"It's great to work with Davy again," says HSL's project manager Mike Oates. "He has a very creative eye and can make an expedient sized rig go a long way."
It was Sherwin's first tour with the band and his design was based on exploring the mixing of different qualities and textures of light emitted by LED and tungsten lightsources.
Upstage were four Litec wind-up towers at different heights, with a total variation of about a foot. These introduced form and architecture to the stage. Attached to the top of each of these was a 2m section of truss, each rigged with two Robe ColorWash 700E AT moving lights and four Showtec Sunstrips - with 10 individual channels of MR16 lights. Two of the Sunstrips were mounted vertically and two horizontally per tower, symmetrically hung but at different heights. Each tower also featured a bar of 4 PARs with narrow bulbs, focused ACL style. The PARS on the two offstage towers were all fronted by ChromaQ scrollers.
On the floor were six Robe ColorSpot 700E ATs, four positioned along the back and two at the side of stage for front cross lighting. These were used for powerful back light and aerial effects.
The main onstage effects lights consisted of a row of six i-Pix BB16's, just behind the backline, blasting through for seriously high impact LED effects. "They are great for specials and also as a general wash light," Sherwin says.
The front truss consisted of two bars of 6 PARs with medium flood bulbs, four Source Four Profiles and six 2-lite Moles. HSL supplied a new Avolites Pearl Expert to run all the lights, and a PixelDrive pixel-mapping computer to run video inputs into the Sunstrips.
(Jim Evans)
