volume 1 issue 9 2008 - Mobile Production Pro

volume 1 issue 9 2008

®MCI U p d a t e s t h eUltimateSmooth RideDesignworksUSA-styledTOUR BUSNow featuring 450 HP 2007 EPA CompliantCummins ISM, Wide-Ride Suspension,Electronic Stability Control, Reverse Sensing System,additional 12 or 24 Volt Alternator,and many other enhancementsmade with input fromour customers.The number one selling Tour Bus in the USA continues to improve for the conversionmarket. The J4500c body looks great and rides smooth with our Wide-Ride Suspensionfeaturing Koni FSD shocks. The MCI J4500 conversion shell comes standard withclass-leading 89" of interior headroom and can be equipped with up to 3 slide-outs.For 2009, the EPA-compliant engine significantly reduces emissions, while providinggreat fuel economy and performance. To learn about the many 2009 improvementswe've made with feedback from our customers, converters and operators, pleasecall us at 1-847-285-2171.To schedule a test drive today,call 1-866-MCICOACH.www.mcicoach.com© 2008 Motor Coach Industries, Inc. All rights reserved.The updated 2009 J4500 conversion shellshown with 2 optional slide-outs.

“The KSM9 microphoneis the most exciting live microphone out in severalyears. Its sound is high class with solid construction,low handling noise, and a great feel in thehand. The artists that I work with are feeling reallygood about what they’re hearing in their ears and thetranslation to front of house is wonderful.”- Chuck HarrisLive events manager and FOH engineer - Don MoenIntegrity Music Studios’ Chief Engineer 1994-2005Live Performance MasteryEngineered to exacting standards, the KSM9 wired microphone unites studio quality with stage durability, all whileproviding exceptional consistency across all frequencies. With its dual diaphragm design and switchable polar patterns,the KSM9 is versatile enough to handle any environment. And for wireless applications the KSM9 capsule is alsoavailable with the UHF-R ® Wireless System.Visit your local dealer or www.shure.com for more information today.www.shure.com© 2007 Shure Incorporated

contentsvolume 1 issue 9 2008on the coverRascal Flatts 26Now that's how it's done!SGPS 32Rascal Flatts, Catwalks & Practical DesignsVARI*LITE 22Rascal Flatts Tour Geared UpWith Vari-Lite LuminairesClay Paky 36Alpha Beam 300Roy Wilkins Auditorium 20All Eyes on Saint PaulJet Productions 1810 Years WorldwideOtto Printing 16"Tricked Out" Lamanationstour breakoutsRascal Flatts 30Jonas Brothers 12Def Leppard 38departments4 From the Publisher 22 Lights6 Sound32 mPm Feature16 Credentials34, 40 International18 Transportation 36 Showcase20 Venues44 Advertiser’s Index2612 20 386 MIPROon tour with the Singing Coyotes8 Agoràtakes single biggest SD7 delivery12 Jonas Brothersthe real thing16 Otto Printing"tricked out" lamanations18 Jet Productions10 years worldwide20 Roy Wilkins Auditoriumall eyes on Saint Paulfor the 2008 National Convention22 Vari*LiteRascall Flatts tour geared upwith Vari-Lite Luminaires26 Rascal Flattsnow that's how it's done32 SGPSRascal Flatts, catwalks and practical designs34 DWRtakes on Vari*Lite distributionshipin South Africa36 Clay PakyAlpha Beam 30038 Def Leppard"sparkles" on tour with VLite40 ADLIBsupplies lighting & audio equipment & crewfor the current Dragonforce UK tour44 Advertiser's Indexmobile production monthly 3

FROM THE PublisherLarry SmithWow, what a topsy-turvy summer. This has been one of the strangestseasons I can remember in all of my years of involvement in this business.The spike in fuel prices has forced many tours to re-tool and scale downtheir plans. However, while this may seem to be a problem, there is alwaysa silver-lining for those of us who are the eternal optimists. This situationshould actually be a boost for the industry in several areas.First, tours might start using regional production companies more than inyears past for production support. The companies that have been carvingout a living on local events will now be able to do more work with nationaltours and thus be in a position to capitalize on the investment they havemade in equipment and may even afford to upgrade. This is another plus for the manufacturers.The market will be ripe for equipment sales to these companies.Second, the national touring companies may have to position equipment regionally to supporttheir national tours rather than transporting them the way they have in the past. Again, thisshould encourage more equipment sales to these companies that may have to increase theirinventories to some extent.Third, the mid-size venues should profit from more shows scaling down their productions. Ashow may stay in a location for two or three shows in a smaller house to play the same cities.This is another boost to the hotels servicing the tours.Finally, even the transportation companies (coaches and trucking) could benefit, because insteadof tours utilizing the bulk of the available units in a few shows, more shows will be out, usingthe same amount of equipment but in higher numbers.So, for those pessimists who always find doom and gloom in everything that shakes the normalway business flows, I suggest that adversity only presents new opportunities. We are a businessof entrepreneurs and problem solvers. Those in our industry who survive long-term are theones who have the vision and drive to take advantage of opportunity and find innovation insteadof stagnation. It is time for innovation and new solutions, not hand-wringing and despair. Takeheart, readers. Everything changes, ultimately, but change is not always a bad thing.tourlinkconference.comHOME OFFICE STAFFph: 615.256.7006 • f: 615.256.7004email: info@tourguidemag.comtourguidemag.com750 Cowan St • Nashville, TN • USA 37207Publisher: Larry Smithlsmith@mobileproductionpro.comEditor: Chris Cogswellccogswell@mobileproductionpro.comAdvertising Coordinator / Contributing Writer: Deslee Gonzalesdgonzales@mobileproductionpro.comChief Writer/ Photographer: Michael A. Beckgrockit@comast.netContributing Writer: Mike Whartonwharton8317@bellsouth.netContributing Writer: Bill Abnerbigolbill@comcast.netContributing Writer: Jessi Wallacejwallace@mobileproductionpro.comArt Director / Graphic Designer: Kristin Searcykristin.tourguide@gmail.comksearcy@mobileproductionpro.comWebmaster: Michael Stalcupmstalcup@mobileproductionpro.comTOUR LINK BOARD OF ADVISORSBenny Collins, Nick Gold, Jon Nevins, Stuart Ross,Bobby Schneider, Jay Sendyk, Seth Sheck,Nicki Goldstein, Chuck Randall, Michael Waddelltourlinkconference.comADVERTISING SALES OFFICEJessi Wallace • Nashvillejwallace@mobileproductionpro.comph: 615.256.7006 • f: 615.256.7004PUBLISHED BYAnvil Productions, LLCph: 615.256.7006 • f: 615.256.7004info@tourguidemag.comWe understand your needs“TSO has used Potenza Enterprizes since their first tour.They’ve grown with us from 2 trucks to 26 . Their attentionto detail, the caliber of their drivers & equipment is thereason we use them and will continue to do so. They arepart of the TSO family”. Elliot Saltzman,Tour Director -Trans-Siberian Orchestra.TouringTransportationSpecialists !!!©2008 Anvil Productions, LLC. Nothing may be reproduced without writtenpermission of the publisher. The publisher reserves the right to edit any andall editorial content included in this publication. The publisher has made everyattempt to insure accuracy and consistency of this publication. However,some listings & information may be incomplete due to a lack of informationprovided by various companies listed. Please send any inquiries to theattention of the publisher. All advertising appears at the paid solicitation ofthe advertiser. Anvil Productions, LLC, can not be held liable for any errors,omissions or inaccuracies appearing in this journal in the form of editorials,listings or advertising.Member of:Toll free 1.877.832.5546potenzaent@on.aibn.comwww.potenzaenterprizesinc.com4 mobile production monthly

TTOURLINK 2009 REGISTRATIONREGISTRATION FEESJan.22-25.2009FULL CONFERENCEIncludes all panels, minigolf/lazer tag/go-carts, lunches, dinners & awards show.Regular (Register between Dec. 1, 2008 – Jan. 25, 2009) – $325.00 eachAdvanced (Register between Nov. 1, 2008 – Nov. 30, 2008) – $300.00 eachEarly Bird (Register before Oct. 31, 2008) – $275.00 eachWalk-ups (Register onsite) – $350.00 eachADDITIONAL FEESSpouse Registration – $100.00Industry Dinner/Awards Show ONLY (Included with full Registration) – $100.00Mother Hubbards CupboardIn an effort to further the education for students and young people who wish tomake a career in the live entertainment world, Tour Guide is offering theopportunity for the industry to sponsor a student or students at the aboveregistration cost. This cost will include accommodations and all Tour Linkfunctions for the students.Name: ______________________________________________________________Company: ___________________________________________________________Street Address: ___________________________________________________________________________________________________________________________City: _______________________________ State/Prov.: ______________________Postal Code: ________________________ Country: ________________________Phone: ___________________________ Fax: ______________________________Email : ______________________________________________________________Additional Names:__________________________________________________________________________________________________________________________________________Number of full conference registrations - QTY: ___________Spouse ($100) Mother Hubbards Cupboard - QTY: ___________Industry Dinner Awards Show ONLY($100) - QTY: ___________Tour Link Conference 2009THE MOST COMPREHENSIVEEVENT PRODUCTION CONFERENCEIN THE WORLD!This event brings productionmanagers, tour managers,business managers, transportationcompanies, concert servicepersonnel, crew, hotels andvenues together for the mosttalked-about conference in eventproduction history.Dates:January 22-25, 2009Where:Phoenix Marriot Mesa200 N. Centennial WayMesa, Arizona 85201800-456-6372marriott.com/PHXMMfax form to 615. 256.7004 TOUR GUIDE MAGAZINE:615.256.7006TOTAL: ____________Payment Type: CHECK CREDIT CARD: ______________________________mobile production monthly 5

SoundMIPRO ON TOUR WITHTHE SINGING COYOTESFrequency agile wireless technology never inhibits performancesCapitalizing on the fame brought to them by the 2000 release of Touchstone Pictures’ filmCoyote Ugly, the Singing Coyotes are the latest endeavor in the ever-expanding CoyoteUgly brand founded by Coyote Ugly Saloon owner and founder Liliana Lovell. Ms. Lovell took herbest entertainers/singers from the 13 Coyote Ugly saloons across the country to form this all-femalesinging and dancing group. Consisting of Brandee, Christa, Crystal, Lindsay, and Nathalie, the grouptours extensively, and wherever they go, MIPRO wireless technology—distributed throughout NorthAmerica by Avlex Corporation— helps them keep the action fresh.Nashville, TN-based Thunder Sound &Lighting, a design/build firm that handles awide range of installed and live sound projects,including sites such as Raging Watersin San Dimas, CA, was contracted to outfitthe Singing Coyotes with wireless systemsfor their performances. After meeting withthe group and its management to gain anunderstanding of their expectations, theentertainers were provided MIPRO ACT-707HM PLL synthesized handheld transmittersand three ACT 707-D dual channelreceiver systems for a total of six channels.For monitoring, the Singing Coyotes eachuse MIPRO’s MI-808 T/R in-ear monitoringsystem, which consists of the MI-808Tstereo transmitter and the MI-808R stereoreceiver.According to Steve Kimbrough, co-owner ofThunder Sound & Lighting and sound engineerfor the Coyotes, the ability to easily locateand lock in open frequencies in a crowded RFenvironment was a key factor in selecting theMIPRO wireless transmitters.“The Singing Coyotestravel a lot,” saysKimbrough, “and younever know what typeof RF environment you’regoing to find yourself in.For this reason MIPRO’sACT (Automatic ChannelTargeting) technology wasvery important to us, as theACT system makes it quiteeasy to identify and selectavailable frequencies.”“Similarly,” continued Kimbrough, “theMIPRO MI-808 in-ear monitoring systemprovides a consistent and balanced mixevery time the group performs. The SingingCoyotes perform in such a wide range ofvenues and situations, that giving them astable and consistent reference is critical.Each performer has her own custom mix.When you have 500 screaming guests in theaudience as the girls are dancing and singing,the ability to hear clearly is absolutelyessential. Without the freedom of movementand the clear fidelity provided by thecombination of their in-ear monitors andwireless mics, they could not do their show.”A recent engagement highlighted theCoyotes’ need for frequency agile wirelessequipment, as Kimbrough explained.“The Singing Coyotes recently performedfor Chet Culver, Governor of Iowa at aNASCAR sanctioned auto race in Newton,6 mobile production monthly

IA,” said Kimbrough. “In this situation, therewere literally hundreds of wireless channelswe had to avoid. Each car’s race team hasnumerous voice frequencies and their carsalso have them. This way, the crew chiefs canmonitor the car and its engine via the onboardcomputer that communicates with thepit crew’s computer during the race. Thereare also TV up-links, track radios, plus policeand EMS radios all around, so we dependedon MIPRO’s ACT function to provide us thefull 100 channels—enabling the girls to hearclearly and perform without dropouts.”“We’ve trained each girlin the group how to selectalternate frequencies,” saidKimbrough. “So far, we’venever had to make a changeduring a performance, but it’sgreat to know they can handlethe situation should theneed occur. The equipmentperforms exceptionally welland once the frequencies areselected, the MIPRO gearholds onto it.”Kimbrough was also very complimentaryabout Avlex Corporation’s technical supportservices. “Avlex has great support,” saysKimbrough. “Before we travel, we frequentlycall Fred Canning to check on frequencyconditions in the area where we’re going andto see if there are any frequencies we need toavoid. The MIPRO wireless mics and in-earmonitor systems are a pleasure to use and, withFred’s help, we’ve always had a great show.” 5mobile production monthly 7

SoundAGORA TAKES SINGLE BIGGEST SD7 DELIVERYItalian rental company, Agorà, has recently taken delivery of no less than fourDiGiCo SD7 digital mixing consoles, the biggest single delivery to date.Based in L’Aquila in central Italy,Agorà’s high profile client list, whichencompasses the majority of the country’stop tours, means that its inventory of consoles- which was already impressive, comprising sixD5s, and a D1 – needed to be augmented.Enter the SD7s, the purchase of another twoof which are planned for 2009.The four SD7s were set up in one room and theassembled engineers very quickly got to grips withthem with only a minimal amount of instruction, followedby a Q&A session.Product support was, as always, high on DiGiCo’s listof priorities for the sale, so during August, DiGiCo’smanaging director, James Gordon, visited Agorà’spremises to head up a training program that had beenorganized.“Agorà has a long association with DiGiCo,” saysStefano Cantadori, president of Audio Link. “It wasone of the first companies to invest in the D5 and hasan impressive stock of both digital and analogue desks.Agorà already had the edge in the Italian market andthe purchase of the SD7s has reinforced that.”“We decided to invest in the SD7. It out performsevery other console currently on the market,” saysWolfango Di Amici from Agora. “Not only does ithave an incredible feature set, but it is, quite simply,the best sounding console we have come across. Wecan only assume that this is because of the new SuperFPGA that DiGiCo uses in its new consoles.”“The training day was very exciting, with anunbelievable amount of top class engineersattending, including directors of Agorà,Wolfango and Vittorio Di Amici, AndreaCorsellini (Vasco Rossi’s engineer), sounddesigner Daniele Tramontani and PaolucciPolidori and Ghini.”“Everyone liked the desk and were impressedthat the answer to each question they askedJames about what it could do was ‘yes,’” concludesCantadori. “The team at Agorà is nowcompletely confident that it can successfullyaddress the future needs of its clients.” 58 mobile production monthly

When there is more at stake thana decimal point.When you need advice.Finance • Music IndustryAuditing • Business ManagementTaxes • Consulting • Business EvaluationsCummins Station • 209 10th Ave. South Suite #216 • Nashville, TN 37203tel 615.322.9900 • fax 615.322.9379www.collinsworthbright.com10 mobile production monthly

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Jonas BrothersThe Real ThingBy Michael A. BeckWhen one looks atthe state of thetouring industry, the true icons of theculture are bands like The RollingStones or Paul McCartney who havebeen around 40 plus years with noend in sight. These guys can still sellout huge venues simply by leaking arumor of touring plans. Then thereis Madonna, U2, Janet Jackson, TinaTurner and even George Michael andSpice Girls who have shown that theystill have game and could drive massivecrowds wild under street lightson a loading dock.But the one thing that this small, and veryexclusive group of entertainers have, isthat they have been in the saddle for a verylong time. With all due respect to thosewho are on the climb today, rarely is itmore fitting to say that time will tell.That being said, there is an even moreexclusive handful of acts on the road thatare making the very low rumblings reminiscentof times gone by, times when artistdevelopment gave birth to acts that wouldbe around 30 and 40 years later. If onelistens closely, one can hear words like collegetuition, mortgage, and even retirementoff in the distance.One such act is the Jonas Brothers. At afirst glance of the Jonas Brothers televisionshow on Disney, you don’t necessarilyget the picture of what the show really isLIVE. This is a huge pop show and it’sgetting better every day. Rob Brenner isone of the main architects of the wholething and is very aware of the good thingin which he has found himself.“I’m blessed that I work for artists thathave the budget that allows us to do coolthings.” Brenner told us, “Last year whenwe were playing some pretty awful places,we walked into a convention center thathad two trusses, and maybe 20 movinglights, The guys had never seen that manymoving lights in one place. That’s when Iknew that we would be able to meet andexceed their expectations.”One such expectations was the desire tomake the opening of the show look like thescene in the Nicholas Cage movie NationalTreasure wherein the heroes find the world’sgreatest cash of hidden treasure in a hiddenroom. As the story goes, Cage lowers atorch down into a narrow trough and thatruns throughout the room and lights upthe entire space with flames.The answer came from Toronto basedPyrotek Special Effects Inc. Pyrotek hadbeen developing an effect called FireScreen for some time but it wasn’t quiteready when Rob Brenner came calling. “Ihad to bring in a whole team of people towork around the clock to make the JonasBrothers deadline,” said Pyrotek co-ownerLorenzo Cornacchia. “The show loadedinto the Molson Amphitheatre in Toronto,which is what made this all possiblebecause we were doing the development ofthe product out of our Toronto office.”The effect made for a great opening to theshow during which the lads entered on amechanical bridge that flew up out of themiddle of the set and lowered them downon the downstage apron.But the aesthetic danger with pyro andlaser is that it is easy to give into temptationto over use the look. Such was not thecase in this show. Both pyro and laser wereused sparingly, allowing for more punchwhen they were used. In addition to thefire screen and laser, there was a circularpiece that hung over the center of thestage. It was a round truss with a flat metalcutout of the Jonas Brothers crest cutout of it. The piece had several propanelines running to it so that during the song“Burnin Up” while the massive amountsof video were showing flames, the crestshowed up as real flames.The piece was affectionately dubbed the“Gig Stopper 9000” by the crew becausewhile playing a show at an amphitheatrein Bethel, New York, the house forgot todeactivate the sprinkler system over theright side of the stage. When the “GigStopper 9000” fired up (as it were) the gigwas stopped by a torrential down pour.The lighting design of the show was fantastic!The primary bulk of the rig wasmade up of curved truss that played oneither side of the stage at three differenttrim heights. While it is the humbleopinion of this writer that truss toners inconcert applications rarely do anything buttake attention from the act itself, such wasnot the case in this show.In this production, the lighting system gavethe look of playing in a technological caveof spectacular color. It was an extensionof the risers and video walls as well as thepyro and laser effects. The color pallet wassensational. It’s been a long time since ashow has had this kind of cohesive amalgamationof effects.As is often the case with shed tours, onebig challenge of this show was getting it ineverywhere it went. The problem was thatit had a lot of pyro and trim height had tobe carefully considered for every load in.“I’m very proud of the fact that there werevery few shows where we didn’t get thewhole thing,” said production managerJoel Forman.The other challenge which was more formidablethan the issue of getting the wholething up every day, was getting the soundof the show over 13,000 screaming girls.12 mobile production monthly

It’s not a battle you want to try to fight oryou’ll wreck it,” said FOH engineer Hootsie,“So you leave it where it is and let the crowdcome to you.”A lot of the show happened out on a thrustthat extends out 40 feet from the stage andhas the band within arms length of a hystericalcrowd. It would be FOH 101 exceptthat there were a lot of aspects of the mixthat were a bit delicate, like an eight pieceorchestra.It was a lot like playing golf. You can’t win,you can only play.Quite frankly this show needed no specialeffects whatsoever. It didn’t really need anythingbut the Jonas brothers and a house fullof kids who are dying to see them.When Rob Brenner got a call from theirmanager back when they were playing gymnasiums,he could have blown it off. Insteadhe flew down to Little Rock, Arkansas andhad a look where he saw that it was the realthing and jumped on.These guys are the real thing indeed andcontinued on 42Tour PersonnelJonas BrothersJoe Jonas, Vocals/ArtistKevin Jonas, Guitar & Vocals/ArtistNick Jonas, Guitar & Vocals/ArtistManager: Philip McIntyreTour Director: Rob BrennerRoad Manager: Josh MillerSecurity: Rob Feggans, Mike MeehanTour Assistant: Felicia CulottaFamily Assistant: Kiyoko KibbelFamily: Maya KibbelFamily Bus Driver: Jeff McCardleManagement Bus Driver: Erik FrankmanBand Driver: Kenny HumphriesStrings Driver: Todd HarrisonTour Manager: Matt PetroffMusic Director: John TaylorBand-Bass: Greg GarbowskyBand-Drums: Jack LawlessBand-Keys: Ryan LeistmanMedia: Rob HoffmanString Leader: Melissa ReinerStrings: Jenny Takamatsu, RebeccaCherry, Adrienne Woods, Alwyn Wright,Caroline Buckman, Claudia Chopek,Eleanor NortonProduction Manager: Joel FormanStage Manager: Brian BasshamLight Director: John LabriolaProduction Assistant: Beth GoldLive Nation Rep: Mike BessVenue Security: Tony FedewaMassage/Wardrobe: Stefani SilbersteinBackline Crew Chief-Playback:Chris NaudaStage Right Tech: Benji WoerlyStage Left Tech: Jeff MayesDrum Tech: Brad SandersFOH Engineer: James HuthMonitor Engineer: Randy BryantCLAIR System Engineer: David MoncrieffeCLAIR Monitor: Geoffrey BrowningCLAIR Tech: Steve KowalikLighting Crew Chief: Richie SteffaBML Techs: Kevin Pampel, HowardGiddens, Rich Jackson, Mike BrancatoVideo Director: Adrian BristerVideo Engineer: Kevin TokunagaLED Tech: Bill QuinnCamera Op: Steven Fatone, Luke BristerHead Rigger: Gerald McDougaldHead Carpenter: Todd GreenCarpenters: Hector Mimoso, Curtis Baker,Matt McGlaughlinPyro Techs: Kevin Hughes, Nick ZangariLaser Techs: Gordon Hum, Brain Van TrigtCatering Crew Chief: Michael GlazerCaterers: Alison Vatter, Scott Kleinberg,Dan Dumas, Charles Owens, JeremyCriscitiello, Jason Brown, Michael James,Jimmy BahrFEA Lead: Tyler ZeiglerFEA Second: Thomas ReidSponsor Representative: Dayon ValdezUbisoft Rep: Teeter SperberCrew Bus Drivers: John Giles, JohnLoughlin, Ben Kitterman, Doug Burris, EdBennett, Fred RamseyTruck Drivers: Gary Nall, Randy Rhoton,Leon Chee, Robert Belcher, Randy Collins,Mike Puckett, Randy Ennis, Mike Harvey,Al Kelly, Christian PageauTour OfficesCo Management: Philymack, Inc., JonasEnterprises, Wright Entertainment GroupDirector of Touring: Rob Brenner, JonasEnterprisesBooking Agencies: CAA AgencyBusiness Manager: The Nordlinger GroupTour Promoter: Live NationTour Management: Matt PetroffProduction Management: Joel FormanTour Press: M2M ConstructionMerchandising: F.E.A. MerchandiseTravel Agency: Travel like a RockstarAudio: CLAIRLighting: BML- Black Bird TheatricalServicesVideo: ScreenworksTour Catering: Culinary UndergroundTrucking Company: Upstaging Inc.Bus Company: Robert Bros Coach LeasingCo.Freight Company: Rock It CargoScenic Elements: Show FXRadio Company: Road RadiosPyro & Special Effects: Pyrotek SpecialEffectsSet & Foam Guns: Tait TowersCredentials: Cube Services, Inc.Tour Itineraries: Smart Artmobile production monthly 13

Jonas BrothersCREWpictured top to bottomBENJI WOERLY - Stage Right Tech,CHRIS NAUDA - Backline Crew Chief-Playback, BRAD SANDERS - DrumTech, JEFF MAYES - Stage Left TechGORDON HUM - Laser Tech, BRIANVAN TRIGT - Laser TechFront row CURTIS “DUEWERK”BAKER - Carpenter, DANAVANELLA – CarpenterBack row MATT MCLAUGHLIN– Carpenter, TODD GREEN- Head Carpenter, HECTORMIMOSO – CarpenterBRAD WAVRA – SeniorVice President of Touringfor Live Nation, LosAngeles, MIKE BESS -Live Nation RepKEVIN TOKUNAGA- Video Engineer,ADRIAN BRISTER– Director, JessieCole, BILL QUINN- LED Tech,STEVEN FATONE- Camera Op,William Duncan,leftROB BRENNERTour DirectorrightBETH GOLDProduction Assistant14 mobile production monthly

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CredentialsOttoOtto Printing:“Tricked Out” Lamanationscustomer service representatives get asked all the time, “What do youhave that’s new?” And, while there are always a dozen or more ongoingexperiments in-house at the Dayton, Kentucky plant, very few of them ever meet thestringent requirements for cost-effectiveness and high quality on which Otto insists.Over the years, Otto hasprinted passes on many differentstocks, from plain old paperto clear polyester. One of themost popular is the ever-changingholographic foil.Otto had printed passes on foilsin the ‘70s, but the laser laminategrew out of a conversationwith some tour personnel inthe early ‘80s. Otto’s peopleextended electronic fingersaround the world searching formaterials and processes thatwould let the company bringthe technique from an expensivenovelty into the realm ofa cost-effective, counterfeitresistantproduct that any tourcould use.Over a period of months, Otto developed the techniques necessaryto print on this most difficult of materials. Since the company hadearlier perfected the ability to print full color on adhesive satin, confidencewas high, and justified. With very few miss-steps, the productwas added to the line and has been a staple ever since.ottoprint.comEnter the digital age. Since nearly any image can bereproduced with a color copier, or a cheap scannerand Photoshop, the demand for holographic foil onlaminates has only increased. The metallic appearanceand shifting reflections of laser foil cannot becopied.Over the years, as ever-more of Otto’s productionhas been changed over to digital techniques, constantchallenges have been faced. As always, the company’sdesigners and production engineers have combed theworld for answers and have found solutions.This past summer, first on a Paul Simon tour, then on some passorders for the Police, Live Nation, and the Moody Blues, Otto hasdeveloped the ability to print with a special process that offers a hugeamount of new advantages.16 mobile production monthly

Actual Photograph2007 Mini CooperWeight: 2635 lbs. unladen weightWhat are theadvantages you ask?The first advantage:actual pass for proofingInstead of sending a soft proof andletting the customer imagine whatthe pass will look like on the foil, wecan print the actual pass on the holographicfoil and send to our customersfor approval.The second advantage:faster turnaroundGiven the desired stock in-hand, laserlaminates can be turned around in 24to 48 hours.The third advantage:flexibilityOtto can print barcodes from aspecial chart, variable data, serialnumbers, names and/or photos, righton these holographic laser laminates.Otto believes if are the only passprinters in the industry who offersthese services. Short runs are a snapwith orders as few as 25 laser laminates.Otto can also make you one ofsomething, if you want it.Introducing The Kind of Road Cases...That Others Only Dream of BuildingBORN ON THE ROADVisit us at www.stagegear.com(877) SHOWDAY - (877) 746-9329Have you ever thought a road case would be anobject of desire? Not just a portable home for yourdelicate equipment, but a cutting-edge display of moderntechnology, premium materials and unrivaleddurability. Whether you are a mobil church or thelargest world touring company, Stagegear cases aredesigned to anticipate and meet your needs over roughroads. Once you have experienced the unparalleledperformance of a Stagegear road case, you will see why ourloyal customers around the world can’t live without them.© 2008 StagegearThe fourth advantage:PRICEOtto can produce these holographicfoil laser full color passes for as littleas $1.95 each in a quantity of 500.One-sided or two, with names or not,in ink only, or with a second (or thirdor fourth) image in foil over the top,these new “tricked-out” laminates willadd style and flash to your tour kit,and protect your security from eagercounterfeiting fans. 5mobile production monthly 17

Transportation10 Years ofJet Productions WorldwideJet Productions Worldwide Inc celebrated its 10 yearanniversary in September of this year. Jet Productions isa private jet charter brokerage company based at theVan Nuys Airport in Van Nuys California, specializing in arrangingprivate jet charters for touring and entertainment travel.Whenever I need to plan a trip for Cher,ink or Shakira my first call is to Jet Productions.”- Nick R. Cuaet Jet Productions be your first call for VIP private jetharter. With our worldwide database of private jetircraft, we are equipped to arrange the smallest charterto a world tour. Our excellentreputation depends on providingyou with excellent service.24 hour toll free number877-895-1790“I started this company in 1998 andbooked the Ozzfest 1999 tour the followingyear. Ozzy remains one of our bestand most loyal clients to this day andwill always hold a special place in myheart. How can one not love Ozzy andSharon?,” says Kim Scolari, President ofJet Productions.pictured left:Kim Scolarijetproductions.net818-781-4742“When I formed this company, I hadalready logged about 12 years in the aviationbusiness,” explains Scolari. “I began my careeras a corporate flight attendant for privatejet owners such as Kirk Kerkorian, MervGriffin, Arnold Schwarzenegger, FrankSinatra, Saudi Royalty and many others.From there, I moved up to a career inCharter Sales and Marketing for variouscharter companies in LA.”Jet Productions, Inc.World Wide Private Jet CharterContact: Kim Scolari After several years training with some of the topVan Nuys, CA Airport Office charter companies, Scolari felt qualified to start her818-781-4742 own business, but the real training came in puttingtogether those first tours.“It was the tour managersand assistants themselvesthat taught me aboutthe details,” says Scolari.“Checking and doublechecking every singledetail from stocking theplane with the performersfavorite items, to callingahead and ensuring theground transportation isin place, resourcing thebest catering, and alwaysthinking ahead to ensure asmooth journey.”Jet Productions has completed many successfultours since 1998 and has two tours in progress currently.518 mobile production monthly

TONIGHT, YOUR BAND WILLMOVE 34,982 SCREAMING FANS.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.com2023 N. Lafeyette Court • Griffith, IN 463190B002100100_Powersource_Roadbook_Decmobile production monthly 19

VenuesAll Eyes on Saint Paulfor the 2008 National Convention“The Republican Party could not have found a better venue forthe 2008 Republican National Convention.”- Maria Cino, President and CEO, 2008 Republican National ConventionBy Kathy O'ConnorThe eyesof the world settled onSaint Paul, Minnesota fromSeptember 1-4 as it played host to the 2008 RepublicanNational Convention. Much ado was made over politiciansand the media incorrectly stating Minneapolis asthe Convention’s host city. Although Minneapolis playeda significant role in providing hotel rooms, venues andhospitality, it was Saint Paul that had finally been awardedits long sought-after moment in the spotlight, duein large part to the world-class facilities located in theheart of its downtown area.Saint Paul’s “ace-in-the-hole” is a sparkling complex overlookingthe Mississippi river that features a 20,000-seat state-of-the-artarena, the flexible event space of a 250,000-square-foot conventioncenter and a 5,000-seat auditorium. More commonly knownas Xcel Energy Center, Saint Paul RiverCentre and the LegendaryRoy Wilkins Auditorium, the three facilities possessed the uniquecapability to meet the complex demands of a national politicalconvention. They are situated on a three-block radius and connectedto one another via under and aboveground walkways, ensuringclimate control and an added level of security, in additionto seamless traffic flow between the venues.Securing the Convention was also alarge endorsement for the value thethree facilities brought to the city ofSaint Paul. Minnesota’s capital hasexperienced a renewed vitality inrecent years and landing the Conventionhas helped Saint Paul reestablishitself on the national landscape.“The impact Xcel Energy Centerand the Saint Paul RiverCentre(which includes Roy WilkinsAuditorium) has had on the city ofSaint Paul is immeasurable,” saidSaint Paul Mayor Chris Coleman.“This complex is the heart and soulof our city’s entertainment district.The energy generated by so manyof the rallies, games, and concerts atthe facilities can be felt throughoutthe city. Xcel Energy Center and theSaint Paul RiverCentre are a hugepart of what makes Saint Paul themost livable city in America.”Spotlight:THE LEGENDARYROY WILKINS AUDITORIUMTHE FACTSOpened: 1932Renovated: 1984 & 2005Owner: City of Saint PaulHome to: Minnesota RollerGirls (Women’samateur flat-track roller derby)Operator: Saint Paul Arena Company(SPAC), affiliate of Minnesota Sports &EntertainmentArchitect: Renowned African Americanmunicipal architect Clarence W. WigingtonCapacity: Configurations to accommodateover 5,000A report released by the Saint Paul AreaChamber of Commerce in 2003 showed that after the openingof Xcel Energy Center, the last component of the complex, millionsof dollars of new spending flowed into Saint Paul’s economy,producing a significant positive economic impact throughout theMinneapolis – Saint Paul metropolitan area. In 2003 alone, thestudy estimated Xcel Energy Center’s overall impact added $247million into the Twin Cities’ economy and $103.8 million intoSaint Paul.For the Republican National Convention, Xcel Energy Centerserved as the main convention hall, while Saint Paul RiverCentreand the Legendary Roy Wilkins Auditorium were converted intomedia workspace, RNC operations and hospitality areas.The three venues work well together offering a variety of spaceconfigurations to meet the needs of any public, industry orbusiness-related event. Together, they have played host to the2004 NHL All-Star Weekend, 2004 International Ice Hockey FederationWorld Cup of Hockey, 2002 NCAAMen’s Frozen Four and its inaugural “FanFest,” annual Minnesota State High Schooltournaments, the 2006 Visa Championships(USA Gymnastics Championships), and ofcourse, the Republican Convention.Clients benefit because one company managesand operates all three facilities. Everyonereceives the same level of staff experience,imagination and event coordination.It also makes sense for the bottom line,where shared resources can lead to moreprofitable outcomes for all parties involved.For Saint Paul, Xcel Energy Center, SaintPaul RiverCentre and the Legendary RoyWilkins Auditorium have meant revitalizationin every sense of the word.HistoryThe Legendary Roy Wilkins Auditorium, asidentified by its name, is the most storied ofthe three venues contained in the downtownSaint Paul multiplex. Built in 1932, it was originally known as theSaint Paul Auditorium and was home to Ice Follies figure skatingexpositions, the Minneapolis Lakers NBA team, the University ofMinnesota hockey team and various teams and tournaments foryears, including the early days of the storied State High Schoolcontinued on 42Roy Wilkins Auditorium - Moby / 31120 mobile production monthly

LightsRascal Flatts Tour Geared UpWith Vari-Lite LuminairesLifeis a highway when you’re the top selling artist in allmusic genres. Grammy Award-winning country musicgroup Rascal Flatts is currently on there Bob That Head tour carrying 60VL3000 Spot luminaires and 48 VL3500 Wash luminaires.“Since I started doing lights 22 years ago, Ialways wanted to use Vari-Lite luminaires andhave a complete rig of Vari-Lite products,” saidlighting designer Andy Knighton. Andy’s wishcame true with an all Vari-Lite rig. Knightonhas a remarkable lighting team as well. “I amextremely lucky to be surrounded by a handpickedteam from dealer Bandit Lites,” saidKnighton. “Excellence comes to mind when Ithink of my Rascal Flatts team.”Knighton’s team designed lighting for thesuper-sized set mastered by Bruce Rodgers ofTribe Designs.The team had their work cut out for them.From top to bottom the show is a mecca ofvisual and audio surprises. “I first wantedthe horsepower necessary to provideadequate lighting in a heavy video world,”said Knighton. “Horsepower” is the bestway to describe the rig,” added Knighton.The luminaires had to compete with andcomplement LED walls with video.“Secondly, I needed to satisfy the criteria forlive video and camera,” said Knighton. Someof the shows are set on lawns in amphitheaterswhere the audience is captured on screenwith the band. “I placed some of the VL3500Wash luminaires out on the lawns of thevarious amphitheaters to provide an excitingatmosphere outside,” said Knighton. “Outsideenvironments often are without haze, yet theVari-Lite luminaires still provide beams. Theluminaires are not so excruciating to look intowhen you hit the crowds in the face yet thecrowd is fully and uniformly lit.”And lastly, Knighton needed to set the lightinggroundwork for the aerial portions of the show.The VL3000 Spot luminaires provided texturewith gobos to all the aerial looks and to the set.“The optics are great on this luminaire,” saidKnighton. “If you’re not careful, one can seefingerprints on the gobo projection. How coolis that?,” added Knighton. “Exceptional beamoptions are capable with the narrow lens on theVL 3500 Wash luminaire. I used the luminairesto simulate sky trackers.” This lighting isstrong and creates a feeling of motion for theaudience.22 mobile production monthly

Knighton says that within hisfive-year tenure with the group,Rascal Flatts consistently puts ona powerful performance, whichis also reflected in their production.The lighting had to matchthese demands. “The showhas large lighting rigsspreading from one endof the arena to the other,”said Knighton. “We arerunning twelve universes.There are endless options availableduring programming so Idon’t have to repeat the samelook throughout the show.”Knighton adds a few tips for up and cominglighting designers. He states that the designershould select products that have a standingreputation and a strong company behindthem. “Reliability is more important thanall the bells and whistles that accompany aunit,” said Knighton. 5mobile production monthly 23

TOURING LINE ARRAY SYSTEMSS t u r g i s 2 0 0 8VLX3The next generation of touring sound technology is here: the VerSys VLX3 linearray system. Significant innovations in driver technology, rigging hardware andmore are synergized by integrated systems engineering that’s focused demandingportable applications.The result is a line array system that can adapt to the widest possible range ofvenues, programs and audiences, bringing concert sound closer to the ultimatereference point: reality. VerSys puts the FOH engineer and system technician incommand of advanced line arrays with versatile designs and configurable arraysthat adapt to your changing needs.GIVE YOURSELF THE ADVANTAGE24 mobile production monthlywww.renkus-heinz.com© 2008 Renkus-Heinz, Inc., Foothill Ranch, CA 92610, USA

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Rascal Flattsby Michael A. Beck26 mobile production monthly

Now that’s how it’s done!When mPm started trying to getaccess to the Rascal Flattsshow two years ago, we knew thatthere was something very seriousgoing with that production. Wefinally put it together to catch theshow when the current tour camethrough Atlanta and all expectationswere met and exceeded.This band is only nine years in thesaddle and already it has the look ofsomething that will pay for the mortgagesand children’s tuitions of thosewho are smart enough to hang ontothis career opportunity.Tour manager, Jake LaGrone spoketo the meteoric climb of this band,“In today’s climate it really hashappened pretty fast. I know thatit may not seem that way to theguys (in the band) because they’rein the middle of it and they’veworked real hard. They’re realhumble about it and they don’ttake anything for granted.”LaGrone went on to say that theband sees value in rolling backinto the show, “The guys invest inthemselves and their career. They understandwhat it takes to take a show out onthe road and compete and try to get thefans to come back year after year.”The most obvious part of this show wasthat it was very video heavy. The videopresentation was made up of three highresolution O-Light walls upstage. AnLED star drop filled the area betweenthe wall and gives extra punch the videowalls.The center video panel was obscuredby a low resolution video drape thatwrapped around a huge spiral staircasejust downstage of the center high-respanel. The staircase, aptly dubbed the“silo,” houses a group of dancers whodanced on various levels of the silo thatrose the full height of the upstage wall.The effect of the three layer visual presentationcarried a heavy impact. Thecontent of the lo-res screen was suchthat it complimented the high-res imagerywhile allowing the silhouette of thedancers to play through when that wasneeded. There were also times when thedancers seemed to blend into the imageand disappear.The lighting system on this show wasmade up exclusively of Vari-Lite units.The system was used more in a theatricalsense than many shows with thismuch activity. That is to say the onemobile production monthly 27

static look was replaced with another.There wasn’t a lot of movement.The show had a great color pallet, but it was never the highlightof the show. Throughout the night the lighting was ever acquiescentto video content either for lighting of I-MAG or as coloraccessory to the video content. That being said, if the lightingaspect of this show were to fall out at any time, the show wouldlose much more than half its power.Given that the tour played sheds, there was attention paidto the lawn portion of the venue. There were five towersplaced across the field. Each tower had three VL-3500Washes that ballyhooed the lawn crowd at various timesthroughout the night. There was also a confetti canonon each tower that fired at the end of the show.The presence of pyro, in addition to the huge video and lightingpresentation, made the show more like a high profile popshow than what is expected to see in the world of country.

The audio of this show wasflawless. It had punch and sensitivity. That would seem to makesense given that Both Stuart Delk (monitor engineer) and JonJon Garber (FOH engineer) have been with the show from thebeginning. Such longevity has maked for a very smooth productionthat is able to shift on a moments notice.This show had a lot of gear for a shed tour. The daily challenge,according to production manager Kendall Carter, wasin getting it all into spaces that were so very different from oneanother. Carter explained, “We didn’t really know what wewere going to do until we got in and marked the floor.”If you’re the type of person who likes it to happen the sameway every day, this wasn’t the tour for you. On the other hand,for the folks who like a challenge, this was the place to be.Carter added, “That’s what makes the gig worth doing. It reallykeeps you on your game.”These people areon their game for sure and are happy to be there. The bandknows that all glory is fleeting, and the star won’t always burnas bright as it does right now. So there is a commitment tomake hay while the sun shines. The clock never stops.The next incarnation of the tour is already out playing arenas.The production will lose two trucks of gear from the shed tourand add three trucks for the indoor show. The main addition tothe show will be a box thrust that extends out 100 feet into thehouse and involve most of the front of house.As was said in the beginning of this story by tour managerJake LaGrone, the principle members of this band understandwhat it takes to go out and compete for the ticket dollars on theroad. In the expanding world of put up or shut up, these guysput up in a manner that will have other productions makingsome serious decisions about what they’re willing to put up inorder to hang with Rascal Flatts. 5mobile production monthly 29

RASCAL FLATTSpersonnelARTISTS/MANAGEMENTJay DeMarcus, ArtistGary LeVox, ArtistJoe Don Rooney, ArtistDoug Nichols , ManagementTrey Turner, ManagementMike McGrath, Tour Director/AccountantKendall Carter, Production ManagerJake LaGrone, Tour ManagerRASCAL FLATTS BANDKevin Adams , KeyboardsJohn “Chank” Jeansonne, FiddleJim Riley, Drums/Band LeaderTravis Toy, SteelJonathan Trebing, GuitarRASCAL FLATTS CREWKeith Anderson, CarpenterDavid Boyd, CarpenterStuart Delk, Monitor EngineerRex Frazier, Backline TechMarty Friend, CarpenterJon Jon Garber, FOH EngineerDavid Graef, Backline TechAnn Jurasek, Production AssistantCraig Krolicki, Backline TechJeff Munzert, Head CarpenterJohn Murphy, Fashion StylistJohn Prater, CarpenterKenny Riggs, Backline TechJamie Rowell, RiggerJimmy Ruderer, CarpenterJay Schwartz, Stage ManagerChris Sorensen, RiggerJessica Suchter, Tour AssistantPatrick Turner, RiggerBANDIT LITESAndrew Heid, Lighting TechAndy Knighton, Lighting DirectorStephanie Lough, Lighting TechAdam McIntosh, Lighting TechScott Sepe, Lighting TechMarcus Wade, Lighting TechSOUNG IMAGEJason BlackSburn, Audio TechIan Maurer, Audio TechJeremy Peters, Audio TechLandon Storey, Audio TechI-MAGJeff Dooley, Video TechMike Drew, Video DirectorCollin Johnston, Video TechBrian “Bubba” Ress , Video TechEvan Smith, Video TechEric Wallace, Video TechSHOWRIGAngel Aguirre, RiggerJoe Allen, RiggerJimmy George, RiggerTom “Bis” Kelleher, Rigging Crew ChiefOTHERSGary Bishop, Pyro/Special EffectsZach Henderson, Fan ClubJoey Jackson, Text-to-Screen TechAllen Paul, Merchandise ManagerMelissa Schleicher, Hair and MakeupDIAMOND COACHChad Cates, Band Bus DriverNeil Derington, Management Bus DriverRandy James, Crew Bus DriverGary James, Crew Bus DriverLarry Jones, Artist Bus DriverCharlie Mirelez, Artist Bus DriverLee Pharris, Artist Bus DriverJeffery Read, Crew Bus DriverRobert Redding, Crew Bus DriverSTAGECALLRick Conner, Truck DriverTom Deinema, Truck DriverKat Gordon, Truck DriverMark Hopkins, Truck DriverCharlies Hughes, Truck DriverTom Ivie, Truck DriverA J Jones, Truck DriverJimmy Locklear, Truck DriverLinda Locklear, Truck DriverBobby Long, Truck DriverJohn “Yo” Mallen, Site CoordinatorTom McCray, Truck DriverJohnny Moore, Truck DriverJerry Nester, Truck DriverJoe Silagyi, Truck DriverCasey Vreeland, Transportation ManagerDennis Watterson, Sr., Truck Driver30 mobile production monthly

crew photostop to bottom, left to rightleft Andy Knighton - Lighting Director,Josh Marcus - Lighting Tech, Scott Sepe- Lighting Tech, Marcus Wade - LightingTech, Stephanie Lough - Lighting Tech,Adam McIntosh - Lighting Techbelow left Front – Collin Johnston - VideoTech, Mike Drew - Video Director, JeffDooley - Video Tech, Eric Wallace - VideoTech, Back - Evan Smith - Video Tech,Brian “Bubba” Ress - Video Techbelow middle Front - Stuart Delk - MonitorEngineer, Jon Jon Garber - FOH Engineer,Jason Blackburn - Audio Tech, Back- Landon Storey - Audio Tech, JeremyPeters - Audio Tech, Ian Maurer - AudioTechbelow right Front - Mike McGrath - Tour Director/Accountant,Jessica Suchter - TourAssistant, Back - Zach Henderson - FanClub, Jake LaGrone - Tour Managerleft Angel Aguirre – Rigger, Tom “Bis” Kelleher- Rigging Crew Chief, Jimmy George – Rigger,Joe “Joebot” Allen - Riggerbelow middle David Graef - Backline Tech, KennyRiggs - Backline Tech, Craig Krolicki - BacklineTech, Rex Frazier - Backline TechBobby Savagebelow right Kendall Carter - Production Manager,Jay Schwartz - Stage ManagerGary Bishop - Pyro/Special Effectspictured left & as background This is the Silo. Itwas between the upstage video walland a curved lo res video wall. Duringthe show dancers played on various levels.I realize it’s not the best quality, useit if you can. But I understand that youmay not be able to.pictured right This is one of five towers thatsat out in the field for the shed showsand ballyhooed the crowd with three VL3500 Washes and fired confetti in to thecrowd in the end.mobile production monthly 31

pm featureshow group production services featureShow Group Production ServicesRascal Flatts, Catwalks and Practical DesignsShow Group Production Services(SGPS) was asked to take alook at the rigging, trussing andautomation needs of the latestRascal Flatts tour by our oldfriend (and former employee ofShowLites) Kendall Carter.sgps.netCarter, working as Production Manager on the tour,wanted the most efficient, reliable, speedy and manpowereffective rigging package he could get. Knowing that hehad enough other logistic and operational worries on thetour already, he did not want or need anymore. Carterintroduced SGPS to Bruce Rodgers of Tribe Design, whowas responsible for the conceptual design of the show andimmediately started to assist with truss layouts, riggingpoint positions and calculations. Handling the basic trussand rigging requirements even with the unusual curvedtruss sections and space issues was not a problem for SGPSdue to its extensive in-stock and in-house custom fabricationcapabilities.The challenge on the production was the automationneeded for the opening effect. The band fly in on a customcurved catwalk system built by Brian Sulvan thatthey had already contracted with John McGraw for theengineering design and fabrication. The idea was to comeup with an efficient “Mother Grid” to incorporate theautomation winches to safely fly the catwalk system, thatmatched the already established physical design of the catwalkas developed by McGraw. Determining the weightsinvolved, the speeds of movement required and meetingthe stringent safety specifications set out by McGraw tooka few attempts until everyone was confident with the finalapproach.ShowRig, having helped revolutionize and completelymodernize the overall approach to rigging in the filmindustry over the last few years, has recently concentratedits efforts on getting back to its roots in the touringmusic industry. With the help of state-of the-artServo Motor based automation products controlled bythe Navigator Motion Control software from FisherAutomation, it has been very successful in reestablishing itsleading position in the touring marketplace. It have beenespecially successful in the country music field with suchacts as Kenny Chesney, Keith Urban, Brooks & Dunn,Carrie Underwood and now Rascal Flatts. It is lookingat the possibility of opening a third location in Nashvilleearly next summer.Its rock ‘n’ roll heritage continues as well with suchrecent clients as Motley Crew and Tom Petty outthere amongst others with full ShowRig Systems.Currently ShowRig is putting a lot of attention into developingits scenic fabrication business, ShowFabrications,Inc., now with full CNC based capabilities both in LosAngeles and Las Vegas. With sets built for recent clientslike Van Halen, Barry Manilow and Carrie Underwood,ShowRig sees itself able to offer the same sophisticatedmanufacturing techniques as Tait Towers, at a costeffective price mixed with the practical design and packagingcapability.ShowRig just completed “Giant Flying Coffins” for thecurrent Metallica Tour at John Broderick’s request, whichturned out very well and demonstrates its ability to turnconcepts into practical touring reality in a quick period oftime.Ongoing plans include the expansion of ShowStagingRental Services, with a new generation of rolling stagesdue out early next year, and a wide range of servo-basedelevators and tracking systems to replace the use ofmessy hydraulics systems wherever possible.So SGPS, Inc. now covers all production needs (excludingsound, lights and video), including ShowRig, with truss,conventional chain hoists and now automation rental services,ShowStaging with rolling stages, elevators and riserrentals and ShowFabrications with custom sets. 532

The ShowGrowp Family of CompaniesAutomationRascal FlattsIt Still Feels Good TourTom Petty & The Heartbreakers2008 Tour2845 Coleman Street, Bldg 1North Las Vegas, NV 89032Ph: 702.270.4240Fx: 702.270.4221Show Group Production ServicesServicing The Needs of The Entertainment Industry

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newALPHA 300 SPOT HPE | SPOT | WASH | BEAMCompact and EXTREMELY BRIGHT*, the new Alpha 300 projectors boast all the potentialof the Clay Paky Alpha larger sized projectors. Excellent value for money.IT PUNCHES ABOVE ITS WEIGHT(*) Alpha Spot HPE 300 and Alpha Spot 300 produce double the brightness of their best known competitors in the same power category.Alpha Wash 300 even beats them by approx. +20%. The brightness of Alpha Beam 300 is triple that of a standard 1200 W Wash projector..8607 Ambassador Row, Suite 170BDallas, TX 75247Phone: 214-819-3200Fax: 702-942-4607E-mail: info-NA@prgdistribution.comwww.claypaky.it

“Sparkles”Def leppardon Tour with VLiteby Chris CogswellIn 2008, a successful Def Leppardtour might seem an impossibility.Not only is this band touringbehind a new record in 2008, butthe tour is hugely successful for aband whose “best days” are supposedlybehind them.We all know how the business model fora touring band has changed over thelast few years. Bands today tour to makemoney, not necessarily to promote analbum. With record sales way down, formost, touring is the only way to recoupand then make money. (Or simply breakeven,as many working bands hope to do).mPm was given access to the second legof Lep’s U.S. summer tour. After a briefconversation with production mangerRocko Reedy, it was clear that he wasvery familiar with this new businessmodel.“The few current rock bands that sellmillions of records these days, can’t sellout arenas,” says Reedy. “While DefLeppard no longer sells millions of theirnew releases, they continue to play hugeshows and sell out the majority of them,anywhere in the world. This band stillhas legs.” Without naming names, it wasunderstood of who Reedy spoke. Thereare so many bands that get more airplayand sell more recordings (includingdownloads, mind you) than The Leps,however, these bands’ tours don’t draw‘em like Def Leppard. There is a bit ofnostalga involved, no doubt. But howmany bands have this kind of shelf life?Not many.The production was neat and clean, asthere was little to get in the way of theband’s performance. Aside from the“ego ramp” so prevelant in rock n’ rolltoday, the production highlights belongedto the wonderfully choreographed videopresentation and the VLite LED Screenprovided by Nocturne Productions.Nocturne’s C0-CEO Bob Brighamexplains how this tour came together.“Back in late January, we were workingwith Dan Braun on his design forMetallica’s upcoming Summer EuropeanStadium Tour. Dan’s design called for amedium resolution LED screen that was25’ x 75’. He then said, “That’s the easypart. Here is what the screen needs tobe able to do. It must be extremely light,able to build and dismantle quickly andthe complete video system has to fit inone 45’ Euro truck trailer.”Brigham continued, “So while wewere at Tait Towers in early February,Ron Proesel from Nocturne/Vidicon,designed what we now call VLite, drivenby a vista systems spyder processor.”Proesel collaborated with LSI-Saco inMontreal for all LED components, andwith Tait Towers on the frames. Brighamsaid,“We couldn’t be more pleased withthe performance of VLite. The imagelooks amazing. On top of that, we builda 25’ x 75’ show ready in 45 minutes andcan be taken down in under 30 minutes.”Nocturne’s Jon Beswick, who produced/directed the video montages for the tour,commented on the ease of VLite’s operation.“The VLite is incredibly versatile. A lotof thought and time went into buildingsomething isthat totally rock ‘n’ rollfriendly,” says Beswick. “For example, ifthere is a problem with one of the LED’s,they are interchangeable. Just pop thestrip out and replace it and it’s done! Thestrips are held in place with magnets sothere are no clips whatsoever. On otherproducts, if you lose LED’s, you have totake out the entire panel.”Nocturne also provided two 15’ X 20’projection screens stage left and rightwith I-MAG running on these screensduring the entire show. The VLite wall isused for full screen playback of content.As for the video content itself, Bewicknoted, “For the Def Leppard tour, thereis a lot of animated content in the show.Most of that content has a bit of tonguein-cheekhumor to it. The band are verylight hearted guys, and they are a lot offun to be around and good guys to workfor. They take their music seriously andthey are great players, but as far as thecontent goes, everything that we havedone doesn’t really have a serious noteto it. It’s more about kind of having fun,and rock n’ roll and taking the piss out ofyourself, if you want to use the Englishway of saying it! There is a lot of thiskind of Monty Python-ish humor withcontinued on 42Crew photos o p p o s i t e pa g e (l to r) t o p to b o t t o m) Steve Davis - Crew Chief Engineer; MalvinMortimer - Tour Manager; Ken Mitchell - Head Rigger; Thomas Braislin - Camera and LED Walltech; Seth Conlin - Lighting Crew Chief, (left) Ted Bible - Systems Engineer, (middle) JonathanBeswick - Video Director, (right) Ronan McHugh - FOH; Chuck Beckler – Stage Manager;Rocko Reedy - Production Manager; (left) Caitlin Phaneuf - Production Coordinator CaitlinPhaneuf & (right) Lesley Mortimer Wallace standing38 mobile production monthly

Def leppardBand:Drums: Rick AllenGuitars: Vivian CampbellGuitars: Phil CollenVocals: Joe ElliotBass: Rick SavageCrewTour Manager: Malvin MortimerProduction Manager: Rocko ReedyStage Manager: Chuck BecklerProd. Coordinator: Caitlin PhaneufGuitar Tech: David “Wolfie” WolfDrum Tech: Tod BurrGuitar Tech: Scott AppletonBass Tech: Aidan MullenMonitors: James “Pilgrim” O’BrienWardrobe: Lady LesleySound Crew Chief:Kenneth “Ted” BibleSound Techs:Nathan Klaeser, Mike MuranteVideo Director: Jon BeswickVideo Engineer: Steve DavisVideo Techs: Tom Braislin, MasonBraislin, Tom SimpsonUS Lighting Directors: Kenji Ohashi,Takeshi TabuchiLighting Crew Chief: Seth ConlinLighting Techs: Terry Paluszkiewicz,Ricky Krohne, Dennis LanceRigger: Ken MitchellCarpenter: Jeffro HannahMerch: Tim WalstonBand Bus Drivers: George Harris,Kent Hardy, Merle WilliamsCrew Bus Drivers: Tom Dilworth,Bert Haseldon, Buzz BlauveltLead Truck Driver: Gary PhelpsTruck Drivers: Bill Sowell, NickJames, Hans Smith, Randy Davis,Dan Thigpin, Rick Wilson,Michael LewisVendorsManagement: HK Management(website include.)Promoter: Live NationBusiness Management USA:Provident Financial Mgmt.Business Management Europe:Prager & FentonTravel USA: Linden TravelTravel Europe: Rima TravelBooking Agent: Artist Group Intl.Video: Nocturne ProductionsSound: Sound ImageLighting: Premier Global Prod.Downstage Thrust: Tait TowersBusses: Senators CoachesTrucking: Upstaging TruckingMerch: Sony SignaturesRadios: Road RadiosPasses: Cube ServicesItineraries: Knowheremobile production monthly 39

Intl.Dragonforce for ADLIBADLIB is supplying lighting and audio equipment and crew for the current Dragonforce UK tour.Theenergetic speed metallers come complete with apowerful rock-tastic lightshow designed by StuartGray, and one of the clearest, cleanest, mega loud metallicsonic experiences mixed by Bruce Reiter.AudioADLIB is supplying a Nexo Alpha system,with the standard configurationbeing 18 M3 mid high boxes, 12 B1bass cabinets and 10 S2 subs. Playinga wide variety of venues, they’re flyingwhere possible and ground stacking therest of the time. For general infills, theyare utilizing 4 ADLIB AA122s.Nexo’s NX242 processors are usedacross all the Nexo elements, feedingCamco Tecton amplifiers driving themid highs, Crown VZ5002s poweringthe bass and subs and Crown XTi’s forthe infills.The system is time aligned each dayby ADLIB’s systems engineer RichyNicholson using EAW’s SMAARTanalysis software.The FOH desk is a DigiDesign Venue,Reiter’s console of choice because “Itsounds fantastic.” He’s using only onepiece of outboard – a dbx Drive RackPA which contains a sub-harmonicsynth, through which he routes the tomsto an aux send and returns it to thechannel with added boom and click.They are using EV Rev microphones,including the RE510 vocal mic which“sounds awesome” enthuses Atlanta,GA based Reiter, who certainly seemsto have cracked the challenge of gettingit hugely loud with every word beingtotally audible. They are using someSennheiser mics on the toms and thenew EV PL series on cymbals and othervocals.Creatively, he tries to keep the low tightas howling guitars are the primaryfocus, so the bass needs to be controlledbecause of the sheer pace of the band.Reiter has worked with Dragonforcesince 2006 and has done 2 previoustours with them using ADLIB commenting,They’re all great people.”adlibaudio.co.ukMonitors are mixed by ADLIB’s DaveDavies, who’s been onboard for a year.All 6 of them use Sennheiser G2 stereoIEMs which keeps the stage extremelyclean, allowing them to maximize everyinch of it for their hectic show.Davies mixes with a Yamaha PM5Dwhich he likes. It’s also a logical choiceto run in tandem with the IEM system,and the two combined make foran exceptionally quick set up and teardown. They are also running Pro Toolsfor clicks and firing the guitar soundsand pedal changes. The monitor set upis really straightforward explains Davies,“They are a no-nonsense rock ‘n’ rollband” and fit onto one page of thePM5D.LightingAdlib’s Stuart Gray was delighted toget the opportunity of injecting someanthemic rock ‘n’ roll and ACL looksbased on beam technology into theshow, which he’s really enjoying.The design is based on three 40 fttrusses and a bunch of fixtures on thedeck, which move day-to-day according40 mobile production monthly

to the venue and how the stage set risersand ramps have to be moved to fit theavailable space.The back truss is rigged with 5 bars of 6PARs, 6 Martin Professional MAC 250Washes, 4 bars of ACLs and 4 Linear4-lites; the mid truss has 6 MAC 250Washes and another 4 bars of ACLs andthe front truss has 4 bars of 6 PARs, 6Source Four profiles focussed on specificriser areas and another 4 linear 4-lites.On the floor are 6 MAC 250 Washes infront of the set and 12 JTE PixelPAR 90s,some up-lighting from beneath the grilledrisers and others dotted around the set.Upstage are 4 vertically mounted ACLbars on tank traps.Smoke is a serious business, provided by amix of 2 JEM ZR33’s and a DF50 Hazer.Gray operates using an Avolites PearlExpert console – his desk of choice fora fast, furious show like this, replete withimprovizational moments, when you needto have everything available and be totallyhands-on.continued on 42mobile production monthly 41

Roy Wilkins Auditorium continued from 20Hockey Tournament. In 1985, it was renamedafter former NAACP director, civilrights activist and Saint Paul native RoyWilkins.Over the years, the Legendary Roy WilkinsAuditorium has hosted some of the mostrecognizable artists and memorable performancesin entertainment history. TheGrateful Dead, David Bowie, Bob Dylan,Dave Matthews, Alanis Morrisette, Journey,and The White Stripes are just a few ofthe renowned acts who have come to appreciatethe welcoming parlor feeling of thevenue.VersatilityThe Legendary Roy Wilkins Auditorium isa destination for music appreciation. Withits relaxed and retro feel, it’s the perfectmid-sized venue for performers that haveout-grown clubs but aren’t necessarilyready to make the leap to a major arena. Itcan accommodate a wide variety of artistsand events and is an ideal setting for rock,hip-hop, jazz, country, comedy and folkmusic.But beyond live concerts, it is also hometo a mosaic of colorful exhibitions, dance,sport and educational programs. Over77,000 square feet of exhibit hall spaceattracts festive celebrations, informativeexpos and national trade shows and conventions.Since 2005, the ever-popular MinnesotaRollerGirls has called the Legendary RoyWilkins Auditorium home. The RollerGirlsis an all-women amateur flat-track rollerderby league based in the Minneapolis –Saint Paul area. Annually, it attracts around50,000 fans to a dozen derby bouts eachseason.Roy Wilkins Auditorium is a versatile spacefeaturing a 5,000-seat auditorium with floorand balcony seating and 44,800 square feetof exhibit space on the main level. There’san additional 32,000 square feet of exhibitspace on the lower level, which adjoins theSaint Paul RiverCentre exhibit hall.AmenitiesIn 2005, Roy Wilkins Auditorium underwentnumerous upgrades. The additionsincluded a full service production audiosystem, upgraded production lighting andcommunications options, installation ofa new balcony curtaining system, videoscreens in the main lobby, acoustical treatments,balcony seating refurbishments,improved HVAC controls, new concessionequipment and restroom renovations.Creating its own vibrant energy, the SaintPaul Conservatory for Performing ArtistsDance Instruction School currently residesin the upper level of the Legendary RoyWilkins Auditorium. Designed professionallyfor instructional, social and competitivedance, the school features four 3,240-sq.-foot dance studios with spring-loaded flooring,18’ ceilings, rigging for silks and flyingdevices, and built-in sound systems, providinganother multi-functional space withinthe venue.FunctionalityThe Legendary Roy Wilkins Auditorium isa space adaptable for everything from concertsto trade shows, galas to business meetings,and groups of five or five thousand.With high tech staging capabilities and anexperienced and dedicated staff, it’s a stopon your tour you won’t want to miss. 5Jonas Brothers continued from 13everyone who sees them knows it.How else could you explain the ideathat they would, as an opening act forHannah Montana, begin their showwith a fly gag? NO ONE get’s thatkind of respect as an opener!It was summed up quite well by BradWavra, Senior Vice President for LiveNation Touring out of L.A. who noted,“These kids are some of the most talentedkids I’ve ever met. To be able towrite their own songs, play their owninstruments and sing their own vocals isincredible. This is not a packaged simulatedboy band. They're grounded intheir family – their family travels withthem. And they have a work ethic thatis unparalleled.”The prediction is that they will be playingStadiums next year and when theydo, mPm will be there as we ride thistrain as far down the track as it goes.This isn’t something you see everyday. 5Def Leppard continued from 38some of the stuff, there is some sexualcontent that isn’t anything too over thetop, that the kids would be offended by,but we had a lot of fun putting it alltogether and we think that it goes withall the songs really well.”With all US shows on their summertrek having sold extremely well,there is no doubt that Def Leppardhas “legs” even in 2008. ‘The SparkleTour” continues in November withvisits to Australia, Japan, New Zealand,and India. 5ADLIB continued from 41He comments that he is very impressedwith the brightness of the MAC 250s,which are also an ideally compact size forsome of the smaller venues when stagespace and headroom has been reallytight.For control, they are using 2 AvolitesART 2000 dimming racks, one with 48ways of dimming and the other with12 ways of dimming and 36 ways ofswitched hot power.ADLIB Lighting also supplied all trussing,1 tonne Lodestar motors and techniciansTim Spilman and Shaun Moore. 542 mobile production monthly

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