THE CANADIAN MUSIC SCENE

Questions to Howard Ungerleider

What lights are you using, how many of each?

I am using the following Lighting Fixtures: 10 Lycian M2 Followspots 52 Highend Systems Xspot Extremes with custom gobos 32 Highend Systems Studio Beams 37 Martin Mac 2k wash fixtures with custom colour inserts 10 Coemar power cycs 12 Highend Systems Cyberlights 21 Martin Atomic 3k Strobes 30 Colour Kinetics colourblaze 48 led fixtures 16 Colour Kinetics colourblaze 72 led fixtures 24 Mr-16-6 ft zip strips custom wired

What lighting consoles are you using? How easy is it to exchange one board for another in case of an emergency? Have you had to switch boards during a show?

I am using the following consoles and servers and yes they can be easily replaced in about 2 to 3 minutes: 3 Whole Hog III Lighting Consoles 2 Whole Hog III Expansion Wings 5 Whole Hog III DP 2000s 4 Catalyst Media Servers

Who does the videos, how are they integrated into the show, controlled?

The videos are produced by 5 different companies in Toronto Canada under the direction of Alan Weinrib and 1 in Los Angeles that Neil takes charge of. Alan, Geddy and myself sit down together and brainstorm many of the ideas that eventually come to fruition.This process is long as we involve the creative teams of all of the producing companies who also take on a creative roll as we finalize all of the teams ideas. I oversee the color palettes that are used so that we obtain the best results when color blending the live stage performance in with the video screens. Neil took control of the entire drum solo piece along with his creative team. The control of some of the videos are coming from our video director backstage that are timed out to musical cues, while I trigger the rest of the video pieces through the Catalyst media server that is tied into the lighting console. These cues are also executed to musical cues manually.

What are the specs on the background video screens, who makes them?

The screens are provided by a company in Los Angeles called Screenworks/Nep and are 10 ml Toshiba pixles.

Is everything rented, or does RUSH keep the equipment after the tour?

Most of all equipment aside from the backline gear is rented.

How many people are required to setup, take down, and load the trucks with all of the equipment? How many people are on the road, how many are hired locally at each venue? Do you use local people for the spots each night or are they permanent with the tour?

The Rush crew consists of about 40 members and each day we hire 20 or more local Stagehands to assist with the setup and the spotlighting depending on the venue advance.

How long does it take to program all of the lights used for each song? What is the average amount of movement for each light during a song, color, and pattern changes?

This is a strange question because when I program a tour I am actually dissecting the song musically and creating a lighting choreography based on lyrics and musical structure. I do not ever count or track how long a light is used or what it is doing over a time period because it does not pertain to anything that is needed. Once the track is complete and I am happy with it, I move on to the next track. The world tour programming system that is in place for creating the show starts with the band providing me with a live tape of their rehearsals. I use these tracks to fine tune lighting and video timing and all manual effects triggers. I start at 4pm when the band starts the rehearsal process and when they are done usually 3 hours later all of the crew and band go home to sleep, my evening begins. My team and I then create 3 songs per night, that usually takes us to 10 am. This is when I go to sleep until 3pm when my team and I awaken and start the process again. This process lasts for 10 days until all of the show is completed. Once this is done I have 2 dress rehearsals with the band before the first show. You have seen the rest after day 1. All laser and pyro effects along with the coordination of live video as well as all other video pieces are worked in over the 10 day programming sessions.

The lighting effects during the RUSH concert at Blossom Music Center near Cleveland seemed to be subdued compared to others shows (no raising lowering of light pods). Was this caused by limitations in the venue or mechanical failure of the equipment itself. If there are venues that do not allow the full use of lights and effects, how are decisions made as to what gets used and what gets left out? Bruce Duerringer – Houston Texas

Good question Bruce. When I create a show I must design it to a specific footprint. This is decided after I am told by the production team what the smallest venue we are playing will be as well as the largest. I then create a grid that will fit into most venues based on height ,width and depth. Blossom for instance had physical characteristics that had prevented us from moving the pods or even using our whole lighting rig. I have designed the show in layers that enable me to peel of parts of the system without major compromises when needed. You are very observant and I hope this clarifies your question.

The R30 tour introduced those cool light pods that lower down during Between The Wheels. Can you explain a little bit how they work and were these rigs designed specifically for RUSH shows? Chuck Wolff – Sterling Heights, MI, USA

Yes, I have always kept a refreshing outlook to my designs by designing custom elements into all of my shows that allow them to have a personality of their own. R30 had eyebrow trusses and S&A has the Hexapods that I have custom designed to appear avant-garde and very functional.

How are the Pyrotechnics triggered in one little victory, is it manual or synced to time code from the video, or a DMX cue? Chuck Wolff – Sterling Heights, MI, USA

This is a manual cue triggered by a visual cue on the video.

What’s the biggest flub or mistake you can recall happening in your time working with RUSH? Chuck Wolff – Sterling Heights, MI, USA

I am very lucky that I have never experienced a Flub in my entire career with Rush although in Rochester New York some jerk through a big gulp onto the lighting console that ended in the rest of the show under only spotlights.

What is the most enjoyable experience you’ve had working on the road with RUSH? Chuck Wolff – Sterling Heights, MI, USA

I remember after playing in Japan one year the band flew everyone to enjoy some time off in China before flying to Hawaii for our next show.

How did you get the job working with RUSH? Chuck Wolff – Sterling Heights, MI, USA

I started in 1971 as an office boy for American Talent International, an agency that represented dozens of touring groups in NYC. I had always had an interest in lighting and special effects in rock and roll shows since I was a teenager. I was soon promoted to talent scout and at 20 years old I was traveling with famous groups making sure that the contracts I had negotiated for were being fulfilled. Since I was close to the bands, I was often asked about their shows. My honest answers led me into a whole other world because the questions started turning into production questions like “how can we make our show more interesting?” That is when all of my dreams started to unfold as I had decided to help these artists improve their onstage appearance. I later left ATI in the summer of 1974 after they had sent me up to Canada to run the touring operation for RUSH. The rest is history and if you have ever seen a Rush show you will know what I mean.

PART II

What is your favourite city? Dean Schiada – Bartlett, IL, USA

My favourite city I must say is Amsterdam in the Netherlands, I love the city and it's people.

How is the lighting and visual show put together? Do you work closely with the band members? Who selects the videos? Andy Chanak – Columbus, Ohio, USA

Well Andy we all work together as a creative team and I have answered your question above where this was explained in detail.

What is the budget for the lighting effects on this tour? How does it compare to previous tours? Mike – Indianapolis, USA

On this tour I was allowed an increase to create and obtain new and unusual effects. The budget for these tours are not public.

Which tour did you use the most lights on, how many? Tom – Watertown, USA

I used over 600 lights on the Moving Pictures tour in 1981 before I had moved into moving heads in 1987.

On this tour I was allowed an increase to create and obtain new and unusual effects. The budget for these tours are not public.

I’ve seen the lighting and presentation progress just as the band’s music has. The band gets influences from various sources for their music and lyrics, do you? For example some bands were known specifically for their stage shows – Pink Floyd, Genesis… have you gotten any inspiration from them and how have you adapted it to suit RUSH? John Heuer – Toronto, Canada

I think that most of my inspiration and motivation has come from an experience at two completely different venues. Watching the shows in the Hayden Planetarium in NYC where outer space became real for a few hours as well as witnessing Pink Floyd performing in Carnegie hall in the early 1970’s moved me into the world of special effects and multimedia lighting, There is nothing as moving as creating emotional responses during a performance both aurally and visually and I enjoy watching a positive audience response, it makes me smile knowing that you are enjoying your visual experience.

Do you miss the days of the old par 64 cans? Scot Strupe – Dover, Delaware, USA

I miss the velvet texture that those fixtures emitted but not the labour intensive hours of focusing perfection.

As a known foodie and mixologist, tell us about your most memorable road meal, and also some stories about the drinks you’ve mixed up on the bus!!! Jeannie – Nashville, USA

One year when in Holland the record company had taken us to an amazing Indonesian restaurant called RAZ MAAS where we had a chance to get out of control while the piano player was playing a medley of Frank Sinatra songs and the incredible rice taffel was being served. At the end of the meal the record reps had to split the bill up on 4 credit cards so that they would not get fired for spending to much. It worked and we all left very content. When on the road with all the stresses of life itself as well as the ongoing soap opera that we live daily while traveling, the best way to unwind before a day off and after the show is a great drink. Having over 40 people on tour requires an amazing choice liquor to have on hand so that you can serve everyone with their choice of libation. One evening I had made Tequila Sunrises, Chocolate Martinis, Mint Juleps, Mei Tai’s and Vanilla Vodka martinis. Some people also had mudslides and Monte Cristo coffee specials… Wild times on the road to LA…

Since being with the band from the start, where do you see them in the future? New album, new tour? Many reviews from the fans feel that RUSH has never played better and are in their prime right now. Brian Lashta – Montreal, Canada

I must say that they are really enjoying touring this year and I feel that as long as they can play they will continue to produce excellent music as they always have. Remember great painters never stop painting, it is what they do and enjoy.

What in your opinion is the most proficient and user-friendly lighting console on the market today? Also can you give an up-and-coming lighting technician some pointers on how to get on some bigger scale tours going out? Steve Mutch – Torrington, CT, USA

It is a matter of personal choice, much to do with the way you set up your show and run it. The Hog III which I had chosen for this tour is a nice board although it has had it’s share of problems that have been recognized and dealt with and the latest team of code writers are really on the case. Many others love the Grand Ma that I have also used on many of my corporate shows and is a fine console as well. The Hog IPC is also a great board for the people who are Hog II fans. When trying to expand your job advancement the only way to get involved is to work as a programmer for a well known designer or get a job with a lighting company that is one of the top 5 in North America nearest to a major city like NY for you Steve.

What has been the most complicated piece you have ever done? Lyth, UK

Songs like La Villa Strangiato, 2112, Xanadu and YYZ were among some of the most difficult up to now where Between the Wheels, Far Cry and Malnar are quite intense this year.

On average, how many months a year do you spend on the road, how do you maintain some kind of normal existence when you are away from home so often? Nephronic - Scotland, UK

I am home for 2 years where I run my company Production Design International and then I leave for 9 months where my partners assist in taking over the day to day dealings. My personal life is great due to my very understanding wife and her tolerance for my insane travel plans and from time to time I fly her out to be together while I am working.

What is the main reason for RUSH sticking to such a rigid set list? Sandy Whisker

Perfection of an amazing show comes with consistency. So that you the audience gets to reap the rewards of an amazing result due to this rigid set list.

Has there every been a lighting effect suggested for a RUSH tour that has been impossible to do? Lyth, UK

The only thing that can prevent you using an amazing effect is money and no one to date has suggested anything that is revolutionary.

Did you devise the fire and ice effect that came down from the riser in dry ice in blue and red backlight for Xandu? If so, well done, definitely my favourite concert visual, EVER! Captian Ron - Ireland

Hey captain Ron, Thank you for your appreciation of that effect, yes it was indeed my idea based on three incredible musicians whose music inspired me to come up with such dynamic effects.

Why just the green lasers, will you ever use different colour lasers? From Many...

This show was created for outdoor venues mainly and the only lasers that can be seen brightly are YAG green lasers or Copper vapour systems. I chose this 60 watt Laserscope system to read in an outdoor environment where full color lasers do not cut. In the future I am thinking about switching up some of the colors for indoors. This year our company had used the full colour systems indoors for TOOL.

THANK YOU to everyone who submitted questions... and to those of you who were at this year's EUCON in Manchester...