Entec's project manager Noreen O'Riordan comments, "It's great to see the popularity of this tour grow together with the investment in production values. It really proves that there is a huge demand for live shows and that a diverse selection of people want to appreciate legendary and influential music first hand. Apart from that, we're very proud to be part of an absolute top production team and crew."
Entec's working relationship with TAPFS dates back to 2004, when they decided to seriously up the ante in terms of production.
That same year, current TAPFS Production Manager Chris Gadd - universally known as Gaddie - also undertook his first gig for Entec as the tour's lighting and projection technician. His own history with TAPFS predated this by a couple of years when he worked for the original lighting supplier as an aspiring young lampie with big dreams and ambitions.
With the profile of the band growing year-on-year, there has always been constant pressure to ensure that the production keeps pace. Back in 'the day', Pink Floyd were almost as famous for their lighting and visuals spectacle as they were for their music.
Current Lighting Designer Phil White has been weaving his visual magic with TAPFS for around a decade, and as well as recreating some classic rock moments has also added his own twists to help make it an exciting and contemporary live music experience.
Upstage there is a 5m diameter circular truss with a projection screen stretched across the centre, and this is surrounded by 16 x Clay Paky QWO800 Profile moving lights, used for striking effects both shooting across the screen and out from it.
Eight 2-lite Molefeys around the truss point outwards, and the truss is toned with i-Pix Satellites.
Pink Floyd's arch is recreated in this show with 10 x 10ft sections of trussing, each individually flown end-on from a 50ft wide mother grid installed in the venue roof.
Each of the 10 truss sections has a CP Sharpy Wash and a QWO on it together with a 2-lite Mole on the front edge. Four Martin Atomic strobes are placed on four of the 10 trusses.
Flown up in the downstage corners of the space are two compact side trusses each with four Sharpy Washes, used for all the cross stage washes and front key lighting. This position provides a very neat and accurate throw of light.
The front truss is a 50ft length of mini-beam rigged with six Robe LEDWash 600s for the general stage washes, and five Vari*Lite V*L2000s for band keys, plus a V*L 3000 Spot to cover the three backing vocalists.
On the front rail of this truss, four square 4-lite Moles are positioned for illuminating the audience. Also on the front truss is the doubled-up pair for Christie 10K projectors used to feed the centre circle with video content. These are owned by the band and run via a Green Hippo GrassHopper media server.
Guitarist Dave Fowler is heavily involved with creating and managing the video content which is modified regularly to suit the music being played on the tours year-to-year.
On the floor, another eight QWOs are positioned upstage, four in front of the backline and two on each of the risers. There are six Sharpy Washes - three per side - on the front edge of the stage, mainly reserved for high impact during the massive mirror ball moment in "Comfortably Numb", which finishes the set.
Then there are seven Jarags along the front of the stage, utilized for rippling type effects and basic text which can be written across their 5x5 bulb format.
Another four Atomics add to the strobe-tastic factor, and three i-Pix Satellites and four ETC Source Four PARs are strategically placed around the drum kit for the big solos.
Lasers include four 4 Watt TARMs owned by the b
