volume 4 issue 3 2011 - Mobile Production Pro

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Born FreeKID ROCKcontentsvolume 4 issue 3 20111014mobileproductionmonthly206 Sound On Stage PowerCrown Audio products form a vital and integral part of many live stage arenas -Paul Watson finds out why.7 Thunder Valley Casino Resort Feels the Peal of KUDO8 ConferencesSHOW-WAY 2011 Starts Up Again “the recovery fair”10 LogisticsThe ‘Captain’ of Logistics Tackles Another ContinentWorking for Janco Ltd. and now the UK’s Redburn Transfer, Christopher Darling’slarger-than-life persona just got bigger.14 Cavalia Part OneSo You Say You Know What Touring Is Like Eh?20 Kid RockBorn Free and All Over the Musical Map26 Tour Personnel27Tour Vendors28 PyrotekEnflames Kid Rock’s Born Free Tour30 Accurate StagingSets the Stage for the First Touring Saloon32 NocturneRocks for Kid Rock34 Crossover Entertainment Group Part Two20 years of Crossover - A Conversation with Billy Johnson40 Advertiser's Indexmobile production monthly 3

FROM THE PublisherIt is hard to believe that the new touring season isalready upon us. The older I get, the faster time seemsto slip away. It seems that we were just leaving Scottsdaleand Tour Link. Now we are in the startup of the season.Bids are flying around for production and transportation,crews are being organized, rehearsals are transitioning intoload outs and rooms are being booked. Whew! I think I amgetting too old for this. I honestly do not remember wherewe get the energy for this life, but thank God, most of youstill have that spring time spark going. I hope it sustainsyou down the road.As in all things, our focus is on the present and thisissue we focus on Kid Rock. This tour features somegreat people, super vendors and many of my friends andacquaintances, so forgive me if I am a little prejudiced. Ithink this is one of those “sleeper” shows that will be talkedabout this year. There is a lot of great energy and goodspirits on this show and we have been impressed withthe professionalism at all levels. We think you will find thisissue a good read to start the season.Larry SmithHOME OFFICE STAFFa 7 3 2ph: 615.256.7006 • f: 615.256.70042961 Armory Dr • Nashville, TN • USA 37204mobileproductionpro.comofficemanager@mobileproductionpro.comFor advertising inquiries:ads@mobileproductionpro.comPublisher: Larry Smithlarrysmith@tourguidemag.comManaging Director: Chris Cogswellccogswell@mobileproductionpro.comChief Writer / Photographer: Michael A. Beckgrockit@comcast.netArt Director / Graphic Designer: Kristin Salawaykristin.tourguide@gmail.com /ksalaway@mobileproductionpro.comWebmaster: Michael Stalcupmstalcup@mobileproductionpro.comTOUR LINK BOARD OF ADVISORSBenny Collins, Jim Digby, Jon Nevins, Stuart Ross,Bobby Schneider, Jay Sendyk, Seth Sheck, Nick GoldNicki Goldstein, Chuck Randall, Michelle Freedmantourlinkconference.comPUBLISHED BYAnvil Productions, LLCph: 615.256.7006 • f: 615.256.7004FOLLOW USfacebook.com/tourlinkconference | facebook.com/tourguidepublicationstwitter.com/mobileprodpro | twitter.com/tourlinkconf773.862.4246 | sales@eventric.comMaster Tour is the industry’s leading tourand event management software.Thousands of professional touringorganizations are using Master Tour toplan, manage, and track the art andbusiness of touring - why aren’t you?Head to eventric.com/demo fora free month trial!©2011 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:4 mobile production monthly

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SoundOn Stage PowerCrown Audio products form a vital and integral part of manylive stage arenas - Paul Watson finds out why.Since its founding in 1947, CrownAudio has become one of the largestand most respected manufacturersof Pro Audio amplifiers. Lennart Dahlgrenof Harman’s Swedish distributor SeptonElectronic talks to Paul Watson about the prosound and installation market and Jim Risgin,VP of On Stage Audio International, revealswhy Crown Audio has been an integral partof the Illinois-headquartered rental company’sinventory for the last 10 years.Paul Watson: What do you feel sets Crown Audioapart over other manufacturers?Lennart Dahlgren: To be honest, I believe thatthe sound quality is its biggest strength;when I first listened to Crown Audioproducts, the difference in the audio wasbigger than even I expected myself. Also,the built-in DSP and System Architect arebig plus points; it helps to have that sameplatform for the entire Harman brand.PW: You take care of Crown Audio’s distribution forSweden– what’s an average working day for you?LD: Yes – that’s where my focus is. I findmyself dealing with clients on a daily basis,concentrating a lot on the system solution.And also, with the System Architect and thenetworking between units it definitely helpsmake my job a lot easier.PW: What units are the most popular and why?LD: Well, there is demand for I-Tech, andXTi is also very popular, which is a cheaperamp with DSP built in.PW: A kind of entry level in Pro Audio?LD: Yes. And the new XLS DrivecoreSeries has a built in digital crossover; it’svery lightweight and it sounds good as well– it’s certainly a moreaffordable way into ProAudio equipment.Paul Watson: So you’re abig user of Crown Audioamplification? What standsout in your opinion?Jim Risgin: Yes, for about 10years. We switched over afterusing different manufacturersand found the reliability and sound qualityto be enough of a difference to invest in anentirely new amplifier line. Since then it’sbeen the workforce of our inventory; werecently invested in a large number of theirVRACK packages.PW: Why the VRACK particularly?JR: Because it’s a pre-packaged system thatenables us to buy the amplifiers one dayand have them out generating revenue forus within a week instead of having to gothrough it all ourselves. We found that tobe a tremendous advantage. It’s also costcompetitive, and it’s integrated into theSystem Architect control software whichmakes it even easier to use; that’s thenetworking and DSP that’s built into theamp. It’s unique because it’s a rack package,it’s got control panels, and it’s generallyunits.easier than dealing with individualPW: You’ve been using Crown Audio for 10 years.Have you seen the brand develop much over thattime or have you always regarded it as a marketleader?JR: I have always thought of Crown Audioas a well established top brand, but in thelast 10 years I believe it has establisheditself as the pinnacle of networks: Harman’sproprietary network control system -HiQnet; and a distributed DSP amplifierplatform. It has networked more amplifiersthan probably all other manufacturersput together; and in this day and age thatis a huge strength which, along with itsoutstanding audio quality and reliability, isthe reason we consider it an industry leader.)6 mobile production monthly

ConferencesSHOW-WAY 2011STARTS UP AGAIN“the recovery fair”The long-awaited second edition of the show will takeplace in Bergamo, Italy, from 15 to 17 May 2011It is now time for recovery after a year on standby, which has allowedcompanies in our trade to concentrate their essential efforts on optimizingtheir businesses during the peak of the world recession, now behind us.Since the successful first edition of Show-Way in 2008 (165 exhibiting companies,60 percent of which was from outside Italy,33 new products, 11 workshops and 6,783visitors from 35 nations), companies inour industry have been eagerly working toresearch and develop innovative products infar from favourable market conditions. At lastthe results of their efforts may be exhibited inthe most distinguished showcase to a marketnow ready to appreciate them.The Show-Way Professional EntertainmentTechnology Exhibition will return to theBergamo trade fair from May 15 to 17, 2011with the same format as before: a tradeexhibition for the professional lighting, audioand sound industry. These are sectors whererenowned top-ranking companies work in Italy.Show-Way 2011 is the only professional tradefair for these industries in Italy and the onlychance for profitable investment at the righttime.APIAS, the Italian association of manufacturersand importers of equipment for theentertainment industry, which represents themost important and distinguished firms inthe trade in Italy, confirms its utmost commitmentto working together with ENTEFIERA PROMOBERG towards a show withtop ranking participants:Designers and consultantsSet designersLighting designersArchitects and interior designersDirectors of photographyRental companiesTheatres, museums and local authoritiesTV and cinema production companiesConcert organizersShow and event organizersSpecialist installers and retailersImporters and international distributorsA strong need was felt for this trade fair inorder to support the industry and promoteits growth. For this reason, Show-Way hassimple application procedures without lastminute surprise costs and with all the servicesneeded to make taking part as an exhibitor orvisitor straightforward and easy. In this waythe “trade fair investment” is truly profitablefor all those who come. )Show-Way 2011Professional EntertainmentTechnology Exhibitionshowway.com8 mobile production monthly

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LogisticsThe ‘Captain’ of LogisticsTackles another ContinentWorking for Janco Ltd. and now the UK’s Redburn Transfer,Christopher Darling’s larger-than-life persona just got bigger.By Tyler BlueThe morning sun is just starting to peak over the foothillsof Santa Barbara, and Christopher Darling is working thephones and firing off emails from a tree house in his backyard.When the weather permits, an eccentric fellow like himcan’t subscribe to the confinement of an ordinary office. Hissize 14 feet, supporting his 6’6 frame, are bare, as they oftenare. Blond highlights streak through his mussed, graying hair,which looks like he came straight from the VIP room of anIbiza dance club the previous night.In spite of the Bohemian, Californiaportrait, Darling is ingrained withthe nose-to-the-grindstone mentalityof a guy raised by a hardworkingautomotive executive and anAlzheimer’s day care clinic founderin a Detroit suburb. One momenthe’s on the phone with a tour managerfor Iron Maiden, hammering outadjustments to their bussing arrangements.The next he is correspondingwith a production manager for TheVan’s Warped Tour, analyzing thetrucking specifications for an upcomingtour. Often itgoes smoothly but there are always fires to put out.After successfully sorting things out with Customswhen one of his truck drivers is waylaid at theCanadian border, he gets up to go inside to makea tall glass of freshly juiced vegetables – some ofwhich have been grown in his garden.Many who know Darling think he lives a charmedexistence and it would be foolish to argue. He’sthe kind of guy who always gets past the red velvetrope with a subtle wink. Everyone from truckdrivers to rock stars gravitate towards him and hisGinsu-sharp wit. Serving as the logistics coordinatorfor Janco’s trucking division since 1995, hehas fine-tuned his job to a state of well-calculatedgymnastics; performing thecontactChristopher Darling805.682.4513Skype: vicarious.livingjancocd@aol.com

equivalent of a one-armedpommel horse routineon a regular basis; narybreaking a sweat (naturally,his Blackberry is in theother hand). According toJanco’s General Manager,Rick Rosenthal, “Hiseasy going nature hasmade his interactionswith clients, potentialclients and drivers seemeffortless.”Based in Wayne, NewJersey, Janco was foundedby Tom Mallow; a theatricalproducer. He startedan agency, followed shortlyafter by the establishmentof a transportationdivision in 1975. JancoTransportation is now consideredby its peers as oneof the top three truckingcompanies in the entertainmentindustry. A commitmentto diversity has beencritical to its success as thecompany handles everythingfrom sporting events to tradeshows. When Darling cameon board, Janco’s identity wasas a Broadway carrier with its core businessbeing in the fall through spring seasons. Hebrought with him a roster of music clients whowere on the road at the opposite time of theyear. “I gave Christopher a blank canvas so hecould use his creativity to make Janco’s musicdivision as successful as our Broadway divisionhad been for years,” Rosenthal explains. “Hedesigned the playbook.”Darling was integral in establishing two separatedivisions of drivers in order to assign eachto the specialized niche best suited to theirskills.He makes a point toknow everything about them including outsideinterests, musical tastes and family details. Hethen dispatches them according to the size andnature of each tour. His value for each employeeis a mentality he attributes to his high schoolbasketball coach. “He is the reason I’m so successfulin this business,” Darling extols. “Everymember of our team was an asset from the starplayer to the twelfth man.” Janco driver Steve“TC” Holmes sees the analogy in footballterms: “The office coordinates, Christophersets up the plays and we run the routes. He is avital part of what makes this a winning team.”In the fall of2010, Darling washired by RedburnTransfer a fourthgeneration truckingcompany based inEnfield, just outsideLondon.“My operations team andour drivers make me lookgood,” declares a humbleDarling. “Our drivers aretruly middle managementand take great pride in theirwork. While I can develop atour’s needs, it takes a greatday-to-day office staff toexecute properly. We have afantastic team that operatesvery efficiently.” Janco’slead driver, Bill “Chilly”Taylor (who worked on theJay Z / Eminem 2010 stadiumtour), expresses, “It isalways an adventure workingwith Christopher. Heallows me to meet newpeople that keep challengingmy abilities. Weboth agree that Janco’sextensive training programis key. We go to great lengths to educate everydriver to make sure they can transition fromone tour to another, no matter what the size.”Upward mobility is a realistic opportunity asa result of the way they are privy to touringcomponents outside of their typical expertise.After ten years of service, one ex-Jancodriver, Chris Knorr, went on to become theproduction manager for Jack Johnson and BenHarper. Offering its drivers’ premium 401kand health benefit packages is standard practice.In addition to the quality of its staff, Jancois proud to be an industry leader in its effortsto reduce carbon footprints. Operations staffmember, “Little John” Limatola, has workedmobile production monthly 11

Logisticsclosely with Darling to implement eco-practicesfor Janco. “When Christopher first explainedthe concepts behind becoming a green fleet,I was a little skeptical,” he recalls. “Turning atrucking company ‘green’ is no small task. Itwasn’t soon after, with his help, I spearhead thecurrent platform and procedures now in placeat Janco.” Specifically, this implies using biodiesel fuel and incorporating alternate powerunits for the tractors.Darling got started in the transportation fieldin the 1988 after graduating from University ofArizona. He was intrigued by the traveling secretaryposition while he worked for the DetroitPistons during their infamous “Bad Boy” yearsbefore moving to California to a similar positionfor the Oakland Athletics. He enrolledin a sports marketing class at University ofCalifornia Berkeley taught by then marketingdirector of the Athletics, Andy Dolich. Darlingrecalls, “While my dream job had been as themarketing director of an expansion pro hockeyteam, I took the concept of the traveling secretarieslogistical duties and put it to practicaluse with what I learned from Andy that year.”Before the semester was over, he had launchedhis career in trucking.Ten years ago, Darling made a pivotal careermove when he joined forces with Mike Slarveand Four Seasons Coach Leasing. Forming apartnership with tour manager Jerome Crooks(Beastie Boys, Usher), the pair began to purchaseand convert their own buses. Workingin conjunction with Four Seasons and Jancomade it possible for a one-stop shop for USAtouring transportation. “I have the audienceto lease buses and Jerome has the experiencefor coordinating successful tours. Together wemake sure the artists and crew travel safely, incomfort.”Between Janco and Four Seasons, Darling’s2010 clients include Iron Maiden, Yo GabbaGabba, Gorillaz, Diana Krall, Jack Johnson,Conan O’Brien and LCD Soundsystem. “Ihave always said that listing clients is just windowdressing,” he proclaims. “It is their tourstaff, the success of the work you accomplishtogether and the relationships that grow fromthere which are what is really important.”However, unlike many industry lifers, Darlingstill maintains a youthful passion for the livemusic experience. He makes a point to attendas many of his clients’ concerts as possible.Darling’s reputation is synonymous with hiszest for international travel. His passport isfilled with enough ink to write an abridged versionof Robinson Crusoe. He heard the siren’s callyears ago, beckoning him to Southeast Asiawhere he has spent extensive time over the lastdecade. No matter how remote the region is,he always manages to find WiFi and cellularreception to keep tabs on operations backhome. A perennial bachelor, he finally foundhis soul mate on a trip to Thailand; marryingThitima Suriyon in 2007. They are in thebeginning stages of building homes on GoldenBuddha Island – a sustainable beach resort inThailand, as well as a new project in Malpais,Costa Rica with The Crystal Method’s managerRichard Bishop.“People in the UK andDown Under will know meas The Captain beforewe are ever introduced.”The globetrotter has practically earned thestatus of an honorary British citizen basedon the professional and personal relationshipshe has fostered there over the years. InEngland, he is affectionately known as CaptainDarling – a reference from the British mockhistorical sitcom, Blackadder. “The nicknamereally stuck without any effort on my part,”he says. “People in the UK and Down Underwill know me as The Captain before we areever introduced.” Proving a splash of context,production manager Jason Danter (Lady Gaga,Britney Spears) praises, “The Captain bringsa fine balance of professionalism and humorto the job, making him a complete pleasure todo business with... on point at all times, neveran issue.”The stock for that moniker is on the rise ashis presence – whether physical or not – hasalready become more ubiquitous across thepond. In the fall of 2010, Darling was hiredby Redburn Transfer – a fourth generationtrucking company based in Enfield, just outsideLondon. Chairman and Managing Director,Chris Redburn, is a longtime friend. It figuresthey would get along since Redburn wasa guitar player in a 1970s pop band calledKenny. “He’s a likeable, larger than life giant,”Redburn exclaims. “Unfortunately he supportsthe wrong soccer team (Chelsea) but hey, youcan’t have everything I guess.”Darling will continue his relationship withJanco and Four Seasons while expanding hisscope of expertise to include the nuances ofEuropean touring. “I have been given a largeplaying field. There are several challengesahead of me and I will have to adapt,” he realizes.“Each country has its own set of rules andregulations. There are ferry schedules to learn.There are many similarities; however, there arealso vast differences.”Redburn Transfer UK was established wayback in 1870. Redburn established its modernincarnation, Redburn Transfer Ltd, in 1982.Some of the biggest names in the industryhave entrusted their tours to Redburn, includingPink Floyd, Bruce Springsteen, RodStewart, Aerosmith, The Eagles, FleetwoodMax, John Mayer and Kings of Leon.Recently they have added the NFL to theirillustrious roster. Redburn has been voted “BestTrucking Company” by the music industry inthe UK five times and nominated every yearsince the inception of the award. Chris says ofhis new star, “We both share a common businessethic of providing excellent value serviceto our clients and, at the same time, have apassion for the music our clients produce.”In early 2009, Redburn Transfer merged witha large UK-based freight company, DebenTransport Ltd. The merger now gives RedburnTransfer a substantial increase in availablefleet size, management expertise and systems,maintenance programs, and vastly improvedbuying power to ensure all equipment is statecontinued on 38We Understand Touringwww.CQNash.com615-859-020012 mobile production monthly

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Latourelle considers himself to be both theartistic director and the producer of theshow. As anyone knows the most commonclash in the entertainment world is betweenthe creative vision of the artistic directorand the fiscal restraint of the producer. Inthis case that discussion was taking placein Latourelle’s own head. While he wouldnever say that money is no object, thecreative director won the debate with themotto, “When you have a dream you justhave to do it, and you should go as far asyou can.”In the beginning he figured the show totravel in roughly 30 trucks. That numbersoon wound up in the rear view mirrorof the more than 90 trucks that currentlycarry the show. The production is a completelyself-sufficient unit that can functionanywhere there is a fire hydrant. TourManager Duncan Fisher explained theindependent nature of the tour, “Beyondthe need for fire hydrants we don’t needanyone. We’ve got everything we need.”According to Fisher, the production sitecovers roughly 450,000 square feet dependingon the city. The dynamic factor in howmuch space is actually needed in any givenlocation is parking, which is determinedby the nature of the city where the showis performing. In a city like San Franciscothat has outstanding mass transit capabilities,the site may only need 350 parkingspaces for the 2,000 people who willundoubtedly show up for every production.On the other hand, in cities like Atlantawherein mass transit is less extensive, theparking requirements may exceed 500spaces. On opening night in Burbank theyhad 900 cars.As with almost every other aspect of theproduction, Cavalia controls the parkingalthough that lesson was learned throughexperience. When mPm caught up with theshow, it was performing in San Franciscofor the second time. Fisher discussed theparking issue. “When we were here before,we were in the Giants’ parking lot, whichwas great. It saved a lot of time, but theycontrolled our parking. This time we are inan area that has been under constructionfor quite some time, and although we have to level out the site, parkingis ours. That gives us one more revenue stream.”The only aspect of the production that Cavalia does not control is theofficial intervention of local and state governments. Because of the completelyunique nature of the show, negotiating the bureaucracy can be abit dodgy. The person who has to deal with that is tour Pre-Productionand Permits Coordinator Anne-Laurence Dubois. Due to the size of theshow site and the need to keep the down time to an absolute minimum,the company leapfrogs tent systems. For this reason the permitting processbegins well before the move from one city to the next.“We have to get a building permit for the raising of the second big topandthat takesplacetwo months before the actual opening ofthe show in that city,” Dubois explained.“Sometimes cities have a rule that says wehave to give them anywhere from 60 toeven 90 days advance notice, but we don’t know that until we get intothe process in each city. When they see the size of our production, theywave the rule and work with us.”That being said, the building permit is only the beginning of thebureaucratic labyrinth. Within the building permit there are also subpermitscovering sewage, water, electricity, and in some cases cities havespecial event permits that must be acquired. Once that is done there arelayers of fire inspections. Then Animal Control comes out to inspect the16 mobile production monthly

There are some cities wherein the permit process moves pretty smoothly,such as Atlanta. It seems Atlanta’s City officials went to school on howto handle special events when the 1996 Olympics came through town,and they learned their lessons well. However, not all cities have thatexperience to access. Indeed, there are some cities that draw a completeblank when Cavalia rolls in, and that’s when it gets difficult. Picture aby-the-book bureaucrat frantically going through “the book” to figureout how to permit a show that has never been imagined in his or hertown. Thankfully, that is the exception and not the rule. Dubois said thatthere is another event that helps in the permitting process. “If we go toa city where Cirque du Soleil has preceded us, the city officials are ableto go into their archives and follow what they did with Cirque as thetemplate for us.”What he found was that any studyof the timeline of horses is a studyof humanity as there has not beena time in our presence on the earthwhen horses weren’t here beside us.It is critical that the permitting process take place on time because theadvance team can’t be held up. Once the bureaucratic compliance isunderway construction can begin. The first thing that takes place is gettingthe site leveled. There is some leveling that takes place no matterwhere the show site is located, and the procedure takes roughly fourdays depending upon the condition of the site. Whereas in other gigs,tent structures may not be as great an issue. This production has anenormous truss grid, 2,000 seat theatre system and a wrap around scrimall of which has to be exactly plum and true. That’s where 2,500 tons ofmaterial comes in.Leveling of the site is done with a road mix of recycled asphalt andcrushed concrete, which is typically used as a sub-layer for highwaysurfaces. Once that is laid out it is covered with rock dust, an extremelyfine crushed rock that is similar to the brick dust that is used to cover theinfields of major league baseball stadiums. Inside the big top the surfacingneeds are more intense. The next layers are dark sand then whitesand, which is much finer than the dark and finally silica. This is forwater drainage. A mulch fabric is laid in next. The mulch has a densityand weight that is needed to keep the sand from going air born.In the center of the stage there is a pond that is only used for the firstnumber of the show. This is created by sinking a three foot deep bowlinto the ground that acts as a basin. The pond is filled at the top of theshow by pumping water in from a holding tank outside the tent. As soonas the first performance of the show is over, the pond is drained off withsuch subtlety as to not be noticed by the audience.stables to make sure they are safe and the animals are well looked after.Depending on the location of the show site in any given city, there isalso the matter of police involvement in traffic control, and of coursethere is getting a license to do business. As if that’s not enough, soon theshow moves into Canada where truck weight limits are greatly reduced,which bloats the number of trucks needed to transport the show to asmany as 130.There is another water feature in the show. It’s a water screen thatextends most of the way between the two tent masts that stand in thestage area. When the screen comes into play, it is used as a rear projectionscreen upon which the ghostly image of a horse is presented. Theeffect is very impressive. However, because the horse and rider that areon stage have to actually ride through the water screen, the water has tobe heated.Along with the water needs for the show, the production site has massivewater requirements outside of the big top. The show travels with acontingent 74 crew members, 37 performers and 52 horses. Althoughmobile production monthly 17

Competitively priced, 7KW to 100KW commercial-grade generatorspowered by a rugged Kubota or Cummins diesel engine. RVIA-approved models and multiple options available. Enclosed units feature convenient single side service and removabledoors for easy access to maintenance parts. Experienced engineering and support staff to help guide you.Generator service in the Atlanta and Charlotte areas. From simple repairs to complete replacements on most makes andmodels, with convenient interstate access. Mobile service available!Atlanta Area: 3412 Florence Circle ❙ Powder Springs, GA 30127Charlotte Area: 348 Bryant Boulevard ❙ Rock Hill, SC 29732© 2011, EPSthe personnel on the tour stay in hotels orapartments, there is an ongoing cateringoperation that offers three meals a day to alltour employees who care to partake. In additionto catering for the tour, there are alsoVIP tents that offer food and drinks to thosewho buy tickets to that experience. Becauseall the horses need grooming, the stable hassix showers. The site has three 53’ bathroomtrailers that are in constant use before andafter the show as well as during the intermission.There are also numerous hand-washingstations around the site. Then there is the allimportant need for water for fire trucks in theunlikely event that such a need should arise.The water needs for each show is 900 gallonsfor the pond and another 250 for thewater screen. All factors considered, the siteuses 5,000 gallons of water a day. OperationsDirector Richie Waite explained how muchwater pressure is needed. “If we’re runningoff one line then the amount of water that’sused all the time can knock the pressure downsometimes to around 30 or 40 psi and that’snot enough during intermission because ofthe heavy water needs in the bathrooms. Sowe have to keep it up between 90 and 100pounds.”In the case of the Burbank site, the two cityhydrants were feeding somewhere in the areaof 140 psi. Waite explained, “We blew one ofour lines, so on the day of the premier I wasout trying to find 2” pressure reducing valves.That wasn’t the easiest thing to do because wehad to step down from hydrant thread to pipethread. We were able to reduce it down from140 to 95 psi. We got it done around 4 p.m.that afternoon. The good news was that theline we blew was the feed line to the concessionarea and the VIP bathrooms. Had it beenthe other one we would have lost the kitchen,the horse showers and water for the show, andwe couldn’t have gotten that back up in time.”Waite added that there can also be a problemof not enough pressure. “We had a problemin Chicago where the pressure was so low thatwe couldn’t do anything at all, and we had togo out and purchase a pressure increaser.”There is an enormous amount of flooring thatis laid out. From the time patrons present theirtickets at the front gate to the time they leavetheir feet never touch the ground. 7Be sure to check out mPm Issue 4 for thesecond part of this fascinating production.including photos of the crew that make thisevent happen.18 mobile production monthly

photo by Michael A Beckmobile production monthly 19

BoIt’s difficult to find a more musicallyeclectic performer in the world thanKid Rock. Combine that with the factthat everything he plays addresses adecidedly straightforward and hardhittingblue collar audience, and youhave a low budget show with a highdollar look that unashamedly chargeswith a vengeance right out of the gateand never lets up until the end of theshow. “It’s always been a combinationof Rock’s showmanship and a desire togive the most bang for the dollar,” saidProduction Manager Eric “Shakes”Grzybowski. “He obviously doesn’tneed all the smoke and mirrors, he’sproved that in the past with the morescaled down shows he’s done. He justwanted to come back this time aroundwith a new record he’s real proud ofand give everybody the full ride.”20 mobile production monthly

n FreeKID ROCKand All Over the Musical Map By Michael A. Beckphoto by Michael A Beckmobile production monthly 21

The show had two Americanflag roll drops and one 60-footAmerican flag on a Kabuki DropThe set was modeled after a honky-tonk bar complete with barstools and stripper poles. However, the first idea for the show’s lookwas Kid Rock’s “Nudie,” which is the Pontiac Bonneville that isseen on the cover of the latest CD called Born Free. The car hasinteresting music industry significance in that it was Hank WilliamsJr.’s first car, which was bought for him when he was 14 years old.Lighting Director Richard “Nook” Schoenfeld has been lightingKid Rock for 12 years. He explained how the design came together.“It’s a saloon. I walked into his office one day, and he took me outto this car and said, ‘I want a comfortable living room that is ascomfortable as this car with Naugahyde on the furniture, and Iwant some cattle horns and some big guns.’ I told him that with a10-piece band it would be hard to get comfortable in a living room,but you could get comfortable in a little bar.”...he did a song from early in his career called “EMSP”(Early Morning Stone Pimp) wherein he played in front of ahuge hundred dollar bill that was hung as an Austriandrape while dressed in a fur coat festooned with LED nodes.Because Kid Rock owns a brewery in Michigan (Badass Beer), and healso has a Jim Beam sponsorship it was easy enough to acquire kegs,stools and chandeliers sporting the logos of the two companies. Theupstage truss border was two 30-foot-long rifles that faced one another.They had to be modeled in 3D and carved out of foam. The downstagetruss wasn’t necessarily bordered in that same manner. However, it did22 mobile production monthly

Born FreeThe show climaxed with Kid Rock playinga piano that rose out of a riser on anAmerican flag draped lift in the thrust.“We start the show with 180 pounds of propane. When I was out on TSO (Trans-Siberian Orchestra), we would get more fuel for every show than on this show, but we’dnever burn through it all. On this one we’re pretty much empty by the end of the show.”photos by Michael A Beckhave a gold eagle that served as a center piece, which was lit from themix position with two beam projectors.The center piece of the set was a Nocturne Productions 24’ x 15’ V-Lite28 mm LED wall that was driven by Maxedia media servers and a (3)camera SDI Panasonic system. While the rig looked typically great, itis going to be upgraded on the next leg of the tour when Nocturne willdebut its latest 18 mm LED creation called V18, which will fill the gapin its catalog between V9-9 mm and VLite 28 mm LED products.The show began with Kid Rock entering upstage center through anopening just below the nose of a huge longhorn steer’s skull. The skullhad horns extending out to either end of the drum riser that sat abovethe entrance. The drum kit was flanked by the afore mentioned stripperpoles that were put to use by local “talent” picked up in every city.Because it was of paramount importance to keep the ticket price aslow as possible, the decision was made to use a promoter stage andonly travel with a thrust and grill deck, all of which was provided withAccuate staging. Of course this made load-in a bit harder as everythinghad to be forked up to the stage and built at the same time in position. Itadded an extra hour to the day.One wildly prevalent aspect of the show was pyro which was providedby Toronto based Pyrotek with an effects arsenal that included a silvergerb waterfall, silver gerb fountains, flash reports, flash with bang, airbursts,gerb spinners, double headed dragons, Fire-Screen modules andcryo jet heads. The thrust grill was needed for under mounting some ofthe flame units.Australian pyro shooter Clint Ranse illustrated the quantity of firebrought to bear on the show. “We start the show with 180 pounds ofpropane. When I was out on TSO (Trans-Siberian Orchestra), we wouldget more fuel for every show than on this show, but we’d never burnthrough it all. On this one we’re pretty much empty by the end of theshow.”When we caught up to the tour, it was playing the Arena at GwinnettCenter in Duluth, Georgia. Upon completion of his inspection of theshow, the local fire marshal informed Ranse that the radiant temperatureof the flames was 106 degrees, which was four degrees above theprevious record for the venue. Needless to say this was a proud momentfor Ranse. It even got a rise out of the ultra soft spoken (pyro technician)Adam Cryderman who, according to Ranse, only talks when somethingis dangerous.mobile production monthly 23

Pyro wasn’t the only effects in the room asProduction Design International did solidwork layering of lasers over the show.This show is gag intensive and the nature andcomplexity of the gags vary as widely as does themusic. Schoenfeld explained, “I have stuff thatcomes in and out all night. It’s a different gag forevery song. If you don’t like the music, hang arounduntil the next song and it’ll be a whole differentgenre.”The show had two American flag roll drops and one60-foot American flag on a Kabuki Drop. Becauseof the widely disparate range of musical ethos of thisproduction, the lighting and sound reinforcement of thisshow faced the same challenge. With all the gear providedby Upstaging and Sound Image, it’s easy to get caught upin the inertia of the night and stay turned up to 11, but itall had to be pulled back when the show would dip down tonothing and the lighting had to be nonexistent. Likewise, thesound had to go from a balls out cannon shots to levels that arenot expected at this show.As lighting director extraordinaire Wally Lees once said, “It takescourage to have all that stuff up there and leave it all off for asong.” Such was the case in this show when a chandelier was flownin over a piano onstage using only three other lights, or there wasthe time when Kid Rock did an entire song from the end of the thrustin a folding lawn chair. At one point of the show he did a song fromearly in his career called “EMSP” (Early Morning Stone Pimp) whereinhe played in front of a huge hundred dollar bill that was hung as anAustrian drape while dressed in a fur coat festooned with LED nodes.Apart from the lighting that hit the drape, the LED coat was the onlylight in the room for the entire song.The show also boasted and extensive laser component provided byProductioiton Design International. The system was comprised of four60 watt yags, four laser tables with scanners, two high power diode whitelasers and 100 mirrors. And while laser is the last thing one expects tosee in cowboy bar, the super high-end look didn’t seem incongruous atall because of the eclectic nature of the show and Schoenfeld’s ability tomake the incredibly high profile set disappear when needed.The set was modeled after ahonky-tonk bar complete withbar stools and stripperThe show climaxedwith Kid Rock playing a piano thatrose out of a riser on an American flagdraped lift in the thrust.As the show charged through HipHop, Blues, Rock and Country, theproduction design kept up in perfecttime. It never stopped reachingfor more and as a result the crew neverstopped hopping. This tour travels in ninetrucks, and while the huge 20 and 30truck show of the world invariably presentproduction valuable one would expect tosee come out of the number of trucksneeded to carry it, this does not. Itshows so much more.24 mobile production monthly

“We start the show with 180 pounds of propane. When I was out on TSO (Trans-Siberian Orchestra), we would get more fuel for every show than on this show, but we’dnever burn through it all. On this one we’re pretty much empty by the end of the show.”BandArtist - Kid RockDrums / Vocals - Stefanie EulinbergGuitars - Jason KrauseKeyboards / Vocals - Jimmie BonesGuitars - Marlon YoungDJ / Vocals - Freddie BeauregardPercussion - Larry FratangeloBass - Aaron JulisonSaxophone - Dave McMurrayBackground Vocals - ShannonTurfman, Jessica Wagner-Cowanphotos by Michael A Beckmobile production monthly 25

David Licursi - Tour Manager / AccountantAdam Cryderman – Pyrotechnician,Clint Ranse Pyrotechnician - ShooterAaron Siegler - Production AssistantAl “Rogo” Rogozinski - Guitar TechnicianPyro Shooter - Clint Ranse showing his colorsChuck Greene – local stage hand, Shawn Hawkins – local stage hand, DonnieDloyd – Stage Mgr, Eric “Shakes” Grzybowski - Production Manager, Brent Maxon- local stage hand, Chili - local stage hand, Moses Williams - local stage handLaser Tech - Alexander Jonathan Scott WilsonKid Rock crew 26: Jim Fredrickson - Lighting Tech, JT McDonald- Lighting Crew Chief, Richard “Nook” Schoenfeld - Lighting Director,Jason Blaylock - Lighting Tech, Michael Coryell – Lighting TechVince Luchetta - System Engineer, Mike Bangs -System Engineer, John “Haircut” Tompkins - SoundCrew Chief, Steve Cross - House Sound EngineerTruck Drivers: Bob Rigney, Sandy Sanderson, Pete Henke, Tim Moffses, David Tidwell26 mobile production monthly

CrewJoshua Marrano - Video Engineer, Steven Ossler- Video Director, John McLeish - Video CrewChief, Michael Hossack - Camera OperatorHead Set Carpenter - ShawnShebetka showing why he’s aset carpenter and not a stripperby testing the stripper polesTour Manager / Accountant - DavidLicursiProduction Mgr - Eric “Shakes”GrzybowskiProduction Assistant - Aaron SieglerStage Manager - Donnie FloydVenue Security - Mike “Gio” GiammarcoPersonal Assistants - Tony Hazard, James“Bossy” MurphyLighting Director - Richard “Nook”SchoenfeldHead Rigger - Bobby CarrellKeyboard / Drum Tech - Mark MessinaDJ / Percussion Tech - Casey LongGuitar Tech - Enrique TrejoHead Set Carpenter - Shawn ShebetkaAssistant Set Carpenters - Tim Bolin,Matt Silva, Josh SmithHouse Sound Engineer - Steve CrossMonitor Engineer - Beau AlexanderSound Crew Chief - John “Haircut”TompkinsSystem Engineers - Mike Bangs, VinceLuchettaLighting Crew Chief - JT McDonaldLighting Techs - Jason Blaylock, JimFredricksonPyrotechnicians - Shooter - Clint Ranse,Adam CrydermanLaser Techs - AJ Seabeck, AlexanderJonathan Scott WilsonVideo Director - Steven OsslerVideo Crew Chief - John McLeishVideo Engineer - Joshua MarranoCamera Operator - Michael HossackJim Beam Representitive - Dez HughesHead Merchandise - Ty ZieglerArtist Bus Driver - Don “Tank”DiGiovanniBand Bus Drivers - Arnie Knave, JoeReedProduction Bus Driver - Rich FloodCrew Bus Drivers - David Mickle,Dewayne MickleLead Truck Driver - Tim MoffsesTruck Drivers - Leon Chee, DaveDonkey, Rick Halbrook, Pete Hence,Gary Stembridge, Nate Thompson, DavidTidwellMANAGEMENTVector ManagementBUSINESS MANAGEMENTLost Highway TouringBOOKING AGENTCreative Artists AgencyRECORD LABEL - NYAtlantic RecordsTOUR COORDINATORConcerts 101TRAVEL AGENTNight Flight ToursCHARTER AIRCRAFTNorthcoast Jet Inc.BUS COMPANYRoberts Brothers CoachesTRUCKINGUpstaging Inc.SOUNDSound ImageLIGHTINGUpstagingVIDEONocturne ProductionsLAZERSProduction Design InternationalPYROPyrotekSTAGE & SETAccurate StagingVendorsFREIGHTEFM Management Inc.CONFETTI BLOWERSArtistry In MotionMERCHANDISEF.E.A. MerchandiseRADIOSCommunications DirectTOUR PASSESTour Supply InkTim Bolin - Assistant Set Carpenter,Matt Silva - Assistant Set Carpenter,Shawn Shebetka - Head Set Carpenter,Josh Smith - Assistant Set Carpentermobile production monthly 27

PyrotekEnflamesKid Rock’sBorn Free TourBy Robert BrysonFlames shoot highinto the sky off the stage of theKid Rock Born Free tour as theaudience erupts. Even thoughthey can feel the heat on theirfaces, everything is safe and professionallycontrolled. Over a halfdozen songs feature the coordinatedpropane bursts which addto the music and energy of thenight’s performance.At the heart of the night’s pyro and propaneexperience is 25-year-old veteran companyout of Toronto, Pyrotek Special Effects – therecent winner of the Top Dog Award forSpecial Effects Company of the Year at TourLink 2011. Behind the on-stage effects isPyrotek’s CEO and designer Doug Adams,who took the time to tell us about the 12 yearrelationship Pyrotek has had with the KidRock tours.“We started with ideas first, not a budget,”begins Adams. “‘Nook’ (Richard Shoenfield– Lighting Director) sent me the drawingsof the new set. I then talked to ProductionManager Eric ‘Shakes’ Grizdowski, and I toldhim we’ve got these new Fire-Screens. TheseFire-Screens are a modular programmablepixel-based unit, which presents the ability tocontrol various propane flame effects from highto moderate speeds which also has the capacityof shooting a lazy flame bar or fire jets, whichcan create a wall of fire up to eight feet tall.Adams continued, “We sent them out withthe Trans-Siberian Orchestra, and they werepretty incredible.So we sent them offsome video tape, andthey asked us to bring itdown and see if Bob (KidRock) liked them. Sure enough,he freaked when he saw them. Eventhough it is one effect, it can have 10different looks to it.”“We don’t have a time code, we do everythinglive but we set up a series of sequences,”explains Adams. “So we hit the button and itwould fire to the beat. You can change it upfor each song, different looks, different heights,different variations. You can even have it looklike a marquee sign where it’s like a blinkinglight. There’s several different ways to use thisthing.”Because the effects are manually executed,Adams starts every tour with them. “I get outtheir with Nook, Kid Rock and Shakes tomake sure everything works properly. Shakesand I have been friends for a long time, as hewas actually one of my early technicians. Oneof the first gigs Shakes ever got was when hewas one of my assistants out on KISS’ ReunionTour in 1996. We go back that far. Now he’smoved up the ladder to production managerand has done very well.”Doug is especially proud of their newly createdFire-Screen gas effects and the Dragon, a propanefed device that emits a controllable flamecolumn or fire ball effect up to 40 feet high.“You can’t get enough of it,” he enthuses.“There’s so much fire on it. We have these littlemini Gatling Guns that emit a powerful multiburstflame effect which can be fired vertically,horizontally or custom designed for variousstage props that we created to which we alsoput on that. But the Fire-Screens are the biggesthit. Thosethings are so incrediblefor controlling the waveof a fire. You can make the firelook like it is just sweeping, waving,moving, chasing – doing anything you wantwith it. It’s a new toy for Kid Rock, and he’sloving it.”The current Kid Rock tour utilizes 180 poundsof propane per night, which is shipped inlocally to each city they perform. The effectscrew can go through the entire amount inone show. Fire Marshals are always on handto check the safety of each show insuring thatboth the audience and the performers are freefrom harm and can enjoy the spectacle. A fullshot of propane on the newly created Fire-Screens (‘complete screen – one big shot’) cangenerate over 100 degrees of heat on stage andis not unusual according to Adams. “They canbe controlled and gauged down accordingly,”he continues. “We also have cryo jet headsthat come out of the snout of the on-stagesteer head when Kid Rock first walks out fromunder the drum kit. It looks like it’s breathingthis cryo,” Adams says.Some of the artists that Pyrotek have beenand continue to be honored to work with are:Metallica, Lady Gaga, Paul McCartney, GreenDay, Beyonce, Trans-Siberian Orchestra, TheJonas Brothers, Rascal Flatts, Britney Spears,RUSH, Tina Turner, Taylor Swift, JustinTimberlake, Hannah Montana, New Kids OnThe Block and The Killers to name a selectfew. Over the years, the company has alsoworked with KISS, Chris Brown, Van Halen,Meatloaf, Spice Girls, Christina Aguilera,Motley Crue, My Chemical Romance and FallOut Boy. Pyrotek also works with many awardshows from the American Music Awards,continued on 3828 mobile production monthly

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Accurate StagingSets the Stage for theFirst Touring SaloonBy Hank BordowitzKid Rock had been kickingaround for a bit, but in 1998after four albums, he becamea phenomenon. The minuteAccurate Staging’s current ownerJoe Gallagher first heard him, heknew he had to work with him.“It was with the fourth recordDevil Without a Cause that heblew up,” Gallagher recalls. “Ifirst heard him on The HowardStern Show. I went through GaryDell’Abate and all the peopleon Howard’s Show to get to hismanagement at the time. Theygot me the phone number.”With that Joe Gallagher built his first stage forKid Rock in 1998, the first time Kid Rock hitthe road with an actual stage set. “For manyyears it was just the catwalk up the back, 8 x32, and he would come up on a lift with a girlon each arm. He had a catwalk, a couple ofrisers and would come down the stairs. Therewere polls for the strippers. He also always hada thrust. That was the first step, the beginning.”Since that beginning, every time Kid Rock hashit the road, Joe Gallagher built the stage. “Thebest thing about working with Kid Rock is he isjust a great down to earth guy,” Gallagher says.“He gets involved in the entire design frombeginning to end. Eric ‘Shakes’ Grzybowskihas been his production manager since 1999,and we have a great relationship.”Gallagher and Accurate Staging’srelationship with Kid Rock is indicative ofthe way Accurate does business. Their statedgoal is “to build a long lasting relationshipwith our clients and bring our knowledge andexperience to the table to add to the productionvalue.” This came into play in a largeway on Kid Rock’s current Born Free tour. Thestaging on this show is very busy, with elementslike lasers, large amounts of pyro, video that’sactually part of the show, and many lightingeffects, some of which could be triggered by thepeople on stage. All of this took about a monthfor Accurate to build initially. While elementslike the cages for the strippers from the last tourare gone (the poll dancers do their thing morediscretely on a riser behind the drummer), thisis easily the most elaborate set Kid Rock hasever taken on tour.All of this was arranged by Gallagher withlighting director Richard “Nook” Schoenfeldand of course Kid Rock. The stage itself iscomposed of elements from Accurate’s hugewarehouse. The set is staged to look like a westernsaloon, with swinging doors, a bar (the DJand keyboard player double as bartenders) andother miscellaneous set pieces (more on these ina moment).“He really went to bat this time and went allout on the design,” Gallagher says. “Going intothis tour, I knew it was going to be 18 monthsworth of rental. He spared no costs on thecustom elements. We used rental decking andclad wood on top and printed digital soft goodsto create the western bar. We have whiskey kegsof Red Stag from Jim Beam; they are sponsorsof the tour and they supplied the kegs. We hadbeer taps given to us by some beer company.”Besides the bar and these promotional pieces,Kid Rock envisioned a massive Texas longhornskull under the drum riser, two 30-foot-longrifles framing the top of the video screen, twoAmerican flags framing each side, and an6-foot tall bald eagle with a 15-foot wingspanabove it all, proclaiming “American Bad Ass”across the land. These are not the kind ofthings that Accurate has on hand, so they too,had to be fabricated. All of them are madefrom foam. “We start out with a large blockof foam add structure into it for support andstart carving away then add a hard coat it forstrength. In addition to being hard coated, weprotect them in a set cart,” Gallagher says ofthe foam artifacts. “The crew is very aware ofhandling them with kid gloves as not to damagethem.”Even the ever-present thrust has gotten farmore complex. There’s a turntable with a liftwhich Kid Rock uses for the piano introductionto “Born Free,” in addition to many other elements.“He always had a thrust, not as elaborateor long as this one,” Gallagher agrees.“This one has pyro on it as well as rope lights.”Kid Rock also uses the thrust for one of thelower tech moments of the tour. For “Flyin’High,” he goes out to the edge of the thrustwith a bottle of Red Stag and a lawn chair.This is not one of the props supplied by Accurate.“He always adds something to the setafter rehearsals.” Gallagher laughs. “He putson a great show live.” And Accurate Staging isthere to help.e30 mobile production monthly

NocturneRocks forKid RockBy Hank BordowitzFor the fifth yearrunning, Nocturne productionstook home the Top Dog awardfor Video Company of the Year.Their work on Kid Rock’s BornFree tour illustrates why.The tour is an extravaganza of music, staging,effects, lights and video. From the eight musicians,to the working bar, the swinging saloondoors to the lawn chair he sits in when he sings“Flyin’ High,” from the persisteant use of pyro,to the 24' x 15' wall of video, from the giantsteer horns to the neon-lit catwalk that jutsinto the first rows, there’s an awful lot going ononstage. And while it might look like chaos,that is by design. It takes a lot of planning, collaborationand careful attention to what Rockand the band do every night to make everythingwork together.Take the sheer amount of lighting, pyro andvideo. There are flash pots, lasers and specificcues for much of the video, all of which playnearly as important a role in the spectacle asthe music. Coordinating much of that falls toNocturne System Engineer and Media Controlexpert John McLeish, and Lighting DesignerRichard “Nook” Schoenfeld.“Timing is everything in this show,” McLeishsays. “The show can change nightly, and wehave to stay alert to keep the integrity of ittogether.”For example, you might think that the sheervolume of visual effects have the potentialto clash with each other, and with the videoscreens in the back of the stage, the lights andpyro might interfere with the images. Itturns out Nocturne’s proprietary V-Lite panels,manufactured exclusively by the companyin conjunction with LSI Saco, actually are sobright they interfere with the other effects.“We actually turn the wall off for some partsof the show to aid the visibility of the lasersand lighting effects,” says McLeish. “NookSchoenfeld and I have definitely collaboratedon the placement of specific blackouts and variousother effects for the show. There’s also a lotof pyrotechnics. I feel it definitely enhances theoverall visual effect.”The Nocturne video wall plays an integralpart in the show. In the opening moments,before Rock even hits the stage, there is a videomontage called “The History of Rock.” Itshows young Robert James Ritchie (Kid Rock’sgiven name) as a kid and adolescent, capturingmoments from grade school and high school.After these, the audience gets treated to imagesof the early days of his career. Then there arethe pictures of Rock with such pop cultureicons as Hank Williams, Jr., Sheryl Crow, thelate, great Waylon Jennings, Willie Nelson andPresident Obama. During the show Rock takeslicense to lace into Lebron James (and make acostume change), by saying it in a video clip.At one important moment where the videohelps propel the concert, TI performs his partin the song “Care” via the wall. That samewall enables critical juncture in the show, withan appearance by MTV megastars Beavis andButthead, who through snark and derisionliterally get Rock to change his tune midwaythrough a song. “Kid Rock?,” they say just ashe finishes the first verse of the ballad “Picture”(just about when fans who know the song wonderwho’s going to do Sheryl Crow’s part on thenext verse). “More like Kid Soft Rock.” Thislaunches the band into the raucous “Bawitiba,”and finesses the Sheryl Crow problem.McLeishoperates a Panasonic switcher, allowing himto toggle between images from the hand-heldIkegame cameras operated by Josh Marranoand Mike Hossack, the four mounted cameras– three of them lipstick cameras actuallyattached to members of the band – and oneIkegami 55 mm long lens operated by BobbyCarrell, and the prerecorded video images createdby John Featherstone at Lightswitch. Thevideo plays through Maxedia media servers.“One of the special things about the way wehooked the video up for the show is how we setup the control for the Maxedias,” McLeish says.“We have the ability to control them from thefront of the house position and the DJ positionon the stage using a touch screen and a Raritancontrol system.”While some of the excesses of previous KidRock shows, like strippers in cages and bawdydialog were missing – the tour celebrates theKid’s 40th birthday, and even he admits tosettling down a bit (c.f. “Slow My Roll” fromhis latest album) – he has adopted higher techbefitting the larger houses he now plays. Oneof the necessities of such growth is a high classvideo component. And video components, andthe people who operate them don’t come higherclass than the equipment and techniciansprovided by Nocturne. eSee mPm Issue 6 for an update onNocturne’s plans for the rest of 2011...32 mobile production monthly

Billy Johnson is the General Manager of Atlanta’s CrossoverEntertainment, the mother ship for a thriving preproduction rehearsalfacility as well as very serious backline rental operation. This year marksthe 20th anniversary of the forming of the company and by all accounts thesky seems to be the limit. When we left off with Billy, he was discussing therelationship oriented environment that exists in all aspects the company.Without divulging confidence, are the situationsthat you can describe wherein you’vehad to draw the line with clients?BJ: From the beginning we didn’t want tocreate an environment that you couldn’tfeel comfortable working in. That meantthat everyone who comes into this buildingattached to a band or artist must have a job.No hangers on. No groupies. No germs justwanting to hang out at the cool place. Nofamily members just hanging around. At firstit was a little difficult for a person like mewho was trying to get every penny of businessthrough the door dictating to the customerswhat they can and can’t do. It was a scarything, but at the end of the day it paid offbecause they appreciated it. They valued thefact that they could know that when theycame to Crossover they were going to get itdone. They weren’t going to have to contendwith a constant flow of extraneous personnelthrough the place distracting their process.They also knew that if they didn’t want aspouse hanging around they could say, “Lookhoney, the studio doesn’t allow it,” and theywere off that particular hook. Of coursethere are the generals of no smoking in thebuilding and absolutely no drugs or otherthings that create an environment that is notproductive for anyone. The last thing we wantis to wind up becoming a night club.That of course speaks to the fact thatevery act has the inalienable right of lifeliberty and property so long as the exerciseof those rights don’t infringe on the samerights of the artist rehearsing in the roomnext to you.BJ: Exactly. Because we are Crossover andwant everyone to feel comfortable duringtheir time here, if we have a set of consistentoperating standards that everyone has tocomply with the acts of differing genres thatmight be working in the facility won’t impedethe productivity of one another regardless ofhow peculiar their process may be.Have you had clashes?BJ: Absolutely. I’ve got a saying, and I hopethat it will be taken in the spirit it’s meant. Ireally don’t have to do business with peoplethat I don’t want to, but you have to do businesswith everyone to find out who you don’twant to continue to work with.A well placed “no thanks” can raise yourstock in some cases, but it’s got to bebloody well placed.BJ: That’s an interesting point. The environmentof this place is not only created by theemployees who work here but by the clientelethat comes here to work. The criteria forbehavior that we have in place applies to allof the above. When we have customers pullingfor the business and the business pullingfor the customers, we have harmony. So ifthere’s anyone on my staff that you have towalk on egg shells around they will no longerbe welcome. Same with a customer.That points up the fact that separates theserious players from the dilettantes in thisbusiness, which is a serious political nuancethat can be a pretty thin needle to threadif you’re not paying attention, and if youcan’t grok it here in rehearsal you won’tget it out there where the metal hits themeat. I’ve seen some tours limp and flopdown the road and finally fall flat overthe fact that they don’t get it.34 mobile production monthly

Pictured L to R:Jack Prince - Sales Backline, Steven Senn- Quality Control, Billy Johnson – GM, JohnRogers- Director of Operations - AudreyBatungbacal – Administration, Geno Stachurski- Backline TechNot Pictured:Liz Berry – CFO, Tony Taylor – Manager, JenniferKreps - Studio Manager, Vyk Goel - BacklineTech, Danny Akin - Backline Tech, Tim Duyck- Backline Tech, Chad Singer - Audio Engineer,Rush Anderson - Backline Tech, Clay Johnson- Backline Tech, Tee Hayes - Studio Manager,Terrence Cash - Recording EngineerBJ: To that point, we’re on one missionhere and that’s to gain mutual respect. Notdemand it, earn it. When you put it likethat, it’s pretty easy to walk up to anyone,pull them aside and say, “Hey man, whatare you doing?” It’s all in how you put it.I’ve never gone busting into a rehearsalroom where things were going on thatshouldn’t under the “policies” and beganscreaming at people or raising my voice. It’smore like we come sit in my office and I say,“Hey, I just wanted to give you a heads upthat this is what you can and can’t do in thisbuilding and here’s why.” It’s all in how youput it.Did it take long for everyone to get onboard the train?BJ: Not really. After a while the clientsstarted taking stock in the company. Theywould come to me and say, “Hey, there’sstuff going on back here you’re not goingto like.” They would call me and ask meif they could give someone my name andnumber because they didn’t just want to givedirections to the place and have them justshow up out of the blue. We built a clienteleto the point where they got protective ofour reputation. When you have a customerbase that feels an investment in making surethe company stays in business, that’s a goodthing.Is everyone that vested in the ethos?BJ: Well there are acts that we’ve asked notto come back. There are people we won’t dobusiness with. Look we’re not making thisstuff up. The behavior we’re calling for hereis no different than the behavior that is themandatory norm out on the road. If theycan’t cut it here, they certainly won’t cut itout there.Let’s talk for a moment about your team.BJ: I thought you’d never ask.How big is the staff here?BJ: I got three full time Q/C guys whomaintain and test everything before it goesout the door. They are vital to the operation.We don’t let anything go out that hasn’tbeen fully cleaned and tested. It would bedisastrous to get out there and have anythingnot work. John Rogers is our director ofoperations in the rental department, and heis absolutely the man. He keeps it going. If 11calls come in to the company for rental gear,10 of them are for him. When we hire salespeople on, we model them after him. Theyhave to have his ability to deal with customers,because he has built up a trust with ourclient base that we don’t want to lose. Wehave two full time sales people who do nothingbut take sales calls, handle tech riders,turn around orders and logistically get thejob done. We have six freelance backlinetechs that I keep busy. They’ve been aroundfor anywhere from 10 to 13 years.Sounds like this is a good gig to have.BJ: I’d have to let them speak to that.Well, they’re still here.BJ: One key to their longevity is that theytake pride in what they do and having acustomer walking away with a smile on theirface – that spreads throughout the company.Who handles the money? What’s the frontoffice like?BJ: Elisabeth Berry is our CFO. She doeseverything from receptionist to officemanager. We also have a night manager,Tony Taylor, who has been here from thevery beginning. The people who work forCrossover are the reason the doors havestayed open. Yes, the client base is remarkablyloyal, but that can go away in a hurrywith just one or two really bad moves. Noone is perfect, but this team is pretty close.Let’s move into backline rentals. It seemslike backline is a natural extension of theservices a rehearsal facility would haveto offer. When you started down the pathto equipment rental, did you see yourselfdoing tours?BJ: You’re right. It is a natural extension,but it was a lesson that had to be learnedalong with everything else. Back when wewere first getting started, I never said nordid I know that this would be the nextstep. As we progressed through every dayit became clearer and clearer that mancannot live on rehearsal space alone. Youhave 20,000 square feet and not all of it isrehearsal space, and when it’s full, it’s full.At some point when you’re trying to growa business you realize that you have to finda new way of generating revenue. At onepoint it dawned on us that we were openinga lot of trucks full of rental gear fromanother company and it was now time tostart exploring that end of the business. SoI went on the hunt throughout the industryto find someone who could oversee that endof the business and eventually found thatperson. We went to the NAMM show thatyear in ‘96 and with capitol in our handsto purchase enough backline equipment toservice the number of clients we had comingin the door. We bought three drums kits,SPECIAL EFFECTS • CRYOGENICS • FOGPYROTECHNICS • WATER F/X • CONFETTIFor more information call 631.657.5491or visit www.peifx.commobile production monthly 35

three bass rigs, combo amps, some percussiongear, you know the standard stuff. Basic drumkits, Fender Twins, JC-120s, things that werestaples in the industry. Now we’ve created this“all genres” mindset, which calls for a widevariety of backline needs. If we were just doingall rock we would be into Marshall slant stacksand Fender twins and Hammond B-3s and thebasic Rock ‘n’ Roll fare, but when you get intoR&B and Hip Hop it’s a lot more electronic innature. It was a trick to figure what we neededin our inventory to service everyone’s need.To the completely uninitiated, it seemsincomprehensible that serious musicians atthis level wouldn’t want to take his or herown gear on the road. How did you moveinto the touring aspect of backline rentaland why? What’s the argument that wouldmake me want to take your gear out on tourrather than my own?More than 560 attorneys and advisorsin offices across the southeastern U.S.and Washington, D.C., practicing abroad spectrum of business law includingtransactions, contracts, litigation,transportation and entertainment.For more information, contact:Steven J. Eisen615.726.5718sjeisen@bakerdonelson.comJames A. DeLanis615.726.5613jdelanis@bakerdonelson.comThe Rules of Professional Conduct of the various states where our offices are located require the following language: THIS IS AN ADVERTISEMENT. Ben Adams is Chairman and CEO of Baker Donelsonand is located in our Memphis office, 165 Madison Avenue, Suite 2000, Memphis, TN 38103. Phone 901.526.2000. No representation is made that the quality of the legal services to be performed isgreater than the quality of legal services performed by other lawyers. FREE BACKGROUND INFORMATION AVAILABLE UPON REQUEST. © 2010 Baker, Donelson, Bearman, Caldwell & Berkowitz, PCBJ: That part of the business evolved likeeveryone else. Given that every guitar playercarries their instruments and pedal boards,it boils down to the fact that we rent ampsand processors, and, in the case of a fly date,a drummer may not bring his drums, but hewill bring his cymbals, kick pedal and snare.But something happened. It came to pass thatmusicians didn’t want to take their gear outon the road and getting it beat up. They havetheir gear set up in their home studio, andthey didn’t want to rip it all out to go on theroad. Back in the beginning, musicians weren’ttaking their gear nor were they taking rentalgear out. Back then they had manufacturerendorsement deals and endorsement dealswere a lot different from they are now. Theywould supply any major artist with free gear totake on tour. It was a constant juggling act. Iwould set up relationships with artist relationsdepartments at the manufacturers so when myclients came here who were endorsees, theywould get their gear from us, and I becamethe endorsement house of the Southeast forthese companies because they wanted theirproduct in front of established artists as well asnew artists coming up. So there was a constantbattle of all the big companies wanting to gettheir equipment out on the big tours. The bigpay off was, depending on how big the artist,getting a spot on Leno or Lettermen or any ofthe other big talk shows. As time went alongthe artists began to pull back with good reason.They had a lot of gear out there and musicianswere jumping around from one company tothe next for whatever reason. It wasn’t a slighton the manufacturers or the artists but theysaw that this really wasn’t working the way itwas supposed to. It was too fluid. So they startedmarketing more with a rifle than a shotgungoing after particular artists and getting theminto long term relationships. Companies like uswere a part of the new look. We were tellingthem that we aren’t asking for free gear, butthat we’d purchase the equipment and whentheir endorsees came through town, therewould be a certain protocol. I did notice thatthe endorsement side of the business was a bit36 mobile production monthly

othersome to some of the backline companiesin the industry because, in general, you’re givingthe gear out for free.How does that work?BJ: It’s different with each company, but inbasic terms we supply the brand that the artistis endorsed by. If the artist is an A list player,the manufacturer will handle any expenseslike cartage, restocking or labor that may beincurred in getting the gear to the artist. Asthey move down the list, a lot of times it’s onthe artist to take care of the costs.Yeah, but you’re still putting free inventoryout in the field that you didn’t get for free.BJ: You have to look at it a different way thanthat. It’s an investment in the market. We wantthe manufacturers to say, “If you’re going tobe in Atlanta, our place is Crossover.” I had acall from a drummer for Travis Tritt who wasendorsed by Tama at the time. He was told tocall here to see about getting his drum kit, andwe came highly recommended from the artistrelations department. I said, “While I’ve gotyou on the phone, if you’re not bringing yourkit I suspect that the rest of the band may needbackline as well.” He wasn’t handling that partof the gig so he put me in touch with the productionmanager, Bobby Thrasher, and he hadcalled another company that hadn’t returnedany of his calls. After a short introductoryconversation, he sent over some riders, and itturned out to be the Harley Davidson festivalat the raceway in Hampton, Georgia. Theyneeded complete backline for a house band onboth stages as well as the Neville Brothers, TedNugent and Travis Tritt. That led to us gettingthe same contract in Dallas and Washington,DC as the festival touring around the country.I know of some other folks who will get thatphone call for that drum kit and will say, “It’srented out and pass on the gig.” We look atit another way. The endorsement side of thebusiness can be lucrative if it’s handled correctly.It’s not just about handing out free gear.Do you know where you’d like to be severalyears from now? For example, are youlooking down the road at a full productionrehearsal facility that could hold a dynamicload of 170k to 200k?BJ: Even though this conversation has demonstratedan evolutionary pathway to wherewe are today there has always been a masterplan. There’s always been the Holy Grail,and that’s exactly what it is. The first thing toremember is that one of the main reasons weare successful is the city of Atlanta. Atlanta is aservice oriented market that is not solely relianton one industry like the car industry or oil, sothat when the one industry goes bust, so doesthe city. We have all different kinds of businesseshere. We have Fortune 500 companiesthat are based here; we have communicationscompanies and the busiest airport in the world.We even have our own little Simi Valley upthe road. We have low taxes, and we’re a rightto work state. We have five star dining and avibrant night life. With all of that here, wehave been able to attract very talented peoplewho come down here and create these companiesthat are able to support a music industryand a feature film industry that’s on the rise.So the prize that sits at the end our rainbow asa large facility with 90 foot high rigging steelthat can be used as either a concert productionroom or a sound stage for film or television.This would be a place where communicationcompanies could safely park their satellitetrucks when they’re in town for sports or newsevents. It would have a full commissary andall the other amenities that such a place wouldcall for.Sounds like that would take you full circle.BJ: What do you mean?Well in the beginning you talked aboutCrossover being a gathering place for allgenres. A place like the facility you justdescribed would be a gathering place not justfor all genres but all, or at least most,major mediums of entertainment.BJ: Absolutely, and the beautiful thing is thatAtlanta is ripe for it.Is this seriously on the horizon?BJ: Like everything else, one step at a time.That is what has gotten us this far.It should not be assumed that because we spoke withBilly Johnson on the matter of Crossover that either heor we believe that the company enjoys its current successand continued growth because of Billy’s work alone. Tothat end we offer the names of the people whom Billyworks with: 7Owner: Luther Randall IIIFull Time Employees:COO: Billy JohnsonBackline Director of Operations: John RogersCFO: Elizabeth BerryStudio Manager: Tony TaylorAudio Engineer: Chad SingerBackline Assistant Manager: Jack PrinceBackline Shop Manager: Steven SennRehearsal Studio Manager: Jennifer KrepsRehearsal Assistant Studio Manager: Telethia HayesAdministrative Assistant: Audrey BatungbacalBackline Techs: Danny Akin, Vik Goel, Geno Staehurski,Rush Anderson, Tim Duyck, Clay Johnson, Tony RayIT Tech: Andy WhitePR/Social Networking: Isis Padenmobile production monthly 37

KUDO continued from 7 adds Doug Elmets, spokesman for thePyrotek continued from 28resort. “L-ACOUSTICS’ reputation forwalls lead to better overall audio intelligibility uncompromising excellence is widelyin the audience seating areas. As far as I’m known throughout the live event productionconcerned, KUDO is the best-sounding community and having this system is helping12-inch-format line array system out there. us attract high-profile artists that might notIt’s definitely a very versatile system and easily otherwise perform in a ballroom of this size.meets most rider specifications.”So, obviously, it’s been a big ‘win-win’ forboth us and our guests.”Oosthuizen points out that Pano Hall’s newsetup is billed as fully mobile touring soundsystem, allowing Thunder Valley to not only setit up in a variety of configurations within theballroom depending on production needs, butalso deploy it outside or off-site as well.“Our mission here at Thunder Valley CasinoResort is to provide a truly first-rate experiencefor our guests and the KUDO system isvery much in line with that philosophy,”Owned and operated by the United AuburnIndian Community, Thunder Valley CasinoResort first opened in June of 2003. PanoHall, which officially opened in October2010 and is named after the Maidu word for“bear,” can be split into five breakout rooms:one large ballroom and two smaller ones thatcan each be further divided into two. )the GRAMMYs, MTV, Teen’s Choice, thePeople’s Choice Awards, Latin BillboardAwards, the Scream Awards and the BETAwards. They also provided the laser effectsfor The Who’s Super Bowl halftime show lastyear.From the sky high plumes of fire to the minorburst of flames from the on-stage horned steer,Pyrotek is definitely on the forefront of liveperformance entertainment. The company isalso capable of laser and aqua visual effects.“We like to be the innovators not the imitators,”says Adams of his company’s entertainmentwork. The pyrotechnics has added to theperformance and has taken the music froma good night of entertainment to a longtimememorable event. Adams states in closing,“And remember – there’s a fine line betweenart and arson.” NLogistics continued from 12of the art. In addition to catering for any numberof trucks in the specialized touring market,Deben’s resources enhance the ability toship bands’ equipment in and out of the UKvia container. “Because of the merger,” saysDarling, “some think that Chris is out of thebusiness. That is far from true. In fact, I thinkin an overall sense he is more involved thanever before. This has really given the companya shot in the arm.”While some might think Rosenthal would haveP H O T O G R A P H YLIVE CONCERTS AND EVENTS760.644.9938 alanmpoulin@mac.comwww.AlanPoulinPhoto.comCAPTURING LIVE IMAGES FOR THE LAST 32 YEARStrepidation in sharing his ace with Redburn,it’s quite the contrary. “We consider this awonderful opportunity to work side by sidewith Redburn as we complement each other,”he says. “This has been a seamless integrationbetween the premier organizations in Europeand North America.” With a new gamut ofresponsibilities on his plate and more resourcesto work with, Darling has been invigoratedlike a stallion released to the plains. Beforeembarking on another Southeast Asia excursion– which would include swimming withwhale sharks in the Philippines – he was elatedShred yourguitar, notyour hands!xperfectHand CAre FORguitar players... studio, live,& touring !www.guitar-hands.comin reflecting on his new situation. “Redburnand Janco are like mirror companies; qualityequipment, dependable staff, and drivers whowork the trucks, taking charge of the localcrews to cut down on the time at the loadingdock. They make everyone’s life easier. I amvery excited about this new adventure.”Given his longevity in the industry, Darlinghas formed a rare rapport with many of hisassociates. Janco driver, Joey Fisher Jr. asserts,“If I had to choose one word to describeChristopher it would be ‘comfortable’ becauseI always know what to expect. Theresult for me is a tour that runssmoothly. That’s something invaluablewhich everyone involved appreciates.”Kevin Lyman, founder and producerof the Vans Warped Tour, realizeshow fortunate he is to have someonelike Darling who never hesitates tothink out of the box. “Christopherhas been able to understand thatmy projects don’t ever quite fit the‘norm’ when it comes to trucking,”he explains. “He has been able tofind the right drivers to work withus, who are always part of ourextended touring family. He alsogoes the extra mile to help us figureout the most efficient and cost effectiveway to make things work; especiallywhen I am starting a new project.”Expressing a sentiment clearlyshared by many, Lyman adds, “Heis also one of the few people I reallyappreciate hanging out with in thisbusiness when I am not working.” *38 mobile production monthly

EntertainmentTransportationSpecialistsLas Vegas702.552.1810Toronto416.690.4190info@potenzaenterprizes.comwww.potenzaenterprizesinc.comADVERTISER’S IndexAccess Pass & Design.........................39Accurate Staging.................................31Alan Poulin Photography......................38Baker Donelson...................................36Coach Quarters...................................12Cube Passes.......................................11D&S Custom Coach.............................40EFM......................................................5Engine Power Source (EPS).................18Entertainment Cargo............................37Eventric...........................................4Guitar Hands........................................38Harman........................................IFCI-MAG Video........................................13Luxe City Center Hotel...........................1Midway Car Rental................................7Motor Coach Industries (MCI)............IBCNocturne...........................................33Potenza Enterprizes............................40Precise Corporate Staging.................40Prevost..........................................BCPyro Engineering.................................35Pyrotek Special Effects.......................29RIC Corporation.....................................7Road Radios..........................................7Roadhouse Coach.................................4Show-Way.............................................9SOS Transportation...............................7Sound Image..........................................2Taylor Tours............................................8The Nexus Group.................................36Tour Supply..........................................19Upstaging...........................................5X-Streamers.com..............................1840 mobile production monthly

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