Hannah Montana - Mobile Production Pro

Contents2$on the coverHannah montana 24Firehouse producitons 30LSI/Saco lighting 8the wiggles 203^2 publisher’s notes4 soundD.A.S. Audio6 Maryland Sound InternationalRings in 20088 videoLSI/SacoA Place to Come & Dream10 lightingHuman League’s2007 Festive Tour12 MatisyahuHits the Road with 31114 “Apocalyptica” NowFinish Cellists Tour as “Worlds Colide”18 transportationChristmas for Kids 200732 venuesNokia Live Theatre36 Independence SeaportMuseum’s Concert Hall38 InternationalCBeebies Live!UK Arena Tour is a “Wonderland”44 Advertiser’s Index2)BREAKOUTS&event PHOTOS20 The WigglesTour Guide Journal 1

Publisher’s NotescAs we close the year,with our final issue of Tour Guide Journal, we are alsoclosing a chapter in the evolution of our magazine.This will be the last issue of the Journal with this title.Next month, you will receive Mobile ProductionMonthly. The new title will be more than just aname change. The new title reflects the changes inour industry, recognizing the increasing focus of productioncompanies on special events and corporateproduction.We are not relinquishing our position as the premier publication covering thelive touring production industry. Rather, we are expanding our coverage to thebusiness and professionals who work in all of these areas.There are other reasons for this name change. We are launching the new massivesearchable database, MobileProductionPro.com. In a few weeks, thepublicity and announcements, you will soon be receiving, are all part of a marketingpush to rebrand our titles. Tour Guide’s name will still be present on thecovers of all of our publications.Included in this transition will be the Tour Link Conference. We plan to movethe event in 2009 to the east, most likely a location in Florida, and then alternateEast and West Coast with the event. The event itself will also be significantlyupgraded to include manufacturer’s workshops and a look to producingsome regional events.All in all, this has been a most significant year for us, but 2008 promises to bea benchmark in our ability to generate more accurate, timely coverage of ourindustry and to deliver better tools for the industry. We hope you support thesechanges and appreciate our efforts to better serve you.larry smithtour guide journal volume 10 issue 12HOME OFFICE STAFFph: 615.256.7006 • f: 615.256.7004email: info@tourguidemag.comtourguidemag.com750 Cowan St • Nashville, TN • USA 37207Owner: Larry Smithemail: larrysmith@tourguidemag.comPublisher In Chief: Michael Waddellemail: michaelwaddell@tourguidemag.comEditor Guy: Chris Cogswellemail: chriscogswell@tourguidemag.comChief Writer: Michael A. Beckemail: grockit@comast.netContributing Writer: Mike Whartonemail: wharton8317@bellsouth.netArt Director/Graphic Designer: Kristin Searcyemail: kristin.tourguide@gmail.comIT Support: Michael Stalcupemail: michaelstalcup@tourguidemag.comTOUR LINK BOARD OF ADVISORSBenny Collins, Jim Digby, Nick Gold, Jon Nevins, Stuart Ross,Bobby Schneider, Jay Sendyk, Seth Sheck, Nicki Goldstein,Karyln Hawke, Kim Okeson, Chuck Randalltourlinkconference.comADVERTISING SALES OFFICEJessi Wallace • Nashvilleemail: jessiwallace@tourguidemag.comph: 615.256.7006 • f: 615.256.7004Erika Hagy • Nashvilleemail: erikahagy@tourguidemag.comph: 615.256.7006 • f: 615.256.7004PUBLISHED BYAnvil Productions, LLCph: 615.256.7006 • f: 615.256.7004Email: info@tourguidemag.comSammy BonesGuitar Tech615.429.5775Sammy@SammyBones.com©2007 Anvil Productions, LLC. Nothing may be reproduced without written permission of thepublisher. The publisher reserves the right to edit any and all editorial content included in thispublication. The publisher has made every attempt to insure accuracy and consistency of thispublication. However, some listings & information may be incomplete due to a lack of informationprovided by various companies listed. Please send any inquiries to the attention of thepublisher. 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 journalin the form of editorials, listings or advertising.Member of:Toured with...Rob Thomas, Lonestar,David Lee Roth, Cinderella,Lynyrd Skynyrd, Dave Navarro,Poison, Third Day, Paul Gilbertand more2 Tour Guide Journal

SoundcMONTGOMERY GENTRY TAKES TO THE STAGEAero system provides stellar sound quality amidst challenging conditionsProviding live sound reinforcement for nationalartists is both exciting and extremely challengingwork, and it tends to lean more towardthe challenging side when the venue is a bigmetal building. Such was the case for DB Soundand Lighting Systems of Florida when they werecontracted to provide sound for a November 30,2007 Montgomery Gentry concert at the TurnerAgri-Civic Center (also known as “Turner Center”)in Arcadia, FL. With its all metal construction andlow ceiling, this environment has the potential tobe an acoustic nightmare, but the event was aresounding success, thanks to the know-how ofthe DB Sound crew and the sound system, whichconsisted entirely of products from the D.A.S.Audio Aero catalog.image: The Montgomery Gentry stage setup in preparation for the concert.Sony recording artist MontgomeryGentry—an American country musicduo comprised of Eddie Montgomeryand Troy Gentry—are on a roll. Theywere recently nominated for the 50thAnnual GRAMMY® Awards in thecategory of Best Performance by a Duoor Group with Vocals for their hit song“Lucky Man”. With their current levelof popularity, their performance at the3,500-seat Turner Center was highlyanticipated and, as a result, was a nearsell-out event.According to Don Brown, Owner andSystems Designer for DB Sound, a leadingFlorida sound and lighting companythat services both the live event andinstallation markets throughout theEastern United States, “Turner Centeris a venue that I like to refer to as being‘acoustically challenged’ because of itsmetal construction and the relatively low30-foot ceiling. These conditions make itextremely difficult to control reflectionsand the low ceiling limits our ability to flythe loudspeaker systems at the height wewould like to. As a result, it can be toughto achieve even distribution throughoutthe back rows. It’s quite a challenge toget proper focus on the top rear seats ofthe facility while maintaining the integrityof sound and consistent SPL levelsdown on the floor.”To address these issues, Brown and hiscrew installed a setup consisting of sixteenD.A.S. Audio Aero 38A line arrayelements (a self-powered, 3-way mediumformat line array), flown 8 modules perside, with low frequency support comingfrom twelve D.A.S. Audio Aero182A self-powered subwoofers that wereground stacked across the front of thestage. Brown’s decision to deploy theD.A.S. Audio system stemmed from hisexposure to the equipment during LDI2007 in Orlando, FL.4 Tour Guide Journal

“We first heard the D.A.S. Aero systemduring LDI,” notes Brown. “TheET Live shootout consisted of severalstage setups hosted by a number ofleading manufacturers, and each demonstrationprovided show attendees theopportunity to evaluate the systems andask questions. We were tremendouslyimpressed with the performance of theD.A.S. rig. The D.A.S. demo involveda pretty challenging mix, and we reallyliked what we heard— particularly inthe low-mid range. The sound was big,fat, and warm…it was positively huge.The demo started out at a moderatelevel, and then they gradually kickedthe volume up. All the while, the integrityof the system’s sound quality wasconsistent. If anything, it got progressivelybetter. The D.A.S. Audio system’sperformance is what prompted us to gowith D.A.S. for the Montgomery Gentryevent.”Brown reports that, as a new customer,he was equally impressed with D.A.S.Audio’s technical support services.“D.A.S. sent a crew out to assist withthis project,” said Brown. “We usedEASE Focus to help with the systemconfiguration, which nailed the setupalmost perfectly. The only tweaking wedid was bump the chain motor a coupleof clicks to gain another 6-8 inches. Thetop rows were well covered and the floorwasn’t the least bit overpowered. Thefirst time I barked into the microphone,I knew this was an impressive system.There was no coloring and almost notweaking required. With minimal adjustments,this system sounded every bit asgood as what we originally heard duringthe LDI show.”When queried about those aspects ofthe D.A.S. Audio system that mostimpressed him, Brown offered the followingassessment. “In addition to theirimpeccable sound quality,” says Brown,“I’ve been equally impressed with theirbuild quality. The rigging hardwaremakes the system easy to fly, the selfco n t i n u e d o n page 43Tour Guide Journal 5

SoundcTimes Square Rings in 2008And Maryland Sound International Helps Pull It OffWhen it comes to daunting audio gigs, few can matchthe challenges presented by the annual New Year’sEve Show in New York City’s Times Square. With a liveaudience in the hundreds of thousands and a TV audiencein the tens of millions, this is one of those gigs where thewhole world really is watching. Long-time audio providerMaryland Sound International (MSI) pulls off the seeminglyimpossible every year, but the most recent show wasmade better and easier with the addition of Studer andSoundcraft digital mixing technology.Two performance stages,each with a 96-inputStuder Stagebox, and abroadcast stage with 10inputs were all fed to anoptical splitter, whichfed both a SoundcraftVi6 running monitorsfor each performancestage and a Studer Vista5 SR in the main “mixcontainer.” Accordingto MSI Owner BobGoldstein, “The StuderVista 5 SR is the consolewe have been waiting for. In thesmallest of footprints it provides a‘no limits’ solution to this project.We can bring three stages worthof inputs, truck feeds and playbackinto one console that is easy touse, sounds great and provides allof the outputs required, with totalredundancy. With a ton of Vistaconsoles in the broadcast field andthe extensive abuse we have putthem through we know reliability isa non-issue. That is really importantfor this gig.”>>Among the challenges of the TimesSquare production is the need foreven coverage throughout an areathat runs seven city blocks. “Bothanalog and digital outputs, a totalof 20 matrix output busses weresent via Optocore to an army ofCrown amps which fed JBL VerTecContact MSI:c a l l >> 800.76.SOUNDg o to >> marylandsound.comline arrays installed throughout thesquare from 42nd to 48th streets,”said Shane Morris, principal engineerfor Soundcraft and StuderUSA. “And each of those matrixoutputs had its own EQ and dynamicscontrol.”The system included more than amile of optical cable with more than20 signal “drop” points. Additionaloutputs were supplied for both ananalog broadcast split and Pro Toolsrecording of the entire event.Adding to the obvious technicalchallenges was the fact that thisshow takes place in one of thebusiest commercial corridors in theworld and the powers that be can’texactly shut things down so thesound company can come in andset up.“We have provided sound for someof the most difficult productionsin the world – Pink Floyd on theGrand Canal in Venice and at thePalace in Versailles, Super Bowlhalftime shows, inaugurations andWashington DC Mall events, andlarge-scale sports events, concerttours and festivals – yet these allpale in comparison to Times SquareNew Years Eve,” says Goldstein.“Not only can it be really cold, itis extremely crowded on the streetsand sidewalks except for 2 a.m.until 7a.m. Furthermore, we arenot permitted to make noise at anytime other than show time. In other6 Tour Guide Journal

words, we have to be able to set upthe system in a very short period oftime, turn it on, and have it workflawlessly the first time, all with themost complex set of circumstancesimaginable. But we love this gig! Itforces us to stretch the definition offlawless performance.”MSI took delivery of a pair ofVista 5 SR consoles in Octoberwith an eye toward using them forthe Times Square event, which thecompany has been doing for longerthan anyone cares to remember.Goldstein adds: “The first timeI saw the Studer Vista 5, I wasblown away. It has features that noother console has and its ease ofuse is hard to beat. An engineer nolonger has to worry about layers orpages. This console answers a lotof the gripes engineers have withdigital consoles. For a show likeTimes Square New Year’s Eve, itprovides a control surface that isstraightforward, small and easy forour engineer to navigate throughthree stages, nine or ten artists, plusvarious feeds. The footprint we haveto work with is really minimal andgoing to the Vista 5 SR this yearfreed up some real estate that justwasn’t available in years past. So thebottom line is that the Studer desk’ssize, speed of navigation, reliability,redundancy, audio quality and ‘nolimits’ makes it the best console forthe job available today.”In the end, the audio setup becameinvisible as far as the crowd andTV audience were concerned, asit should on a gig like this. “Onewould have to say that the wholesix-hour show went off without aglitch, hitch, lockup, pop or crack,”notes Morris. “It was a perfectapplication of the Studer andSoundcraft mixer group technologyand MSI ingenuity!”Known as the touring sound companyof choice for top artists likeJosh Groban, Neil Diamond, PinkFloyd, Hall & Oates, Disturbed andmany others, MSI has also notablyprovided sound reinforcement forthe most recent Presidential Inaugurations(2005 and 2001) and thededication of the National WWIIMemorial in Washington D.C. cTour Guide Journal 7

videocA Place to Come and Dreamby michael a. beckA long time ago, in a galaxy far,far away, there was an electricalpower station that wanteda large wall upon which it couldtrack its system status. Theproject found its way to thedoor of Saco and thus wasborn the first LED video wall.In 2005 Nine Inch Nails hit the roadwith a video display the likes of whichhad not been seen before. It was calledV9…hi-definition LED video. Theworld of live video presentation wouldquite simply never be the same. Thecompany that gave us this product is aMontreal based group called LSI/Saco(traded on NASDAQ under the symbolLYTS).Three years after the introduction of V9,the industry still has not embraced thetechnology. Possibly, the problem may bethat Saco, as a company, is still a relativelyunknown entity within our business.While the V9 isn’t the only contributionLSI/Saco has made to the industry, itis the most important. It is a hi-density(thus high resolution) LED video productthat is able to present amazingly clearand powerful video images. However,there is more to V9 than just the highresoutput. It is super light-weight andtherefore, can be more liberally added toproduction design.Because of the high density of thepixels, the product can be made intocustom shapes with tighter tolerances. Agood example of this was the last PaulMcCartney tour, which had three ringsof V9 that flew in and out of sight infront of the upstage projection wall. Theblack border around the outside of therings was much more narrow than theywould have been had they been builtwith LED previously available on themarket.But wait, there more! Where the typicalpower output for an outdoor video wallLED screens that have been running non-stop for 11 years!is 5,000 NITS (the measuring unit formetering LED output) and the standardindoor output is 2,000 NTIS, V9 is capableof putting out 9,000!The scan rate of V9 is as impressiveas every other aspect of the product.Scanning at a rate of 60 to as many as90 frames per second, it has a delay ratefrom processor to output of one framewhere every other manufacturer in themarket is hitting 2.5 at best.That becomes an important issue whenyou see a 22 x 40 foot V9 wall like theone used on the Bon Jovi “Have a NiceDay” tour of 2006. This was the firsttour to ever go out that was HD from thecamera to the wall. The image was trulybreathtaking. But it wasn’t backgroundimage. It was IMAG. A one framelatency rate was bloody important whenyou were showing an image that was thatclean and large of John Bon Jovi singingor a close up of Richie Sambora’s handson a lead chop.As was said earlier, V9 is only one ofthe products put forth by LSI/Saco. Youjust can’t imagine the wild things that aregoing on in this place. And with all ofthe technology that this company comesup with, the greatest product provided toits clients, the greatest is individual focus.This company is the ultimate customshop. These people don’t have a bunchof gear laying around hoping that someonewill come in with a need for it, nordo they try to shoe horn a customer intowhat they have on the shelf.For example, they have the ability tometer the existing video wall that acustomer might have and calibrate thevalues of their product to match whatthe customer already has. Through this,they are able to establish a computerprofile of that customer. That profile canbe accessed the next time that particularclient comes back.The result is that it all looks the same.Even two different batches of LED’s areused because the in-house technologycreated by LSI/Saco is able to create amathematical match and hard code thatmatch into the modules. When they areready to upgrade to a better look, a newprofile is establishedand filedfor later reference.Johnathan Labbeeof SacoLSI/SacoMarketing ChiefJonathan Labbeeexplained,“Many other8 Tour Guide Journal

companies will adjust their bit rate tomake a match and thus compromisingtheir image quality to try to make amatch. We are actually able to adjustcolor, gamma, and even voltage on ourproduct without affecting the bit rate.”Labbee added, “Our most importantmandate is to never compromise ourimage quality.”TONIGHT, YOUR BAND WILLMOVE 34,982 SCREAMING FANS.LSI/Saco also has its own fabricationcapability. While it does have fabricationand manufacturing sub-contractors,the ability to crank out prototypeson the spur of the moment is critical.As creative as the people at LSI/Sacoare, their greatest attitude is theirhumility about it all. Labbee explained,“Here at Saco you will see a lot ofunfinished stuff; the beginning of ideas.We’re not the people who are goingto finish the ideas. The designers willdo that. If I show the designer what Iwould do with a piece of technologythat we might have been playing with,I would kind of kill it for them. Welike that designers can come here anddream.”Labbee has the standard practice oftelling potential clients LSI/Saco willbe happy to go and see the client, butthe client has to come and see Saco.One visit to this place is all it will taketo snap the strongest leash on the dogsof design.Don’t let this story give the falseimpression that this company is onlyabout video walls. There is no way toaccurately describe what goes on inthis palace of unbridled grey matter.The spectacular displays that the goodfolks at Nocturne have been putting upfor the likes of Nine Inch Nails, PaulMcCartney, Bon Jovi, Madonna, JoshGroban, Spice Girls and so many morejust scratch the surface of the magicthat goes on there.The truly sad part writing this story isthat the most impressive part is the partthat can’t be written.Alright, maybe we’ll tell you just thisone thing…TOMORROW,WE’LL MOVE YOU.We’re Powersource Transportation, Inc., one of the nation’s leading power-onlytrucking companies. Wherever you’re going and whatever you have, we’ve gotthe power to move you, your trailers, and your tour to the next venue—whetherit’s in the next county or in the next state.1-800-438-8789www.powersourcetrans.comYou didn’t’ really think we’d do thatdid you? You’re going to have to waitlike everyone else. But we promise,you’re going to love it! cB002100100_Powersource_Roadbook_DecTour Guide Journal 9

lightingcHuman League’s 2007 Festive TourA Beautiful Merging of Light & VideoHSL supplied 7 Robe Digital Spots,a set of custom built DMX winches,full lighting, rigging and crew fordesigner Rob Sinclair’s innovativelook for the Human League’s 2007Festive tour.Unlike the current trend for bandsfrom the 1980s and 90s reforming, theHuman League have never stopped performing.They still have a solid fan base,attract new devotees of classic 1980selectronica and are actively producingnew work.It’s Sinclair’s 4 th tour with the band.Each year he ensures that the productionvalues are maximised for the availablebudget and that the band have a freshstyle to the stage.This year lead singer Philip Oakey tooka real interest in the visuals. Decidingto perform their seminal 1980 “Dare”album in order in its entirety, he discussedwith Sinclair his desire for a realperiod feel from the visuals and a “rectangular”basis to the stage.Sinclair, a great exponent of merginglighting and video into one coherent visualvehicle, immediately saw a myriad ofpossibilities for using projection to helpestablish the retro narrative and providesome literal references back to the1980s. A great example was the cheekymorphing of Thatcher Years politicians’faces for “Sound of The Crowd”. Healso used the projection as an expressiveform in its own right.Sinclair created and edited all the show’svideo content himself. Approximately50% of this is completely new, and therest was a combination of re-edited andarchival material form the Dare era. Allof it is stored in the DigitalSpot heads.He’s used RobeDigitalSpotsDT5000s before, and wasone of the first people to tour themlast year when HSL made theirinitial investment. They now haveover 20 units, from which Sinclairgrabbed 7 for this tour. “They arebright, reliable, rugged units thatcope well with the touring. Whatmore could you want?”He made considerable use of theDigitalSpot’s Picture Mergingfacilities, enabling one large imageto appear across all screens or anynumber of smaller ones.The 7 portrait format screens arehung on the special strap winchesthat HSL had designed and built forthe tour. They needed a smooth andrepeatable system for raising them upand down, which could be controlledfrom the lighting desk to match theDigiSpot cues.Three screens are flown on the midtruss, with four on the rear truss, allassuming a variety of different formationsthroughout the set. Having themsplit across two trusses adds a great perceptionof depth to the stage, and eachscreen is fed by a DigitalSpot riggedimmediately in front of it.For moving lights, HSL supplied 18Robe ColorSpot 700E ATs – 9 hungabove with 9 on the floor, plus 6Vari*Lite 1000s on the front truss and 6Atomic strobes.Other fixtures included PulsarChromaStrips dotted around the bandand Showtec Sunstrips placed along theback of the risers. These each contain10 individually controllable MR16 lampsand HSL had these powder coated inwhite to match the backline.Sinclair controls all the fixtures from aJands Vista console with one of the newM1 wings.c o n t i n u e d o n page 4310 Tour Guide Journal

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lightingcQ & AcMatisyahu Hits the Road with 311Opening Act Gets Headline Level ProductionClay Paky’s Alpha Spot HPE1200 fixtures gave a headlinerlook to Matisyahu’s recentroad trip where the Hasidicreggae rapper appeared in supportof Omaha alternative rockerband 311.Known for blending traditional Jewishthemes with reggae and rock sounds,Matisyahu is most recognizable for beinga member of Chabad-Lubavitch,a chassidic group of Judaism. As such,Matisyahu stands out for wearing thetraditional clothing of Hasidic Jewsand not performing on the Sabbath.Since 2004, he has released two studioalbums as well as one livealbum, two remix CDs andone DVD featuring a liveconcert, and a number ofinterviews. Through his shortcareer, Matisyahu has teamedup with some of the biggestnames in reggae productionincluding Bill Laswell and duoSly & Robbie. Since his debut,Matisyahu has received positivereviews from both rock and reggaeoutlets. Most recently, he wasnamed “Top Reggae Artist” of2006 by Billboard.Recently, Omaha alt-rockers 311 announcedan extensive 42-date U.S.tour, tapping Matisyahu to open mostdates. The team began touring togetherin St. Louis on June 28. Fromthere, the tandem weaves throughoutthe country, logging numerous performancesin the Southwestern, Midwestern,and Northeastern regions of theU.S. Finally, the tour will wrap withassorted West Coast dates in cities suchas San Diego, Santa Barbara, and SaltLake City.“A lighting packageis generally the last thing a supportband is allowed to bring along,” noteslighting director and operator, MarcJanowitz. “But for Matisyahu it wasan edict. Still, the support slot posedsome interesting challenges: We weretrying to bring headline-level productionto a stage that belonged to somebodyelse. And there was very littletime to set up; we had to get lightingon fast and off fast.”Janowitz retained some of 311’s overheadrig but supplemented itwith a “pretty sizeable package”consisting of 10 strobeson the floor and eight ClayPaky Alpha Spot HPE1200s on four rolling sidetowers which illuminatedthe band on the floor andon risers upstage.“We needed a fixturethat could cut throughdiminishing daylightwhich is often the challengeof playing outdoorvenues in summer,” he notes. “I alsoneeded something diverse. I’ve employedthe Alpha Spots before so Iknew they could be used for a profilesharp-edge texture then simply byadding the integral frost it would be awash-like fixture. Its linear zoom, from10-40 degrees, would also provide agood spread with a short throw.”12 Tour Guide Journal

The Alpha Spot’s “great strobe feature”was a bonus. “I’m a big fan ofthat,” Janowitz reports. “The Alphasproved to be a really great tool inthe toolbox for both subtle and overwhelmingeffects.”He was also looking for fixtures thatwould be “durable and roadworthy.”Janowitz had limited staff for the rollon and off, and they once had to dealwith a tower, which fell over a cableramp and hit the ground. “The nextday at power up, we had no problemswith the lights whatsoever,” he recalls.“I wasn’t worried anyway. knowinghow good Clay Paky’s customer servicewas. I knew it wouldn’t be a problemeither way.”The Alpha Spot HPE 1200’s extraordinaryluminosity is guaranteed by thecombination of a top-performanceoptical unit and a 1200w dischargelamp. The unit’s large, newly-designedeffects section, color mixing CMY, linearzoom 10-40 degrees, and extremelyquiet operation delivers maximumresults in professional lighting. cTour Guide Journal 13

lightingc“Apocalyptica” nowFinnish Cellists Tour As “Worlds Collide”What started with four cellistsplaying Metallicasongs has become one ofFinnland’s most successfulbands - Apocalyptica. Themusicians thrill their audienceseverywhere they performwith their exceptionallypowerful songs - mostly theirown material spiced withadditional guest artists. Rightnow, Apocalyptica are ontheir “Worlds Collide” WorldTour. Lighting designer MikkiKunttu created a show toremember, using an grandMAfull-size and one MA NSP forcontrolling the lighting.“The grandMA was really theonly choice”, said Kunttu, “Weactually tried another consolebut life got seriously difficult. Itis the intelligent and advancedprogramming that you find on agrandMA that makes this showrock as hard as it does. ThegrandMA offers possibilities thatno other console on the marketcan deliver. Another importantfactor is of course its reliability.Pekka Martti, programmer andoperator of the show, needs tofeel safe when he is on the road,both in terms of the hardwareand software.”“The set design, which was alsodone by Kunttu, consists of arather small rig. The visuals arebased on these basic elements:High End Showguns, MartinAtomic Strobes, a few movinglights and conventionals, andof course the set”, said Kunttu,“This is a rock show that makesa statement. Its beams, stronglooks, and timings are just outof this world. Pekka Martti is by14 Tour Guide Journal

far the most amazing performerI’ve ever witnessed behind a lightingconsole. The strobes are a lotabout timing, they are workinga great deal with the drumfillsand accents as well as the shuttersand dimmers of the movinglights too.” Kunttu continued:“The set has a backdrop which ismy way of taking what’s on thealbum cover and making it morerough, more rock and just moreApocalyptica in my opinion. Thenthere are the chairs of the bandwhich are a symbiosis of a celloand a skull. And then there is ofcourse the burning cello...”Eastway provided the lightingequipment for the rehearsals inHelsinki, Black Box has deliveredthe material for the tour. cTour Guide Journal 15

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Top DogAward WinnerTour Guide 2006RBCBuilt to RideComfort, Dependability, and a Smooth Safe Ride!ROBERTS BROTHERS COACH CO.Largest New Fleet of Prevost CoachesLuxurious and Innovative ConversionsUnequaled Service and Attention to Detail210 Charles Ralph DriveSpringfield, TN 37172Phone: (615) 212 - 0226Tour Guide Journal 17www.robertsbrotherscoach.com

transportationcChristmas for Kids 2007by Deslee GonzalesIt was a par ticularly busy couple of days at the Wal-Mar t in Hendersonville, TNas hundreds of children, volunteers and countr y music ar tists filled its store andparking lot for the annual Christmas for Kids event.>>Christmas For Kids Inc. was originallyorganized by professional coachdrivers and is a non-profit, statechartered organization made possiblewith the dedication of the drivers,their families, countless volunteersand several sponsors. It is intended toprovide something extra for childrenfrom low income families in middleTennessee at Christmas. “The goalof the organization is to makeChristmas a happy and joyful timefor some special children in the community,”explains the organization’swebsite.For more details:g o to >> christmas4kids.orgThe two day event began December17 giving the public a chance to toursome of their favorite country musicartists’ buses and get some autographsfrom the stars from 5 p.m. to9 p.m. The artists and bus companiesprovide severalbuseswhile the public gives a small donationto tour the buses and meetsome of the artists. This year therewere approximately fifty buses ondisplay. A few of the bus companiesthat provided most of the busesare: All Access Coach, DiamondCoach, Music City Coach, Ziggy’sCustom Coaches, Coach Quarters,Four Seasons Coach, and HemphillBrothers Coach Company, amongothers. The bus companies and driversnot only donate their buses andtime but also the fuel. Artists thathave stopped by in past years tosign autographs included GretchenWilson, Larry the Cable Guy, TaylorSwift, Trisha Yearwood, ChrisYoung, Naomi & Wynonna Judd,Jeff Bates and the late ConwayTwitty. Donated merchandisefrom artists like Vince Gill,Martina McBride, TracyLawrence, TheOak RidgeBoys, Lorrie Morgan, Randy Travis,Joe Diffie, the late Chris LeDoux,and Big & Rich was also on sale withprofits used for the kids to shop atWal-Mart the next day.Literally bus loads of children andchaperones filled Wal-Mart TuesdayDecember 18 after spending a funfilled day on the tour buses and havinglunch provided by Garth Brooks,at a local Gallatin church. The daystarted with picking up the childrenfrom their schools and taking themto the church for lunch. While onthe buses, children were ableto watch movies and snackon some holiday treats.DuringStarting Top Left: Justin Ellis, Lynn Pitts(Driver), Olan Witt (Owner of CoachQuar ters Enter tainment Transpor tation),Jared Witt Bottom Left: Carolyn Kanafani(Accounting), Dean Pickering (ShopManager, Devin Kanafani photos by Aaron Crisler18 Tour Guide Journal

lunch the children sang along toChristmas carols and were also able tomeet and have their photo taken withSanta Claus. From the church andaround town, the buses were paradedto Wal-Mart led by the HendersonvillePolice Department. After arriving atWal-Mart, every single child was thengiven $175 to spend on anything theywanted. Each child was assigned achaperone to help them shop. The childrenwere encouraged to buy only forthemselves; however, almost every child’spriority was buying gifts for their family.The money given to the children wasprovided through fundraisers, donationsand gifts. Tim McGraw, Faith Hill, andCharlie Daniels are few of the stars thatdonate items to every child. On top ofbeing given money, each child was givena Tennessee Titan’s jacket, a backpackand a Star Wars toy.A special Christmas for Kids benefitconcert held every November at theRyman Auditorium contributes mostof the money that the children receive.This year, the sold out concert was heldMonday, November 19 and includedperformances from Phil Vassar, RodneyAdkins, Chris Young, Taylor Swift andMr. Charlie Daniels. One hundred percentof the ticket proceeds were givento Christmas for Kids allowing almost400 children from Wilson, Robertsonand Sumner counties, to participate thisyear. Debbie Lamberson, President ofChristmas for Kids also explained thatthe 400 children included about 30 whohad the opportunity to shop early onSunday. She acknowledged that “somechildren with handicaps or special needsobviously still deserve to go, like a littleboy who suffers from burns all over hisbody that cannot be around a lot ofpeople. We wanted to make sure theystill got to participate so they got to goshopping early on the Sunday before theevent.”An event of this magnitude could nothave happened if it weren’t for a lotof dedicated individuals and extremelygenerous organizations. Several sponsorshelped to make Christmas for Kids asuccess. This year, Bob Parks Realty heldan auction that raised $24,000 to giveto the kids. The Hendersonville RotaryClub also helped put smiles on the facesof hundreds of children. Lambersonconfirmed stating, “We wouldn’t havebeen able to hold the benefit concertwithout all the artists help, as well asJayson Promotions.” Without a doubtit was another successful year for theChristmas for Kids organization andmore importantly another year to givesomething special to children in MiddleTennessee. cTour Guide Journal 19

TheWigglesArnie Hernandez – AudioTech, Alex Keller – AudioEngineer,Sloan Coleman (Producer)John Nichols (LD), JeremyRose (Lighting Tech)Terrah Trimble (Wardrobe)by michael a. beckYou know the picture. We all know the picture.Jake Berry says it’s a cool show andthat we should cover it, so we go cover it.The crew has been up and down the roadand there are no rookies out here. Theroom is show ready, the house fills with[relatively] long time fans, house lights out,and the crowd goes nuts as some evenrush the stage.Like we said, you’ve seen it before. Well, there is onedifference. The average age of this crowd is 6 yearsold. There’s no sense taking the game any further,you’ve seen the photos with the story. It the Wiggles.Alright, so it’s a kids show. But Jake Berry really didsay that it would be worth covering and that wasgood enough for this writer.The show is very compact and travels in four trucksincluding merchandise. It only takes three hours toget the room show ready and an hour and a halfto load it out. The show is very colorful with lots ofactivity. There is a lot of set, but much of it is inflatable,making it easy to deal with. While the lightingrig does a great job on highlighting the action andbringing out the rich colors of the show, it’s not thatbig. Once again, it’s easy to deal with for the twomanlighting crew.That sounds great right up to the point where yourealize that there is no room for rest during the day.There are two shows a day with lots of work to dobetween shows and then they’re into load out. Addthat to the fact that they work seven days betweenbreaks, and it matters little that they’re out of thebuilding around 10pm every night.So what’s the allure of this gig for a bunch of peoplewho could easily pick up another tour that pays betterand works less? Well, during an impromptu chatwith the whole crew, the answer come through loudand clear. Everyone without exception spoke in onevoice chanting the praise of this gig. Said Rigger(and coffee tech) Mark Minatodani, “I’ve done thebig 20 truck shows and I’ll take this every day. Thosethings are too impersonal. You can go for a year onone of those and never meet everyone out there.”20 Tour Guide Journal

picturedAbove: Eric Smnacher (Carpenter),Mark Minatodani (Rigger)Below: Mark Curtis (Merch)Michele Mecca (ProductionAssistant), Harold Behrens(Production Manager), AlexisWadley (Tour Manager)Steve Ward – CarpentercrewProduction Mgr.: Harold BehrensTour Mgr.: Alexis WadleySound Tech: Arnie HernandezProd. Asst.: Michele MeccaMerch: Mark CurtisLights: Jeremy RoseRigger: Mark MinatodaniCarpenter: Eric SmnacherWardrobe: Terrah TrimbleCarpenter: Steve WardLD: John NicholsSound Engineer: Alex KellerProducer: Sloan ColemanMinatodani went on to add, “I never was much ofa kid person. I didn’t want to even be around them.But after a year of this, I’m a changed man.”From the perspective of Production ManagerHarold Behrens, the biggest challenge of this touris fitting it all into every room. Behrens explained,“Because the size of the stage is 60 x 48 with wings,it can be tough to get everything in. They don’t wantto omit anything because it’s such a colorful show.They don’t want the stage to look bare. That can bea little challenging depending on the room we’re in.”As is usually the case with children’s show like this,the hot seat of the show is the wardrobe given thefact that this, like most children’s shows, is costumeintensive. But there is another place where it gets alittle edgy. The show doesn’t go the same way everynight as the guys on stage have a tendency to callaudibles at the line. But Minatodani has been withthe show as long as anyone out there and handles itwithout issue.This really is a great show for a lot of reasons. It’srare that TGJ ever speaks to the actual contentof the show and the affect it has on the audience.However, in this case what happens on the stage andhow the audience responds has a marked influenceon the crew.c o n t i n u e d o n page 43Tour Guide Journal 21

H MontanaannahThe Best of Both Worlds Tour 2007/2008photo by michael a. beck24 Tour Guide Journal

demonium Aside,Still a Showby Michael A. BeckPick the most out of touch person on Earth that you canthink of and the chances are that even that person is familiarwith Hannah Montana and the media storm that has surroundedher this year. And while the biggest part of a storyhas nothing to do with the issues that TGJ focuses on, whichis ticket sales and scalping (unbelievable scalping), the storyis absolutely irresistible.Once the whole thing became apparent,two priorities became paramount:learn about Hannah Montana, somethingthat meant watching severalhours of the television show that airson the Disney Channel, and the otherwas, “Don’t miss this!”Going into the building to see amajor show like the Rolling Stonesor Madonna, there are some thingsthat can be safely anticipated beforeyou walk in. You know the music and you know it’sgoing to be big. It was apparent that this show wasgoing to be big by the fact that there were 16 trucksclose to that same amount of busses.As one can expect, security was very tight, butonce in the building, the crew and managementteam treated us with courtesy that is not alwaysseen when we are taking a look at a show. Theminute we came in the door we were met by TourManger/Accountant Dan McGee who gave a fairlyextensive walking tour of the production. Next wasProduction Manger Omar Abderrahman who wenteven deeper with his tour.There is no way we were ready for what we saw.Nocturne got the video call on this and did it upwith the punch that one would expect. The stagehad multi-levels with video everywhere.The high-res video displayswere three V9 walls. One displaymade up the front wall of thesix foot high drum riser that wasupstage right and looked to be about8 feet tall. There was a smaller onethat was flown behind atall riser thatperformers used during the show.Then there was a 24” x 24 squareV9 wall that was flown upstagecenter.Here’s where the video portion of the show gotreally interesting. In addition to the V9, there werefive low-res video cubes that flew around the stage.The three visible faces of the cubes were made upof MiPIX, which is the most recent Barco release.The cubes were comprised of two large tubular aluminumframe pieces (one top and one bottom) thatgave the cube its basic shape. There was bracing inbetween the header and footer that kept it all sturdyand the MiPIX strips were attached in vertical falls.Ancillary rigging points were hung in the house forthe purpose of building the structures as all partsof them had to be hung from the headers until theycould be braced and made rigid enough to land.Then they were placed on dollies and rolled intoposition under the grid before the stage was placedand flown for the show.Tour Guide Journal 25

The cubes were able to fly up out of sitefor the opening act. But that’s not allthe flying they did. During the show, thethree upstage cubes hung vertically andthe two downstage units flew verticallyand horizontally. The images that werepresented on the cubes were a blend ofcontent video designed by Tour productionDesigner Michael Cotton andIMAG.Such was the case for the V9 as well. Butwhen the cubes were flown into position,they were quasi translucent. Because theMiPIX was made up of strips of theproduct, you could see through the cubesto what was happening behind them onthe V9 walls. The effect was increasedwhen the cubes were on the move.The lighting design, done by AbbyRosen Holmes (Martina McBride amongmany other great works) and operatedby Susanne Sasic, was a beautiful blendof theatrical and concert production influence. The lightingcolor pallet showed the whimsical colors that one wouldexpect to see in a Disney show to deep saturated looks thathave defined rock stages for years. In addition to the gearthat was up in the main rig, the design made great use ofthree offstage torms on each side.Additionally, four of the video cubes had six VL-3000 Spotshung from the their bottom frame work and the fifth one,which was smaller than the others had to be able to actuallyland on the stage, which precluded the placement of lightingunder it.One would be hard pressed to come up with anyone whowould say that they had a difficult position on this gig. Thatbeing said, it’s tough to stand in the arena during this showand not feel a twinge of sympathy for FOH engineer SimonWelch. The place is full of thousands of screaming little girls.Welch explained, “It’s a bit of a balancing act. You wantto let the audience have the effect of a big loud rock show,but you don’t want thousands of mothers filing by the deskat the end of the night asking why you tried to deafen theirchildren.”During the time when the children were not putting out fullvolume, the mix was great. But when they cranked it all theway up, it didn’t really matter how hard Welch tried, therewasn’t much chance of finding the high end in his mix.That’s got to make for a hard night.26 Tour Guide Journal

a truss bridge with fog and the wholenine yards. Then, later in the showwhen Hannah Montana left the showto change into Miley Cyrus, the JonasBrothers came back out to do a songwith Hannah and then two more tuneson their own to make time for the wardrobechange.This was a lot more important thanone might think at first blush. Thisshows something that hasn’t been seenin a long time. Artist development.This show is a great look at the DisneyMachine doing what it does best.There was another aspectof the show that was unique(as if soccer moms willing tokick a kitten through an electricfan for a chance to pay$2,500.00 for a ticket wasn’tunique enough). When was thelast time you saw the openingact enter with a fly gag? Theshow was opened by fellowDisney phenomena, The JonasBrothers.photos by michael a. beckAs was said in the top of this story, youhave to live in a pretty deep cave to nothave heard all of the news stuff aboutthis tour, most of which was regardingticketing. However, that didn’t reallyfaze the crew. “It’s interesting to comeinto every town in and see the pandemoniumthat surrounds the show. It’salways the top news story,” said LightingTech, Kendra Sandoval.“Once you get in here,it’s a show. It’s big and alittle spread out, but therearen’t a lot of divisions onthis tour that you mightsee elsewhere. Riggers helpthe lighting crew, lightingcrew helps video and soon.” cWhile they weren’t given the video cubes for their bit, theydid get the V9 walls and made their entrance by flying in onTour Guide Journal 27

thecrewProduction Manager OmarAbderrahman, Prod. CoordinatorJon Bumgarner, Prod Asst. DillanEscoWardrobe and Makeup:Ellen Viera (MC MakeUp), TiffanyFeller (MC Wardrobe & Dresser),Rah (Wardrobe), Kim Klapow(Wardrobe), David Medelye (HairStylist aka Vladimir Putin - RussianPresident)Audio Crew: Simon Welch (FOHEngineer), Chris “Radar” Russo(Audio Tech), Todd Tiedeman(Stage Audio Tech) Greg “Chico”Lopez (Audio Tech), Vish Wadi(Monitor Engineer,) Pat Williams(Protools)Lighting Crew:Owen Handy (Lighting Tech), ChrisBarclay (Lighting Tech), IgnacioRosenberg (Lighting Tech), Josh“Skuz” Wagner (Lighting Tech),Kendra Sandoval (Lighting Tech)Rigging Crew:front row Terry “Cowboy” Parker(Automation), Eric Davis (Rigger,)Colin Nevins (Automation) BackRow Jeremy Bryden (Rigger), NiallGibbons (Rigger)Carpenters:Seth Posner (Carpenter), CraigPowell (Head Carpenter,) JoeRodgers (Stage Carpenter)Video crew:Stephen Davis (Video Tech), RyanWard (Video Tech), Dane Mustola(Video Tech), Justin McLean(VideoTech), Stephen Gray (Video Tech),Eric Geiger (Video Crew Chief),Matthew Howe (Video Tech),George Elizondo (Video Director),Mark Woody (Video Tech)28 Tour Guide Journal

crew listProduction Mgr.:OmarAbderrahmanStage Mgr.: Scott ChristensenLighting Designer: Suzanne SasicProduction Coord.: JonBumgarnerStage Coord.: Carl CiasulliBackstage Coord.: Dillan EscoAEG Prod. Mgr.: John BadenAEG Prod. Accountant: MattGranger & Matt MallesFOH: simon WelchMonitor Engineer: Vish WadiAudio Techs: Chris Russo, ToddTiedeman, Chico LopezGuitar Tech: John CiasulliDrum Tech: Benoit BrideauPro-Tools: Pat WilliamsRiggers: Jeremy Benauer, SeytonPooley, Jeremy Bryden, Eric DavisAutomation Crew: Niall Gibbons,Colin Nevins, Terry ParkerLighting Crew: Travis Robinson,Ignacio Rosenberg, KendraSandoval, Josh Wagner, OwenHandy, Derric Bassen, ChrisBarclayVideo Director: George ElizondoVideo Crew: Eric Geiger,Stephen Gray, Matt Howe,Evan Huff, Justin Mclean, DaneMustola, Mark WoodyHead Carpenters: Craig Powell,Chris Malta, Joe Rodgers, SethPosnerWardrobe: Jill Focke, RahimahYoba, John FurroPyrotechnics: Brien CarpenterMerchandising: Steve Lewis, JimSullivan, Sharie MetzlerBus Drivers: Keith Kominski,Sam Orista, David Kreitz, ToddHarrison, Bill Merritt, Bill DouglasTruck Drivers: Dale Vaughan,Dale Pettibon, Steve Rohlfs, GaryPhelps, Jim Bond, Jeff Clark,Calvin Thigpen, RJ Burns, LeonChee, Scott Grosshans, RobertPinkley, Jack CrawfordvendorsAudio: Firehouse ProductionsBand Travel & Hotels: ExecutravelBus: Roberts Brothers Coach LeasingCommunications: Casbah Online / Stonecrop TechCredentials: Cube ServicesCrew Travel & Hotels: Relativity TravelFreight Forwarder: SoundmovesLighting: UpstagingMerchandising: F.E.A. MerchandisePyrotechnics: Pyriz PyrotechnicsRigging / Automation: SGPSSecurity: NPB CompaniesSoftgoods: Sew What?Stage / Risers / Scenics / Backdrops: All Access Staging &ProductionsTrucking: UpstagingVideo: NocturneVideo Content: Frank the PlumberTour Guide Journal 29

firehouse PRODUCTIONSComplete Sound Systems for Every Aspect of Live SoundTour Guide feature firehouse productionscSimon Welch(FOH Engineer)Bryan Olson, touring monitorengineer and founder ofFirehouse Productions, beganby providing sound equipment forsome of the best known ar tists ofthe time including Peter Gabriel, TheCure, Tears for Fears, and ThomasDolby, to name a few. Bryan recognizedthe need to ser vice his topclients with the highest quality monitorsound available and used his owndesigns to create custom systemsfor some of the most discerning earsin the business. Over the years, thecompany has built a steadfast reputationby continuing to provide the highestquality sound equipment togetherwith superior client ser vicing for allits touring acts.30Tour Guide Journal

In recent years, FirehouseProductions has also become afrontrunner in providing sound forsome of the most high exposure, livetelevision multi-band award shows.As a result, the company now offerscomplete sound systems for everyaspect of live sound reproduction.Perfection remains the trademark ofthe company’s sound systems, andits impeccable reputation is proofof Bryan Olson’s vision to be theundisputed best sound company inthe world.It is based on this reputation, thatmany of their clients now relyon Firehouse to be the one-stopaudio shop when it comes to largescale Sound Reinforcement, RFTechnology & Communication solutions.Specialties Include:PA design for large capacity venuesthat meet aesthetic requirementsfor the industry’s mostchallenging set designers.Budget friendly logistical solutionsfor multi stage and multiband turnovers.Radio Frequency coordination forCommunications, Microphones,In-Ear Monitors & BandEquipment.Large scale Communication “PL”expansion systems for use withbroadcast trucks or as standaloneinstallations.Mark Dittmar-Lead Design &Integration Engineer, Simon Welch-Head Systems Engineer, and ournewest addition Tony Pietrzak- InCharge of Operations. Togetherwe provide decade’s worth of LiveEvent and Broadcast TelevisionExperience.At the top of the list of currentevents, is one of the most successfulcurrent tours, Disney’s “HannahMontana”. Tour includes FirehouseCrew Chief- Simon Welch, MonitorEngineer-Vish Wady, FOH Tech-Chris Russo, PA Tech-Chris Costelloand Stage Tech-Todd Tiedmann.The system assembled for theHannah Montana Tour includesLabgroupen L48as on mains, D +B subs-D12 amps, Lab Groupen48As, Sennheiser G2s for in earmonitors, Firehouse front fills andF-12 Wedges w/Crown I Tech6000 amps,, Digidesign Venues w/Custom Firehouse 56 pair 3 way isosplitter system and L Accoustic VDosc / D V Dosc. Microphones areShure Sm 91. Sm Beta 58.KSM 32,SM 81 and Sennheiser 5000 seriesVocal RF mics (Miley and BVs).Most of the flying audio was hiddenin the lighting rigs and around thefive rotating video boxes.Highlights of 2007:-ToursHannah MontanaMuseHigh School MusicalNine Inch NailsCrowded HouseMoeHall & OatsInterpolRyanScissor Sisters-Broadcast and Special EventsBET - HonorsBBC - Clash of the ChoirsCNN - HeroesLive Earth FestivalMTV - Choose or LooseVH1 - StorytellersMTV Latino - Los Premios Awards- Mexico CityBET - Hip Hop AwardsVH1- Hip Hop HonorsNew York Commemoration - 911Mermorial ServiceCBS - Survivor FinallyBET - Rip the RunwayRock and Roll Hall of FameMTV Unplugged>>Contact Firehouse Productions:c a l l >> 845.758.9898fa x >> 845.758.9899w r i t e >> 20 Firehouse LaneRed Hook, NY 12571Firehouse Productions operates outof a newly renovated 20,000 squarefoot warehouse/office complex at 20Firehouse Lane in Red Hook, NewYork, ninety miles from New YorkCity in the beautiful and historicHudson Valley.The core of Firehouse Productionsincludes; Bryan Olson-President,Tour Guide Journal 31

venuescNokia Live Theatre, What’s Not to Love?by michael a. beckBack in October, the Nokia Live Theatre opened in the samecomplex that houses the Staples Center in Los Angeles. NokiaLive is a 7,100 seat theatre that already has the reputation ofbeing a serious concert venue. The grand opening was gracedby the presence of The Eagles and Dixie Chicks and has sincehosted the American Music Awards with the Grammy Awardson the way.The entire plan of this venue is notup to speed yet, but when completed,it will be a plaza containing ninerestaurants with the capability tohost outdoor afternoon events andto entertain concert goers who wantto beat the traffic on the day of ashow. Inside, the four story lobbyhas a lounge on each floor to furtherentertain the clientele and maintainthe traffic flow into the theatre.Because the Nokia Live and theStaples Center are owned and operatedby the same people, they haveshared facilities. A tunnel connectsthe two buildings which allows themto use the same kitchen. This alsoallows staff to access both venueswithout ever having to leave thebackline area.The theater itself is nothing shortof magnificent. The balcony has 12VIP boxes and is able to be blockedoff so that only the floor is used forsmaller shows. While some peoplehave complained about the lack ofornate appointment in the room,there is an advantage in that theroom is a blank canvas with nothingto take attention away from theaction on stage.The three loading docks are in anenclosed area so that trucks can beparked at the docks with 30 feet tospare. The dock floor is level, whicheliminates the danger in the truckof runaway gear during load in orload out. In the event that broadcastmobile units are using the space,there are 200 amps of power withisolated ground at each dock.Truck and bus parking is locatedacross the street on an elevated deckthat is in excess of 200’ x 480’, servingas truck and bus parking forStaples Center and Nokia Live. Thisarea is called the Event Deck. It has3,000 amps available and also hasfull uplink connectivity which makesit possible to serve a media farmfor the upcoming Grammy Awardsslated to be held at Nokia Live.32 Tour Guide Journal

Dead cases can be flown intoelevated decks in the wing oneither side of the stage leaving theoffstage areas uncluttered.There are no hard surfaces in theroom making the room as deadas possible. The audio rig is a JBLVertec system with Sound Craftconsoles.The lighting system wasinstalled by Canadian based Q1Production Technologies. Theautomated portion of the systemis all Vari-Lite. 38 VL 3500 washesand 42 VL 3000 spots. Theconventional lighting is comprisedof the industry work horses, ETCSource 4 Pars (180) and ellipsoidals(174). These units are controlledwith a Whole Hog 3 arraythrough a Pathways PathportNetwork System. Lighting for thestage is rounded out with 6 LycianSuperArc 4K Xenon long throwfollow spots.Now comes the fun part of thisplace. Rigging. Anyone who hasever done lighting in a theatreknows the joy of building a trussout in the house and the havingto figure out how to focus it.Or there is the party of buildingit on stage and getting half thepopulation of the town you’re into breast it back as you fly it outinto position without allowing it toswing out into the house cuttinga 40 foot swath through the seats.And let’s not mention the abnormalstress that places on the hoists.Those days are gone for anyonewho works in this venue. AEG’SPaul Flannigan had obviouslygone through that game himselfand decided it would not happenin the Nokia. So, he came upwith the idea of having a gantrystyle catwalk lighting truss for thisnew venue. The concept wasto be able to have the light trusscome down to the stage, load it atground level and then fly out thetruss to its desired position insteadTour Guide Journal 33

venuescof using a boom lift or rigging a trussover raked seating.Q1 Project Division’s Chris Nash,Eric Sambell & Larry Darling got towork on this system and came up withthe final design. The basic premise is3 large steel I-beams that run lengthwisein the venue on which 6 customcatwalk trusses can travel from outin the house to down on the stage.Having the FOH trusses come downto the stage for convenient loadinghas obvious labor saving implications.The venue also has a comprehensiveribbon grid that features 37 custommotor transport dollies, each witha Chainmaster 1 or 1/2 ton motor,allowing for a chain motor dropalmost anywhere. While the ribbongrid is only sturdy enough to put lightweight loads on it like Cable picks andsmall set pieces, it is six feet below themain steel from which anything canbe hung. Because slats in the grid areonly two inches apart, the riggers canrig an elevator to it and work as longas they need to without ever having tobe clipped to anything.To sum it up, this place has greatacoustics, incredible in-house lightingand audio capabilities, a riggingsystem unlike any other in NorthAmerica, direct access to the stagefrom the docks and parking for days.There is a poser anywhere you need itand the parking lots have uplink connectivity.What’s not to love! c34 Tour Guide Journal

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venuescIndependence Seaport Museum’s Concert HallUpgraded To Serve Deaf and Hearing-Challenged CommunityLatest in hearing-assistance technology used in “Theater for the Deaf.”Electrosonic Systems Inc. has performed a system upgrade to the Concert Hall at IndependenceSeaport Museum at Penn’s Landing, Philadelphia, to transform the theater into a technologically-advancedspace for the deaf and hearing-challenged communities in the city and beyond.Electrosonic was charged with providinga multi-use entertainment systemthat was simple for the staff to operate.The Independence Seaport Museum,located on Philadelphia’s waterfront,uses the Concert Hall for many differenttypes of functions: high schoolband rehearsals, ballet performancesand Congressional hearings amongthem. The Museum wanted to expandits capabilities to include corporatemeetings, movie presentations and aTheater for the Deaf that could providecaptions for both filmed and livepresentations, the latter with a transcriberproviding real-time captioning.“The Seaport Museum’s 530-seatConcert Hall is a perfect venue for thedeaf or hearing-challenged communities,”notes Kevin J. McNamara, vicepresident of development and marketing.“There are very few meetingfacilities, performance venues or theatersthat can serve these communitieslike we can. We can not only turn oncaptioning for films but also for meetingsand conferences. The screen cancome down and what the person onthe ‘smart’ podium says is transcribedand comes up behind the speaker inthe theater. It sounds simple, but thereare not many places where this canhappen.”To that end Electrosonic equipped theConcert Hall with the newest audio-visualequipment, including a retractablescreen, digital projector, four speakersand a ‘smart’ podium. Also availableare the latest in hearing- assistancetechnology, including real-timecaptioning-compatible presentationcapabilities, closed captioning-enabledprojection equipment, and an infraredassisted-listening system with modernheadsets. Electrosonic has devisedcustom programming for the venue toallow staff to shift from one type ofpresentation to the other with a simplepush of a button.Sources feeding the projector includea Pioneer DVD-V5000 professionalDVD player with Link Electronicscaption decoding which can be turnedon and off from the control systemplus a PC feed from the stage andESI custom input panel on the equipmentrack. The system also includesan input connection in the projectionbooth for the real-time captioning systemprovided by another vendor.An Extron MGP462 multiple windowvideo and graphic processor allows twoseparate images to be displayed on theprojection screen; it also supports realtimecaptioning. The projection systemis based around a Sanyo XF-60A6500-lumen XGA LCD projector withSanyo LNS-T02 2.0-2.6 zoom lens.,it displays on a Dalite 13.5x18-footprofessional Electrol motorized screenon the stage.The sound reinforcement system featuresa Peavey Digitool MC 8x8 audiomixer/processor and QSC MD-FP152full-range loudspeakers located eachside of the stage which allow for finetuning of the audio coverage to maximizeaudience sound quality. DualBag End high-power 18-inch subwoofersare also included for additionalthump factor, greatly enhancing thehearing-challenged visitor experiencewith a physical interaction with thesound. Listen Technology’s LS-82-SIR IR-based assisted-listening systemis also included with 32 stethoscopeheadsets for visitor use.A Crestron MC2E system controllerwith TPS-2000L 5-inch color touchpanel in the equipment rack provides agraphical user interface for easy operation.c o n t i n u e d o n page 4336 Tour Guide Journal

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internationalcCBeeBies Live!viUK Arena Tour is a “Wonderland”For the second year running, Bandit Lites UKhas supplied full lighting production to theCBeebies Live! UK arena tour. This year titled“Wonderland,” it’s a 2 part, action packedmulti-act show starring The Tweenies, TheTeletubbies, Bob The Builder, Postman Pat,Fireman Sam and many others.The high profile tour is producedby BBC Worldwide, and runs allover the Christmas and the NewYear period, 3 shows a day mostdays. It culminates in being thefirst show to inaugurate the brandnew Liverpool Echo Arena inJanuary.Once again, Bandit’s LesterCobrin assisted in realizing MarkCunniffe’s lighting design, utilizinga fast-paced blend of theatreand televisual techniques, whichis operated on tour by EwanCameron.The rig is based on four triangulartrusses constructed from 3 x24ft A-type trusses, hung above athrust stage with a circular end,making it almost in-the-round.The triangles all have white gauzestretched across their inside edges,accentuating their shapes for lightingand projected effects. Theyalso make an attractive shapedroof above the stage, and offergreat flexibility in terms of all themoving lights being able to hitalmost anywhere on the stage.Each triangle is identical interms of lights, with 6 MartinProfessional MAC 2K Washes, 3Vari*Lite 3000 Profiles, 2 4-lampbars of PARs and 4 bars of ACLs,plus 4 UV cannons and 3 stringsof egg-strobe festoon. The twodownstage triangles also have 16linear 4-lite DWE units for audienceillumination. It is a highlyinteractive show in that way.On the floor are 8 V*L3000s atthe back and sides of stage and 6V*L 2500 Profiles focussed on theset. Bandit has also supplied 24Pulsar ChromaStrips which areused in the set, 2 haze machines, 4Lycian 2K Xenon follow spots anda rigging package including 44Lodestar hoists.Stretch your coach budget in EuropeSLEEPER COACHESSuperb sleeper coaches for all pockets. Please visit http://jumbocruiser.com or call +44 1297 2471738 Tour Guide Journal

The rig involves a massive amount ofcable, all of which has to be managedpractically and neatly, and to facilitatethis, they are running a 90ft cable trussabove the stage right side, which pickseverything and runs it expediently backto dimmers.Cunniffe did most of the programmingduring production rehearsals at ElstreeStudios. Cameron runs the show froma GrandMA console, and with over220 cues it’s a busy show requiringconcentration and keeping him on histoes! There are a lot of big, bold brightlooks along with plenty of momentsof drama, glamour and high impacteffects.This year, projection runs across theback of the stage, so the lighting hasbeen designed to synchronise andbe sympathetic to what is happeningonscreen. Another reason for the triangularrig above the thrust is that itkeeps lights away from the projectionareas.Cameron is joined by Bandit crewmembers Nigel Julian, Tom Crosbieand Dom Martin, and commented,“You know you can rely on Bandit tosend out excellent gear and crew, sothat helps everything run very smoothly.It’s a relatively straightforward showto rig and operate, with the challengelying in the intense schedule.”The tour is production managed byNigel Mousley, with Show Support supplyingvideo and sound.Tour Guide Journal 39

Heat Up with New Ideas in Sunny Phoenix, AZThe majestic beauty of the desert will provide the perfect location for the 16 th Annual PerformingArts Managers Conference. This year’s program kicks off with three introductory “Boot Camp”sessions that explore security at performing arts events, interacting with the media, and electroacousticalconcert enhancement. Additionally PAMC sessions address event ticketing, venuedesign, and other important topics for today’s performing arts professionals.The conference features Ben Cameron, program director for the Doris Duke CharitableFoundation, who will present a must-attend session on the impact of technology on theperforming arts. Because technology changes so fast, no arts manager can afford to miss thishighly rated subject expert!Outside of sessions, PAMC attendees can take tours of some of Arizona’s premier facilitieswhile interacting with the venue managers who make performing arts events happen across theUnited States.REGISTER TODAY AND JOIN THE LEADERS OF THE PERFORMING ARTS FIELDwww.iaam.org – meetings – PAMCAccess Pass & DesignAmerican Seating CompanyAMS Planning & Research CorpStageRight CorporationThe RK GroupTheatre Projects CollaborativeTheatre Projects ConsultantsTicketmasterTICKETsageVenuWorksWilson Butler ArchitectsWrightson, Johnson, Haddon & Williams(WJHW)Zeidler Partnership, Inc. ArchitectsThanks to the Sponsors of the 2008 PAMCFREEMANMilliken CarpetOvations Food Services, L.P.Pfocus LLCSECOA, Inc.Schuler ShookSodexhoEngineering HarmonicsEvent SoftwareFisher Dachs AssociatesDucharme SeatingArtifax Softwarw Ltd.AudienceView TicketingBOORA ArchitectsMedia Partners:BillboardFacility ManagerPanStadiaTour GuideVenues TodayHost Facilities:Herberger Theatre CentreMesa Arts CenterTempe Center for the ArtsInternational Association of Assembly Managers635 Fritz Dr. Coppell, TX 75019 USA Phone: (972) 906-7441 Fax: (972) 906-741840 Tour Guide Journal

10,000W XENON • 500,000 LUMENSCYM/RGB dichroic color via Syncrolite OmniColorSyncrolite VFL lens and FX enginesTight beam laser effects to searchlight full flat field —color scrolling wash in a heartbeat540 pan - 250 tiltHigh speed douser • High speed beam driveCompact lamphead — 110kg/outboard ballast racksWorldwide patents pendingworld leader in automated xenon lighting systemssyncrolite.com • 214.350.7696Tour Guide Journal 41

42 Tour Guide Journal

d.a.s. a u d i o c o n t i n u e d f r o m p. 5 t h e w i g g l e s c o n t i n u e d f r o m p. 13powered design minimizes cablingissues, and little things such as theintegrated rain covers over the powermodules on the rear of the cabinetsshow very smart design. In Florida,our weather is very tropical, and withoutdoor events, the weather can changefrom bright and sunny to a torrentialdownpour in no time at all. I love thefact that D.A.S. engineers designedthe equipment with provisions to helpwithstand these conditions. While youmake every attempt to cover the systemswhen this sort of thing occurs,you don’t always have time, so this sortof preventative design is vitally important.After our experience with theMontgomery Gentry concert, I see avery bright future with D.A.S. Audio.”ch u m a n l e a g u e c o n t i n u e d f r o m p. 10HSL also supplied 3 follow spots and2 crew members, Rob “Starkers”Starksfield and Tom Oliver for the UKsection of the tour. For the currentEuropean leg, Sinclair is taking Mr.Starksfield, the screens, DigitalSpots,floor lights, Atomics and ChromaStrips.Sinclair says, “I can never say enoughnice things about Mike Oates at HSL.He always makes things happen whateverthe circumstances and if he managedto clone himself then world peacecould be achieved in weeks!” cDuring the afore mentioned impromptuchat with the crew that was broughtout. One person said, “It’s really niceentertaining kids. There’s a puritythere. There’s no drunken behavior todeal with. When those kids are havingfun, they are really having fun and theydon’t care who’s watching. And theparents are having a great time as wellbecause their kids are having a fun andin a safe environment!”So maybe that’s worth workingtwo shows a day, sevendays a week. cvenues c o n t i n u e d f r o m p. 36The ‘smart’ podium is aSound Craft Presenter36-inch multimedia podium,outfitted with a keyboarddrawer and gooseneck light.“Electrosonic was on budget,on time, very professionaland easy to work with,”reports McNamara. “Wedon’t have a lot of experiencein project management, andElectrosonic was very patientwith us.”The Independence SeaportMuseum, which opened in1960 as the PhiladelphiaMaritime Museum, is workingwith Creative Access, otherOf Course itRocks!it’sSuperiorMANUFACTURER OFQUALITY COACHESmembers of the deaf and hard-ofhearingcommunities, and the Arts &Business Council’s Business Volunteersfor the Arts to develop business andmarketing plans to promote theConcert Hall’s unique new features. c312 Babb Drive,Lebanon, TN. 37087615-466-2000www.superiorcoach.comTour Guide Journal 43

cADVERTISER’S INDEXAccurate Staging.....................................44All Access Limo.......................................23All Access Staging Productions...............13Alliance Rubber.......................................42Arie Crown Theater................................34Celebrity Coaches...................................39Clarion Coach..........................................3Clearwing..............................................7Coachworks............................................42Collinsworth, Bright & Company............22Complete Logistics....................................5Creative Stage Lighting............................31Crew One..................................................5Cube Passes.............................................19D & S Classic Coach....................................5Dewitt Stern Group.................................7Eagle Nest Coach....................................15EBTECH - Sound Enhancement...........44Entertainment Coaches of America....IBCEvent Systems Productions (ESP)...........15Firehouse Productions...........................FCFlorida Coach.......................................IBCIAAM..............................................40In Tune Rentals........................................15Jumbocruiser......................................38Levitation Staging...................................42Motor Coach Industries (MCI).............IFCMusic City Coach.....................................4Nitetrain Coach........................................7On Tour Software....................................39Ozark Mountain Tour Trucks..................7PLA Media..............................................37Powersource Transportation.....................9Precise Corporate Staging........................2Prevost.........................................BCProduction Air Services (PAS) ................16Q1 Production Technologies..................35Roadhouse Coach...................................44Roadshow Trucking................................39Robert Mangum Trucking......................19Roberts Brothers Coach..........................17Sammy Bones...........................................2Sedan on Demand...................................22Sound Image...........................................37Soundcheck Nashville.............................11Stage & Effects Engineering.....................43Stage Call................................................15Star Gift Alliance.....................................23Strictly FX...............................................37Superior Coach.......................................43Syncrolite..........................................41Taylor Tours............................................23Tools for Stagecraft.................................19Tyler Truss Systems.................................13UpLight Technologies.............................39Ziggy’s Custom Coaches.........................1944 Tour Guide Journal

HELPING YOU GET FROM HERE TO THERE.It’s a bumpy road to the top. That’s why top entertainers from all over the world relyon the smoothest riding motorcoach on the road. The same sentiment is shared bythe entertainment industry’s most respected operators and converters. In fact thePrevost XLII Entertainer is the Entertainer of choice for best overall performance.While refinement and quality make it a world-class motorcoach, personalizedafter-sale support provides the ultimate ownership and operating experience. For over3 decades, Prevost has been committed to helping you keep your tour on schedule. Nobody has more experienceand nobody goes the extra mile like we do. Is it any wonder the world’s top entertainers insist on the Ultimate Class ® .To learn more please visit prevostcar.com. For Sales Inquiries: 866-637-4355.