MAKING LIGHT OF THE DARKNESS
A.C. LIGHTING SUPPLIES THOMAS BROADWAY TRUSS TO NEG EARTH LIGHTS
AND LD ROD CLAY FOR THE DARKNESS' UK WINTER TOUR
A.C. Lighting supplied Neg Earth Lights with the Thomas Broadway Truss back wall lighting and much of the other lighting rig equipment used on the recent 14-date UK arena tour by The Darkness. The spectacular show took four days of pre-production and a further two days of rehearsals to create before kicking off in Glasgow and climaxing with three nights at Wembley.
For the ambitious stage lighting rig, LD Rod Clay required a dramatic backdrop to complement the band's very theatrical performance style and provide effects for the more 'epic' songs in the band's set list. Clay specified a Thomas Broadway Truss system originally racked with seven rows of 10 High End Studio Beam PCs to create a dramatic wall of light. Neg Earth Lights used custom clamps to join the Truss structure, which was flown on three 2T CM Lodestar Chain Hoists. The extensive rigging was assembled by tour rigger Tony Maxwell and his team.
Commenting on the Truss, Clay said: "I've used the Broadway Truss before so was happy to specify it on this tour. For the Wembley gig we wanted to create a wider look on the stage and the Thomas system is very flexible, enabling us to reconfigure the original design of 7m high x 8m wide to a 3m high x 16m wide span (consisting of three rows of 20 Studio Beam PCs). The Truss wasn't used for the first four numbers, but was used to full effect with a pyro waterfall and Elevation 1+ pods on 'Growing On Me'. The effect was stunning and the crowd loved it."
Due to the high profile of the tour and the scale of lighting rig being used in the arena-size venues, Clay required a very powerful console from which to run the show. After considering various desks, he decided to make the tour his first outing with an MA Lighting grandMA console after being impressed by its powerful features, proven reliability and speed of programming during a demonstration by A.C. console specialist Neil Vann. Clay had full peace of mind using the desk for the first time, knowing that Neg Earth Lights and A.C. would be providing full 24-hour technical support for the desk in the event of any queries.
Neg Earth Lights supplied two GrandMAs for the show, which were synchronised via Ethernet link to provide eight DMX universes for the main stage lighting rig. Two Hog II consoles were also used by second operator Gavin Norris for controlling the separate audience rig, which extended approximately 20 metres either side of the stage. A Kinesys Elevation 1+ control system consisting of four moving Pods, controlled using 20 double braked Liftket chain hoists and Vector software, was also provided by Neg Earth Lights and operated by Barry Branford.
Other lighting rig equipment provided by Neg Earth Lights included various lengths of Thomas Supertruss, 180 Thomas Par 64s, four Robert Juliat Athos 18¡ to 38¡ 1.2kW Profiles, 22 Thomas 8-Lites with DWE lamps, 48 Thomas Par 64 Floors, 24 ML16s, 66 Martin MAC 2000 Profiles, 32 Martin MAC 2000 Washes, 16 Martin Atomic 3000 Strobes, four Reel EFX DF50 Diffusion Foggers, 11 Colour Scrollers, four Robert Juliat Ivanhoe 2.5kW Follow Spots and five Strong Gladiator 3kw Follow Spots.
A.C. Lighting has also supplied leading event lighting design company DBN Lighting with a Jands Vista lighting console and 80 Chroma-Q Color Block LED fixtures for use on in-house production rentals.
Pete Robinson, DBN Director and Lighting Designer for a recent event for production company Reflex Communications, said: "As soon as I saw the desk I knew that I had to use it on this show instead of my current desk, as the Vista's unique timeline features fitted perfectly with the requirements of my design. It's the most exciting development in lighting in the last 15 years bar none - even rotating gobos in moving lights!"
Similarly, during a demo of the new Chroma-Q Color Block, the quality of colour depth of blue produced by the units was more than any other LED product in DBN's rental stock. Impressed by the superior colour mixing options the product offered and also the brightness of the fixtures, Robinson also used 60 Color Blocks on the show.