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Mark Cunningham documents the background to the production of TP’s inaugural awards event inJanuary, and profiles the work of the crew, suppliers and other heroes.

ast summer, as soon as we made the decisionto stage our first-ever awards event at theHilton London Metropole, with a view torepeating it annually, I instinctively knew thatDecember was going to restless and Januarywas destined to become The Month When

Panic Set In. Frankly, there was no need to gethysterical after we appointed Andy Cotton of TAOProductions as the event’s Production Manager — aman who’s worth his weight in gold (and that’s sayingsomething!).

TP first met Andy at last year‘s Wiltshire Festival— one of several provincial outdoor events heproduces — where he impressed us with his solidorganisational skills, clearly earning the respect of hisentire crew. As the autumn approached and the initialwild ideas for the awards presentation becameworkable, Andy summoned the might of many of hisregular suppliers and crew, adding to the roster such

names as XL Video UK, Funktion One, GPA Hire, andothers. Andy was also responsible for the presence ofseveral of our guest presenters including Sam Moore,Richard O’Brien, our host Mike Read, and live actsThe Commitments, the Four Tunes and Peter Ebdon.

From the start, our plan was to base theceremony around a sophisticated AV production, andwhen we received an early offer of assistance fromLee Spencer and Chris Mounsor at XL Video, it wasobvious that a high level of quality was alreadyguaranteed.

In early January, while Andy Cotton finalised thephysical logistics of the event design from his Swindonoffice, and Andy Lenthall and Justin Gawne negotiatedthe commercial hurdles, the first major creative stepstook place at XL’s St. Albans base. Several days werespent there with Richard Burford and I in the new editsuite, deciding on the design of the AV stills,background music and sourcing concert footage, and

effectively scripting the show.With Richard left alone to produce the striking

visuals using Final Cut Pro, I ventured into the studiowith Dean Hobbs, my musical collaborator for over25 years, to record some original music for theAwards theme. Meanwhile, we were helped with thevideo clips by Justine Catterall, who did a special editof a Robbie Williams show for us, and Jonathan Park,who located and provided some outstanding rarefootage of Pink Floyd’s The Wall shows. (Thanks alsoto Holly Peters and the Principle office for organisingU2’s acceptance video, and to Mick Owen for liaisingwith Bob Geldof on our behalf.)

EARLY MORNING CALLAt around 2am on Wednesday 30 January, curiositygot the better of me and I strolled into the MonarchSuite to watch Andy Cotton marshall the early part ofthe load-in as lights and trussing arrived in Stardes’

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productionprofile

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trucks. This was the point at which the coldreality of the enterprise suddenly hit me... “Thisis ACTUALLY going to happen,” I thought,recalling the uncertain days of four years earlierwhen Andy Lenthall and I couldn’t be sure if TPwould last for more than three issues!

Led by John-Henri Mills, crew companyEsprit Tech burst into action in the early hours,shifting over 18 tons of equipment swiftly to itsplace, before assisting the rigging and lightingteams in their set up.

It was at this point that Mr. Cottondiscovered that the actual dimensions of the roofgrid did not match up with the drawings issuedto us by the hotel — the discrepancy was asignificant 10 feet, leading to a major on-the-spotre-design of the lighting truss above thepresenter’s lectern. Well, worse things happen atsea!

THE LOOKThe 50 x 20 foot stage was supplied by Star Hireand built on two levels from the company’sproprietary Hangar decking system. The stageand adjacent walls in the Monarch Suite werebeautifully dressed by Acre Jean. Gary Cooper-Burrows and Colin Hannah installed a set of 20white Treviera drapes as the main backdropwhich served as a perfect surface for MAC 2000projections. They also hung six 22 x 10 footfibreoptic starcloths along the sides of the room.

Andy Cotton’s regular lighting supplierFineline exceeded its brief by providing anextensive system, using a wide range of movinglights supplied by Martin Professional UK andMartin Lubach at Essential, along with a new JemGlaciator heavy fogger (from Lighting Hire) andtwo hydrosonic haze generators. Fineline’s kitalso included 80 metres of Slick Minibeamtrussing, 36kW of generics (Par cans and Source4 profiles), and all mains distro and cabling. Inaddition, Tomcat UK supplied a quantity ofstandard and curved Light Duty truss.

The Monarch Suite has its own impressiveAvolites-controlled lighting system of 97 AVRmotorised table spots. However, the pricequoted by the hotel for the use of this systemwas prohibitive, and Fineline’s Darren Wringchose instead to harness the power of 75 MartinMiniMACs for both general house lighting andthe spotlighting of tables. As well as the 12 MAC2000s used for stage projections, there were 24MAC 600s and 12 500s for band lighting, and sixMAC 250s and six 300s used to light the awardsplatform.

The system was operated jointly by LightingDesigner Nic Ayres and Lighting Director PeterCanning, using a pair of Avolites Sapphire 2000consoles, supplied by the manufacturer. Avo alsoprovided two ART 2000 dimmer racks andDMX buffer boxes.

XL Video’s digital production unit was onduty on January 30, with Paul Eggerton, MarkAntonuik and Gary Beirne operating two handheld cameras plus one camera with a J55 longlens. Four Barco G5 projectors fired on to four6x4 screens, and a further two G5s projected onto the main 8x6 screen. XL also provided fourPioneer 40-inch plasma screens and two 50-inchmodels, an on-stage video monitor and the

XL’s Lee Spencer with Production Manager Andy Cotton.Show Caller Christopher Runciman (right) in deep discussion with FOH Engineer John Newsham.

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presenter podium.During dinner, the screens displayed a constantly

moving graphic representation of the TP Awards logo,created by Video Director/Producer Richard Burford.Projectionists were John Edwards and Jon Shrimpton,assisted by Robert Burford. Jeroen ‘MyWay’ Marianwas the Video Engineer. Lee Spencer, it has to be said,was an absolute trouper, assuring we received everypossible assistance along the way.

AUDIOSound services were jointly supplied by Funktion Oneand GPA Hire, with John Newsham engineering atFOH, using a Cadac R-Type desk. By the very natureof the event, the audience consisted of people whohave very strong opinions of what sounds good, soJohn’s position was hardly enviable! At his disposal wasGPA’s Funktion One Resolution system (fourResolution 5s and four F-218 basses per side), withTurbosound TFM-330 stage monitors and QSC PLamplification. In command of the complete systemwere XTA DP224 digital loudspeaker processors anda rack of XTA DP324 SiDD digital dynamics units.

John, the co-designer of the Resolution Series, setup the DP224 units using XTA’s Audiocore softwarerunning on a Windows laptop. He said: “Awardsceremonies are notoriously difficult for conveyingvoice, because audiences tend to talk through an

event like this as it’s a great social occasion. In thisparticular case, as you often find with hotel venues,there was a low ceiling height which doesn’t helpeither.”

He ran a SiDD across the mix for compressionand control over the ‘peaking’ of the live music. Healso used the SiDDs to provide room EQ, whileanother four SiDDs served as compressors for TheCommitments’ bass, three backing vocals and the leadvocals. All the units were daisy-chained via theirRS485 interfaces and ran SiDD’s own PC controlsoftware.

Added John: “I was using XTA’s pre-set memoriesfor the vocals, because the presets are reallyintelligently set up and give you a whole range ofexcellent options. Likewise, the bass guitar presetworks very nicely, it gives you all the options frommellow to hard vocal compression. And I like thecontrols; they’re quick in their response and it’s easyto find out what’s going on. In all, SiDD gives thepower of equivalent processors that would occupyfour to six times the rack space of a SiDD.”

GPA Monitor Engineer Howard Smart was usinga pair of DP224s and six channels of software-linkedSiDDs to keep a clean sound on stage. Said GPA’sChris Hinds: “Running the SiDDs on their PCsoftware made the whole thing a lot easier because ofthe visual representation — it helped enormously and

added a lot of speed, which was important becausewe had very little set up time.”

ESSENTIALSStardes provided four trucks, picking up productionelements from Bristol, Liverpool, London and Kent.Andy Cotton described Stardes’ efforts as “stunning”.Show & Event Security supplied four managementstaff, and Sensible Music did a great job of accuratelyfurnishing The Commitments’ backline rider foramplification, keyboards, drums and otherinstruments, with Billy Allen coming along astechnician. The Commitments were further assistedby DSB Showtours who provided a 12-berth luxurytour bus for overnight accommodation and transportto and from the airport.

One of the unexpected attractions for the guestswas the placement of a telephone on each table,enabling table-to-table communications and leading toall sorts of fun and games! The digital system, installedby Ballista Communications, received 594 callattempts in the first hour and it was estimated thatbetween 12 and 15 calls were made by each table.The inimitable Dick Carruthers, video director to rockroyalty, commented: “I’ve never had such fun in mylife! The phone idea was brilliant... I spent ageswinding people up!”>>>

From Top Left: Nic Ayers and Peter Canning on lights, Video Director/Producer Richard Burford.Video City!, The set up., Richard Young of Ballista Networks and his crew begin installing the ‘popular’ digital telephone system, Martin Pro lights and Funktion One loudspeakers

were showcased in all their glory!, The Commitments played a blinding set of soul classics., A different kind of girl power from new signings The Four Tunes, Snooker star PeterEbdon sang his debut single, Hangman’s stunning backdrop in the Kings Suite.

THE CEREMONYAt 7.30pm, the doors opened and the first of the500+ guests arrived to enjoy pre-dinner drinks in theKing’s Suite, basking in the sophisticated ‘clubby’ambience provided by Pulsar and Clay Paky lighting,and gazing in amazement at the ENORMOUS TPlogo-adorned drape produced by Hangman’s JoeFlack, Martha Turville-Petre and Jody Hill at theirNorfolk HQ.

The drape stretched across one entire side walland was beautifully uplit by 12 Pulsar ChromaBankLED lighting fixtures. Around the room, 12 Clay PakyStage Zoom 1200W moving body projectors werespaced evenly to provide a hi-tech environment — alllighting here was controlled via two PulsarMasterpiece 216s.

The guests later moved down to the MonarchSuite for dinner, and the 90-minute ceremony beganat 9.30pm with yours truly introducing host MikeRead, and Chris Runciman doing a great job of show

calling from the rear.The ceremony largely went to plan, with plenty

of surprises and a few anarchic moments (thanksRobbie!), although early on some of the spokenpresentations failed to synchronise with the videomaterial — a problem noted by some but fortunatelyignored by the majority! Certainly nothing out theordinary at even some of the most high profile awardsshows (remember Mick Fleetwood and Sam Fox?).

At the close of the ceremony, The Commitmentsplayed a blinding set of soul classics, followed by NedHawes’ Future Vision Project — a multimedia dance‘odyssey’ featuring an impressively programmedlighting and video show. Unfortunately much of thelatter was missed by the guests who were too busypartying upstairs, which was a pity because this is atruly innovative production that is destined for greatsuccess at festivals. As Ned observed: “It wasdisappointing that few people caught our show, but itdid prove to us that we can deliver the goods with

minimal set-up time, and simply in plug our systemand go.”

While the party animals did their thing into thewee small hours, the crew began the load-out, and asthe last flight case moved out at 5.15am, an exhaustedAndy Cotton said: “Everybody wanted this event towork and that was the motivating factor. We hadsome of the best companies in the UK supply theirbest staff and equipment, and they all worked theirnuts off. Even when plans had to be adjusted at the11th hour, they didn’t flinch, and it was a pleasure towork with them all.”

Staging our first awards event was very much aleap into the unknown for us, but judging by thefeedback, our second event will be eagerly anticipated.An announcement regarding Total Production’s 2003Awards on January 29 2003 will be made thissummer.

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Faces at the Awards: our host MikeRead; Rocky Horror’s Richard O’Brienpresenting the Best Tour Manager awardto Henry McGroggan; Sennheiser UK’sJohn Steven announces the Best LiveEvent Of All-Time (using a Shure mic!);Pulsar’s Jane Monk and Andy Graves inparty mood.

LETTER TO THE EDITORDear Sir,

As a recent attendee at the splendid Total Production 2002 Awards I should like to add my con-gratulations for a well-executed first event. As has already been said, the food was excellent,company fantastic, and the variety and quality of presenter first class. But I left a little unhappy,and humbly offer the following observations:

Providing a live band is unnecessary to most guests with whom I spent the evening,and leaves them feeling somewhat awkward. While we in the ‘biz’ revere the likes of TheCommitments, the last thing we want on a night such as this is to feel obliged to pay due hom-age to such fine musicians. Simply put, we want to talk, not watch ‘the turn’, something we cando every day of our working lives. Might I humbly suggest playback only — the multi-mediaefforts of Future Vision Project was more on the mark, though I feel even their efforts wentlargely un-noticed?

The Awards ceremony itself. There is a problem here, and it’s one that has occurredat similar industry events — the general rudeness of the diners who refuse to pipe down duringthe presentations. Frankly it makes us all look like a rabble. This is hardly the fault of you, theorganisers, but warrants some public airing.

At more august presentations, dare I mention the Baftas, Oscars, et al, we find similargatherings. Actors (not the most taciturn of people) rub shoulders with producers and directors,yet manage to show due deference during the Award presentation. These people have just asmuch inclination to chatter, and for much the same reasons as us, yet they respect each otherenough to be quiet. Is there no mutual respect in our side of the business? What a sorry bunchwe are.

Music and Audio. Two comments here — many people with whom I spoke after-wards were unable to hear a word Bob Geldof said in his video address. Though JohnNewsham was fighting against the general noise of the room (see above) the recording qualitywas quite obviously duff. Secondly, the might of a concert-rigged stereo PA is entirely inappropri-ate for such an occasion. The tables near the stage get deafened, those furthest away hear least.Surely in this day and age we can manage a distributed system that permits the use of moderatelevels throughout the room, and provides good intelligibility?

Regards,Steve Moles,Howden, East Yorks, UK

Mark Cunningham replies:Well, Steve, I have to say that I pretty much agree with every point you make. Whilst we were allblown away with the positive reactions of the majority in attendance, we are not complacent enoughto ignore that there is room for improvement next year. I do believe that there should be at least onepause for entertainment during the ceremony itself, which need not be a live band, but as for the‘after-party’, we will be reviewing this in detail as we are aware that this is valued as a big networkingopportunity for the guests which doesn’t necessarity warrant the distractions of a full tilt rock act!

You probably recall Harvey Goldsmith’s outburst over the audience’s ill-mannered chatterduring his award presentation to Mick Upton, and I was pleased that he managed to silence every-one... he does have a commanding way! We’ll also be looking at ways to control this next year, with-out resorting to pies in the faces of the misbehaved.

As for sound quality, you are quite correct that John Newsham was given a very badlyrecorded soundtrack feed from the Bob Geldof video, and although parts of the footage were reason-ably clear, most of it came over as a mumble. This is totally down to the fact that Andy Lenthall andI filmed Bob in a very amateur fashion on a domestic digicam with no tie clip mic... because we sim-ply had no other option on the day. S**t happens, as they say.

More than most, I can understand the hazards of having a concert PA system so close tothe audience — I was on table 1, right next to the stage left stack, and can confirm the FunktionOne low end is still as punchy as ever! Funny you should mention a distributed system because we’vebeen thinking along the same lines. Who knows, next year we might have as many speakers in theair as moving lights!

Finally, as the Lighting Crew Chief on Live Aid at Wembley, I hope you allowed your chestto swell just a little when that historic concert was honoured with our Best Live Event Of All-Timeaward. And Harvey, if you’re reading this, Bob wants the award for HIS cabinet!

TP 2002 AWARDS -KEY PRODUCTION CREW & SUPPLIERS:

Creative Director: Mark Cunningham • ExecutiveProducer: Andy Lenthall • Commercial Director:Justin Gawne • Graphics: Jez Poole • ProductionManager: Andy Cotton/TAO Productions •Production Assistants: Jo Thompson & SiobhanMcParland • Front Of House Manager: Anna Morgan• Artistes Liaison: Danny Small • Show Caller:Christopher Runciman • Video Production: XLVideo UK • Video Director: Richard Burford • VideoCrew: Lee Spencer, Gary Tepper, Jeroen Marain,Paul Eggerton, Mark Antonuik, Gary Beirne, JohnEdwards, Jon Shrimpton, Robert Burford • Lighting:Fineline in association with Martin Professional •Lighting Crew Chief: Darren Wring • LightingControl: Avolites • Lighting Designer: Nic Ayres •Lighting Director: Peter Canning • Fineline Tech: RobSangwell • Reception Lighting: Clay Paky/Pulsar Lightof Cambridge • Reception Lighting Manager: Paul‘Snowy’ Johnson • Pulsar Crew: Andy Graves,Trevor Jackson, Simon Cox, Jane Monk • ReceptionDrape: Hangman • Future Vision Project Director:Ned Hawes • Future Vision Project LightingDesigner: Theo Cox • Sound: Funktion One inassociation with GPA Hire • Sound Crew Chief:Chris Hinds • FOH Sound Engineer: John Newsham• Monitor Engineer: Howard Smart • Sound Crew:Tony Andrews, Gary Young, Jason Bacon • Backline:Sensible Music • Backline Tech: Billy Allen • Staging:Star Hire Event Services • Star Hire Crew: MartinEllis, Peter Heath • Crewing: Esprit Tech • CrewBoss: John-Henri Mills • Crew: Peter Pallai, DouglasTe Paa, Hanno Hinds, Peter Smyth, Shelley Smith,Jason Thomas, Laszlo Pallagi, Bradley Torr, Bret Alder,Richard Sawyer, Grant Owen Thomas, NelsonHalwyn Duder, Darren McGuiness, StevenMcGuiness, Thomas Collins, Lee Murray, Fatih Cinar• Riggers: Simon ‘Barney’ James, Steve Walsh & RobWatson • Trussing: Fineline in association with Slickand Tomcat UK • Drapes: Acre Jean • Drapes CrewChief: Gary Cooper-Burrows • Transport: Stardes •Band Transport: DSB Showtours • Table To TableCommunications: Ballista Networks •Communications Manager: Richard Young (assistedby David ‘Tree’ Tordoff) • Security: Show & EventSecurity • Security Manager: Nick Woodhouse •Awards Theme Music: Mark Cunningham & DeanHobbs