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Doug Adams Discusses the Effects for Metallica's Death Magnetic World Tour

Doug Adams Interviewed: Metallica

Photos by: Jeff Yeager

1- When you were young what would you tell your parents you wanted to do?
When I was a kid, I wanted to become a professional soccer player. I was also very heavy into martial arts. That's where I was going and focused in on that. My problem was I had broken a few bones several times and did some damage to my knee and my career in athletics was over around the age of 16. I had taken up music at the age of 12 and began playing in bands and doing small gigs through high school. I progressed and began playing at clubs by the age of 17. I always wrote my own stuff and it started to get serious at the age of 18. At that point in my career, I started touring and was signed to a record label with a band out of Los Angeles. One of the guys was out of Ottawa so on my downtime I spent many moments in time there. At that time, Gordon Hyndford who was our Lighting Director asked me to come and hang out with the crew. Gordon who was only 15 at the time introduced me to the guys at PSL (Professional Sound & Lighting) which had a small pyrotechnics division called Pyrotek. After doing a number of shows during my downtime, Gordon asked me to shoot some pyro cues as he was honest with his inability to hit the cues in time. I enjoyed the lighting but with my musical experience and timing I became the guy pushing the button. As time went on, I would go back to touring and during down time worked with PSL on lighting and pyro but really became fond of the pyro aspect.

2- How many years has it now been that you have worked with Metallica? You had for many years worked alongside and toured the world with them. After stepping away, do you ever miss the road and the touring life?
It's been 15 years now that I have worked alongside with Metallica. Do I miss the road? I don't miss the road at all. I don't miss the touring buses, I don't miss the catering, I don't miss the 7:00 AM load in and 2:00 AM load outs and getting 5 hours of sleep if you're lucky.

3- If I asked Doug Adams that same question 15 years ago what would he say?
Loved It. Absolutely loved it!

4- Going into your design for the current Death Magnetic Tour, what inspired the idea of including lasers into the show?
That was Peter Mensch, Metallica's Manager. He wanted something different for the band and wanted to introduce lasers for the tour of their eighth studio album, St. Anger. It was the wrong type of laser technology at that time. What we attempted to accomplish wasn't really achievable based on the laser technology that was available. They were asking for logos and graphics without scrims so we projected on the ceilings which wouldn't come out clean and also get somewhat lost with lighting. The subs were vibrating so much that our tables could not sustain their alignment. It didn't last very long as we went through so many problems. So when Peter approached me again this time asking for lasers and whether there was a technology change, I responded "absolutely"! We had just the lasers for it, the air-cooled diode lasers.

5- Can you define your design of the lasers for "That was Just Your Life"? Tell me your game plan as to how you intended to design the laser effects?
I was working on specific tracks that I thought would work well for the band. However, John Broderick (Lighting Designer) approached me and explained that he wanted me to do lasers that would fill the arena for one song, for the whole song with minimal lighting and it was going to open the show. So no pressure…

6- 7+ minutes typically is a long act for a laser display, would you agree? Why did it work so well in this case?
Absolutely, it worked well because I did a number of time-cue changes and different looks. We were able to go very wide with the coffins in the arena as the stage is set up in the round. I had the lasers in the coffins outside the stage area doing a long throw. I had the lasers in the coffins above the stage really focused on the guys and boarding them. I really followed the whole feel of the music and tried to think where the guys were going to be and what they were going to be doing during certain parts. I tried to either silhouette them with the lasers or add accents around the mike stands where they were going to be. It's hard to tell where James is going to be at any given time so I had to have them all sequenced as James had the flexibility to go to any of the eight mike stands on the stage. He wanted to be able to have the flexibility to just do anything at any given time, any night, so we had to make it happen.

7- What things did you find difficult to accomplish?
It's the 20th anniversary for And Justice for All, I was expecting a monstrous war scene for One. Going into the demos, I programmed a heavy full-on design for the band. There was a smoke issue with James. He really wanted us to try and produce the effects without emitting smoke. We were very limited with what we could do and had to become very creative. That brought us to the gas effects; we encompassed our Dragons, colored fire, and war flame effects on the deck which creates a low lying after-burn look. I did a very asymmetrical design with the Dragons and war flames. The color flames are hidden between the amps; the Dragons and war flames are all recessed beneath the grills under the stage so you don't see anything at all.

8- What safety measures do you have to account for the effect designs, and how do you orchestrate the safety measures to the band.
With the lasers, I terminate everything. I hit the down stage edges where I have the mirrors, I terminate around Lars and his drum kit and on the amp-line which is in the center. Nothing actually physically beam-wise or anything with intensity hits the band. That said, the laser part was actually easy, the hard part was the pyro end of it as always. I always have effects all over the place, in the grating, in the round and it's asymmetrical. I do a layout of the safe zones for the band; every microphone is a safe zone. The closest effect is eight feet back from the microphone so it doesn't matter if they are standing at the microphone at any time; if any pyro goes off they are always safe. I also had some spots that Kirk or Robert can drift and go to on the stage by Lars or the downstage edge. This is all done through rehearsals. I mark the zones with an "X" with their name, the pyro cue and song. James is never a problem, Robert is overly concerned which is good for me and I really focus on Kirk the most as he wonders quite a bit. As Reid Schult-Derne, our touring shooter, comes in for me the band can become a little uneasy. As we make this transition, I do this with anybody I work with; I circle the band during the rehearsals in the pit. I get their attention and ensure they see me before the cue and I point to their locations. We work on this so by the end of rehearsals everyone is comfortable and on the same page. If for any reason there is something out of line, we stick to our rule of thumb "when in doubt, leave it out".

9- With the current technology you use lasers that are a diode state, low power consumption, full color, high wattage output, with endless mounting capabilities. What, if any, expectations do you have for lasers in the entertainment world to take it to the next level?
I absolutely have expectations for laser technology advancements. I expect there to be holographic effects. It exists out there right now but you still need a foil screen and bounce reflection. It's not true holography. I want it to become true holography projection that is 360 degrees. Something that you can stand right beside and walk around that is life-sized. It will get there, no question.

10- As an entrepreneur, what keeps you up at night? When you constantly strive to make all our projects as great as they can be, constantly evolving, constantly refining, etc. can you ever go to sleep satisfied that what you've been working on is done? Is it ever done-or is it just "as far as you can take it today".
There are times that we get requests for effects that we have and are told by clients how they want them to be utilized. When you know the effect can be so much more, it is difficult to see the creativity aspect of the design come short of its potential. I have what I want in my mind and what it should look like. I do stay up many nights thinking about what's next, what I can do that's going to blow everybody's mind, and when it doesn't do it, that can cause frustration. So I'm always thinking how we can step it up, change things up and be the innovator and not the imitator.

Pyrotek Special Effects Inc. is named Top Dog

Top Dog Award: February 17, 2009

Pyrotek Special Effects, along with its sister companies Laser Design Productions and Aqua Visual FX, were pleased to be a major sponsor and contributor to Mobile Production Magazine's annual Tour Link Conference, in Phoenix, Mesa, Arizona. Thrilled to accept the award for Special Effects Company of the Year for the second consecutive year, President and designer, Doug Adams, was on hand to accept the award on behalf of Pyrotek.

President Doug Adams celebrates Top Dog Award with Metallica

Continuing to expand on the presence of effects in 2008, there were some definite strides and advancements with new effects inside and outside the realm of "pyro".The latest water screen technology called Aqua Visual FX was recognized as one of three ESTA's New Rock Our World Awards for the development of the Aqua Visual FX Water Screen. It has added a new aspect to the effects list, leaving viewers stunned while in presence of this graphical water screen. Laser Design Productions also enhanced the touring world with an arsenal of full-color; high-powered, air-cooled diode lasers that have created spectacular show designs that could be seen in tours such as Metallica's latest World Tour. Pyrotek Special Effects also had its share of new effects and creativity including the launch of their latest item, The Fire Screen. This modular system was revealed in 2008 for both the Jonas Brothers Summer Tour as well as the Trans Siberian Orchestra. Pyrotek Special Effects would like to take this opportunity to thank everyone involved in their accomplishments throughout the year. A big thanks goes out to the Pyrotek family and all the Production Managers, LD's, Tour Managers and those who've continued to support and allow us to bring the latest and greatest to the entertainment world.

Photos by: Lewis Lee

Laser Design Productions Adds Color to the Trans Siberian Orchestra

Las Vegas, NV: January 26, 2009

Laser Design Productions added a more diversified full-color look with the addition of two air cooled 10 watt full-color diode lasers for the Trans Siberian Orchestra Tour. Designing the lasers for TSO, Doug Adams worked with east coast Laser Crew Chief and Programmer Jason McEachern. The stage set includes a 10-watt full-color diode laser at the center upstage area with a second located at front of house. Additionally, they included four 5-watt DPSS KTP NdYag lasers positioned stage left and stage right.

"There are more than a couple hundred laser cues alone throughout the shows", commented Adams. "Adding the 10-watt diode lasers at front of house shooting towards the stage provided looks that added much more fullness. The front of hose diode laser system allowed us to create a 360 degree surrounding feel engulfing the spectators on the floor level". An additional 60 bounce mirrors were positioned on the stage floor and trussing creating various beam matrixes and scan looks. A combination of laser looks are emitted from custom-built projectors, scanners and macchida effects resembling a spider web cascading over the audience. If you've never been out to witness the Trans Siberian Orchestra, it truly is a full-on show offering a variety of lasers, lighting, pyro, moving trussing whose impressive display leaves you an enjoyable feeling of power and magic. As the industry of lasers for entertainment use continues with its improved technology, Laser Design Productions is continuing to integrate the latest in laser systems showing off the best of what they have to offer. Compact, air-cooled, and light in weight with a knock-out punch makes them ideal on any tour. For a Designer like Adams, it increases the angles of creativity by allowing him to implement all types of looks from various positions. Adams explained, "The upcoming advancements we now have at our disposal allows us to fundamentally work with new looks for each stage design we work on whether classic, in the round, stadiums or amphitheaters; it's the ability to provide a new opportunity to create an impact". With the continuous addition of full color lasers, Laser Design Productions is looking forward to continuing the art of laser shows.

Equipment List:
Two- 10 watt Full Color DPSS/Diode Laser (Center Stage & FOH)
Four - 5 watt DPSS KTP NdYag laser
Six - LDP 10 Projectors
60 - Bounce Mirrors
Pangolin Control Software

East Coast Crew: Laser / Crew Chief   Jason McEachern Laser Tech#1       Jason Bridges West Coast Crews: Laser / Crew Chief   Gordie Hum Laser Tech#1      Brian Van Trigt

Photos by: Lewis Lee

Lasers Design Productions Shine at the Maroon 5 Tour.

Las Vegas, NV: September 11, 2008

Las Vegas, NV - Laser Design Productions incorporated a number of distinctive looks into the set design of Grammy Award winning group Maroon 5 for their latest North American Tour. The co-headlining tour includes Maroon 5 and the Counting Crows who rotate as the headlining act from city to city.

Incorporating lasers into a number of songs throughout the set list, Lighting Designer Bill Sheldon discussed the initial proposals with Lorenzo Cornacchia, (Vice President of Laser Design Productions). The equipment list includes one 10-watt white light diode laser system positioned upstage center and two 40-watt high-powered Yag laser systems, each with its own 12 position laser projector located stage left and right. Additionally the set design includes 32 bounce mirrors and two fiber optic-fed remote scanners located in the upper stage right and left trussing.

Prior to rehearsals at the Culver Studios in Culver City, CA, Sheldon met with Laser programmer Jason McEachern and touring laser Crew Chief Al Domanski at Laser Design Productions' Las Vegas studio facility. With a clear vision of where to incorporate the laser effects, Sheldon worked with McEachern to program the lasers to pre-selected areas and courses of Maroon tracks such as Won't Go Home, Without You, Wake Up Call, She Will Be Loved and Sweetest Goodbye. The designs incorporated a variety of beam chases, scans and diffraction looks.

The summer tour kicked off in early July and will continue through October playing in amphitheaters across North America.

Jonas Brothers Summer Tour in Full Effect.

Jonas Brothers: August 29th, 2008

TORONTO - Pyrotek Special Effects and Laser Design Productions supplied a variety of effects for the Jonas Brothers Burning Up summer tour. The tour rehearsals were held near Pyrotek and Laser Design's Canadian-based office at the Molson Amphitheater in Toronto, ON. "What better way to kick off a tour than in your own backyard", commented Lorenzo Cornacchia, Vice President of Pyrotek Special Effects.

Rob Brenner (Touring Director) contacted Pyrotek and Laser Design Productions to prepare a number of effect proposals for the tour. After collaborating with Pyrotek Special Effects on a number of other tours in the past for young up-and-coming acts such as Britney Spears and Justin Timberlake, Brenner was looking for the latest in special effects to incorporate into the Jonas Brothers tour. Given the opportunity to work with one of the summer's top ten acts on the Billboard Charts, Pyrotek Special Effects proposed a variety of options. As discussions and proposals progressed, Brenner was presented with a series of product demonstrations, including some of Pyrotek's latest innovative custom effects. After reviewing the demonstrations, Brenner was convinced of Pyrotek's ability to incorporate a variety of effects to take the stage design to another level. "Rob is great to work with" commented Cornacchia.

"He is decisive in what he wants and knows he can rely on us to put together the design of the effects to meet his expectations. Once the ideas were there, Rob gave me the go-ahead to put our signature on it and incorporate the equipment and designs into the show". Working with Brenner and Production Manager Joel Forman, they selected the effects to complement a series of tracks. The set list for the tour included hits from the band's last three studio albums, including the latest Jonas Brothers album, "A Little Bit Longer" (Hollywood Records), which is shaping up to be one of the year's best-selling rock releases. After reviewing the tracks and discussing a number of proposals, the design team included a variety of pyrotechnics, gas effects, customized fire screens, lasers, and more.

Excited about the launch of their latest fire screen technology, Pyrotek built 64 feet of customized fire screen into the stage set. This new screen technology is a modular programmable pixle-based unit with six heads per four feet providing the ability to control various propane flame effects from high to moderate speeds. The effect was custom-built to attach along the outside of the stage right and left video ramps and surrounding the two upstage drum risers. Offering a variety of effects that can be combined or isolated, the screen can create adjustable flame bar looks up to four feet tall and shoot various-sized fire balls and flame columns. The effects are programmed and communicate via an ethernet network which is DMX-controlled. The modular screen was integrated into a number of acts including the intro. The intro design included a high-speed fire chase sequence racing up the video stage ramps and around the drum risers into an all-on flaming bar cue while four Dragon heads shoot flame columns from the upstage position. As rehearsals commenced, Brenner introduced Cornacchia to Kevin, Joe and Nick Jonas to review the pyrotechnic and laser applications. As this was the first time the band would perform on stage with such a magnitude of large scale effects, they were in disbelief as Cornacchia reviewed each effect one by one. "It was great to see the excitement across their face when they saw a glimpse of what we were setting them up with" explained Cornacchia. The pyrotechnic effect list includes:

As the intro leads into the first song "Good Night & Good Bye", a comet sequence shoots from the stage right and left ramps across the upstage area. "Gonna Get You Good" includes 6 fireballs and 9 airbursts off the ramps and throughout the trussing. "Pushing Me Away" includes a 1 X 20 gerb chase from the down stage left and right positions. The gerb chase maneuvers around the outside of the set, meeting at the center upstage area which cues an airburst look firing off the ramps and trussing to culminate the finale of the chase sequence. Additional pyrotechnic effects include a 20 x 20 gerb waterfall off the upstage truss for "Can’t Have You". A customized gerb effect built into Kevin's guitar head designed with a push button control system shoots a 1 x 10 gerb as the song "SOS" moves into the first chorus. Instinctively, Pyrotek filled the song "Burnin Up" with flame effects using the customized fire screen along with four dragon heads pulsing to the beat. This act also includes a customized Jonas Brothers (JB) sign which hangs over the downstage area for the finale of the show when it ignites in flames. The sign was crafted from stainless steel to withstand the extreme temperatures by ShowFX and was custom-fitted with a propane flame manifold by Pyrotek. The pyrotechnics are handled by Kevin Hughes (Pyrotechnic Crew Chief), Nick Zangari (Pyrotechnician) and Hans Lundburg (Gas Specialist) who integrate the design into each show.

The laser application to the show provided by Laser Design Productions was integrated into a series of songs, including "Hold on", "Tonight", "SOS" and "Can't Have You". Given carte blanche on the design of the lasers, Cornacchia worked with programmer Jason McEachern to incorporate the laser effects into the show. The tour consists of one 10-watt white light diode laser system positioned upstage center, two 4-watt white light diode laser systems located on stage left and right of the drum risers and an additional two 40-watt high-powered Yag laser systems located off-stage left and right. Each of the 40- watt Yag laser systems include a 12 position laser projector with two fiber-fed remote scanners while a total of 40 bounce mirrors are positioned on the down stage truss and stage floor. Creating an array of atmospheric scans and beam effects throughout a sequence of songs, the lasers are managed by Gordon Hum (Laser Crew Chief) and Brian Van Trigt (Laser Technician).

As the Jonas Brothers continue to create an international frenzy with their North American summer tour, their new album has skyrocketed with an exceptional three straight hits. The band will continue playing their shows in sold out amphitheaters finishing the first leg of their summer tour September 5th at the Cruzan Amphitheater in West Palm Beach, FL.

The Show Must Go On

Las Vegas, NV: April 16, 2008

Doug Adams President of Pyrotek Special Effects took a call from Roy Bennett (Set & Lighting Designer) and Mark Spring (Production Manager); as the two were interested in obtaining a number of creative effects to coincide with the design of the anticipated Spice Girls World Tour.

The band, which includes Emma Bunton "Baby", Geri Halliwell "Ginger", Melanie Brown "Scary", Melanie Chisholm "Sporty", and Victoria Beckham "Posh", is currently scheduled to tour through North America, and Europe until the end of February. The Spice Girls have had an amazing demand for tickets across the world and are currently having to reschedule their tour.

There website acknowledges a number of other potential international shows on their radar such as Asia, Australia, South Africa, and South America. The girls have been independently busy with their own careers and have now reunited on stage together for the first time since their huge success through the late 1990's.

Adams presented a number of proposals on behalf of his company divisions; Pyrotek Special Effects Inc., & Laser Design Productions. Once management reviewed the proposals with the girls, Bennett returned requesting if it were possible to have a pink and purple laser effect, which he explained Victoria was anxious to have. For Victoria's catwalk entrance the lasers are coordinated to the pulse of the song which is in sync with each of her steps to form a fashion show theme. In order to fulfill the request, Adams incorporated the latest in laser technology. "I wanted to ensure that the lasers generated full color, and brought a strong appearance. We resorted from using the 5 watts and invested in three new 10 watt full color air cooled diode lasers to really make the laser show punchy". Once the lasers were confirmed by production the next challenge was coming up with some different ideas of placement, as the main stage area, the B-stage, and the runway were all filled with video walls. One laser is recessed beneath the stage in the centre of the upstage area, while the other two are located stage right and stage left under the band risers. The system is controlled by a 3-Card Pangolin Laser Control System and there are a total of 60 bounce mirrors. The mirrors are located in the center trussing over the run way, along the main stage and upstage edges, on the run way, and at all four corners of the B-stage. In creating a full look to the design, Adams ensured that the framing of the scans were as wide as they could possibly be. Also added are two LSGs, positioned stage right and left for the low smoke effects. Additionally, 18 cryo jet heads that each possesses an individual head are linked to its own 50 pound high-pressure liquid C02 tank. Adams coordinated with his touring technician Kevin Hughes to implement the effect into the design of "It's Raining Men" for Gerry. For the hit song "Spice up your life" Adams was asked to come up with a design to the intro and outro. Developing a number of looks to tie into the festive theme Adams put together an ensemble of color variations. The creative aspects of the design resembled rippling waves, and swelling fans shooting out from behind the band and dancers. Adams noted; "the colors resembled a peacock, and even rainbow…. it looked calypso at times". The intended design for Mel C (Sporty Spice) was to create a rave look. In doing so they extenuated a heavy cyan green look to the lasers to create the intended design. The effects included a lot of strobing and staccato movement with waves and sheet scanners.

The rehearsals at the LA Forum posed some difficulties as Adams worked with a Laser programmer who he had never worked with. "We ran into a number of obstacles in bringing my designs to fruition from a programming standpoint". Adams noted; "there is definitely a level of intensity to perform and those who have experienced working with me understand my style and expectations. It's a necessity in the nature of this business to never become complacent and it is one of the reasons we have had such great success for over 25 years". Adam's coordinated with Jamie King (Show Creative Director) in creating certain looks and feels. "King was very receptive to implementing the lasers into his designs. As well, Roy Bennett was always open to have us demonstrate our arsenal and collaborating aspects of them into his ideas and designs".

After the completion of rehearsals Adams and his crew were taken for an unexpected surprise. "While the tour was setting up for the third show at the Staples Center we received a call at our head office and couldn't believe what we were being told. The Laser Crew Chief and his assistant walked off the site. We were in limbo. Not only were both technicians explaining that they had enough with the pressure and walked off the tour, but the items that were to be re-programmed were not even completed". Fortunately, Victor Tomei, Laser Design's Operations Manager, had just arrived in LA and was able to pull everything together and shoot the show. In the meantime, Laser Programmer, Amy Case was called upon and flew to LA to meet with Doug while the tour was traveling from LA to Vegas. "Amy came in on a moments notice and she was amazing! We corrected all the mistakes to bring the design to my level of expectation". In the reprogramming stages Bennett looked to Adams to achieve a mirror ball effects to coincide with a sequence of a disco ball showing on the video screens. The goal was to have the same type of look coming of the laser head. With some great work Amy Case helped with programming the lasers to shoot from behind silhouetting everybody on stage. Scott Chase (Stage Manager) was instrumental in coordinating the dark time for the laser crew to work. Adams explained, "Scotty was supportive in assisting us while experiencing problems and going through crew personnel changes. He ensured that we had as much time as possible after the rehearsals to compensate for the loss time to correct all the situations, in re-focusing, re-programming and re-designing. It was really helpful to work with a production and design team who were real players and I tip my hat to them."

Chris Brown Blows it Up

Las Vegas, NV: February 13, 2008

Lorenzo Cornacchia, Vice President and Designer, of Laser Design Productions and Pyrotek Special Effects, Inc. supplied the effects including lasers and pyrotechnics for Chris Brown's tour in support of his sophomore album "Exclusive". The tour which began in early December is scheduled to continue through February. Maceo Price began the initial discussions with Cornacchia to design special effects into the show, and was keen on both lasers and pyrotechnics. A total of five lasers are implemented within the Chris Brown set design. One 15-watt, white light, full color laser is positioned centre stage on a lifted platform. Two, three-watt green yags are positioned on the main stage right and left of the deck level.

The green yags are located below two symmetrical staircases which mechanically recede to reveal the laser effects throughout a number of acts. Prior to the beginning of the show the white light lasers projects a countdown on to a shark tooth scrim. As the laser countdown draws to the final seconds the arena transitions to a full blackout and the crowd bursts in anticipation. Chris and four dancers are harnessed up in the air, while a video dialogs a mission impossible scenario. The first pyrotechnic effect parallels with the conclusion of the video where Chris Brown throws a bomb. As the video sequence translates to real time, four flash air bursts with concussion erupt and trigger a solid Machida laser effect. These effects personify a stagnant security beam look in which Chris Brown and the dancers descend through the laser beams to stage level wearing laser safety equipment and eye wear. The introduction, along with a number of the special effect designs came to fruition from Cornacchia collaborating with Chris Brown (Artist), Joyce Brown (Management); Daunte Kenner (Lighting Designer), Rich & Tone Talaueta (Choreographers) and Maceo Price (Initial Production Manager).

A pair of two green micro yag lasers are positioned on the trussing above the B-Stage at front of house. Cornacchia worked along with Amy Case (Laser Programmer) and Robert Pratl (Laser Tour Crew Chief) in developing the laser effects during the rehearsals at Center Staging in Burbank, CA. On the pyrotechnic side Cornacchia worked with Rob Liscio (Pyro Crew Chief) and Eric Mucho (Pyro-Technician).While working on the pyrotechnics during the day and laser effects throughout the night, Cornacchia became involved with a number of the sets. Cornacchia explained; "The set designs allowed us to come up with a number of creative positions and effects. One which was a collective design which I really enjoy is an implemented laser cone effect to surround the rotating B-Stage while a second laser scans back towards the main stage". The cone effect rotates in a counter clockwise motion to create a full laser closure around Chris Brown and two dancers for the introduction of the song "Lottery". The B-Stage is set in an intimate fashion, it is approximately 4- 5 feet away from the audience giving them a peerless experience. Additionally; Cornacchia added, eight Cryo Jet Heads each with its own liquid C02 50-pound tank. In order for the Cryo effect to conform to the stage which tilts and rotates, 4-foot stands were built to hold the tanks. While working with Daunte Kenner (Lighting Designer) through the evenings, the two came together to discuss lighting scenarios and ensure the lasers were not being washed out and were synchronized with the lighting designs. While coordinating the effects into the show both Cornacchia and Kenner began to discuss the Cryo look and came up with a unique idea of synergizing lighting with Cryo. Cornacchia explained; "At night when everybody would leave (11pm - 7 am) lighting and lasers had their window to program during dark- time. I had several conversations with Daunte. As were discussing the lighting during the Cryo effect Dante purposed to trial a lighting effect with the Cryo. When we did it looked really cool, and made the effect look that much bigger." The effect is shot in multiple colors with several single hits, and chases leading into all-fire cues through out the choruses. "Picture Perfect" also includes a number laser looks of scanning effects and beam chases. During the guitar solo for the final performance of "Kiss Kiss", the entire stage is engulfed with beams and ends in a Machida effect with concussion simultaneously on the last accent. In creating a barrage of beam effects, a total of 48 mirrors were positioned in the trussing, on the pipe and base of stage right and left, throughout the floor of the main stage, on the scaffold structures, and along the down stage edge. An additional six diffraction gratings we used along with two fiber remote scanners positioned stage right and left to create a multiple layered effect.

The pyro effects added an explosive and alluring look to the set design. Attached to the stair cases are two 7 foot long dragon tails to extenuate the two 14 foot flame walls. A 20 second silver gerb waterfall is designed into the show; the effect is cascaded from the trussing across the stage and drops approximately 20 feet to the song "Cinderella". Eight fire balls units burst out to create a mushroom cloud of smoke, 6-8 feet in diameter and 12 feet in height to "Run It".

In addition, eight of Pyrotek's infamous Dragons were designed into the set. Two are positioned on a 45 degree angle symmetrically on the scaffold structure which shoots diagonal flame columns over the main stage entrance. Two others are positioned stage left and right on the main stage, along with two at each side of a seven foot dragon tail located on the upper scaffold under the center video wall. The multitude of Dragons allowed Cornacchia to encompass a number of flaming single hits, chase sequences, symmetrical and asymmetrical looks, as well as all fire cues. Cornacchia who was also involved in the effect designs for Chris Browns appearance on the American Music Awards explained; "He strikes me as professional. At the age of 18 he's into all aspects and was very descriptive, it was very impressive… he knows what he wants and was a pleasure to work with."

Doug Adams discusses the emergence of special effects with the Trans Siberian Orchestra over the years

Las Vegas, NV: February 13, 2008

What happens when you mix Classical, Rock, Broadway, R & B, with spectacular lighting, special effects in harmony with a festive Christmas story; you get The Trans Siberian Orchestra. Pyrotek Special Effects and its sister company Laser Design Productions have assisted in creating and completing another successful run with TSO. Since their initial involvement in the late 1990's President and Designer, Doug Adams continues to push the envelope each year with innovative and spectacular special effects to keep crowds in awe.

What differentiates each show and how do you go about preparing for the next?
DA: Each year I look over any and all new songs. Going back to the beginning of our involvement there was such a plethora of songs to go through, and for the most part there are great punctuations, and dynamics with spots that cried for it, but you don't want to over due it. After constructively going through the songs, the show script, and Bryan Hartley's (Lighting Designer) key lighting designs, the parameters are set for what I have to work with. We started with very minimal pyrotechnics and were focused on the lasers, but once we finished off our first tour Paul O'Neill (Founder of TSO) approached me and asked "How much bigger can we go with the Pyro?" and I explained that the sky was the limit.

What changes where necessary in enhancing the pyrotechnics?
DA: We needed to have proximity with the band, the staging and audience. With each year the special effects became a major part of the show. Paul and Bryan began taking this into consideration, the set designs and specific fall out zones behind the band were allotted to make the effects bigger. Over time, it became more prominent that special effects were a major part of the show. Paul and Bryan were scripting it in to their designs and it became more of a choreographed aspect. Bryan began to assign specific trussing for me which became allocated specifically for us, to facilitate our effects alone. Every year Bryan changes it up; he may go with square trussing one year, circular, triangular, etc... Now what we're doing is getting our designs to be very interactive. We're taking it to areas such as front of house, placing our effects on lift consoles, and getting the environment to be a lot more intimate so that the whole audience gets a full show no matter where they're sitting.

What new effects were added this year?
DA: This year we added a war-scene feel to a song called "Sarajevo". Tracer comets were hung to come from the side shooting over the band to resemble a rapid fire machine gun look. We added a hot ember gold waterfall which is positioned upstage for the finale with large 20X20 spinners that are punctuated with approximately 60 air burst. From a laser stand point we incorporated the new technology air cooled full color lasers (5 watts), to go along with two - 3 watt DPSS KTP NdYag laser, Three - 5 watt DPSS KTP NdYag laser, and six - LDP 10 projectors. This was the first year we positioned lasers at front of house shooting back towards the stage. Every year we focus on how we can out do the next and make it more exciting. We need to give the audience something new to look forward to. The audience is a very loyal fan base and the show seems to generate attention through word of mouth and sells out everywhere.

Does it ever become a challenge to continue designing over the years?
DA: I don't find it challenging to design this, I hear things in so many spots throughout the show; it's easy. It's a pleasure to work with the music, the crescendos, the punctuations; almost everything they have could encompass effects. Immediately after we finish the previous tour we're in discussion and preparing for the next. I've already had a few talks with Paul and Bryan. It's an evolution, and there is always something new that needs to go in the show, which is the latest, greatest, biggest and the best. Bryan is phenomenal with piecing the ideas and designs into the show and making it a feature. He doesn't step all over it. For example lasers; he could step all over with his lighting and wash it out, but he doesn't. He'll bring down the lighting intensity to a UV or completely black-out to make the punctuation of the effects stand out that much more. He's intricate in the collaboration and firing ideas at us all of the time. As well, Paul - he's like a kid in a candy store, and can't get enough. I also work with Elliot Saltzman (Tour Manager) and Patrick Whitley (Production Manager) who are a pleasure to collaborate with. It's truly been a show that has evolved to a tradition for our company. Every one on board with our Pyro and laser divisions know that this show is the 'Super Bowl' for us, it's the core of what we're about and truly defines what we bring to a show. It's never meant to take away from the artists but the focus is to make the experience that much more spectacular for the fans attending.

What can we expect next year?
DA: All I can tell you is that we have a number of ideas in the making for next year's tour. In terms of new designs nothing is finalized and I can't reveal any of those proposals. I can tell you we have a couple of new products developing at our shops that will blow you away. We revealed our latest Graphical Water Screen (Aqua Visual FX) this past year and we're hoping to have another new product reveal early this summer; who knows it may be included in TSO 2008.

Pyrotek Special Effects Inc. is named Top Dog

Pyrotek - Top Dog Award: January 28th, 2008

Pyrotek Special Effects Inc. and sister company Laser Design Productions were one of many vendors to attend Tour Guide Magazines "2008 Tour Link Conference ", in Phoenix, Mesa, Arizona. Bringing together some of the top players in the live entertainment industry, this event included production managers, tour managers, business managers, transportation companies, concert service personnel, crew, hotels, and venues.

Every year, Tour Guide Magazine presents the Top Dog Awards. These Awards honor professionals in the live event industry. Individuals as well as businesses are recognized by their peers for the years outstanding accomplishments. Both Pyrotek Special Effects Inc, and Laser Design Productions were nominated in the Top Dog Awards Show for the Special Effects Company of the Year in 2007. The two companies, provided numerous effects for tours throughout 2007 including but not limited to; Metallica, Justin Timberlake, TSO, Van Halen, Spice Girls, Coldplay, Kiss, RUSH, Chris Brown, My Chemical Romance, Fall Out Boy, Rascal Flatts, Beyonce, Christina Aguilera, Meatloaf, and Motley Crue as well as many others. Doug Adams (President) was on hand to accept the Award on behalf of Pyrotek Special Effects. "We are extremely happy to accept this award as we recognize that the voting comes from many of the industries top personnel. Further to that the title for this award was for "Special Effects" and not just pyrotechnics, and that's the way it should be". Long time friend of Adams, Bryan Hartley was on hand to pick up the Award for Lighting Designer of the Year for his work on the Trans-Siberian Orchestra. Both Hartley and Adams have worked together on TSO numerous times, a show which truly demonstrates their respective talents.

The event also hosted a number of open panel sessions which discussed topics in relation to the industry. These sessions encompassed the real heart of the event; here professionals were able to share their views and activities with the attendees on a variety of subjects. The Panels and attendees consist of some of the top professional in their field. The discussions come from both the panel members and the attendees who are encouraged to join in the discussions, present questions and comments on any of the subjects at hand. This was the time for everyone collectively, to help define issues and refine solutions to problems. The event also included a variety of social events such as; golf, industry dinners, and an outdoor bus barbeque. This gave everyone in attendance the opportunity to laugh, eat, and catch up.

Lasers are Justinfied as The Future Sex Love Show Tour Continues on through Australia, New Zealand & Abu Dhabi.

Las Vegas, NV: November 1, 2007

Almost one year into the Future Sex/Love Show Tour, Justin Timberlake's performance is becoming recognized as one of 2007's most entertaining and successful tours and possibly headed for Tour of the Year. The tour's success has acquired the utmost level of media recognition, including a recent HBO documentary which was filmed during Timberlake's back to back showings at Madison Square Gardens in New York City. In preparation for this HBO shoot Timberlake approached head laser technician Chris Blair, of Laser Design Productions requesting a heavier laser look for the televised broadcast. Laser Design Productions furthered their effects list with two additional, 3-watt DPSS Yag lasers to the design. This brought the effects list to a total of:(4) 4-watt DPSS full color air cooled white light diode lasers, (2) 12 watt red DPSS lasers, (2) 3 watt micro DPSS KTP NdYag Lasers, (6) fiber-optic fed remote scanners, (8) laser Projectors, (14) different sources are used to create atmospheric scan effects, over 60 bounce mirrors are positioned in the round stage and trussing, and the laser show is programmed and controlled with Pangolin software.

Following the HBO shooting, Timberlake who seems to take great appreciation towards the lasers requested that the additional laser affects a stay on board for the remainder of the tour. The additional lasers added an extended look to the club feel design which was created by Doug Adams; Designer, and President of Laser Design Productions. Adams initially created the laser design for three of Justin Timberlake's hit songs from the Future Sex/Love Show album, including; Rock Your Body, Love Stoned, and Sexy Back. Recently, Adams collaborated with Timberlake at the MTV 2007 Video Music Awards, held at the Palms Casino in Las Vegas. Along side with Timberlake for the closing act was Music Producer, Timberland and Vocalist Nelly Furtado. Adams designed an array of machida, beam, and scanning effects to a remix of songs including; "Love Stoned/I Think She Knows, and Give It To Me". The laser effects for that particular performance includes six, 3-watt DPSS Yag Lasers.

After two circuits around North America and one through Europe, the tour is headed off to Australia and New Zealand throughout October, November, and has recently announced an additional date in Abu Dhabi Dec 6th.

Van Halen: "RUNNING WITH THE LASERS"

Las Vegas, NV: October 17th, 2007

Some may call 2007 the come back year for a number of bands. This year alone Pyrotek Special Effects and sister company Laser Design Productions have worked with likes of; Motley Crue, Meatloaf, and Spice Girls to name a few. More Recently, the tour that some anticipated to never occur has flourished. Just as fans were ready to forget, Van Halen has returned and can arguably be acclaimed as one of the decades most anticipated comebacks.

Laser Design Production Inc. is thrilled about the recent collaboration with the Van Halen Reunion Tour. "It's not everyday that you have a chance to work with one of the worlds most influential Rock Bands", commented Doug Adams, (President and Designer of Laser Design Productions). "Most people, myself included thought this tour would never happen. It's been a dream come true for so many to see David, Eddie and Alex on stage playing together again".

Lorenzo Cornacchia, (Vice President) demoed the lasers to the band at Center Staging in Burbank California. A pre-empted David Lee Roth arrived at the laser demo with a ghetto blaster in hand playing some upbeat music. Hesitant about having liner straight beams, which he referenced as being similar to that of a Star Wars look; Roth called for the lasers to produce slow, groovy atmospheric effects. At that point Adams was called upon to fulfill the design of the laser effects to specific titled songs. Working along side with Lighting Designer Butch Allen, the two focused on layering and texturing between the lighting and the lasers. "It's a crucial that we're always on the same page in order to bring the best out of each others designs", Adams explained. Touring Laser Operator Al Domanski was involved in bringing the designs to fruition. The laser equipment utilized for the laser designs are; (2) 40 Watt air cooled Yags, (2) remote scanners, along with (2) LDP10 projectors.

The laser effects of each song include a different look in which the effects are intended to sync with the altitude of the guitar riffs. The set list which consists of twenty-five songs, utilize the laser effects during; (Romeo Delight), where atmospheric scans zoom out on the guitar swells. (Mean Street), Remote scans produce a look of rolling waves that cross-fade during guitar riffs throughout the middle of the song. (Cradle Will Rock) During the pre chorus a staccato laser blade is pixilated to the chunky rhythm. (Eddy's Guitar Solo) A combination of atmospheric organic effects flow with Eddie Van Halen's volume fade-ins and echoing harmonics.

It is definitely the comeback year for Van Halen; The year began with the ban being announced into the Rock and Roll Hall of Fame and will conclude with the band completing their scheduled North American tour. Fans are beside themselves to have a chance to attend one more Van Halen performance. Roth still brings an enthusiastic and entertaining presence to the stage and Eddie's playing as well as he ever did. Adams commented, "It's a great feeling knowing that Van Halen fans have another chance to see one of the best rock bands on stage together again; what we're trying to do is enhance the adrenaline of the show!"

Pyrotek Special Effects Blowup the Candles in Celebration of TNA' s Pay Per View " Slamiversary"

June 29th, 2007

As TNA celebrated its 5th year benchmark of success in the wrestling entertainment industry, Pyrotek Special Effects and sister company Laser Design Productions were on hand to provided a mixture of effects. Fans gathered to TNA' s city of origin, Nashville Tennessee, to witness the Pay Per View held event; " Slamiversary " . The introduction display, which lasted for approximately 20 seconds, consisted of 146 pyrotechnic effects and shattered eardrums while illuminated the venue. The design objective was to sequentially present an organized look of destruction. The opening effect consisted of a barrage of airbursts (25), a total of (33) 25 ft silver gerbs creating a chase effect, (15) concussions that produced a loud bang and a violent jarring shock for a dramatic effect, a total of 41 assorted colored mines and comets with tails, (13) fireballs, and (19) white flashes with bang. An additional (111) effects were used with the introductions of wrestlers throughout the show.

With wrestling matches spilling outside the ring and into a variety of settings throughout the Nashville Coliseum crowds were able to get up close to the action. However, this posed a challenge as considerations of logistics needed to be analyzed. The storyline had a particular match allocate to the top of the 30 foot stage trussing where wrestlers Abyss, and Tomko battled amongst the parcans, and pyro boards to fall to the floor crashing onto a set prop. Vice President, Lorenzo Cornacchia collaborated with Greg Horne (TNA Scenic Director), Steve Small (TNA On-site Director), Jeff Bornstein (TNA LD) to situate the effects. Jeff Jarett (Wrestling Director) was on hand and excited to be back in his home town, but did not take part in the action due to is recent hardships with the passing away of his wife. In providing a safe and entertaining show, Cornacchia depends on his team, which included Bob Ross (Crew Chief, & Gas Specialist), Keith Hellebrand (Master Pyrotechnician, and Shooter), Keith Maxwell (Gas Specialist, & Pyrotechnician), Jason McEachern (Laser Operator), and Ken Schmidt (Laser Technician).

The laser design consisted of two 40-watt Green YAG high-powered lasers positioned downstage right and left of the main ramp, and two micro YAGS positioned upstage and projected effects through the entrance tunnel. Over 50 bounce mirrors were utilized in the design effects. Thirty were positioned on the down stage truss (over the center of the main ramp). An additional twenty bounce mirrors were placed on a pipe directly opposite of the main cameras. Ten floor-supported mirrors were positioned on the main stage, and an additional eight flat mirrors were placed on the main ramp. The direct location of the 40-watt high power YAG lasers (right and left of the main ramp) created spectacular scans, diffractions, beam and machida looks over the main stage and ramp. At times, the wrestlers’ were completely submerged in the Laser effects.

TNA will return to its home set in Orlando Florida' s Universal Studios. After another successful event, both parties are looking forward to the next opportunity to deliver pyrotechnic mayhem at the next Pay Per View event " Victory Road " .

TNA - LOCKDOWN

May 22nd, 2007

It is evidently clear Lorenzo Cornacchia gets a charge out of blowing things up. As Vice President of Pyrotek Special Effects Inc., he is called upon to design and create on stage pandemonium for Total Non Stop Action (TNA Wrestling). TNA "LOCKDOWN" Pay Per View at the Family Arena in St. Louis, Missouri was the most recent stomping ground for the TNA roster and Pyrotechnics mayhem.

I flew in with my crew on April 13th 2007. My crew consisted of a total of six members; Bob Ross (Crew Chief, & Gas Specialist), Keith Hellabrand (Master Pyrotechnician, and Shooter), Keith Maxwell/ (Gas Specialist, & Pyrotechnician), Jason McEachern (Laser Operator), and Ken Schmidt (Laser Technician).

The Design I created for the opening of LOCKDOWN consisted of a barrage of 30 ft crackle mines and comets, quick shot silver gerbs, airbursts, flashes with bang, fireballs, and concussions. The entire opening consisted of a total of 150 effects in chase, and all fire combinations lasting over a 12 second period.

The conference calls between Greg Horne (Scenic Director), Steve Small (On-site Director), Jeff Bornstein (TNA LD) and myself gave me the direction TNA wanted to take this show. David Sahadi (TNA Director), Kieth Mitchell (TNA Producer), and Jeff Jarett (Wrestling Director) stated "We want the opening to look and sound like a complete and utter destruction!"

As Don West (Announcer) and Mike Tenay (Announcer) bring the event to live TV the main camera moves to a wide angle on the stage which cues the pyrotechnics barrage. The sequence starts with a concussion firing with a gerb chase up the main ramp coupled with a comet and mine chase from off stage to onstage. As the chase finishes on stage center, quick shot silver gerbs, mines, and comets fire asymmetrically from scaffold structures and varied angles across the stage (vertically and horizontally), simulating "Pyrotechnics Mayhem". The final barrage of rapid-fire concussions (13), coupled with flash airburst (12), flashes with bang (12), led into the finale all fire cue of large fireballs (12) with concussion. This final hit of fireballs with concussion created a semblance of a massive destruction scene.

The laser design consisted of two 40-watt Green Yag high-powered lasers positioned downstage right and left of the main ramp, and two micro Yags positioned upstage right and left of the main stage. Over 50 bounce mirrors were utilized in the design effects. 30 were positioned on the down stage truss (over the center of the main ramp). An additional 20 bounce mirrors were placed on a pipe directly opposite of the main cameras. Ten floor-supported mirrors were positioned on the main stage, and an additional eight flat mirrors were placed on the main ramp. The direct location of the 40-watt high power Yag lasers (right and left of the main ramp) created spectacular scans, diffractions, beam and machida looks over the main stage and ramp. At times, the wrestlers looked as if they were completely submerged in the Laser effects.

TNA was a successful event drawing a sellout crowd and a great viewing audience numbers on the Nielsen ratings. They will continue with another Pay Per View Match June 17th in Nashville Tennessee, where Lorenzo and his Pyrotechnics crew will continue their large scale special effect designs.

Laser Design Productions Cascade an Alluring Design To Palms Casino's Exclusive Penthouse Nightclub "Moon".

Toronto, ON, May 19th, 2007

The N9NE Group, whose imprint can be found throughout the trendsetting hotel, has turned its attention skyward with the opening of Moon, the exclusive penthouse nightclub loaded with high-end finishes, VIP accommodations and a view not only of the Las Vegas Strip, but also of the stars above. The N9NE Group, founded by innovative entrepreneurs Michael Morton and Scott DeGraff, revolutionized traditional standards with N9NE Steakhouse in Chicago before unveiling several now-legendary venues at the Palms when the hotel opened in 2001: The Hot Rain Nightclub, Ghostbar Lounge, a second N9NE Steakhouse, and Stuff, a N9NE Group boutique. When Palms owner George Maloof decided to embark on an ambitious $650 million expansion to his incredibly popular resort, he once again called on his imaginative collaborators.

The conceived design of Adam Wuertz (Technical Director) was to have guests immediately notice that they have arrived at a dramatic, surreal environment unlike any other in Las Vegas or the World. When Laser Design Productions was commissioned to provide the Laser install into the newest night club at the Palms Casino they helped with the fruition of N9NE Group's design. Known for his larger than life creations, special effects designer Doug Adams assisted with the Laser install.

The laser design includes one 3.5 watt water cooled white light laser coupled with a 24 position laser projector custom made by Laser Design Productions. This system creates spectacular multi-colored beam patterns and atmospheric effects as well as graphic imagery. The white light laser extends to two fiber fed remote scanners to create additional laser effects.

Additional laser system includes two, 3 watt air-cooled YAG lasers with two custom made LDP 11 position laser projectors. 48 mirrors are positioned to create an array of multiple bounce and beam effects. In addition, 12 diffraction gratings are placed to cascade a spider web matrix look above the heads of the guests. These systems create multiple beam patterns, atmospherics, and a 180 degree Machida look. Four custom designed linear actuators enable vertical positioning of the fiber fed remote scanners. These units are remotely controlled and allow for the scan designs to be manipulated vertically. Wuertz, was adamant about having a live hands on feel for control of the laser and the effects. Lasers Design programmers were able to accommodate this through Pangolin's Live Pro software and Midi control surfaces. This allowed for a truly hands on feel to design the effect to coincide to the music.

Moon occupies the very top floor of the Palms' new Fantasy Tower, just above Nove Italiano (pronounced "no-vay" and meaning "nine" in Italian)-a cutting edge restaurant and the sophisticated revival of the Playboy Club. Moon is connected to the Playboy Club by glass- and mirror-ensconced escalators that have spectacular views of the Las Vegas skyline. On a single evening, guests can dine at Nove Italiano, ascend to the cool lounge and gaming scene at the Playboy Club and then go upstairs to Moon for dancing and partying. The Moon Club is intimate and exclusive and offers VIP amenities and state-of-the-art technology.

The floor is covered with shimmering glass tiles of various shapes and sizes, which change color via a computerized lighting system as guests move about them. A curtain of glass beads, upon which videos are projected, hang over the majestic floor-to-ceiling windows that endow the 12,500-square foot club with incredible views of the iconic landmarks on the Las Vegas Strip. A celestial palette of gold, yellow, nickel and silver give the club a sexy, sultry sheen, while a VIP room to the left of the entrance is ensconced in a translucent yellow glass mosaic that generates the kind of mystical lunar vision one could not possibly find on street level. As DeGraff, the lead designer, comments, "As a boutique night club, Moon offers a sense of intimacy".

The Club's main room boasts a spectacular architectural feature; a massive retractable roof that opens up to provide a mind-blowing view of the stars. When closed, the ceiling serves as a large projection screen where laser graphics are projected onto, exhibiting giant images. When the roof retracts accompanied by theatrical music and a spectacular laser and fog show, the scene becomes even more incredible!

Laser Design Productions Continue European Tour with Justin Timberlake's Future Sex Love Show Tour.

Toronto, ON,May 16th, 2007

Future Sex Love Show European Tour:

Laser Design Productions, Inc. was excited to once again team up with Justin Timberlake to create a laser design for the Future Sex Love Show Tour. Designer, and President of Laser Design Productions, Doug Adams, created a club feel effect for three of Justin Timberlake's hit songs; Rock Your Body, Love Stoned, and Sexy Back.

Using the newest laser to be introduced into the entertainment industry, the design includes four, 4-watt full color, air cooled diode laser systems which produce beam, and atmospheric effects, plus has one fiber optic fed remote scanner off each system. It is characterized by its brilliant colors, and high visibility factor. Long gone of the days of water and huge power consumption with gas lasers. The full color performance diode laser is ultra compact, light weight designed, air cooled and can plug into a standard 110VAC.

In addition to the four White Light Diode Lasers, two 12 WATT Red DPSS Lasers systems, six, LDP 10 Laser Projectors, and a total of 12 different sources are used to create atmospheric scan effects. Furthermore, over 60 bounce mirrors are positioned to create multiple beam effects, which are all controlled by Pangolin Laser Software.

Currently, the Future Sex Love Show Tour will continue across Europe through the July 2007, and return to Touring North America in August for a second occasion.

Laser Design Productions feature new White Light Diode Laser for Coldplay South American Tour

Toronto, ON, March 26, 2007

Cold Play South America:

As an extension to the Twisted Logic Tour, Coldplay recently capped off a three week tour in South America. Once again, Laser Design Productions provided laser effects with their new compact 5 watt air cooled white light diode laser system.

The 11 show circuit was hosted across 4 different venues in Santiago, Chili; Buenos Aires, Argentina; Sao Paolo, Brazil and Mexico City, Mexico. According to Mark Ward, Coldplay's Production Manager "The South American The South American Tour was a huge success."

The new technology Laser was a great solution to the Production Management's concerns of equipment size, weight, power consumption and venue water limitations. The 5 watt air cooled diode Laser provided spectacular multicolor atmospheric and beam effects. Mark Ward had the following comment with regards to the new diode laser "great product great crew what more could I ask . . . ." and "it looks f'n brilliant by the way . . ."

New Diode Lasers

Newest Laser to be introduced to the entertainment industry!

With full color performance in an ultra compact, light weight design, this laser represents the most modern semiconductor laser with no water cooling and no high power consumption. This laser is characterized by its brilliant colors, high visibility factor and beam quality.

For Further information please contact:
Jim Schorer
Marketing Manager
Laser Design Productions
P: +1 (905)-479-9991
F: +1 (905)-479-3515
jims@laserdesignproductions.com