NEWS RELEASES

• Concert Productions
• Sporting Events
• Award Shows
• Corporate

Pyrotek Special Effects Heats it up for Metallica

Toronto, ON, September 3, 2008

Pyrotek Heats it up

As Metallica continues with their European tour to sold-out stadiums and festivals Pyrotek Special Effects Inc. has been unleashing some of their latest and greatest in pyrotechnics. After touring with Metallica for the first leg of the European tour, President and Designer of Pyrotek Special Effects, Doug Adams retuned to Pyrotek's head office to prepare proposals for the up coming world tour which commemorates the 25th anniversary of the ...And Justice For All album. Adams, who has been collaborating with Metallica since 1994 is thrilled with what has transpired and what is to come.

While working with Metallica's Manager, Peter Mench, Adams is given cart blanche to incorporate the pyrotechnics into each track noted for special effects. The Pyrotechnics crew working along side Adams for the European tour included Renato Sulmona (Pyro-Technician), Douglas Reid Schulte-Derne (Pyro-Technician) and Dimitri Timohovich (Gas Specialist). From an internal and administrative standpoint Pyrotek's success also lies with a number of crucial personnel from its head office including Lorenzo Cornacchia (Vice President / Director of Operations), Fiona Thain (Production Manager) and Gordon Hyndford (Project Director). "The behind the scenes permitting, coordination, and logistics handled out of our head office are a vital part to our overall success", commented Adams. With the due diligence thoroughly covered to meet the satisfactory of each jurisdiction Adams and his team are able to ensemble each show with a monstrosity of flames, flashes, and bangs. A key point which Adams focused on for the European stadium design was the sightlines of each venue. Moving outside of the 90 foot stages Adams and his crew used the area behind stadiums and to the sides ensuring that no matter where you viewed the show from you got to see something spectacular. Outside of the hundreds of large scale effects incorporated into the performance sequences, close ranged pyrotechnic effects that were integrated through multiple positions created onstage anarchy. During Metallica's performance of One which creates a depiction of a battle war theme, tracers are used to resemble tracer bullets with a machine gun chase across the downstage edge while four large Dragons on the wings shoot massive flames 60 to 80 feet in to the sky.

The design incorporated outstanding implementations of pyrotechnics that resembled a stunt-like effect you thought only to witness on a Hollywood movie set. With the undergoing preliminary preparations for the upcoming world tour, Pyrotek is pushing the envelope again. Beginning in October the Metallica world tour will have the stage design set in the round. Adams and his team have been working on a new fire screen technology to create a full interactive assembly of flame effects for the big hit off the album One. Adams comments, "Wait to you see what we have up our sleeves for this one!"

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.

Pyrotek Special Effects Adds A Blast to the Maiden Tour

Pyrotek Special Effects Tours with Iron Maiden

The Somewhere Back in Time World Tour was inspired by Iron Maidens' recently released DVD, Live After Death. As Iron Maiden's tour began, their USA and UK dates were selling out at a rapid pace; some shows sold out weeks in advance. Fans have been flocking to get tickets as the band will be touring to a number of cities which they have not played at for many years.

In order to bring back some of the old classic looks with a touch of new effects; Vice President of Pyrotek Special Effects, Lorenzo Cornacchia worked with Dick Bell (Iron Maiden's Production Manager) to incorporate the pyrotechnics into the show design. Cornacchia explained "The request from the band was to implement a fuller and thicker look of effects while adding in some new aspects of pyro to the show". Referencing prior touring films from the 1980's, Cornacchia collaborated with Bell to get a feel for the original design, to create, not only a replication, but continue to provide fresh and innovative ideas into the show. "The Pyro was intended to not only be apparent but accent the band. Between the selection of songs played and the stage set we really focused on re-acquainting the classic 80's look. The legendary Egyptian theme from the PowerSlave Tour brought back some great memories and when I had the chance to watch it live, I was pleased to say that this was arguably one of the best shows I've witnessed of Maiden," commented Cornacchia. Lighting Designer, Robert Coleman was intricate in synchronizing the lighting to punctuate the pyrotechnics, ensuring that the effects appeared predominant and not washed-out.

Pyrotek came on board to start the second lag of the North American tour. Shooter Keith Maxwell, along with pyrotechnicians, Renato Salmon, Gary Bishop and Eric Muccio were the crew at hand that implemented the design into fruition. Working together with Production Manager Jason Dante and Stage Manager Bill Conte, Pyrotek became involved during the last three shows of the first lag in Los Angeles, New York and Toronto. Pyrotek, along with the band, the entire 50-man crew and the 12 tons of equipment and stage set, will continue the North American tour when it kicks off in San Antonio, Texas May 21st at the Verizon Wireless Amphitheater. The tour runs through to June 21st, closing off at the Bell Center in Montreal, Quebec. After completion of the North American tour they will then transition into the European lag.

The design of Number of the Beast demonstrates Pyrotek's infamous propane Dragons into the show with transition of asymmetrical chases and all fire cues igniting the stage and exhilarating the audience. Aside from the implementation of the propane flamed Dragons within Aces High, the tours introductory song, leads in from a video intro which starts off with transitions of classic military footage. The opening guitar riffs lead into a 1 X 25 all fire cue of gerbs that ignite from the upstage, stage right and left, while fireballs erupt on the downstage edge. Rime of the Ancient Mariner begins with a succession of air bursts while low lying smoke flows from the upstage to down stage edge towards the floor level audience creating and eerie atmosphere. The design for Powerslave starts off with 1 X 25 gerb fans that ignite across the entire upstage, stage right, and stage left. Involving the band in relation to the effects, a powerful red-flame wall located stage right accents lead singer Bruce Dickenson as he appears on stage. The look has Dickenson emerge through the flaming wall which also incorporates two fire balls cued on either side creating a fuller look to the pyrotechnics. Also included for this act are a number of all-fire Dragon sequences. The original stage effects for Eddie, (a colossal mummy from their past tours), were unable to fit on the Iron Maiden Boeing 757; flown by pilot and lead singer Bruce Dickenson for the first lag. As a result, Iron Maiden will be bringing Eddie along, (featured on the Live After Death DVD for the 2008 summer tour) with the intensions to incorporate additional effects built into Eddie's facade. The final song Hallowed Be Thy Name; implements red flash with crackle mines cued to a chunky rhythm that closes the show. A 15-foot tall Cyborg Eddie appears for the song Iron Maiden after 20 X 20 gerbs fill the entire stage. With the recent addition of Pyrotek Special Effects, the tour thus far has created an anticipated buzz among fans worldwide, as the bands return has been a huge success.

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: March 7, 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.

RUSH "Snakes & Arrows Tour "

Rush: September 26, 2007

Thirty-three years after their self entitled debut album, RUSH is once again back on tour from June through October for their recent recording release "Snakes & Arrows". With an anticipated five year wait since their last studio album "Vapor Trails", devoted fans everywhere are craving for the opportunity to catch the Canadian rockers live for their latest tour. This 62-city run is scheduled across Canada, the United States, the U.K. and Europe.

After being involved with the RUSH in Rio Vapor Trails Tour, Pyrotek Special Effects Inc. was consulted to brighten up a number of songs for their present tour. Long time Lighting Designer, and agent, Howard Ungerleider approached pyrotechnician John Arrowsmith to come up with a number of special effects. With a focus for a concussion effect to emphasize a specific moment in their newest hit single "Far Cry"; the requested effect was to synchronize upon the completion of the course "You can almost see the circuits blowing". Arrowsmith collaborated with Doug Adams (Designer & President of Pyrotek Special Effects Inc.) to design an element to the theme which ends with a big punctuation. During production rehearsals at the Hershey Centre (Mississauga, Ontario Canada), Adams design was demoed for the band. Describing his effect for "Far Cry" Adams explained, "It felt natural to follow with the sparking sequence and end with a concussion on the final impact". "Far Cry" includes (18) one-second gerbs in a chasing effect, and (18) 25 ft silver comets with tail along with a concussion effect.

Ungerleider uses High End Systems, Catalyst™ for a number video montages throughout the show. Additionally, the Pinnacle Digital Video Effects Machine used by the video crew produces crossfades and created a perfect integration between video, pyro and music for the titled song "One Little Victory". The collaborating pyrotechnic effect takes place in the middle of song where an animated dragon exhales a breath of fire towards stage right. Eight dragon heads and three fire balls are utilized during this sequence. At this particular moment of the video, a fireball cue creates an exciting effect as the synchronized media resembles a breath of fire shooting from the video out onto the stage. Eight heads are used during the final video clip of the dragon breathing fire across the entire video wall. In creating an eerie feeling for their titled song "Witch Hunt", Ungerleider was pleased with the fire burning look around the stage, resembling a witch hunt. This effect utilized the Dragon devices to create a low random flame setting, a proper fit for the song.

Long time pyrotechnician John Arrowsmith, has the responsibility of bringing Adams designs forward to every show, and to accomplish the effects of specific cues. Furthermore, he coordinates safety measures and mandatory walkthroughs with demonstrations for the local fire marshals at every show. A number of effects such as, gerb chases, fireballs, and columns of dragon flames are seen in several acts from the 26-set song list. The complete effects list consists of:

Pyrotek Sets the Stage to "Rock N Roll All Night"

KISS: August 22nd, 2007

President and special effects designer Doug Adams was just like many others - a fan of the legendary rock band " KISS" . Since 1995, Pyrotek Special Effects, Inc. has been providing KISS with some of the largest pyrotechnics diplays which have become world recognized with the bands performances. From the old school days of firing pyro from soup cans and gunpowder KISS is one of the original bands to include pyrotechnic effects into their performance.

Adams still recalls getting his first call from production manager Tim Rozner; " Tim explained that the band was getting back together for a reunion tour and that he wanted me to be at an L.A. warehouse for a chance to demo my pyro in order to get the gig for the Alive World Wide Tour" . What happened there after is obvious but Adams story was a classic history tale as he further explained; " the demo ended with grid rockets that came streaming inwards over the bands head from behind. That ending effect caught the band off guard and Gene Simmons through himself to the ground. As Gene rose back to his feet he stated with a smile "I love you, you got the gig."

Along with designing the pyrotechnics with KISS, Adams found himself working side by side with lighting designer Bryan Hartley for the first time. Hartley, known for his stunning lighting designs, and Adams for his pyrotechnics and laser effects, have collaborated on a number of projects over the years including Motley Crew, and TSO (Trans Siberian Orchestra), where both designers' display their talented capabilities with a bombardment of lighting, pyrotechnics and laser effects.

This summer KISS was back out on the road through the end of July, and at the forefront Pyrotek created the traditional looks KISS concerts are known for. As Adams described the designs he explained "generally the band doesn't like angles and we tend to create a number of effects which detonate in straight linear lines such as our dragons and flash pots". With four show stops at Kewadin Casino, Northern Michigan, Rock Fest Cadott, Wisconsin, San Juan Capistrano, CA, and San Jacinto, CA. Pyrotek provided effects for a number of songs including, God of Thunder, Love Gun, Deuce, Shout it, Rock N' Roll All Night, and Detroit Rock City. The effects list consisted of:

The Beyonce Experience

Beyonce: Augest 24th, 2007

With her newly entitled album " B'Day ", superstar and cultural icon Beyonce finished off her European world tour June 10th in Dublin Ireland. " The Beyonce Experience " 2007 world tour continues across North America starting on July 6th, at the New Orleans Superdome. The tour is scheduled to continue through to September 7th ending at the GM Place in Vancouver, BC. The world tour showcases the international music and film star, along with her sizzling all female band, and famous performing dancers. The performance encompasses a world-class stage with an artistically creative pyro and lighting design. Harold Jones (production manager) coordinated the newly created high-tech state-of-the-art concert environment and brought in leading pyrotechnics and special effects service provider, Pyrotek Special Effects Inc.

Recently Providing special effects to artists such as Metallica, Justin Timberlake, Christina Aguilera, and Fall Out Boy to name a few, designer and President Doug Adams was thrilled to once again provide some complimentary effects to the set design. In past productions with Beyonce and Destiny's Child Pyrotek has utilized a number of their effects including, a very unique water screen effect. Adams explained their roles in this year's preparation; We've added another massive simulated effect which we refer to as " the waterfall effect" however it's not created of water but, created from gerbs that emit a spray of glimmering sparks which cascade 40 feet across the upper trussing and spiral 25 feet vertically to the stage. Vice President of Pyrotek, Lorenzo Cornacchia had a few discussions with Harold explaining the effect and presenting a similar effect from a Paul McCartney tour Harold came back to us explaining that he loved it. Adams further explained, "An additional low lying fog effect was added to the effects list.

Adams explained their roles in this year's preparation; " We've added another massive simulated effect which we refer to as " the waterfall effect" however it's not created of water but, created from gerbs that emit a spray of glimmering sparks which cascade 40 feet across the upper trussing and spiral 25 feet vertically to the stage". Vice President of Pyrotek, Lorenzo Cornacchia had a few discussions with Harold explaining the effect and demoed a similar effect from a Paul McCartney tour; Harold came back explaining that he loved it. While the UK tour ends, venues across North America are being sold out in anticipation to attend another "Beyonce experience"

Sick of the Studio But Not Sick of the Pyro

Metallica Tour: July 11th, 2007

Metallica may be " Sick of the Studio " but not sick of touring along side with long time partner Doug Adams, Owner and President of Pyrotek Special Effects. Doug has maintained a very close relationship with the Metallica family as he' s provided them with a bombardment of effects, over the years. New technological advancements and a strong priority for research and design launched Pyrotek with some of the most extravagant custom pyrotechnic effects. Although the company continues to be innovative and provide new looks, Doug' s background as a musician has given him the ability to ignite the effects with pin point accuracy, which leaves the artists aspiring to continue to collaborate with Pyrotek.

Since the beginning of touring with Metallica when there were still remnants of the old analog world, Adams recalls the masses of cable runs, and pre packaged pyro. Teaming up with Metallica for every tour since 1994 he has left a new design to each project. Creating asymmetrical looks, the pyrotechnic designs are made to produce an element of surprise. There has been a variety of stage layouts that Adams recalls; for instance out door, indoor, and in the round. Adams enjoys the diversity and opportunities to come up with new looks. He commented; " The in the round designs are unique because it creates a truly interactive environment whereas the outdoor shows allow for exciting large scale pyrotechnics " . This summer' s tour " Sick of the Studio ' 07 " stopped at 11 European venues through June and July. An additional four song performance took place in London for the Live Earth Concert in recognition of global awareness. Collaborating with Lighting Designer Butch Allen and working with James Lars, Kirk and Rob, what’s not to like? The effects list consists of (18) Red mines, (40) Fireballs, (21) Stadium reports (for a loud bang effect), (16) Red flashes, (24) Ack Ack bursts, (24) silver comets with tails, (24) Red comets, and (24) White flashes with bang.

As James has his ritual closed fist salute with a " Huh " to cap the end of every show; prior to commencing each show, a routine ritual for Adams starts backstage as he goes over the pyrotechnics cues, layouts and ensures that everyone is exactly on the same page. Standing by his own saying " when in doubt leave it out " Doug has never lost reality of his success due to an emphasized commitment of providing a safe and secure environment when firing a show.

After 25 years of working with some of the biggest bands in the world Adams still thrives on the environmental rushes of being on tour. When asked does it ever get old, Adams responded " Never "!

Pyrotek Special Effects Set Fire to The Bat Out of Hell European Tour

Meatloaf: June 25th, 2007

When Joe Lennane, Production Manager for Meatloaf, wanted to add pyrotechnic effects to the European Tour, he contacted Pyrotek Special Effects Inc. to bring the concept of his designs to reality. Doug Adams, (President for Pyrotek Special Effects Inc.) utilized a number of custom special effects, to create an onstage sizzle to the design. Working closely with Lighting Designer, William Sheldon, they configured a list of songs incorporating pyrotechnic effects and designated the pyro cues to coordinate with the lighting designs.

This being the first leg of the critically acclaimed " Bat Trilogy Tour " includes songs from all three Bat Out of Hell albums. The effects are evident in a number of medleys including Life is a Lemmon, Frying Pan, Rock and Roll Dreams, Break it, and Bat out of Hell. After managing the placement of customized special effects, Adams worked with pyrotechnic shooter Tristan Ford to put the design into motion.

The effects list consists of four double-headed dragon units to provide large-scale columns and fireball flame effects in a number of combinations. In addition to the flaming fireballs, a simulated waterfall effect, created from gerbs, emits a silver spray of sparks cascading from the upstage trussing and dropping 20 feet vertically by 40 feet wide across the stage. 48 silver and red airburst are cued to a number various drum rolls. A unique effect which resemblances a fountain style look illuminates the entire width of the stage as twenty silver gerbs spray twenty feet vertically upwards. Additionally, seven flashes with bang are utilized to create a loud sound blast effect to energize the crowd and emphasize various Meatloaf cues.

A similar design was prepared prior to the tour for the new DVD video that was filmed at the John Labatt Center in London, Ontario, Canada. The European leg began May 10th at the M.E.N Arena in Manchester, England and concluded July 1st at Ashton Gate Stadium, in Bristol England.

Fall out Boy: Honda Civic Tour 2007

Toronto, ON, June 2nd, 2007

Fall Out Boy has been providing a high intensity show while making their way through North America on the Honda Civic Tour in support of their album "Infinity on High". Production manager David Norman, Andrew Logan (Show Director), and Lighting Designer Alex Skowron collaborated with Vice President of Pyrotek Special Effects Inc. Lorenzo Cornacchia, to assemble an explosive on stage display for the Fall Out Boys North American Tour for 2007.

Through innovative ideas and customized designs, Pyrotek was able to provide a high intensity pyrotechnics show encompassing a variety of effects. Prior to the tour, Rob Liscio (main Shooter) and Jan Sanderse (gas specialist) were hired to carry out the designed ideas, and plans. During rehearsals Liscio, and Sanderse coordinated with Norman, Logan, Skowron, and Cornacchia, to bring the designs to reality. Every show Liscio, and Sanderse, perform match continuity tests to ensure power is being read from the effect to the controllers. Setup time varies from show to show. Depending on the complexity of the show it can take anywhere from 8-12 hours to set up.

As the tour moves from city to city, Fiona Thain, Pyrotek's Production Manager, covers many of the responsibilities to ensure that each individual show is properly registered and meets the local and federal standards. Preparing anything from stage plots, pulling permits with the jurisdictional fire departments, to creating the effects list is her area of excellence. Her communication and relationships with local fire departments are crucial to the approval process for pyrotechnics. She explains, "When setting up on-site product demos for the local fire marshals prior to every show, we have to show them all of the effects that we are planning to use during the show and of course they need to give us their stamp of approval and a permit is issued".

Cornacchia commented, "Each of the pyrotechnic effects are designed to simulate the energetic emotion that Fall Out Boy shows are known for. You will see a number of fireballs, dragons, gerb chases that are designed to be cued in sync with specific riffs or accents of the music". The opening effects are coordinated with a video introduction of the band member's heads being shot off one at a time by a pellet gun. Following the intro a (24) silver gerb chase begins from off stage right and left to on stage center and explodes into a finale cue of (red flame projectors stage and set), hot bursts with report (up stage truss) and concussion as the opening song "Thriller" commences.

Streamer mines pour into the audience and are cued by a concussion effect during there hit song "Sugar". This performance also includes a flame dragon chase bursting to heights of 25 feet tall during the courses of the song. As the show concludes, a spectacular finale waterfall effect occurs from the upstage trussing. The waterfall effect creates a 40 ft wide downwards spiral of silver sparks filling the entire upstage edge. Through the duration of the waterfall, metallic confetti is cued in from four downstage turbo confetti blowers filling the entire stage and venue.

Additional effects included; (19) large Fireballs, (6) flash airbursts, (8) red airbursts, all fire cues of (8) dragonheads, a total of (16) concussions, (13) preloaded white flashes with bang effect, (19) silver and gold glitter mines shooting off the upper trussing and cascading down to the stage, and (13) red flame projectors.

The tour has been receiving enthusiastic responses from the sold out audiences, as well as the critics. The band will continue across North America ending with their final show July 2nd at the Honda Centre in Anaheim California. In the meantime Pyrotek is keep busy fulfilling tours with a variety of special effects as they are also providing support to Christina Aguilera, Beyonce, Meatloaf, Justin Timberlake, My Chemical Romance, Metallica, and Motley crew through the summer of 2007.

Pyrotek Special Effects Inc. Continue Christina Aguilera "Back to Basics Tour" across North America

Toronto, ON, May 20th, 2007 - Christina Aguilera (Back to Basics)

After her impressive performance at the Grammy Awards, Christina Aguilera continued her "Back to Basics World Tour". With the successful completion of the European tour, Christina continued to sell out in North America.

In collaboration with Christina's song titled "Nasty Naughty Boy" Christina invites a lucky audience member to be involved in one of the most exciting, modern stage performances. Lorenzo Cornacchia (Vice President of Pyrotek Special Effects Inc.) collaborated with Butch Allen (Designer) to create an explosive gerb finale to compliment Christina's seductive performance. The selected audience member is tied to a circular wheel named the "Wheel of Death" and is seduced by Christina and her dancers.

A gerb chace starts from off stage right and left and continues around the "Wheel of Death" leading into the finale all fire cue (all chase positions, circular wheel and multi level/truss chandelier). The entire cue consists of 120 silver gerbs in a period of 2 seconds. The show concludes with a customized confetti look as she performs her hit song Fighter.

My Chemical Romance: See the Black Parade

Toronto, ON, April 25th, 2007 - My Chemical Romance

Rodney Johnson, production manager for My Chemical Romance, and I had several discussions regarding pyrotechnics and how it could enhance the band's Black Parade World Tour. We began with early discussions regarding pyrotechnic effects, descriptions, placement, and ideas envisioned by management and the band. Flame cues were a priority requested from production to add excitement to the overall show design.

When a client presents an idea, our goal is to recreate the concept through the design and placement of customized special effects. It is very time-consuming but rewarding when the concept is accepted and comes to fruition in a show environment. As quotes and budgets were being finalized, crews, equipment, and setup were strategically organized.

We work very closely with the video, lighting, and production designers to ensure different departments understand when certain elements must shine at a particular point of the show. Prior to the tour at rehearsals, we spent a few days going through all of the effects to be used. One of our top pyrotechnic shooters, John Arrowsmith, sat with the band, management, and production teams to ensure that the design and cues were finalized and safety would not be compromised. The most important safety step was to ensure that Arrowsmith had a clear line of sight to all effects and performers and constant communication with pyrotechnic spotters. If, for some reason, a performer is ever in an unsafe position prior to the cue, these effects are either left out or the entire cue is not fired. Our motto is: "When in doubt, leave it out."

The effects list for the tour comprises four double-headed dragon units to provide large-scale columns and fireball flame effects to a number of combinations, including for the song "Famous Last Words." In addition to the flaming fireballs, a simulated waterfall effect, created from gerbs, emits a silver spray of sparks cascading from the upstage trussing and dropping 20' vertically by 40' wide across the stage. Stadium flashes are used to create a loud sound blast effect to energize the crowd and emphasize various cues. Finally, a confetti effect is assembled with dragons in the conclusion of the show.

Fiona Thain, our company's production manager, covers many of the responsibilities to ensure that each show is properly registered and meets the local and federal standards. Preparing anything from stage plots, pulling permits with the jurisdictional fire departments, to creating the effects list falls under her area of expertise. Thain's communication and relationships with local fire departments are crucial to the approval process for pyrotechnics. When setting up onsite product demos for the local fire marshals prior to every show, we have to show them all of the effects that we are planning to use during the show, and, of course, they need to give us their stamp of approval to issue a permit. Our shooter will perform match continuity tests to ensure power is being read from the effect to our controller. Setup time varies from show to show. Depending on the complexity of the show, it can take anywhere from eight to 12 hours.

For further information contact:
Jim Schorer Marketing Manager
Pyrotek Special Effects Inc.
P: +1 (905)-479-9991
F: +1 (905)-479-3515
jims@pyrotekfx.com