AVL WorldNews

HSL gets hysterical for Def Leppard

Rock legends Def Leppard continued their “Hysteria” tour in UK and Irish arenas, celebrating 31 years since the release of their seminal Hysteria album. HSL supplied lighting equipment plus rigging – with over 100 motors including a 25-way Kinesys automation system – to the tour which features a striking lighting design by Kenji Ohashi. The lighting and rigging – which also included supplying motors for video and PA – was coordinated
for HSL by Jordan Hanson. Like any self-respecting ‘metal’ band, there was a steelyard of trussing and metalwork in the roof which provided lighting and video positions as well as an architectural element to the performance. There were five straight runs of trussing, three of which were each split into three sections with all nine of these moving on the Kinesys system to create a range of different imposing structural looks. All the trussing was HSL’s pre-rig and populated with six main types of fixtures. The primary wash fixtures were Vari*Lite VL3500 Wash FXs and the main profiles were Claypaky Scenius Unicos (with the shutters), and these were joined by CP Sharpies for the beams, GLP JDC1 LED strobes, CP A.leda 20s with B-Eye lenses for additional washes and soft key lighting, and blinders which were CUEPIX Blinder WW4s from Elation.

Amounting to over 200 fixtures in total, these were densely populated on the trusses, and on the floor were another 12 x Sharpies and 12 x Martin MAC Viper Profiles. In addition to these, ten Robe BMFL Spots rigged on their own truss were utilized as follow spots, all run via five operators – positioned side stage – using the Follow Me control system. The operators controlled the pan/tilt parameters of the spot movement – with two BMFLs assigned to each band member, while Kenji had control of iris, colour, dimmer, etc., through his grandMA console which was running multiple protocols including MANet and SACN as well as ArtNet for the Follow Me system. All the trussing and screen movement was achieved utilizing a mix of one and half-ton motors with Kinesys Elevation 1+ drives and Vector control. They also use Kinesys in the US where the vendor is Upstaging. The upstage screen was hung on seven 2-tonne motors, and the L-Acoustics PA took 24 motors alone. Audio was supplied via a combination of Sound Image kit from the US with racksand-
stacks from SSE in the UK. Sound was mixed by FOH engineer Ronan McHugh.

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