WINTER 2017 // ISSUE 6 · with the Brian Setzer Orchestra and is currently the General Manager at Center Staging, also spoke to the crowd about the R-10 and its wide-ranging po-tential

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WINTER 2017 // ISSUE 6

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FEATURED ARTICLES

CONTENTSW in te r 2017 / / I s s u e 6

8 // Q & A with Filament Productions

31 // Running A Music Festival:Top Priorities for Organizers

40 // Alcorn McBride’s Joy BurkePE Certification

12 // Zac Brown Utilizes Clair GLobalCO-12 Speakers

6 // Royer Labs Hosts R-10 Release Party

14 // Zac Brown Band Crew:Touring As A Family

6// Royer Labs R-10 Release Party

LARRY SMITH PUBLISHER

STAFFPublisher & Advertising...... Larry Smith - 615.260.6699Editor ........................... JJ Janney - [email protected] …............... Sharon Baldwin - [email protected] Traffic ...................... Rachel Janney - [email protected] / Design … Warehouse Multimedia Inc.- ph: 615.420.6153 • f: 866.929.9651 3050 Business Park Circle suite 500 Goodlettsville, TN 37072 www.warehousemultimedia.com Websites Graphic Design Online Marketing VideoContributing Writers........ Jordon Haymaker, Laurie B. Kirby, Sydney Johnson & JJ JanneyCover Photo.... Andy Sapp/Southern ReelAdditional Zac Brown Photos by Andy Sapp/Southern Reel & Nathan Slinkard

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14 // Zac Brown Band Crew:Touring as a Family

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8 // Q & A with Filament Productions

12 // Zac Brown Utilizes Clair Global C0-12 Speakers

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30 FESTIVAL NEWS

In this issue, we feature the Zac Brown Band’s Welcome Home Tour which has been filling arenas and festivals across the U.S. with their Southern Country rep-ertoirewhich tops country and rock formats and awards in both genres.

The Tour features a number of production crews who’ve built solid and ongoing relationships with the band including Clair (audio) and Filament Productions (vid-eo). Please check out additional coverage in this issue on both these companies, as well as Jordan Haymaker’s feature article.

FestForums recently surveyed several festival leaders to understand what keeps them awake at night. In this issue, I invite you to learn about important and timely concerns for Festivals in the article provided by Laurie B. Kirby and Sydney John-son on behalf of FestForums.

As always, each of you is invited to attend the upcoming Tour Link Conference this January in Palm Springs, California. There are several developments we are following in several areas that will affect the touring business, including, but not exclusively in safety, technology, transportation, & manufacturing. Come join the discussion. We need your input and ideas as new demands are being placed on touring & festivals.

To attend the conference, see information at www.tourlinkconference.com. I’d like to personally thank the Title Sponsors for Tour Link 2018: Prevost; SOS Glob-al; United Airlines; and Access Events. There is still a very short time to sign up for sponsorship opportunities for the upcoming Tour Link Conference. I can be reached at 615.260.6699 for both comments and sponsorship opportunities.


Royer Labs, the world’s leading manufacturer of high quality ribbon microphones, recently hosted a release party for the company’s latest microphone: the Royer Labs R-10 Ribbon Microphone. Held at CenterStaging, LA’s premier rehearsal and back-line facility, the event attracted many studio and live sound professionals and gave those in attendance an opportunity to see and hear the new R-10 up close.

John Jennings, Royer’s VP of Sales and Marketing, served as master of ceremonies for the event, which included live music and a demonstration session. Of particular note, Royer’s production personnel are also craft beer enthusiasts and they arranged for a selection of craft beers from some of the area’s best microbreweries.

After an inspiring performance by The Bobby Joyner Band (including Mojave Audio’s Dusty Wakeman on

bass), the presentation segment of the evening be-gan. Royer’s John Jennings introduced the micro-phone—presenting it as the company’s entry-level product offering while discussing the R-10’s many uses. Then Producer/Engineer Joe Barresi took the stage to give his thoughts on the R-10 and its ap-plications in the recording studio. He was quite en-thusiastic about the new mic—particularly on electric guitars—and his presentation was exceptionally well-received.

The demonstration itself included using the R-10 to capture electric guitar; focusing on the microphone’s tonal attributes and its ability to handle high SPL sources. FOH engineer Jimbo Neal, who has worked with the Brian Setzer Orchestra and is currently the General Manager at Center Staging, also spoke to the crowd about the R-10 and its wide-ranging po-tential. Following the presentation, The Eric Garcia

Band performed and finished out the night.

Reflecting on the evening, John Jennings offered the following thoughts, “All of us at Royer Labs are proud of the new R-10 and we think it could be a major hit in studios and on live stages. When it comes to ‘af-fordable’ microphones, there’s a sweet spot in the $300 to $600-dollar range, and we worked hard to deliver a good ribbon mic at that price point. The R-10 will enable many more people in music production to take advantage of the unique capabilities of ribbon microphones. This will be many

people’s first ribbon mic, and we want it to be an excellent experience that makes them come back for more. Everyone at Royer worked hard to make the R-10 a reality. It was truly a team effort. So throwing this party and having it well attended by some of the industry’s greats was major icing on the cake. We re-ally had a great night!”

About the Royer Labs R-10 Ribbon Microphone-Hand-built in the company’s Burbank, California factory, the new R-10 (http://royerlabs.com/r-10/) features a 2.5-micron ribbon element (identical to the company’s R-121) and a David Royer custom-designed transformer. Its ribbon transducer is wired for humbucking to reject electromagnetically induced noise. With sound quality and performance attrib-utes that are unquestionably Royer Labs, the R-10 handles SPLs of up to 160 dB @ 1K—making it well equipped for miking electric guitars both in the stu-dio or live with all the low end, midrange warmth and punch that Royer ribbons are so well-known for.

About Royer Labs

Located in Burbank, California, Royer Labs’ mi-

crophones are a staple of leading recording and broadcast facilities. Additional information on the R-10 ribbon microphone and the entire line of Royer Labs microphones can be found at www.royerlabs.com.

About CenterStaging

CenterStaging is LA’s premier rehearsal and backline facility specializing in production and tech support for television and live performances. Known for its state-of-the-art rehearsal studios and extensive range of musical instruments, CenterStaging’s backline gear is used on practically every major television show, as well as numerous tours, concerts, and live events. Their clients include the GRAMMY Awards, Acade-my Awards, MDA Telethon, Billboard Music Awards, American Music Awards, numerous Presidential In-augurations, the Olympics, American Idol, Dancing With The Stars, Jimmy Kimmel, The Voice, and many more. CenterStaging is here to provide the greatest musicians and television productions in the world to-day with a facility and service that is unparalleled to any other in the world.

www.centerstaging.com.

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Royer Labs Hosts R-10 Release Party at Centerstaging

(L-R) Rick Perrotta (Royer CEO and President), Jimbo Neal (General Manager at CenterStaging), John Jennings (Royer VP Sales & Marketing), and Kevin Parker (Royer Director of Sales).


Depending on the source, Filament has been described as a production design studio, a film studio, and live video production provid-er. More importantly, how do you see your-selves?

In the past three years, Filament has shifted its focus to providing the best equipment and great crew for tours and special events. We are currently the video supplier for gear and personnel for the Zac Brown Band, Dave Matthews Band, and the Grateful Dead (Dead & Co). In addition to these great tours, Filament also provides equipment and per-sonnel for major corporate events and music festivals.

Are your services primarily for North Ameri-can Tours or global?

We offer our services globally with our pro-duction partners across the world. Over the

past couple years we have supported tours and special events internationally including runs for Zac Brown Band and Dave Matthews Band. We also have supported many international corpo-rate events including some for Anheuser-Busch.

Your website shows off so many major clients and gigs—yet there doesn’t seem to be any kind of “about us” section. While there’s something to be said for letting your work speak for itself, how about filling in some gaps for us? Company his-tory? How did you get started? When? How did Charlottesville become your base?

Our company was originally formed in 2005 to provide video equipment and personnel for the Dave Matthews Band by Fenton Williams and Mike Lane. The band was formed in Charlottes-ville and thus it made sense for us to headquar-ter here. Our main offices are on the downtown pedestrian mall right above the famous bar Miller’s, where DMB got their start. Fast forward to today, and we have opened up a large ware-

house right out of Charlottesville and all our the partners now live in Charlottesville with their families. The small college town pro-vides a nice relief when we are back in town from the road. We have also used the Uni-versity of Virginia’s great talent pool to hire some new people expanding our arsenal of personnel. Our new warehouse can accom-modate up to 40,000 square feet which give us flexibility when gear comes on and off the road. In 2015, Bryan Bieber and Ryan Gall became partners in the company. Filament has delivered 2x growth over the last three years and will post record sales in 2017.

For the Zac Brown Band Tour, you provided Live Video Technical Direction, Live Video Equipment Rentals, & Live Video Personnel,

Crew:

Acct Managers - Ryan Gall & Bryan BieberVideo Director - Steve OsslerVideo Crew Chief - Omar Montes (1st half) & Carson Austin (2nd half)Video Engineer - Nick KosutCamera Crew Chief - Jeffrey SkillingsLED Tech / Handheld Camera Operator - Christina “Kandi” SepulvedaLED Tech / Camera Operator - Bob ChaizeLED Tech - Will StinsonVideo Utility / Camera Operator - Bill OverstreetCamera Operator - Eron Roy

Equipment :432 - ROE 7MM LED Tiles in Touring Frames6 - Brompton Tessera LED Processors1 - Ross Carbonite 2 M/E Switcher6 - Sony HXC100 Cameras2 - Sony BRC 700 Robotic Cameras2 - Lipstick Cams2 - Hippo Boreal Media Server with Backup

What about that equipment (from 2 above) made it the right fit for the kind of show the Zac Brown Band puts on?

The 7MM ROE touring frames are super flexible, they allowed us to use a 10 degree curve for two of the upstage walls which the design called for but also worked great for the rest of design which included a large upstage portrait wall, 4 column screens on the wings and thin strips overhead which tilted at a 45 degree angle.

With so many different personalities and instru-ments on stage during a Zac Brown concert, are there any specific challenges in the work?

There are a lot a personalities and instruments, we use a lot of cameras to capture all the action. We have two handheld camera operators that roam around stage, and in addition we have two robotic cameras and two lipstick cameras on the stage.

It looks like you’ve been working with the Zac Brown Band since at least their 2011 Tour….How did that relationship come about?

The relationship was formed back in 2010 when Zac Brown Band was opening up before Dave

with

Jeffrey Skillings getting ready to run handheld camera

Carson Austin climbing LED

On Working Hard, Loving What They Do & Live Video for Zac Brown Band

Jeffrey Skillings building LED


Matthews Band. We reached out to their pro-duction manager after the tour and asked if they needed help. We started off providing produc-tion design and content for the band then once our company decided to focus on touring video

production, we shifted our work with the Band.

What’s your favorite part of working with the Zac Brown Band, professionally and/or creatively?

Our favorite part of working with the Zac Brown Band is definitely the relationships that we have formed with the band and crew. Over the years we’ve gotten to know and become friends with all the band and crew members from all parts of the world with different upbringings and back-grounds. The vibe on this tour resembles a fam-ily atmosphere where everybody takes care of each other. People really do care and genuinely support each other.

In addition to supporting Zac Brown Band, Dave Matthews Band, Grateful Dead, and many other touring acts, there seem to be a growing number of festivals who are your clients. What is it about Filament that has made you the go-to guys and gals for events like KAABOO or Cali-fornia Roots?

We have to say our people and level of service, we are extremely detail oriented and organized which allows us to typically respond to advance questions within 24 hours to provide our clients with information as fast as possible so they can make decisions and progress their show. We are also always available via phone 24/7 365 days a year, our clients can call us at anytime and we make ourselves available. We go the extra mile to treat people with respect and dig-

nity, no matter what size the job, we treat them all the same.

“Our people are the most important part of our business,” is one of your company mottos. What are some of the concrete ways this affects the ex-pectations or practices in your company?

We understand that none of what we do would be possible if it wasn’t for the talented and great crew that we have. Gear is gear but people are re-ally what make our business. We pride ourselves on putting great people out on jobs that represent our culture, work hard, and have fun doing it. We are all in this business for the same reasons, to make a decent living and really enjoy the people that we work with.

Can you also speak to what seems to be inten-tional and ongoing efforts to lead/organize/sup-port some very big philanthropic community pro-jects? How did that come about?

We all feel really lucky that we’re able to do what we love to do for a living and really enjoy giving back to the community and the less fortunate.

Christina “Kandi” Sepulveda setting up LED screens

Steve Ossler directing cameras

Jeffrey Skillings having some fun setting up the LED screens

Proud member of theWelcome Home Tour 2017

www.filamentprod.com • 434.202.8932www.FilamentProd.com

12 Tour Link Magazine Tour Link Magazine 13 CLAIRGLOBAL.COM

PROUD TO BE PART OF THE 2017 WELCOME HOME TOUR

This year for Zac Brown Band’s “Welcome Home” tour, they pulled out the big guns and brought Clair Global’s Cohesion-12 system out on the road. Along with System Engineer Arnie Hernandez, the rig was without a doubt the best option to keep up with the band’s wide array of sounds, ranging from vocals to keyboards, and banjos to violins.

This versatile loudspeaker system was intro-duced back in 2015 for U2’s U.S. tour and has been the chosen system for countless other artists since its release. These lightweight, high power speakers pump out incredible fidelity similar to what is typically found in a recording studio environment. With a true full range re-sponse of 35Hz-20KHz and durable enclosure, this system allows for the highest quality sound, even in harsh touring conditions. For the “Welcome Home” tour, these speakers were used alongside CP-218 subs and P-2s forfront fills. The Cohesion was designed from the ground up with an intense focus on providing acomplete system that works together seam-lessly.

To run such an exceptional system, you need an equally exceptional crew. System Engineer Arnie Hernandez is the man in charge of the CO-12 on Zac Brown Band’s tour. According toHernandez, he’s in the business all because, “I lost a bet” he laughed. “I originally wanted to record,” he mentioned, “but it’s tough to get in with studios. I was young and on fire and just wanted to do live sound.” He started with Showco, which was later acquired by Clair Brothers. He was hired by Showco in 1994 as they were bringing in new help for an upcoming Rolling Stones tour. “I didn’t go on that tour,” said Hernandez, “but I was kind of glad. On a

tour that big, each crew member has a nar-rower focus. I went out with Harry Connick Jr. instead and participated in a much wider range of duties than I would have other-wise.” He’s officially been with Clair since 2003.

Hernandez enjoys the relaxed pace of this tour with 40+ shows over the course of 5 months. He loves using the CO-12 and feels that, even 2 years later, Clair is still in the honeymoon phase as far as rolling it out to the community at large. “We can’t build them fast enough!” he joked. At one point, they were building 24 boxes per week to keep up with demand!

The physical placement of the PA, from the angles and alignment, to making sure eve-rything works as a whole are all part of Her-nandez’s responsibilities. He is also the crew chief. His personal thoughts on the CO-12 system? “It’s amazing,” he expressed. “Everyone across the board is impressed by it. Mixers love it for how great it sounds and riggers love it too for how flexible we can be with motor placement. CO-12 is designed to serve as a large scale near field monitor. All that sparkle is normally lost in the live field and you really sacrifice fidelity. With the CO-12 we don’t have to make those sacrifices anymore.“

www.clairglobal.com

Arnie Hernandez, System Engineer (R) with Preston Soper, FOH System Tech

Zac Brown Band Utilizes Clair Global’s CO-12 Speakers

CLAIRGLOBAL.COM

PROUD TO BE PART OF THE 2017 WELCOME HOME TOUR


Atlanta based group Zac Brown Band (ZBB) is an 8-piece country powerhouse playing every-thing from upbeat hits to country ballads, with a bit of southern rock and bluegrass thrown into the mix as well. Since their breakthrough success in 2009, this band has received an impressive number of awards and nominations over the past decade.

With hit songs like “Chicken Fried” and “Knee Deep”, this band proves they can crank out hits by them-selves or collaborate with a variety of different artists like Jimmy Buffett, Alan Jackson, and even Chris Cornell. The ability to successfully write and play in an array of different genres proves that each member

Zac Brown Band Crew:

Touring as a familyStory by Jordan Haymaker, Photos by Nathan Slinkard


is multitalented; with each one able play multiple in-struments. The production crew is no different, and many of them rise to the challenge of overseeing multiple positions or having experience and knowl-edge in more than one area of production. Tour Link Magazine caught up with the crew at Klipsch Music Center in Noblesville, IN. The ‘Wel-come Home’ tour kicked off in May and ran until the end of October to celebrate the release of the band’s brand-new album of the same name. Building the Team That’s Become Family

Organizing a production this size is no small feat. For Production Manager and FOH mixer Eric Rod-erick, the blueprint for success comes directly from the top. He said, “Zac and the band strongly believe in creating a team around them that is a true fam-ily. This set of values guides everything that we do, and it has become the cornerstone of our success.” From a tour production perspective, this is realized by finding people and vendors that are committed to going beyond the normal hard work that a tour entails. “We work hard to develop a culture of mu-tual trust and respect,” explained Roderick. “People who tend to stick around have an innate desire to unite and create something special that none of us would have been capable of as individuals.” Just as Eric has grown with the band, he aspires to build a team that will do the same into the future.

The Welcome Home Tour consists of 8 tour buses provided by Nite Train and 12 Special Event Trans-portation trucks. One truck in particular is a band and crew favorite as it houses a fully equipped, 53’ gym trailer. “The band is really into working out, so that was a must for the tour.” Jim Brammer from SES and SET helped design the truck, and it’s one

of the many reasons Roderick keeps going back to them. He complimented them saying, “SES Lighting has really grown with us and continue to meet our ever-changing needs. They have a great crew and have really become a part of the Zac Brown Band family.”

Filament began working with ZBB in 2011 provid-ing show design and video support. This year they were given the opportunity to provide all video as-pects for the tour. “They just crushed it. From the gear to the crew, it’s been a home run,” admitted Roderick. The 2017 show design was provided by Okulus for the third year in a row, with TM Paul Cha-non and PM Eric Roderick assisting. “This is my fa-vorite look that we’ve had overall because there’s just such an amazing dimension to it.” Rounding out the team with Clair for audio (another new addition for the Welcome Home tour that they are complete-ly thrilled with) and Atlanta Rigging leads to a very impressed artist, production manager, and crew. “We really couldn’t be happier. They’re all amazing,” Roderick confessed.

From his post at FOH, Eric doesn’t use much in the way of outboard gear. The trusty DiGiCo SD7 with Waves is what he has relied on to mix the band’s live sound for the past 5 years. After a short 45-min-ute line check, the band and crew are dialed in. “It’s a team effort. Whatever they do to switch it up on stage is easy to accommodate,” he continued. “I love hearing the new batch of songs from the new record too. It keeps it fresh.” Roderick’s goal is to create a sort of “throwback” sound while making sure everything has room to breathe. “The CO-12 really helps,” he added. “It’s so smooth in how it covers. There’s minimal EQ, and it’s nice not to have to fight things. It makes it really effortless. I forget that I’m working, and it’s so wonderful that I can forget what the room is doing and just focus in on the band.”

Audio – Clair GlobalPreston Soper, FOH System Tech, has worked for 8 years with ZBB, but recently started working for Clair as well. Starting out in recording studios in NYC, he transitioned to live sound 25 years ago. After several years of working in clubs in NY, SC, and GA, he moved on to working for Special Event

Services, which gave him his start on the touring side of audio. His first tour was Lynyrd Skynyrd in 2001 as a PA tech, but he’s also worked with Gov’t Mule, among many others, during his years of tour-ing.

Soper’s daily duties include taking care of the FOH needs and tuning the CO12 in each venue. The SD7 console at FOH is loaded with Waves Sound-Grid Extreme Servers, SD7 Pro Bundle, Bricasti M7 Reverbs. He explained that Arnie Hernandez is the one who has been teaching him the Clair Cohesion 12 rig this year. Soper likes that they have two sys-tem engineers working together and looking after the big picture, which is unique, but since it’s im-possible to be in 2 places at once, it allows them to better obtain consistent results every day. Soper explained, “I love the family vibe and brotherhood of the road with these guys.” Hailing from Vermont, Monitor Mixer Andy Hill has been touring for 13 years with various acts such as Bon Jovi, Kid Rock, Daughtry, and with ZBB for 4. “I lucked out and the guy who sells them their consoles put my name in and a good word, so I got hired,” he laughed. He’s in charge of mixing sound that the band hears via a DiGiCo SD7 with no pl-ugins, so they perform to the best of their ability. Jerry Harvey JH16s are used as in-ears in addition to the Clair CM-22 drum wedges. “The most dif-ficult thing,” he mentioned, “is that throughout the show, there are a lot of changes and so many dif-ferent instruments used song to song with a lot of people on stage. My goal is to try to make it sound as close to the record as possible with everyone’s individual vocals or instruments on top.”

Assisting Andy in the trenches is Monitor Systems Engineer Alex Moore. Alex was the monitor mixer for Kacey Musgraves in the 2 years prior to finding himself on the ZBB crew, and before that, an ac-complished systems tech. His diverse skill set is a great fit for the fast-paced nature of the Welcome Home Tour.

RF Tech Jake Bartol started out in LA doing movies and initially said they couldn’t pay him enough to switch it up and go out on the road. He’d known Roderick for years, but just couldn’t justify leaving his job in LA. Eventually, Eric talked him into join-ing his crew on the road, and he was essentially “thrown to the wolves”. “I started as a monitor and guitar tech and at one point it was just me and Eric. It quickly grew and is now a team effort.” With the RF environment shrinking, it’s his job to monitor the available bandwidth at each stop for the Sennheiser Em3732 mics, Sennheiser SR2050 IEM transmit-ters, and Shure UHF transmitters for instrument packs. ZBB is the only music industry act he has worked for. “They’re all very cool dudes,” he admit-ted.

With possibly the coolest recruitment story ever, Frank Sadler, ProTools Expert, was fresh out of col-lege and working at a local Apple store in Atlanta. He just so happened to be the lucky “genius” to assist Zac Brown when he needed to replace his broken phone. He didn’t recognize him, but they chatted and really hit it off. This lead to Zac asking if Frank would like to go out on tour with him. He of course accepted and showed up for his interview dressed in a three-piece suit. Sadler was unaware that said “interview” would entail helping load up a trailer. Regardless, he got the gig and has been with them for 8 years now.

A ‘jack of all trades’, he helps with the live record-ings, playback tracks, hanging the PA, the power for the stage, interfacing with the broadcasts on Sirius, and is the official IT guy for the tour. “I just love that it’s given me the opportunity to get away from the typical 9-5 job. It’s not mundane and we are always somewhere different,” he said. Although sometimes he is thrown last minute changes or needs to deal with fitting this massive production in smaller ven-ues, he admitted that, “I’ve gotten pretty good at MacGyvering stuff on the fly.”


Lighting – Special Event ServicesLighting Director Chris Cockrill started working in audio 25 years ago with a small company. That company expanded, bought lights, and needed someone to help operate them, so he stepped up to become the ‘default lighting guy.’ After a few years of LD gigs with King’s X in the 90s, he settled in to a theater gig in Florida for 15 years doing everything from audio to lighting to managing the building. In 2011, he decided to get back out on the road as a LD and moved to Nashville. The move led him to work with the Charlie Daniels Band, Gretchen Wilson, Brant-ley Gilbert, The Weeknd and finally Zac Brown Band in 2015.

Cockrill makes sure the rig of around a whop-ping 350 fixtures looks correct every day in a variety of different types of venues including outdoor amphitheaters and a few arenas and ballparks. “I guess the hardest thing I have to deal with is combatting the sun on the outdoor shows!” he laughed.

The screens are framed with the new Robe Spi-iders, each containing 19 separate pixels, with a

separate fixture for the center pixel allowing for a bull-seye effect. The video content from the screens can also be mapped with the iMag video walls, allowing the effects to bleed over into the Spiiders. The designer of the show is OKULUS with the video content from a Cincinnati based company Lightbourne. OKULUS is the UK based duo of James Scott and Louis Oliver, who Cockrill mentioned, “have created a spectacular show. Its a really great rig to use and operate every night!”

Also included are MAC Vipers, Clay Paky Mythos, Mar-tin Sceptron bars placed vertically around the back of the stage, and Elation LED CUEPIX Blinders, eliminat-ing the need for a heavy dimmer rack.

“One tough thing is getting a good focus on the rig during the daytime,” mentioned Cockrill, “but I have the option to walk up on stage and do it directly from my iPhone via remote focusing on the grandMA2. I can usually sneak in some focus touch-ups during the opening acts as well.”” With the setlist differing every night, he is always on his toes and ready for any last-minute changes. Luckily, he has 60+ programmed songs that he can easily pull from at a moment’s no-tice. He loves when the music’s energy builds up to a

Additional Photos by Andy Sapp /Southern Reel


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big crowd hit, with his favorite instance occur-ring in the ZBB song “Uncaged” which segues into “Kashmir” and then “The Devil Went Down to Georgia”. “In Devil, the wash lights are deep red and vibrant with some CTO beams and spots with rolling gobos added in,” he ex-plained. “It’s really an impressive look from the rig but there are so many in this show, its tough not to mention the others so you should just come out and see them for yourself!”

Video – Filament ProductionsVideo Director, Steve Ossler, attended a high school in Connecticut that was equipped with a live format TV station in-house, so he has essentially been working in video since he was 15 years old. “It was a lot of work to get where I am, though,” he admitted. “It was a lot of go-ing around beating on doors. I did that for 9 years because I knew no one in the industry. I’m still developing connections to this day.” After graduating from Bradley University in Peoria, IL, he was thrown straight in to cutting shows on his first day at the Reno Hilton Grand Sierra. For 6 years with ZBB, he has overseen dump-ing the trucks, helping build FOH, setting up the robo cams, and directing the show. “I’m not about wearing white gloves,” he laughed. “I push cases and load trucks just like every-one else. I’m so blessed on this tour with good camera people who are work oriented and are willing to put in the effort too.”

He and his crew operate the 9 Cameras, in-cluding 4 manned, 3 robos, and 2 POV cams on the drum kit and the piano. Ossler operates the Ross Switcher with 14 inputs, 2 Hippotizer media servers, 4 channels with 4 different des-tinations, and a 5th channel destination spe-cifically for the webcasts that are typically done from larger stadiums. The picture is shown on three 3.9 mm LED screens that span the entire width of the stage.

Ossler’s goal is to show the audience what’s happening in the moment with live, fast paced shots. He said, “I want the audience to walk away feeling like they saw something else that

not everyone else did.” He also loves to do quick audience shots to capture pure emotion. “I like to find audience members, put them on screen to capture their emotion, and then cut away before they figure out that they’re up there,” he beamed. “It’s all about bringing people togeth-er. It’s not brain surgery, but we alter people’s lives.” Os-sler understands that the show is all about the live energy, so he and his crew work to amplify that. “Each member of the band is a true musician,” he expressed. “It’s very im-pressive. It makes me push myself to be on their level. We all believe in music, and each band member can honestly play any instrument. It’s an honor to work with an artist of this caliber. You can tell they just don’t phone it in.”

Staging – AccurateDave “Big Dog” Maher has worked as a carpenter with Accurate in Nashville and with ZBB since 2012. He origi-nally did local production in California, but moved to Nashville and started in electrical work. As one of 2 car-penter leads, he project-manages through what he calls ‘team opportunity’. “It’s a shared job to get all of the sur-faces up in a matter of 5 hours,” he explained. “We get the big sticks and metal and communicate to local hands. We’re not just focused on the set, but also the illuminated fascias with the rustic looking stage hangs too.” The stage measures in at 46ft by 17ft with two 12ft wide by 40ft long thrusts. “The contrast is great and it’s actu-ally been really easy to set up. It’s just gone together well, and it helps that we work together so well as a team.” Maher added, “I love the feeling of accomplishment and togetherness with the crew and audience. It’s so fulfilling.”

Catering – DegaAJ Norcia is the Crew Chief for Tennessee based Dega Catering. With an office located in Knoxville and a ware-house in Nashville, they cater to quite a few country acts, but Bob Dylan, Dave Matthews Band, and Bruno Mars are repeat customers as well. Just like the rest of the pro-duction crew, they keep all their equipment in road cases and even run off stage power. Dega is used to setting up in a variety of different sized venues both indoors and outdoors, so they’ve learned to adapt to their surround-ings. “We just have always found a way to make it work,” said Norcia.

Dega provides three meals a day consisting of locally sourced ingredients. “We like to switch things up con-stantly and make things from all over the world,” explained Norcia. They also stock the production offices and eight tour buses with a variety of snacks, a few favorites being


Cheetos and Jack Daniels. Norcia laughed, “we re-ally just do it all, so we’ve jokingly dubbed ourselves the ‘tour moms’.”

They pride themselves on versatility, so they try to make a little bit of everything (and it helps that ZBB and crew aren’t picky!). “The chef decides on lunch and dinner once we arrive, so it’s always up in the air,” Norcia mentioned. He works alongside 4 chefs, 1 dining room guy, 1 bus stocker, 2 local drivers, and 4 local assistants. When the staff arrives on site, they’re not just making breakfast; they’re also unloading 20+ road cases and building the setup consisting of 3 ovens, a flat top grill, camp burn-

ers, a juicer, and espresso maker. Norcia equated it to working for a pop up restaurant day after day in multiple different cities. “We’re constantly moving to make sure we have everything the band and crew need. It’s not an easy way to cook this much food, but we make due,” he continued. “Our goal is to make everyone comfortable in an uncomfortable en-vironment by bringing a “home” feeling into the job.”

Tour Link Magazine says congrats to the band and crew in finishing another fantastic tour—and of course, Welcome Home! To catch the Zac Brown Band live, check out future show dates at www.zacbrownband.com.

Clair AudioFilament VideoSpecial Event Services LightingAtlanta Rigging RiggingDega CateringSpecial Event Transportation TruckingAJ Norcia Dega Crew ChiefAlex Moore Monitor Systems EngineerAndy Hill Monitor EngineerAndy Sapp Tour PhotographerArnaldo Hernandez Audio Crew ChiefBill Overstreet Video TechBrannan Harner RiggerChad Maxwell Venue CoordinatorChad Weaver Guitar TechChandler Mcgee Set CarpCharles Moore Audio 2Chris Cockrill Lighting DirectorChris Todd Carter Stage ManagerCristina Sepulveda “Kandi” LED Tech/Camera OpDave Maher Set CarpEli Akins Tour AccountantEric Roderick Production Manager/FOHEric Thompson Guitar Tech-BASSEron Roy Lighting/FOH Camera OpFrank Sadler Audio TechJake Bartol Monitor/RF TechJason Baskin Guitar TechJeffrey Skillings SL Camera-VideoJennifer Gabriel Fan ClubJon Earp LightingKyle Klapper Lighting-Crew ChiefMatt Zvolerin SecurityMickey Wade Perc TechMike Shields Rigger Nate Yco Production AssistNick Bird Lighting-Crew ChiefNick Kosut Video EngineerOlivia Odette Dega Bus StockOmar Rangel Video Crew ChiefPaul Chanon Tour ManagerPreston Soper Audio System TechRay Park Lighting Rose Hanson MerchRowan Phillips Lead Rigger Rustin Shiflet Asst Stage ManagerRusty Hamlin Wine/VIP ChefScott Hanson MerchSean Pretto Drum TechShawn Hawkins Rigger Steve Ossler Video DirectorStewart Blanchard Asst TMWill Stinson Video Tech

Zac Brown BandProduction & Crew


CAUGHT IN THE ACT:

AJ Norcia - Catering Crew Cheif

Chris Cockrill - LDEric Roderick

Production Manager & FOH

Dave ‘Big Dog’ MaherLead Carpenter

Jake Bartol - RF Tech, Frank Sadler - ProTools Expert,

Andy Hill - Monitor MixerPreston Soper - FOH System TechArne hernandez - System Engineer

Steve OsslerVideo Director



Finally

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Send your Festival News to [email protected]

Safety FirstIn the wake of the disturbing events in Las Vegas, nothing is more top of mind than event safety. In the words of former Insomniac COO, Simon Rust Lamb, “During the weeks leading up to Electric Dai-sy Carnival, there were things that kept us awake at night and we would often share those fears as part of the planning process, hoping to create a quicker prevention and response plan.”

Festivals are frantically trying to determine if having a close radius to high rise hotels needs to be ad-dressed and if even more emergency training and security is necessary. While safety is the paramount concern of all festival producers, the issues are complicated and the solutions even more so.

In the words of Vans Warped Tour founder, Kevin Lyman, “This is not a problem of security at music festivals-this is a societal problem. There is no way this could have been stopped in the world we live in. If we had proper and reasonable gun controls in place, a red flag could have popped up” concern-

ing the cache of weapons owned by the gunman. As organizations like the Event Safety Alliance (ESA) were founded to promote “life safety first” through-out all phases of event production and execution, the events world is working to standardize action plans at festivals and events.

States the ESA Executive Director, Jim Digby “It’s painfully clear that we live in tumultuous and often crippling times. Planning to be assaulted by those who intend to do tremendous harm is not some-thing any of us anticipated being a part of our daily concerns.” However, it is now, unfortunately a major component of festival planning.

Technology & Connectivity Boost Fan Experience (and Potential for PR Disasters)The Festival world has exploded since millennials continue to seek memorable experiences with lots of bells and whistles. Thirty-two million people at-tend at least one music festival in the U.S. each year, with 46 percent of attendees falling within the 18-34 age range. Thus, with the upcoming generation of

by Laurie B. Kirby & Sydney Johnson of FestForums ®

Running a Music FestivalTop Priorities for Festival Organizers

FestivalNEWS

Fest Forums recently surveyed several festival leaders to under-stand what keeps them awake at night.

Here is what we found.


multitaskers, Iphone addicts and social media fanat-ics, young people will be demanding more from the festival experience than ever before.

Technology clearly plays a huge role in the festival world as being connected is key. According to Alan Cook, “With the explosive growth of festivals in the U.S. there is an unprecedented demand for connec-tivity. We have reached a point where the modern music festival cannot exist without some level of in-ternet service.” In addition, according to Commer-cial Director Robert Richards of Glastonbury Music Festival, “festival goers want to let their friends know what they are doing, and want more and more site-specific apps to boost their experience.”

Attendees at music festivals are served by multiple types of so-cial media and technology. The performers are snapchatted with multiple filters and geotags, and festival specific apps are down-loaded for information, timing, and locations of all the event’s happenings. There are also the ever-present RFID wristbands, with preloads for tickets and cash but they are not always the “Holy Grail” they appear to be. With the increased technology comes increased margin for error and festival di-rectors work hard to stay ahead and manage the potential short-comings.

Cultivating a Great Food Experience is a MustThe music festival is no longer just about the mu-sic— the new generation of festivalgoer wants the ultimate VIP package, much of which relies on the food and drink element. Hot dogs and warm beer no longer cut it as the food du jour. For instance, states Vans Warp Tour founder Kevin Lyman “Beer and Ta-cos are sometimes the star… with music almost as an addition.” As the crowds grow larger it’s become harder to “wow” people and create an experience they’ve never seen before. Outside Lands features chef cooking demos and musical performances on stage together as a centerpiece and Bottle Rock is as known for the food experience as it is for the music. “The availability of exotic foods, the popular-ity of cooking shows, and the recent locavore food movement has heightened the standard for excel-lence” states Laurel Robinson, Executive Director of Telluride Wine Festival.

Coachella Copycats Are Setting Themselves Up for FailureThere is only one Coachella. “It’s fabulous and successful, but festivals that want to be ‘the next

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Coachella’ are setting themselves up for fail-ure” explains Kevin Lyman. Coachella already exists and the festival world doesn’t need more of them. Focused, non-headliner driv-en, unique festivals for a specific audience, is what the public now wants. “The non-Coachella festival goer needs an event that will hyper-serve their interests and wishes,” says Lyman. Festivals must develop their own unique qualities and personalities in or-der to survive in this dynamic industry.

The Show Will Go On - And Even BetterStates Jim Digby, “We cannot let the trials of this moment extinguish our desire to bring joy and escape to the masses. No matter how much we may feel like we are on the Titanic, it’s our job to make sure the fiddlers can play and that they are heard.” Concludes Simon Rust Lamb, “The show must go on and so must we. In our industry, we have loud voic-

es, global platforms and huge audiences to make a difference. Let’s use this powerful chorus to affect change.”

www.festforums.com


MSI Productions Technical Director Tom Bollard works with BaAM Productions to create a truly mem-orable LED video tunnel experience using 3.9mm FLEXLite Plus

As part of the annual Major League Baseball All-Star Game festivities, the FanFest is an indoor baseball theme park experience dedicated specifically to the fans of the game. With opportunities to take photos with MLB Legends, get free autographs, plus pitch, hit and run on an indoor baseball diamond, the Fan-Fest is an event like none other.

Continuing the implementation of technology en-hancements designed to heighten the fan experi-ence, the producers once again worked with BaAM Productions and MSI Productions at the 2017 event, and together they created an LED video tunnel en-trance using 3.9mm FLEXLite Plus from PixelFLEX.

“Major League Baseball made it known three years ago that they were going to implement a tiered series of capital improvements to the annual Fan-

Fest experience at the MLB All-Star Game,” began Tom Bollard, Technical Director, MSI Productions. “They wanted to bring more technology into the show to make it more dynamic for our younger audi-ences. Last year, we implemented the LED tunnel walls during phase one of the capital project, and this year we implemented phase two with the inte-gration of the LED tunnel ceiling, both of which used the FLEXLite Plus 3.9mm LED video.”

FLEXLite Plus from PixelFLEX is one of the highest resolution curve-able LED displays on the market and is capable of a 15-degree curve in any direction. With its bright, dense display and high refresh rate, FLEXLite Plus photographs and videos extremely well and its tiles are calibrated directly out of the box to help decrease failure, and insure perfect color and brightness of your LED screen.

“The nice thing about our relationship with PixelFLEX is that they can pretty much do anything with an LED video design,” continued Bollard. “When BaAM Productions started designing the show, we knew with confidence that we could handle any design

they wanted. When we received their sketches, we sent them over to the PixelFLEX design team, and immedi-ately got the word back that we could make the FLEXLite Plus LED ceiling a part of this year’s lineup.”

Ready now to implement the technol-ogy into the design, the LED video tunnel would be the first attraction experienced by fans as they entered

PixelFLEX LED Sets the Tone for the 2017 MLB All-Star FanFest


EDC Mexico 2018 Returns to Mexico City for 5th Annual Adventure Under the Electric Skythe Miami Beach Convention Center. Wanting to im-

mediately set a tone of excitement for the 2017 MLB FanFest, Bollard knew the addition of the LED ceiling would be a huge hit.

“The design structure was called the arrival module and it was positioned were guests enter the show floor to really create a dynamic first impression,” added Bollard. “Last year, the curved wall screens we did with PixelFLEX were a huge success, so as we added in the ceiling as well, we knew it would truly make the design unique. The curved screens stood about 19-feet tall and were approximately 35-feet wide. The ceiling structure ended up being approximately 30-feet wide and 36-feet deep with a nice, gentle curve to it as well, and it hung di-rectly over the walls to complete the tunnel experience.”

With the load-in date now ap-proaching, it was time to focus their attention to the rigging as-pects of the design. Since the design called for a top-hang solu-tion, the team created a custom, metal frame which would also allow for quick installation of the FLEXLite Plus LED video panels.

“Knowing that the LED ceiling would need to hang straight down, it would be bit of an engineering chal-lenge,” explained Bollard. “We ended up creating a metal ‘super structure’ to get the rigging points needed, and that enabled us to get the ceiling load-ed in and ready to go in only two days. Once it was up, you could tell it would be a dynamic, in-your-face, Miami-style baseball experience, and the fans absolutely loved it.”

As more live event production companies continue to integrate LED video experiences into their produc-tions, the desire to push the boundaries of creativity only grows as well. When looking for technology a partner to reach these new heights, Bollard knows this is a crucial aspect to the success of a dynamic and memorable LED video design.

“We first worked with PixelFLEX a few years back, and when I first started speaking with them, it was clear that they had the ability to do almost anything we needed with creative LED video builds,” conclud-ed Bollard. “We have since done several projects with them where we needed an out-of-the-ordinary solution, and they have come through every time. They really seem to understand the nuance of the big project with nothing forgotten and nothing left out. As a technical director, when I am thinking of how we’re going to install such creative solutions, they always have it thought through, and it works.”

About PixelFLEXAn American-based LED manufacturer, PixelFLEX offers creative solutions, reliable products, and de-pendable service for our industry-leading LED dis-play technologies and solutions. Driven towards ex-cellence to meet your standards, PixelFLEX offers a one-of-a-kind design for your tour, event or instal-lation through our award-winning line of LED video walls and video screens. Working with architects, designers, engineers and consultants, PixelFLEX is proud to develop custom LED solutions for each and every customer while also providing top-tier cus-tomer support throughout the entire experience. For more information on the complete line of PixelFLEX LED video walls and video screens, visit PixelFLEX at pixelflexled.com, follow them on Twitter at @pixelflex-led or find them on Facebook, Instagram or LinkedIn.

Taking place Saturday, February 24, and Sun-day, February 25, at Autódromo Hermanos Rodríguez in Mexico City, EDC Mexico 2018 is going down as the country’s largest music festi-val—ever! For two incredible nights, Headliners will experience new stage designs, internation-ally acclaimed artists, and plenty of surprises for the most memorable EDC Mexico yet.

For EDC Mexico 2018, we’re going bigger and badder than ever before! We’re premiering an all-new circuitGROUNDS design as the second largest stage at the festival, spanning more than 200 feet wide. Plus, the festival is expected to unite a record-shattering 200,000 fans from around the world next year, offering Headlin-ers a massive, imaginative playground packed with towering art installations, colorful carnival rides, and an accepting community of music-lovers unique to the EDC experience. Featur-ing out-of-this-world special effects, charming costumed performers, and a stacked roster of world-renowned dance music artists, EDC Mexico 2018 will be the country’s biggest cel-ebration to date.

Visit the official website to check out more of our favorite photos from this past year’s EDC Mexico in the full galleries from day one and day two for more awesome memories.

www.mexico.electricdaisycarnival.com/en/


800-541-9333

AUCKLAND CITY LIMITS MUSIC FESTIVAL RETURNS IN 2018

INAUGURAL SYDNEY CITY LIMITS MUSIC FESTIVAL ANNOUNCEDBECK, JUSTICE, GRACE JONES, PHOENIX AND MORE SET TO PERFORM

Organizers are pleased to announce the return of Auckland City Limits Music Festival and the first-ever Sydney City Limits Music Festival, taking place in February/March 2018. The lineups include Beck, Justice, Grace Jones, Phoenix, and Vance Joy (Sydney only), as well as performances from Tash Sultana, George Ezra (Auckland only), The Liber-tines, The Head and the Heart, Car Seat Headrest and many more. Sydney promoter Secret Sounds, in partnership with C3 Presents and Live Nation Entertainment, are pleased to announce the inaugural Sydney City Limits Music Festival, which will take place on Sat-urday, February 24, 2018 at the lush inner-city oasis of Centennial Park.

Auckland promoter CRS Presents, in partnership with C3 Presents and Live Nation Entertainment, will deliver the second annual Auckland City Lim-its Music Festival on March 3, 2018 to Western Springs stadium, and surrounding fields and lake-side park. The inaugural festival, held in 2016, was a resounding success, with the New Zealand Her-ald proclaiming, “Hats off to the organisers of the inaugural Auckland City Limits. It was one of the easiest, smoothest, most well-run music festivals Auckland has ever had.”

Both festivals will continue the Austin City Limits Music Festival tradition of including top culinary options, family fun with Kiddie Limits, and local art. Additional details about these options will be released soon.

Secret Sounds: www.secretsounds.comSecret Sounds is one of Australia’s largest and most diverse music groups and represents the interests of over

250 leading domestic and international artists across specialist label, publishing, touring, pub-lic relations, commercial rights, management and booking businesses. Secret Sounds is also home to two of Australia’s largest and most loved festivals, Splendour in the Grass and Falls Festival.CRS Presents: www.crspresents.comCRS Presents is the live event division of CRS Music Management, one of New Zealand’s most success-ful and longstanding artist management and event production companies. Since 1994 CRS has man-aged the careers of many major artists including Brooke Fraser, Bic Runga, The Naked and Famous and Scribe, as well as producing significant live events such as the Auckland Big Day Out, head-line artist concerts and co-producing iconic annual tours The Winery Tour and The Church Tour.

C3 Presents: www.c3presents.comC3 Presents creates live experiences for millions of fans across the globe, setting the new standard each year for events that are as memorable as they are spectacular. One of the world’s largest music festival producers, C3 is the force behind two iconic multi-day festivals - Austin City Limits Music Festival in Texas and Lollapalooza in Chicago and its five international editions - drawing a combined 2 million music lovers annually.

About Live Nation Entertainment: Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, and Live Nation Media & Sponsorship. For additional information, visit www.livenationen-tertainment.com.


Joy Burke has added PE, Electrical and Computer: Computer Engineering to her title of Senior Product Engineer at Alcorn McBride.

“We are all really proud of Joy, it’s quite an accom-plishment to receive the PE certification,” says com-pany founder, Steve Alcorn. “Earning PE certification reflects Joy’s dedication to stay on top of all the dif-ferent engines of engineering to better support our product development.”

Burke leads a talented team of engineers in software design and manages Alcorn McBride’s show control product line. Due to her specialization in computer engineering, she has an extensive background in both computer programming and electronics.

During her 14 years with Alcorn McBride Burke has been project manager of multiple show control and lighting products used in the theme parks, museums, casinos and hotels around the world. “Joy has a pas-sion for learning new technologies and loves seeing how theme parks create amazing new experiences using products she has developed,” notes Steve Al-corn.

Burke has a B.S. degree in Electrical Engineering from Kansas State University and is currently work-ing toward a Masters degree in Industrial Engineer-ing at the University of Florida.

In her spare time Burke volunteers with organizations that encourage children to pursue STEM fields. For the past four years she has been on the board of the Central Florida chapter of the Society of Women En-gineers where she currently serves as section Vice President. She enjoys participating in triathlons and running marathons with her husband.

About Alcorn McBride:Founded in 1986, Alcorn McBride is the leading man-ufacturer of show control, audio and video equipment for the themed entertainment industry, and a rapidly growing provider of audio and video systems for re-tail environments and transportation applications. Staffed by some of the industry’s best engineers and backed by outstanding customer support, the com-pany has demonstrated great agility in bringing new designs to market. A hallmark of Alcorn McBride products is their durable, zero maintenance design. The company’s products provide consistent, reliable operation for audio and video playback applications worldwide. For more information, visit www.alcorn.com.

Alcorn MCBRide’s Joy Burke Earns PE Certification

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LiftsBallastBarricades

TrussTurntablesSeating Platforms

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Enterprise.....................................................................................................................................7

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Filament Productions.............................................................................................................................................11

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Flutter Fetti ........................................................................................................................................................27

Gallagher Staging................................................................................................................................................IBC

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Mountain Productions ..........................................................................................................................................24

Nationwide Logistics..............................................................................................................................................25

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WINTER 2017 // ISSUE 6 · with the Brian Setzer Orchestra and is currently the General Manager at Center Staging, also spoke to the crowd about the R-10 and its wide-ranging po-tential