportunities as well. As we sit downto talk, the season has just ended, and it’s thetail end of September. The amphitheateris gone and a huge platform and tent, takingadvantage of the power capabilities and locationof the SummerStage facility, occupies thespace. One of the world’s biggest producersof premium pasta products has set up thisvenue for a place to showcase their product, incollaboration with several other food orientedproducts. All told, the pavilion they have createdwill be open for four days. They offer acafeteria style kitchen doling out cooked pastasamples, a competition area with six identicalkitchens, a kids area where they play withtheir food, turning ziti into necklaces and thelike, an espresso bar, and an area where awide variety of appliances are demonstrated,then raffled off (I won a blender). Competitively priced, 7KW to 100KW commercial-grade generatorspowered by a rugged Kubota or Cummins diesel engine. RVIA-approved models and multiple options available. Enclosed units feature convenient single side service and removabledoors for easy access to maintenance parts. Experienced engineering and support staff to help guide you.Generator service in the Atlanta and Charlotte areas. From simple repairs to complete replacements on most makes andmodels, with convenient interstate access. Mobile service available!Atlanta Area: 3412 Florence Circle ❙ Powder Springs, GA 30127Charlotte Area: 348 Bryant Boulevard ❙ Rock Hill, SC 29732© 2011, EPSmobile production monthly 11

TransportationMCI Names Rush Truck Centeras new Nashville authorizedservice providerc a l l 615.220.7777visit rushtruck.com/NashvilleOffering MCI coach operators access to top-qualitymaintenance services on the roads they travel, MCIhas expanded its network of authorized servicecenters to include Rush Truck Center Nashville.Rush Truck Center Nashville,is conveniently located offInterstate 24 in Smyrna, Tenn.Housed in a former Expocenter, the 250,000-square-footfacility features 35 service baysand12 body shop stations. Ateam of 38 highly skilled ASEcertifiedtechnicians employstate-of the art diagnostictechnology to take care of preventativemaintenance, repairsand more.“MCI is pleased to have Rush TruckNashville as our new service partner,” saidDan Besserer, MCI executive director ofcustomer solutions. “Rush Truck has asuperior reputation throughout the South.Its Nashville location is stellar; nothing elsecompares to it. Operators of MCI coacheswill find that Rush Truck Center Nashvilleshares MCI’s high quality standards. Afull-service shop, Rush offers repair, parts,roadside assistance and maintenance servicesranging from components on MCImodels including CAT enginesand Allison transmissions.”“We have experience withMCI coaches and conversionmodels,” said Trey Golden,regional manager of RushTruck Centers. “We have anextensive parts inventory andplenty of service bays. I thinkMCI customers will be veryexcited to know that they cantake advantage of our expertise and capabilities.”Rush Truck Center Nashville is open 8:00a.m. to midnight, Monday through Friday,and 8:00 a.m. to 3:00 p.m. on Saturday. 12 mobile production monthly

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Styx/yesAnother Small ShowYes opened up when it played Atlanta’sVerizon Wireless Amphitheatre at EncorePark, and while the lighting system (designedby Jeff Ravitz) was of little effect that early inthe day, the video system was just the opposite.Although both acts used the same lightingand sound systems, there were markeddifferences in the way they employed the rigs.Styx took the view that to putting I-MAGon the screen would have been a distractionand ran B-roll content heavily loaded withvideo clips and photographs as well as somecomputer generated imagery throughout theshow.Earlier this year Styx and Yes shared the bill for a shortrun through the US. Admittedly it wasn’t the biggesttour on the road. However, when it played on the samestage as much larger productions have appeared, the sevenor eight truck difference was not missed by audiences thatcame out to the show. Because it was a twin bill, the bandsalternated opening the show depending on the market.Conversely, Yes stuck more closely to themore ethereal, almost sci-fi artwork the thathas depicted the band since its inception.There was another difference. The tour videosystem (provided by Pete’s Big TV’s) didn’thave a camera package. However, Yes’ VideoOperator Andy Clark found a way aroundthat by mounting POV cameras on the micstands of the band members. Yes ProductionManager Joe Cuomo then slightly distortedthe images acquired by the cameras andperiodically laid them over the CG content.Comeau discussed other differences betweenthe two video presentations. “Whereas Styx’s14 mobile production monthly

with a Strong DeliveryBy Michael A. Beckvideo is very carefully laid out and choreographedto the music, Andy has a fair ideaabout what he wants to do with every songand he plays it on-the-fly throughout theshow.”Whereas with most tours, the openingact gets to work on whatever stage area isleft after its gear is layered in front of theheadliner, such was not the case with thistour. Because both acts had equal standingand took turns opening the show, everythingwas on wheels and rolled out ofthe way in as few pieces as possible, thusgiving both acts the full stage regardless ofwhether they were opening or closing theshow. Yes’ stage gear primarily consisted ofa drum riser, a keyboard riser and rollingcases that held bass and guitar rigs. Thisisn’t anything new.However, because Yes rarely has an openingact when touring with an “eveningwith” format, the crew had to get used tohaving to get off the stage in 7½ minutes.Comeau explained the process of adaptingto the new format. “We normally don’ttravel with an opening act or share a bill.So we had to prepare all of our back lineand virtually everything else we do to getoff the stage in the amount of time theStyx guys were calling for. For example;Styx uses in-ear monitors and we use floorwedges. But we got it done.”All that being said, Comeau was quick toplace credit where credit is due. “Like Isaid, we’re used to doing ‘an evening with’and the Styx crew are used to playing doubleand triple bill shows because they’vebeen doing it for years. The made it a loteasier for us get adapt to this way of touring.Those people were really great.”Styx’s configuration had roughly the samecomponents although it was more cleanlypackaged as a solid set. The center pieceof the set was the drum riser, which wasfaced out with frosted back lit panels. Thedrum riser was flanked on either side unitsthat looked like amp walls. The amps inthe set pieces looked real but were actuallyfilled with LED panel. Each amp unit alsohad a stair case on either side that led upto a walkway. There was also a circularkeyboard riser that played downstage right.Designed by Styx Production ManagerKeith Marks, it was based upon the needsof a previous tour. “I designed this setwith amp walls, along with some help,about four years ago for a tour we did withPeter Frampton. I actually drew it up on anapkin in Tommy’s room. Then a coupleyears ago, we gutted the amps and fillthem with LED. Later that same year wewere opening for Def Leppard and we hadmobile production monthly 15

Styx crewThe lighting design did a great job ofcontinuing the color pallet off on thewall down onto the stage. The absenceof I-MAG on the wall help to maintainthe band members as the true focalpoint and Grey’s timing of the show wasoutstanding.One very interesting aspect of the showwas the fact that audio gear was providedby two different companies. AudioAnalyst provided stacks and racks whileClair Global provided consoles and processinggear. This was a largely politicaldecision based upon the fact that bothbands have long standing relationshipsthe respective companies. While Styxwas the primary production contractor,Yes felt the need to continue doing businesswith Clair, with whom they haveworked since the very beginning of theircareer.1: Brian Wong - Stage Manager, Keith Marks- Production Manager 2: Greg Mandelke -Guitar Tech, Jimmy Johnson - Guitar Tech,Paul Carrizzo - Drum Tech, Jeff Heintz KeysTech 3: Gary Loizzo - FOH Audio, Evan McElhinney- Monitor Engineer 4: Yogi Badeau– Yes Lighting Director, Libby Gray LightingDirector, Stan Green - Lighting Tech, BradWagg - Lighting Tech, Jason “Tex” Bowman- Lighting Tech 5. Audio Techs: Rick Procopio,Chris “Cookie” Hoff, Spenser Ellisto make it all fit around their set. Theonly real alteration we had to make wasto cut the drum riser into two parts.”Once Yes was out of the way, the Styxset came out and was locked in place insix, count them...six minutes.Because Yes played in daylight, it’s difficultto talk about their lighting execution.However, such was not the case withStyx. As was said earlier, the lightingdesign was put forth by Jeff Ravitz and itwas operated by Lighting Director LibbyGrey who told us, “If you like the wayit looks over all you can thank Jeff. Ifyou like the way it looks tonight you canthank me, I guess.”The Styx show was mixed by the band’soriginal studio engineer, Gary Loizzowhich would account for the incrediblyloyal sound that came off the stage.This show was a perfect example thatless can truly be more. There was noone in the audience who walked awayunhappy because there wasn’t ten moretrucks of gear on the stage. That is notto denigrate the shows that are touringwith more elaborate productions. It simplypoint out that is can be done withless. As Libby Grey so aptly said, “I maynot be lighting the Rolling Stones, butwhat I do means just as much.” 1: Yogi Badeau - LD, Wade Ellis - ProductionAssistant, Mike Clarke - KeyboardTech, John Walsh - Drum Tech, RichardDavis- Bass Tech, Dean Mattson - MonitorEngineer, Andy Clark - Video Director,Andre Cholmondeley - Assistant Guitar Tech,Joe Comeau - Production Manager, DaveWilkerson - FOH Engineer2: Jason Daniello – Moog Artist RelationsManager, Mike Clarke - Keyboard TechThe design was a fairly basic array ofthree cross stage truss lines, a stick oftruss running up and down stage on bothsides and assorted floor mounted instruments.Because both acts had full accessto the entire rig for their shows, therewere no conventional fixtures in the systemgiven which maximized the creativecapabilities of the LD’s.16 mobile production monthlyYes crew

Styx CrewProduction Manager - Keith MarksGuitar Tech - Jimmy JohnsonGuitar Tech - Greg MandelkeDrum Tech - Paul CarrizzoKeys Tech - Jeff HeintzStage Manager - Brian WongLighting Director - Libby GrayLighting Designer/Show Director - JeffRavitzLighting Techs: Stan Green, Brad Wagg,Jason BowmanMonitor Engineer - Evan McElhinneyFOH Audio - Gary LoizzoFOH Audio - Chris CarltonAudio Techs: Chris “Cookie” Hoff, RickProcopio, Spenser EllisVideo Tech - Rob VillalobosMerchandise - Casey ComptonTour Manager - George PackerAsst Tour Manager - Jason PowellProduction Assistant - Steve MacauleyBand Bus Driver - Tom GregorioCrew Bus Driver - Sterling HowardBand Truck Driver - Jerry PriceYes crewProduction assistant - Wade EllisProduction Manager - Joe ComeauLD - Yogi BadeauFOH engineer - Dave WilkersonMonitor engineer - Dean MattsonKeyboard tech - Mike ClarkeDrum tech - John WalshBass tech - Richard DavisAssistant guitar tech - Andre CholmondeleyVideo director - Andy ClarkVendorsAudio:Racks and Stacks - Audio AnalystBoards - Clair BrosLighting - EpicVideo - Pete’s Big TV’sTrucking: UpstagingTravel - Lorraine OrrangeBusses: Taylor ToursArtist Management:Alliance ArtistsBooking Agent: CAACYRO FLOGOS TM SNOWTMTMWe specialize in Evaporative Snow , Flogos , foam,cryo & fog effects, bubbles and scent technology.Visit our website to see our entire product line!mobile production monthly 17

Mfg.“Put Your Hands Up and Back Away From the Guitar”TheGibsonFiascoby Bill EVANSOverzealous lawenforcement?Unintended consequenceof well-meaningenvironmental legislation?Or maybe political payback?Depends on who you ask, but however youlook at it, if you are touring outside the U.S.and are carrying ANY instruments of thewooden variety, the recent raid on the Gibsoncustom shop in Memphis, TN is somethingyou probably want to take notice of.A review for those who havenot been paying attention.On August 24, federal agentswith the U.S. Fish and WildlifeService shut down the guitarmaker’s custom shop in thehome of the Delta Blues toserve search warrants in anongoing investigation thatstarted with a similar raid ofthe Nashville custom shop in2009 in which six guitars wereseized.Depending on who is tellingthe story, it was a routineservice of search warrants(says the Fish and Wildlife service) or acombination of a SWAT operation and astormtrooper raid (says Gibson CEO HenryJuszkiewicz). The issue is tropical hardwoodsand especiallyit appears,ebony imported fromMadagascar.To get to the roots of the dispute, you have togo back more than a century to 1900 whena law called the Lacey Act was passed thatwas designed to target illegal trade in plantsand wildlife. The law was the first federalstatute aimed at protecting wildlife and wasreally meant to stop poaching of game andtransporting it across state lines. It has beenamended several times, most recently in2008. Again, depends on who you talk to. Itwas either an attempt to rein in illegal loggingor a way to protect influential parties inthe U.S. logging industryfrom foreign competition.Bottom line is thatthe law was expandedto make it a U.S. crime to import, or evenbe in possession of, wood that was harvestedoutside of the laws of the country fromwhich it was harvested. As an example, ona document put out by the U.S. governmentexplaining the law, if company X in onecountry sells wood flooring to a U.S. companyand company X bought said wood fromcompany Y in a third country and the woodwas harvested illegally, or even if documentationthat the wood has harvested legallycannot be presented, then the U.S.,flooringcompany may be subject to forfeiture of thewood and maybe some heavy fines. This iseven if they were told by company X that thewood was legal.In the case of Gibson, the government isn’tsaying but Juskiewics went on an internetinterview program with uber-conservativeAlex Jones and claimed that Gibson wasbeing selectively persecuted because of hisown right-leaning political views and backingof Republican politicians.Whatever. But he alsoclaimed that the issue wasa law that prohibits theexport of Madagascarebony in pieces more the1/8th of an inch thickthat has not been workedon my local labor. Inother words, the fretboard“blanks” used on manyGibson guitars. Accordingto Juskiewics, the Fish andWildlife people told himthat he would have a better shot at staying incompliance with the law if he had all Gibsoninstruments made overseas.So why are we talking about this? One word.Guitars. Actually the law applies to anywooden object from furniture to gun stocksbut for now let’s talk about guitars.A few days after the Memphis raid, wewere with Kevin Madigan who is out mixingCrosby and Nash. During line check18 mobile production monthly

VenuesDallas Winspear Opera Houseis Alive with the Sound of Renkus-HeinzMore than a quartercentury in the making,Dallas’ AT&T PerformingArts Center is a cultural nexusin the city’s revitalized downtownarts district. The area ishome to a number of differententertainment venues, from theDallas Symphony’s MeyersonAuditorium and the intimateWyly Theatre to the WinspearOpera House and the open-airAnnette Strauss Square, makingit a busy hub of activity on anygiven evening.The 2,200-seat Margot and Bill WinspearOpera House, created by architect Foster& Partners, with theater design by TheaterProjects Consultants and acoustician SoundSpace Design, is home to the Dallas Opera,and an anchor in the new arts district.The Winspear’s sound system, designedby Martin Van Dijk of Toronto-basedEngineering Harmonics, is centered aroundleft/right arrays of 12 Renkus-HeinzSTLA/9R RHAON empowered loudspeakersthat retract into the ceiling when not inuse. Low frequency reinforcement is providedby four Renkus-Heinz DR18-1 subwooferson rolling dollies.Renkus-Heinz PowerNet PN-Series loudspeakersprovide additional coverage, witheight PN82/9 systems for over-balcony fill,and two PN151/4 systems flown from thevenue’s soaring 60-ft high ceiling. A separatespeech system was also installed, utilizing 10Iconyx IC8-R and two IC16-R systems.Just across the way from the Winspear,Annette Strauss Square is an outdoor performancevenue that hosts concerts, theatricaland dance performances and festivals,with open-air seating for up to 2,400. AsJeff Stephens, technical supervisor for theWinspear and Strauss Square explains, theSquare’s relatively close proximity, not onlyto the other venues but also to the surroundingluxury high-rise condominiums that arehome to a growing number of urban professionals,created a few challenges in systemdesign.20 mobile production monthly

Shred yourguitar, notyour hands!“Particularly with an outdoor venue in apopulated area, it’s important to be goodneighbors,” Stephens observes. “We workedwith the city to make sure the sound couldbe steered and focused toward the seating,and away from the other buildings as muchas possible. Having a rock concert right nextto a symphony hall and an opera housecould be problematic, and having it outsidepeople’s homes would be even more so.”The outdoor venue’s system, also designedby Martin Van Dijk, employs left and rightarrays of ten STLA/9R boxes per side,along with six DR18-2 dual 18-inch subwoofersfor low frequency power. A ringof SG42 two-way powered speakers actsas a delay fill. “We use the delay fill so wedon’t have to drive the main PA quite ashard, which helps to keep the energy off theMeyerson,” says Stephens.By all accounts, the PAC’s opening seasonhas been an unmitigated success. “Thusfar we’ve had several concerts and a dancefestival, and the Square is becoming a verypopular movie screening venue as well,”Stephens reports.“We worked closely with the Opera ona performance of Don Giovanni at theWinspear, which was broadcast at AnnetteStrauss Square as an Opera Under the Starsevent. It was a huge success, and we got lotsof compliments on how great and clear thesound was. It was particularly gratifying,being outdoors and right next to a highway.The system performed beyond our expectations.”xperfectHand CAre FORguitar players... studio, live,& touring !www.guitar-hands.commobile production monthly 21

Jands Vista v2Lights Up Adele for 2011 International TourLighting designer andlong-time Jands Vistaadvocate, Rob Sinclairspecified a Vista S1 consolewith two M1 wings to runlighting for Grammy AwardwinningUK singer-songwriterAdele’s recent 2011 internationaltour.The system ran Jands’ next generationVista v2 software, and on some sectionsof the tour operating duties were taken onby John Barker while Rob fulfilled otherdesign commitments on his busy schedule- including tours by Peter Gabriel andGoldfrapp also utilising Vista systems.Rob’s classy, innovative design for Adelewas sculpted using entirely white light,a bold aesthetic move which has wonconsiderable acclaim. None of the movinglights were seen to move, there wasminimal flashing, and was a real case ofsubtlety and suggestion to augment Adele’spowerful performance and natural stagepresence.There was a distinctive back wall of 96cone-shaped lampshades each illuminatedfrom behind with a 60 Watt incandescenthousehold light bulb - all individuallydimmed. These had been dipped in aspecial rubber solution treatment to makethem break-resistant.The Matrix facilities on the Vista S1 - oneof the many tools added with the Vista v2upgrade - made mapping and programmingthis unique arrangement of lightsextremely easy.The lighting rig echoed the simplicityof the show’s concept. Rigged acrossthree overhead trusses were seven RobeColorSpot 2500E AT moving lights and 20ETC Source Four profiles, and on the deckwere 16 Martin Professional MAC 2KWashes, all supplied by Neg Earth Lights..Commenting on the Vista v2 software, Robsays, “I really like it. It is very solid anda marked step forward from V1. It feelsalmost as if the console directly connectsmy brain to the lights”.In addition to Rob’s Vista systems beingused on Adele, Pulp, Peter Gabriel andGoldfrapp tours throughout 2011, one hasalso just gone out on Will Young’s latestUK tour, operated by Jason Hynde.The next generation Vista v2 software wasdesigned from the ground up to allow alllevels of user get the most from whatevermix of technology they have available,whether dimmers, moving lights, LED, ormedia. Available in a wide range of hardwareVista v2 offers both the simplicity towork fast, with the power to control thefinest details, so everyone can focus on creatinga great looking show rather than onprogramming a desk.Jands Europe’s Neil Vann commented,“Rob’s designs are always interesting,fantastic looking and very precise. Vistav2 offers the perfect balance to get thedetailed control he demands, with thesimplicity to get the most from the tighttimeframes that today’s productions haveto work to. If you haven’t taken a look atVista v2 for yourself yet, take the chanceto see just how much you could be gettingfrom your time......”22 mobile production monthly

MCI’sUltimateSmooth RideDesignworksUSA-styledTOUR BUSNow featuring 450 HP 2010 EPA CompliantCummins ISM, Wide-Ride Suspension,Electronic Stability Control, additional12 or 24 Volt Alternator, and many other enhancements madewith input from our customers.To schedule a test drive today, call 1-866-MCICOACH.J4500 conversion shellshown with 2 optional slide-outs.www.mcicoach.com© 2011 Motor Coach Industries, Inc. All rights reserved.mobile production monthly 23

The Showthat LooksMuch BiggerLive ThanIt Does OnPaperBy Michael A. BeckThe design theory of Journey’s Eclipse tour approachedthe issue of production esthetics in a way thatallowed for maximum attention to both form and function.Because it would go into three continents, theshow had to be designed in a way to make for smoothintercontinental transitions while keeping thedesign intact. Production & Tour Manager Rob Kernexplained the mindset, “The overall design reallydeveloped out of the knowledge that we’d be goinginto some festivals and also that we’d be goinginto South America. We knew we wanted to maintainthe integrity of the design throughout the variousformats we’d be playing in and we did it.”Kern admits he was more actively involved in designinglogistical aspects of the show than the artistic content, “Myinvolvement was in the packaging of the tour with an eyetoward moving it in and out of the three continents we weretraveling to. We went in a couple different directions andfinally came up with this concept and presented it to theband and they liked it. Then it was really about creatingvisual content of the show and Deuce directed all of that.”Lighting Designer/Lighting Director - Kevin “Deuce”Christopher put forth a lighting design was a pretty basicsystem structurally because the plan was to dry hire lightingin South America while maintaining the integrity of thelighting design wherever the show went. The design had tohave enough impact to carry the visual aspect of the showbecause for logistical reasons the video system didn’t makethe South American run.With the exception of six VL3000 Spots mounted onupstage set carts and four floor mounted VL3500 Wash’sthe majority of the lighting rig consisted of five truss linesflown at descending trim heights with the farthest upstagebeing 12 feet above the stage. The trusses were loaded withthe aforementioned Vari*Lite instruments as well as fourAtomic 3000 strobes and four 4 light Mole fixtures. Thefarthest downstage trusses each had five wracks of ACL’s.These five trusses were all used for backlight. There wasa downstage truss that offered a downstage wash via sixVL3500 Wash units. The downstage also contained tenLekos intended for lighting fixed positions on the stage.Deuce admits budget was a big part of the layout of thedesign, “The idea behind stepping the lighting system downlike that was to take what we had within the budget andspread it out as far as we could and give it a huge dramaticlook.”24 mobile production monthly

Journeymobile production monthly 25

Band PartyNeal Schon Guitarist/VocalistJonathan Cain Pianist/VocalistRoss Valory Bassist/VocalistDeen Castronovo Drummer/VocalistArnel Pineda VocalistManager - John BaruckRoad Manager - Sarah ShoupTour Accountant - Kenny SilvaPersonal Security - Bobby DymarcikBand Assistant - Pasquale VartoloPersonal Assistant - Ulysses Session(c) Michael A. BeckAs a result of that design decision, the lighting and [flown]video rigs became set pieces.The video portion of the show was a bit different thanwhat we’re used to seeing. Because the band members areopposed to anything that might distract the audience fromwhat’s actually happening on stage there was no I-MAGcomponent in the video array of the show. The flown videopresentation was spread out across the upstage stack oftruss in three lines of eight panels of PRG Nocturne’s newlyreleased V-18 product. Each panel measured 36.5” x 36.5”.The video system and content were designed by the team ofMark Devlin Visual Designs and Jonathan Beswick..Going into the design stage of the tour, Beswick and Devlinwere also deep in design mode for Def Leppard’s Mirror BallTour. As was the case with that tour, the initial plan was togo with PRG Nocturne’s 28 mil V-Lite product for the 24flown panels, or windows as they were referred to in ourconversation with Deuce. However, when they all lookedat the resolution of the V-Lite, it became apparent that thetighter resolution of V-18 was called for. Unfortunately, thatmeant the content had to be re-rendered in a remarkablyshort amount of time. This called for marathon sessionsthat involved Mark Devlin sleeping next to his renderingcomputers for a week.The content played across the entire array as one largeimage. This broke up the overall image so that it was stillvisually relevant to the show but not so dominant as todistract the eye from the far more relevant live action onthe stage. The design was logistically useful because whenthe system had to be squeezed to get into smaller venues soit would be done without distorting the content the panelscould be brought closer in together in order to make thetight fit without damaging the image. The 24 flown panelswere not the extent of the video presentation. The upstageline was comprised of six set carts that were each loadedwith V-9 Classic (PRG Nocturne’s original nine mil product.)While this was great look, it posed an interesting challenge,“I’m not used to having audio concerns with my designs,but this was different. The band has always played withtheir amps out on stage. When we put the video pieces outthere we eliminated the band’s backline.” While the bandwere the ones who came up with the idea, it took a fairamount of cooperation between Deuce, the backline crewand the audio team to make it work. “We have a great crewout here and we all work together really well,” said Deuce.In the end, the solution was to leave enough space betweenthe carts to allow the cabinets to push through the opening.The guys in the band also have closed in-ear monitors aswell.One element that Deuce had never designed with waslasers. In the beginning of the tour the laser system consistedof four eight watt green lasers. “They lasted about fourshows into the European run before [Journey guitarist NealSchon] put the kibosh on that,” recalled Strictly FX LaserTech Duane Nowak. “He said the green look was like everyother show that had generic green lasers.” That strippedNowak’s responsibility back to firing confetti/streamersevery night. Then about four days prior to going out on theAmerican leg of the tour, two 20 watt Arctos units and two16 watt Kvant RGBY lasers were added to the show.Because the Kvant lasers have a safety feature that shutsthem down if the temperature of the unit goes above orbelow established parameters, they were placed on the deckthus averting the need for Nowak – the only technician onhis “team” – to climb into the rig to do a reset during theshow. The Arctos units were place in the rig instead. Thefull spectrum (including white) Arctos lasers added a farmore dynamic visual effect to the show.There is a growing trend of allowing support acts to bringadditional production elements on the tour in an effortto give the audience members more bang for their buck.Such was the case with Foreigner who was the second acton this bill following Night Ranger. The aforementionedACL racks in the lighting rig were actually there by requestof Foreigner Lighting Designer Cosmo Wilson. Since theywere there, Deuce put them to work in his show as well.According to Wilson, a deal was cut giving Foreigner fullaccess to the entire lighting rig. However, understanding therealities of the industry mandating the headlining act havethe biggest look, Wilson expressed to Deuce his tacit acceptancethat there was no way he would actually get the entirerig. “I’ve been in his shoes before,” said Wilson. “I knew Iwasn’t going to get the whole rig. They allowed me to hanga few extra lights and it all worked out.” He went on toexplain how the ACL’s came into the picture, “When we’retouring on our own I use my ACL bump buttons quite a bitand in the beginning of this tour in England I kept goingto those bumps and it was bumming me out. So I went tolighting crew chief Kevin Cassidy and talked to him aboutadding some ACL’S and he said it was doable. I then took itto Deuce and he asked me what I wanted. When I told himwhat I was looking for he said, ‘well get it done.’”Understanding that the bill for the lighting addition was onForeigner’s tab, Wilson spoke very highly of the cooperativespirit of Journey’s crew as did Foreigner ProductionManager Simon Sidi, “Any restraints we had on our show26 mobile production monthly

JourneyVendorsMANAGEMENTFront Line ManagementBUSINESS MANAGEMENTJorstad Inc.Booking AgencyWilliam Morris AgencyINSURANCE AGENCYHeffernan Insurance BrokersLEGAL REPRESENTATIONDonahue, Gallagher, et. al.PUBLICISTScoop MarketingSOUND COMPANYClair Brothers AudioLIGHTINGEpic LightingVIDEONocturneVideo ServerControl Freak SystemsVideo ContentMark Devlin Visual Design & JonathanBeswickTRUCKINGChris S. OlsonFREIGHT / SHIPPING - USEntertainment CargoFREIGHT / SHIPPING - UKEntertainment Cargo WorldStaging /Set ConstructionAll Access StagingSpecial FXStrictly FXTRAVEL AGENTAltourBUSESSenators CoachesRADIOSRoad RadiosTouring SuppliesBananas at LargeCREDENTIALS / PASSESAccess PassesVIP Ticket PackagesI Love All AccessPRODUCTION MANAGEMENTRob KernITINERARIESKRIEGMARKMERCHANDISINGSpecialty LineMusic Today - Internet StoreMERCHANDISING - TOURF.E.A. Merchandisingmobile production monthly 27

Strictly FXon Tour with JourneyFew bands have an iconic sound likeJourney. To add visual excitementto that classic sound, the rockersturned to Strictly FX for lasers,confetti – and even beach balls, toemphasize the upbeat mood and bringthe show out to the crowd.Journey’s powerful sound providesall the inspiration for the FX, saysStrictly FX lead technician DuaneNowak, who designed the confetti cuesand is on the road with the band.“Everything we do adds to that momentthat already exists in the song. It’squite an honor to be able to put ourspin on the Journey songs.”Especially for encore, “Don’t StopBelievin’,” Nowak pulls out all thestops, cueing the lasers while coatingthe audience and stage in a snowstormof white confetti and streamers. “It’squite a lot of effects for one guy,”Nowak says. “But it’s very exciting,”he says, adding that the band has beenquite collaborative regarding placementand timing of the FX.On this leg of the tour, StrictlyFX brought four high-powered colorlasers, six double-streamer cannons,four of the company’s patented ConfettiCobrastm, four base hazers and eightlarge beach balls. Strictly FX DesignerDoug Cenko and Art Director DavidKennedy designed all the laser looksfor the show, working closely withLD Kevin Christopher and ProductionManager Rob Kern.Strictly FX started with the band atrehearsals in England in June. The lastdates on this leg of the tour wrappedup Oct. 21, with the band currently intalks to extend to Australia, Asia andpossibly back to Europe in early 2012.were not political, they werepractical and logistical. Weonly had a certain amount oftime and space within whichto work. Journey wanted us tohave as good a show as possible.In addition to the extra lightingsupport Foreigner was allowedfor its portion of the tour, therewas also a 30’x8’ video wall thatflew just downstage of a drapesituated between the second andthird trusses (from the upstage).Despite the fact that PRGNocturne was the videovender for Journey, the companyForeigner went with forits video gear was Chaos VisualProductions. “I’ve known Nickand John for 30 years,” Sidiexplained. “I’m quite happy towork with them. They’ve gotthe right gear for us at the rightprice.”In addition to inserting an extralayer of production value to themiddle of the bill, Foreignerbeefed up the show opener byallowing Night Ranger the useof the video wall for its productiongraphics.One hallmark of this productionfrom top to bottom was a pervasivesense of cooperation. “We have a great deal to thankRob Kern and his crew for.” said Sidi, “It’s a lot more thanjust hanging a truss for us or allowing us to add some lights.Those guys really helped us immensely at every step of theway. Rob Kern and Scott and Deuce and all his staff werejust phenomenal.”This show traveled in only seven trucks and not one personat the show we covered seemed bothered by the lack ofanother 20 trucks of gear. That’s not to denigrate largershows whose budget allows for more extensive productionelements. Instead it points up the fact that budget is lessconsequential when creative talents such as Rob Kern,Deuce, FOH Engineer Orris Henry (who was running thesexiest console on the road), Stage Manager Scott Nordvold,Duane Nowak and many others have a hand on how thebudget is applied. In fact the show had a look to it thatbelied in huge measure the size of the budget and logisticalrestraints the production functioned within.There is another point that must be made about this crew.When Rob Kern saw the crew shots he was a bit concernedthat our reading public my get the idea that his crew mightlack humor. Nothing could be farther from the truth. Whilewe will not go into examples of how humor manifesteditself during our visit, we ask that you take our word for thefact that Kern and his team don’t mind showing that theylove their jobs.Just ask them. 28 mobile production monthly

Journey(c) Michael A. Beckmobile production monthly 29

Crew PartyProduction/Tour Manager - Rob KernProduction Coordinator - Wendy CattoStage Manager - Scott NordvoldWardrobe/Dressing Room Coordinator -Jennifer BlanchardFOH Engineer - Orris HenryMonitor Engineer - Joshua SwartLighting Designer/Director - Kevin “Deuce”ChristopherGuitar Technician - Adam DayGuitar /Bass Tech - Jeff “Jeffro” HannahKeyboard Technician -Brent “Elvis” JeffersDrum Technician - Steve ToomeyVenue Security - Richie SurrencyMonitor Technician - Jason BennettAudio Technician - Corey HarrisSystem Technician - David “Quiggers” QuigleyLighting Crew Chief - Kevin CassidyLighting Crew: Gary Boldenweck, Tyler Munson,Oscar CanalesImag Video Director - Matthew HoweVideo Technician - Angelo BartolomeSpecial Fx Tech - Duane NowakMerchandiser - Steve LewisILAA Representative - Jeff AllenBus Driver (Band Bus) - Vance VignaBus Driver (Arnel’s Bus) - Gary LumpkinBus Driver (Band Bus) - Danny CrumBus Driver (Neal’s Bus) Melvin MarkhamCrew Bus Drivers: Joe Mooney, Charles Strausbaugh,Nathaniel JamesLead Truck Driver - Mark BeasleyTruck Drivers: Roland Jung, John Pyle, Bob Reddy,Glenn Hoffman, John FredrickJourney crew2110730 mobile production monthly

34568912111: Duane Nowak - Special Fx Tech 2: Orris Henry at his “hippest audio console on the road.” 3: Matthew Howe, Video Tech -I-MAG Video Director 4: Richie Surrency - Venue Security, Bobby Dymarcik - Personal Security 5: Kenny Silva - Tour Accountant6: Sarah Shoup - Road Manager, Rob Kern - Production/Tour Manager 7: Gary Lumpkin Bus - Bus Driver (Arnel’s Bus), MelvinMarkham - Bus Driver (Neal’s Bus), Vance Vigna - Bus Driver (Band Bus), Danny Crum - Bus Driver (Band Bus) 8: Truck Drivers:Mark Beasley, Glenn Hoffman, Roland Jung, Bob Reddy, John Pyle, John Fredrick 9: Rob Kern - Production/Tour Manager,Production Coordinator - Wendy Catto, Jennifer Blanchard - Wardrobe/Dressing Room Coordinator, Scott Nordvold - Stage Manager10: Jeff “Jeffro” Hannah - Guitar /Bass Tech, Brent “Elvis” Jeffers - Keyboard Technician, Steve Toomey - Drum Technician11: Kevin “Deuce” Christopher - Lighting Director, Tyler Munson Lighting Tech, Oscar Canales - Lighting Tech, Kevin Cassidy- Lighting Crew Chief, Gary Boldenweck - Lighting Tech 12: Corey Harris - Audio Technician, David “Quiggers” Quigley - SystemTechnician, Orris Henry - FOH Engineer, Joshua Swart - Monitor Engineer, Jason Bennett - Monitor Technicianmobile production monthly 31

foreigner crew1Tracey WiedemanVIP Managernight ranger crew32 mobile production monthly

Foreigner Crew-1: Front Row: Cosmo Wilson -Lighting Designer, John Pelligrinelli - Stage Manager/ Backline, Tracey Wiedeman - VIP Manager, KevinMcgrath - Keyboard Technician, Cris Lepurage- Guitar Technician, Lorenzo Banda - MonitorEngineer, Steve Lutz – Merchandising, Simon Sidi- Production Manager Back Row: Kevin Mcguire- Video Technician, Ed Fitzwater - Set / Keyboards -Joshua Williams - Guitar Technician, Mike Lowe- FOH Engineerforeigner crewTour Manager - Robin IrvineAssistant Tour Manager - James TaylorProduction Manager - Simon SidiLighting Designer - Cosmo WilsonStage Manager / Backline - John PelligrinelliMonitor Engineer - Lorenzo BandaFOH Engineer - Mike LoweGuitar Technician - Cris LepurageGuitar Technician - Joshua WilliamsSet / Keyboards - Ed FitzwaterKeyboard Technician - Kevin McgrathVideo Technician - Kevin McguireVIP Manager - Tracey WiedemanMerchandising - Steve LutzBand Bus Driver - Dan GillisCrew Bus Driver - Thom BlauveltTruck Driver - Selwyn Championnight ranger crewTodd Confessore - Tour ManagerBrian J. Simon - Production Manager/FOH EngineerMark Newman - Backline TechnicianGlenn Kaufman - Backline TechnicianMark Newman - Backline Technician, ToddConfessore - Tour Manager, Glenn Kaufman -Backline Technician, Brian J. Simon - ProductionManager/FOH Engineermobile production monthly 33

SummerStage continued from 11a workout in the park we do every year inMay, we have a couple of cultural eventsthat we do every year in May, and a coupleof concerts, and we try and build out thelast bit of SummerStage in the beginningof June. Then in the end of September westart our strike.”“In late October,” Burke adds, “theSummer Stage venue is just an empty dirtfield,” Burke muses.And when a blanket of snow covers CentralPark in the winter, nobody knows it wasthere, until the next spring. More than 560 attorneys and advisorsin offices across the southeastern U.S.and Washington, D.C., practicing abroad spectrum of business law includingtransactions, contracts, litigation,transportation and entertainment.For more information, contact:Steven J. Eisen615.726.5718sjeisen@bakerdonelson.comJames A. DeLanis615.726.5613jdelanis@bakerdonelson.comThe Rules of Professional Conduct of the various states where our offices are located require the following language: THIS IS AN ADVERTISEMENT. Ben Adams is Chairman and CEO of Baker Donelsonand is located in our Memphis office, 165 Madison Avenue, Suite 2000, Memphis, TN 38103. Phone 901.526.2000. No representation is made that the quality of the legal services to be performed isgreater than the quality of legal services performed by other lawyers. FREE BACKGROUND INFORMATION AVAILABLE UPON REQUEST. © 2010 Baker, Donelson, Bearman, Caldwell & Berkowitz, PCSPECIAL EFFECTS • CRYOGENICS • FOGPYROTECHNICS • WATER F/X • CONFETTIFor more information call 631.657.5491or visit www.peifx.com34 mobile production monthly

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615.244.5551OUR TRUCK DISPLAY OFFERS ONE OF THE HIGHEST FORTY METER RESOLUTION SCREEN IN NORTH AMERICA. IT WASFIRST DEPLOYED AT THE BEIJING OLYMPICS FOR THE PANASONIC CORPORATION. SINCE RETURNING TO THE US IT HASWORKED AT THE PRESIDENTIAL INAUGURATION AND FESTIVAL & MARKETING FOR LIVE NATION.A Truly Mobile MEGA Display:Fitted with a larger-than-life appox.40 square meters LED screen,this option allows you to set up yourpicture where you need it,when you need it.The LED-wall is engaged by the flip of aswitch (lever control).Deploys in 1 hour.High-quality LED screen:The LED tiles that come in this flexibletotal display solution arehigh brightness 12mm.27'-8"15'-1"A PRESIDENTIAL SCREENFlexible and independent:The screen has 360 degree rotation, allowing youoptimal presentation to adjust the display to faceyour audience no matter what the setting.31'-3"Switcher camera packages available inthe control room.60MIN. SETUPSPECIFICATIONS16'-1 1/2"The system is completely self-contained so noexternal power supply is needed. A diesel-fueledgenerator provides 100 hours of continuous, quietoperation (at half load) and power outputs viastandard CEE 32A plugs.Screen (WxH): 27’-8” x 15’-1”PixelResolutionTilesFoot print at venue(LxWxH)24R/12Vmm, 1R2G1B22 width x 12 high Total 264 Tiles45’ x 32’ x 31’Trailer (LxWxH) 45’ x 8’ x 13’-5”WeightDiesel generatorElectrical panelShore powerRequirements704hor x 384vert38,000 LBSOn board, 100 KW , 120/208 VAC,60 Hz, 347 AMP400 AMP200Amp, 5wire, 3 phase, camlockPower consumption15kW/h @ 40Amp/leg/phasei-magvideo.comYOUR IMAGE, REALIZED

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ADVERTISER’S IndexAAA Communications.........................19Accurate Staging.................................40Acropolis Aviation................................13Baker Donelson...................................34Beat The Street...................................IBCBoulvard Pro........................................23Celebrity Jet Charters..........................23Clay Paky...............................................2Coach Quarters...................................13Cube Passes.........................................7D&S Custom Coach............................33Engine Power Source (EPS).................11Epic Production Technologies...............1Global Special FX................................17Guitar Hands........................................21I-MAG Video........................................38LMG Touring........................................40Loews Vanderbilt Hotel........................36Master Brian Gates............................33MD Live................................................17Michael A. Beck Photography..............19Motor Coach Industries (MCI).............23NIC Freight..........................................13OSA - On Stage Audio............................5Precise Corporate Staging..................21Prevost..........................................BCPyro Engineering.................................34RIC Corporation..................................33RN Entertainment................................13Road Radios........................................30Roadhouse Coach.................................4Stage Call.............................................37Taylor Tours.........................................34Tour Logistics......................................33X-Streamers.com..............................9Xpeditious Unlimited..........................IFC40 mobile production monthly

PROVEN PERFORMER.With so many people counting on you for their comfort and safety on the road, the choice in motorcoaches isclear. Prevost is the leader in the entertainment industry for good reason. We offer unmatched design, handling,performance, and reliability that make everyone’s job easier. Nobody goes the extra mile like we do.Prevost Service Locator Mobile AppAvailable for iPhone and AndroidFor more informationSteve Zeigler, Director of Business Development800.837.0895 or visit www.prevostcar.comThe ultimate class.