Page 59 - Lighting & Sound America (December 2019) Magazine

stacked pair of trusses is placed directly upstage of the
large club vibe. We knew we wanted to get fixtures into the impression X4s and ten X4 Bar 20s on the B stage for per-
house to create energy throughout the show.”
The lighting rig, Behm notes, consists of “several truss- The time-coded show was programmed by Davey
es, which have a high trim that frames the stage. A Martinez on an MA Lighting grandMA2, with oversight from
main stage area and two pairs of stacked trusses frame
the video walls at left and right. The original idea was to
hang these trusses away from the stage, to lend more of a
perspective; in the end, we reconfigured them to hang
closer to the other staging elements, creating a more effi-
cient and practical package that could be implemented in
arenas.” The trusses trim out at 58' and are hung with 31
[PRG] Icon EDGEs, 15 [TMB] Solaris Flare Q+ units, and
14 [Elation Professional] Cuepix WW2s. “It was important
that the moving lights we chose for these positions could
provide backlight for performers as well as aerial/beam
effects throughout the show,” he adds, “so we went with a
hybrid fixture that can fulfill both duties. The Icon Edge
does a fine job of cutting through the other action onstage
and has a nice gobo load as well, which came in handy
when creating large, textured looks behind the scenery.
“Moving downstage,” Behm continues, “we have four
vertical trusses comprised of two 10' segments of [Tyler]
GT Truss hung with [Claypaky] Sharpys along with Flares
and WW2s. The intent of these positions was to provide
strong accent looks during the songs, so the Sharpy was a
great choice to punch through the other action. When
combined with the upstage trusses, the Flares and WW2s
on the vertical trusses create a consistent look across the
entire upstage area.”
Two large, static lighting pods are located downstage
right and left. “These positions are loaded with Flares,
WW2s, and Claypaky A.leda B-EYE K20s,” Behm says.
“We have 23 [B-EYEs] per side for a total of 46, hung in an
offset configuration, which allows us to use different selec-
tions of fixtures to achieve unique looks. Though they’re
used for side washes in portions of the show, we take full
advantage of the fixtures’ effects capabilities through pixel
mapping, the beam shaper, and many days of meticulous
programming at the hands of Davey Martinez.”
Three front-of-house trusses extend outward from the
Globe of Death. “Each of those positions has four [Vari-
Lite] VL4000 Beamwashes; we have another four VL4000s
hung on the underside of the automated catwalk in the
house. We were excited to move forward with the VL4000
on the tour, as it has a great gobo selection, zoom range,
and impressive beam characteristics.”
The stage floor is home to more VL4000s. “We have
eight fixtures at the upstage edge, which is a nice back-
light shot for the performers and does a great job silhouet-
ting the Bleacher Preacher structure,” Behm says. “In
addition, we have ten [GLP] impression X4s positioned
around the deck in strategic locations to provide key light-
ing for band members. We’ve also placed four more
formers and to light the Globe of Death as it descends.”
www.lightingandsoundamerica.com • December 2019 • 59