The artist is also not keen on haze, so with that parameter in mind and the projection … The choice of fixtures becomes crucial.
He chose Robe LEDWash 600s for his main wash lights because they produce “Nice beams with lots of punch”. He uses them to create pseudo-ACL looks that really suit a lot of the music. He also likes the colour correction of the LEDWashes which is great for “getting old-skool looks when you need them!”
There are 18 x LEDWash 600s in total, eight on the back truss, four on the mid and front trusses and two upstage on the floor.
The back truss also features six Clay Paky Sharpies – which are ideal for punching through in front of the projection screen and there are six Martin MAC 700 Spot moving lights plus two on the mid truss, two on the front, and two on the floor – one on an 8ft high vertical truss tower and the other on the top of a flight case – for height differential. Additionally there were two Sharpies on the floor.
The front truss wash lighting is augmented with six Vari*Lite V*L 2000 Washes, with another two downstage left and right on the floor for low level front cross lighting – which are very effective.
Anderson decided there should be no follow spots on the tour, which helps with the video cutting through … and also means that he has to be a little more choreographed and stand on his marks at the appropriate moments as his fans are all keen to see him!
The whole rig is asymmetrical which brings a fresh dynamic into play with everything at odd and quirky heights and angles.
Wheatley is using a ChamSys MQ100 console to control everything and his crew are Entec’s Sudip Shrestha and Steven ‘Sven’ Jolly, whom he describes as “Absolutely top guys”.