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  •   Jands Vista Supplied for The Australian Pink Floyd Show South American Tour

Jands Vista Supplied for The Australian Pink Floyd Show South American Tour

14th October 2005

A Jands Vista T4 lighting console was chosen for The Australian Pink Floyd Show's first visit to South America by touring LD and console programmer Phil White.

The Australian Pink Floyd Show are the No.1 Pink Floyd tribute band around the world, receiving acclaim for their show's highly accurate portrayal of the original band's sound and lighting experience.

Lighting Designer Dave Hill chose fixtures to suit the very demanding technical needs of shows, which feature a lot of instant changes and quick movements. To re-create the classic look and feel of the band's legendary light shows, the rig features a circle of light suspended from an outer box truss goalpost behind the band to illuminate the stage in a spectacular wall of light.

Due to a smaller production budget for the band's first visit to South America, and the logistics of shipping the band's tour rig between venues in Mexico, Argentina, Brazil and Malta, the production team decided to source the lighting rig equipment for this leg of the tour from local rental companies in each region.

However, owing to the very cue-intensive nature of shows, which last an average of two and a half hours and feature particular cues built around the long and complex song structures, Phil knew that it would be impossible to build new shows from scratch on the existing tour console if fixture types varied across the four rigs.

Whilst visiting A.C. Lighting, Phil was shown a demo of the Jands Vista lighting console and realised straight away that its generic fixture model was the perfect solution to his needs for this leg of the tour.

On most consoles, changing a fixture type requires re-programming of the whole show to match the replacement light - a job that can take hours. However on the Vista, the console records the actual colours, beam angles and other key attributes, so that when a fixture is changed, the console compares the abilities of the lights and works out how to adapt - even if the new light doesn't have the same attribute.

Phil hired a T4 console from Mark Powell at Bandit Lites Ltd, who had recently decided to add the console to the company's rental inventory in light of growing demand.

Phil commented: "The biggest thing for the shows was that the Vista gave us the extra time - when we needed to update fixtures that day, the option was there. On one day I would have one type of light for the show, such as Vari-Lite VL2402 washes for the circle, then another day I'd need to swap some of these fixtures out for Martin Mac 600s. Without the Vista's generic fixture model it wouldn't have been possible to take such a complex show on the road using different rigs."

Summarising his experience with the desk and A.C., Phil commented: "It was very easy to pick the Vista. What I liked most about it was the fixture swap, the way you could adjust timings easily as you needed to and the visual interface, which makes things like patching, selecting and offsetting so easy when you've got a visual representation of all channels and a fixture pool. It's definitely a designer's desk."

"I was also impressed by the backup that was there for the console from A.C. I knew that if there were any problems, they would be there at the end of the phone to listen and find a solution - this, however, wasn't needed as the desk performed without any problems at all."