This is the first in an ongoing series that highlights WORKING LDs in the industry. Its purpose is to bring to you awareness of some of the outstanding individuals working out there in the field with you, how they got their start and what they‘re up to today.

If you know of a WORKING LD that you feel should be recognized for his or her talent and contribution to the world of Entertainment Technology… yourself included… please forward the necessary contact info on to me, ROBERT CHAMBERS, Editor, PSW Lighting Section at robertc@prosoundweb.com.

And with that said – lets meet our first victim, Dino DeRose who just came off tour with Widespread Panic.

Dino DeRose

What about the magical world of lighting interested you and how did you get your start?

I have been working in lighting professionally as a Designer/Director since 1975 where I was based locally in Cleveland, OH. My first real job was working for TASCO lighting crew and Earth, Wind & Fire from 1979-1985.

What would you consider your first big break into the industry?

Since 1985 I have been both operating and designing. My first full LD job was working with Eric Clapton in 1986. Since that time I have also worked with KISS, Deep Purple, Megadeth and now Widespread Panic for about the last year or so. I have worked specifically with Icons, Vari*Lite and various other boards and equipment.

What were some of the major events you’ve worked on?

I also worked on the NFL Experience in Atlanta 1994, The Georgia Music Awards in ’94 and ’95. I filled the role as Board Operator for the Apple Computer Trade Show in 1994 as designed by John Osborne.

This band has no pre-programmed set list and no song is played the same way twice, therefore everything is totally live and original. I have to build upon basic color schemes, specific foci and manually operate the entire system. It’s a great learning experience having never operated the same show twice with these guys. They also do not tend to move a great deal around the stage.

Do you own your own gear? Are you are an independent LD or are you affiliated with a company or venue? Why?

On this 2001 tour with Widespread Panic we use gear provided by Light Sound Design of Atlanta, GA and all our Icon lights come from Nashville.

On this tour our crew consists of three guys: a Dimmer Tech/Electrician, Crew Chief and Icon Technician. We used the same guys on tour last year. We rent each rig of gear for the tour ahead of us only.

Is there anyone person or show that inspired you or motivated you to continue in the field?

I learn from asking questions and gathering information from my peers. Comar on the East Coast, who produce the Super Sycs provide a great deal of information for their product. I do not attend other shows to watch others’ work, I want my work to remain 100% original and never wish to be accused of copying others.

What is your technique to ward off ‘gig-butt’?

(Dino chose to refrain from revealing his personal method… basically taking the 5th… a real class act)

What was the most difficult gig you’ve ever done? What do you find challenging?

Each venue produces different challenges. At the Greek Theater this year we had no rigging points, there simply are not any in that venue. I was able to place a number of the lights in other areas on the open stage and still utilize 100% of the gear. At the Beacon Theater I was able to cut down the size of the box truss to adjust to exactly what I needed.

What are different types of gigs you’ve ever done?

What I like best is creativity. I have worked on a number of corporate events. You can do a lot at these events with different levels of brightness, but not color. It does not remain a flexible environment for lighting.