Site Information

 Loading... Please wait...

Clay Paky News


Claypaky and ADB took part together at Integrated Systems Europe (ISE), the largest event devoted to integrated audio-video systems in the world. The four-day annual event took place at RAI Amsterdam in the Netherlands from 6 to 9 February.

The two companies are part of the international Osram group and are pursuing a common design programme for the development of stage lighting products featuring advanced technology and performance, while maintaining the peculiarities of each brand.

Pio Nahum, Claypaky CEO
said: "Claypaky and ADB together offer one of the most complete packages in today's entertainment technology industry, including static and moving-head lights with LED, halogen or discharge lamps, as well as lighting control equipment, and dimming and networking systems. It is a range of complete solutions for any type of project: television studios and theatres of all sizes, corporate events, congress halls, multi-purpose spaces, retail environments, places of worship, cruisers and theme parks. The products offered by the two brands are perfectly complementary, and cover the whole spectrum of needs of people who work in the lighting field. For this reason, we deemed it essential to take part with a joint booth at an exhibition devoted to system integration".


is a LEDspot Profile featuring a white LED engine with high luminous efficiency, total power of 900 watts and luminous flux of 46,000 lm (24,000 lumen output). It is coupled with a system of dichroic filters to create the colors. Thanks to its considerable light output, the Claypaky Axcor Profile 900 goes straight in at the top of its category and features the best in modern technology in every parameter: the characteristics of the white and colored light it produces, its ability to form perfectly sharp projections, and the precision micro-mechanics of its exclusive beam shaping system.

is a LED wash light which provides total control over the quality of all forms of white and colored light. The new HCR technology used in the K-EYE is an exclusive electronic platform developed by Claypaky in conjunction with Osram. The heart of the K-EYE HCR wash light is a LED light source consisting of a module with six colors: besides the three “classic” basic RED, GREEN and BLUE colors, Claypaky has added AMBER, CYAN and LIME. This exclusive Claypaky device provides a very wide color range with excellent color spectrum coverage and an extraordinary CRI >97, up to 99
Static HCR versions, manually adjustable on 210° tilt, are also available. They are intended specifically for backdrop wash illumination, offering the same optical, electronic and lighting characteristics as the moving versions, including a motorised 7°-53° linear zoom.

The new AXCOR 300 family of moving LED fixtures brings Claypaky’s no-compromise quality and performance to the broad mid-market. Now, more designers than ever before can achieve their biggest ideas. With a physical size, power consumption and price-point that disguise their strength and creative potential, the Axcor 300 range enables a new world of expression in touring, events, TV, theatre and installed lighting markets.

is an innovative Claypaky beam-wash light, which encloses all the most advanced optical, mechanical and electronic technology, in its highly compact body. The light is built around a bright 440W Osram lamp, and features a 5-40° zoom which provides a bright wash effect even at maximum beam angle. The color production system is baned on a CMY color mixing consisting of three wheels entirely devoted to producing single colors. Thanks to its 185 mm diameter plano-convex front lens and its narrow 5° beam angle, it can produce a sharp, full-bodied beam, which may be used for striking aerial effects with saturated colors.

Technical Supply Japan appointed as Claypaky and ADB distributor for the Japanese market

Professional entertainment lighting manufacturers Claypaky and ADB have appointed Tokyo based Technical Supply Japan, founded in 1986 as a supplier/installer of specialty lighting equipment to the touring, theater, theme park, TV, film and architectural markets, as their exclusive distributor for Japan starting from March 1st, 2018.

Japan is a country well known for its high industry standards and top quality infrastructure – Tokyo will host the Summer Olympic Games in 2020 – playing a constant leading role both technologically and culturally speaking. To fulfill the requirements of this demanding market, Technical Supply Japan has been carefully selected due to its excellent record and long history in serving Japanese customers at all levels.

Alberico D’Amato, Claypaky & ADB Head of Sales, comments: “Claypaky and ADB have so much to offer to the Japanese market. The dedication we put in the design and quality of our products matches exactly the philosophy of attention to detail Japanese people have. Working with utmost professionalism I foresee the achievement of our mutual goals.”

Alfonso Zarate Takano, Claypaky & ADB Sales Manager for APAC, adds: “Claypaky and ADB products are second to none, and I truly believe that the Technical Supply Japan team has the knowledge and capability to bring up both brands to their maximum potential. I look very forward to starting our activities together.”

Claypaky adds immersive impact for Czech superstars Kabat

Czech Republic – 2018 signalled the end of the record-breaking nineteen-date ice arena tour across Slovakia and Czech Republic by rock music legends, Kabat. The multi-platinum selling Czech band stunned audiences with an in-the-round show design, complete with 360° stage, wrap-around video screens and a high-impact light show powered by the cutting-edge technology of Italian lighting manufacturer Claypaky.

Lighting and show designer Radek Havliček of production company Pink Panther Agency s.r.o, was responsible for the tour’s lighting and production design. Marking nearly two decades of creative partnership between Pink Panther and Kabat, Havliček’s latest design stunned audiences with its immersive flair and sophisticated use of space.

“The tour’s stage spreads across most of a regulation-size ice hockey rink,” explains Havliček. “It was the biggest stage that had ever been used on tour by a Czech band and included four pits or ‘pools’ for the most dedicated fans. For those within the ‘pools’ the band was literally surrounding them. In fact, most of the audience felt included - or immersed - in the show. It was not happening ‘out there’ or ‘down there’, it was happening all around.”

Using WYSIWYG, Havliček designed and coordinated the production’s large-scale light show. The design centralised around a central 360° drop of four concentric circular trusses on Cyberhoist motors. LED screens faced each truss to partially mask the mix of Claypaky Sharpy, Claypaky A.LEDA Wash K10 and Claypaky Alpha Spot 1200 that provided the lighting from the show’s centralised column.

“For this show it was ‘go big or go home!’” says Havliček, “The 360° design was a great solution as it shortened the distance between the sitting and standing sections of the auditorium, making it possible to use the full seating capacity in each venue. The design also presented us with a technical challenge that we enjoyed. I selected the Sharpy, A.LEDA K10 and Alpha Spots because they are all able to produce a very focused and accurate beam, I found them the best products for this show.”

Stationed below the circular trusses was the show’s main stage with its central drum riser. Set on a rotating circular base, the riser was lined with Claypaky’s award-winning LED hybrid light, the Claypaky A.LEDA B-EYE K10. Havliček selected the B-EYE K10 for its very narrow optics when used in ‘Beam Mode.’

To complete the 360° theme, Havliček devised a further four circular mini-stages, branching off from the central drum riser and connected to each other by an outer circle gangway. The design created four ‘pools’ inside the outer circle of the stage, where lucky ticket holders were literally within the performance area. Above each mini-stage, Claypaky Alpha Beam 1500 and A.LEDA K10 fixtures were rigged on a corresponding circular overhead truss.

“The Alpha Beam 1500 is a great fixture that produces a very dominating beam,” says Havliček. “It has high quality colours and optics. Kabat has been a staple of the Czech rock scene for over a quarter of a century and are considered a top-of-the line act by many so their audience expects no less from their shows and tours. Our goal for this tour was not only to meet, but to exceed, those expectations. Next year – we will make it even bigger!”

The Kabat tour took place from 11 November to 28 December 2017.

The Axcor 300 range brings Claypaky high quality to the mid-market

Launched at the LDI exhibition in Las Vegas in November 2017, the brand new Axcor 300 LED fixtures from Claypaky bring the Italian manufacturer’s renowned, no-compromise engineering and performance quality to a wider spectrum of shows and budgets than ever before.

Together, the three cost-effective, yet powerful and compact moving head LED fixtures in the range - the Axcor Spot 300, the Axcor Beam 300 and the Axcor Wash 300 - offer a complete, fully-featured toolkit to lighting designers working in the broad mid-market of stage and studio productions. At the same time, they present an attractive commercial opportunity for rental operators worldwide, as a finely engineered, versatile equipment choice which meets the requirements of the widest range of productions and applications.

With quality and consistency at the forefront of their design, the Axcor 300 fixtures utilise a white LED light engine, with the equivalent rated power of a 300 watt discharge lamp fixture. As a result, each fixture complements the others in terms of light quality and advanced color characteristics, while at the same time being meticulously engineered for its specific role.

In true Claypaky style, there is no compromise on the professional features offered by the fixtures, while Claypaky’s color technology accurately reproduces a broad spectrum of hues, giving designers all the advantages of choice and control, with the consistency and reliability required of professional lighting tools.

The Axcor 300 range’s suitability to such a wide variety of applications is further aided by the fixtures’ compact and lightweight designs, which make them an ideal choice for use in theatres, television studios or smaller venues where space is limited, or where weight restrictions may exist. In addition, their low heat emission means they can be used in tighter spaces, and in closer proximity to set pieces and other fixtures.

Pio Nahum
, CEO of Claypaky, says, “We are delighted to offer these excellent tools to such a wide range of designers and applications, and to bring the quality, features and performance for which Claypaky is respected worldwide, to a far greater number of users. The Axcor 300 family delivers so much more than you might expect considering its size and price. Looks really can be deceiving!”

Claypaky’s Axcor Profile 900: the apex of LED Spot performance

The Claypaky Axcor Profile 900 is the most advanced LED profile spot on the market. It utilises the very finest components throughout, from its color system to its pin-sharp optics and the high precision micro-mechanics of its beam-shaping system. Its powerful and highly efficient 880W white LED light engine achieves 46,000 lumen (24,000 lumen output) with a 6,500 K color temperature, while an optional high-CRI (>90) light engine produces 34,000 lumen (17,500 lumen output) and a 5,600 K color temperature.

Thanks to meticulous design and development work, Claypaky has been able to produce a high performance LED fixture with a light emission comparable to a previous generation 1500W fixture (the most powerful available) but with a power consumption of around 1 kW.
The beam produced by the Axcor Profile 900 is dense and evenly distributed for the entire length of the beam, at any beam angle in its zoom range of 7-40 degrees, and its CMY color mixing system uses gradual-insertion dichroic wheels, supported by a linear CTO correction device, to produce perfectly smooth transitions between colors. In addition, a separate color wheel carries six carefully selected professional color filters, including a custom-designed CRI enhancement filter.

The Spot-Profile device produces a perfect projection and achieves the highest quality light beam currently obtainable. The patented framing system works on four different focal planes and can generate sharp shapes of different sizes and proportions. The system is not affected by any shaping distortions even at wide beam angles, where significant distortions normally occur.
The Axcor Profile 900 also provides lighting designers with a perfect projection and an extremely versatile effects package. Features include 6 interchangeable high-definition rotating gobos, an animation wheel, a four-facet rotating prism, two variable frost options and an iris with multiple built-in macros. The 16-bit electronic dimmer enables smooth transitions, while its completely flicker-free performance and low-noise cooling system makes it ideal for television use, as well as for the highest level of live events and concert touring productions.
When exhibited at LDI 2017 in Las Vegas in November, the Axcor Profile 900 was awarded the Gold Star Product Award for ‘Best New Hard Edge LED Spot’ by US-based lighting and production magazine, PLSN. The Gold Star Awards aim to recognise a product’s quality, innovation and ability to expand the technological boundaries of live event production. The PLSN Awards judges said the Axcor Profile 900 offered more options to the user than all the other luminaires submitted by other manufacturers, and was “the best in its class.”

Claypaky CEO Pio Nahum
says, “As our very first LED spot fixture the Axcor Profile 900 sets a new course for Claypaky, and we are proud to say it is the finest LED spot fixture on the market. This is an achievement which underlines our absolute commitment to enhancing the art of lighting and we look forward to seeing what our friends in the lighting design world can achieve with it!”

Flume Plays Red Rocks with Claypaky Fixtures

When electronic music producer Flume returned to Red Rocks in July, a large complement of Claypaky Sharpys and Sharpy Washes helped the Grammy winner light up the iconic Colorado amphitheater.  Brown Note Productions provided the equipment.

Flume, the professional name of Harley Edward Streten, enjoyed a successful Red Rocks debut in 2016.  This year he added the date to an already impressive American tour during which he headlined at Bonnaroo, CRSSD and Electric Forest.  Flume, who won a Grammy for Best Dance/Electronic Album for his second LP, “Skin,” is regarded as the pioneer of future bass.

For Red Rocks, and for Flume’s ongoing tour, Lighting Designer Stu Dingley was charged with creating a design that reflected the musician’s new and unique musical sub-genre and helped deliver “an experience [for the audience] that left a lasting identity to associate with Flume and his brand,” he explains.  “It had to be thoughtful and precise without falling into anything too cliché EDM.”

Production Designer Rob Sinclair
crafted the scenic elements of neon-lit glass cubes and booth working alongside Creative Director Jonathan ZawadaChris Ruppel was the Lighting Crew Chief. Joel Eriksson was the Production Manager.

Dingley used 46 Sharpys for Red Rocks, a light he calls “still one of the best beam fixtures out there.  It’s exceptionally fast, it has a beam with an even continuity and it retains its position information well.  The simple lens arrangement in the optical chain keeps it looking crisp, and the prism cleanly chops up a gobo without distorting the image.  It also has the advantage of being in almost every festival rig around the world, so any subtle programming retains perfectly.”

Dingley positioned 16 Sharpys on the floor forming two horizontal lines at offset heights backing the artist.  Thirty more were mounted overhead and kept in reserve for heavier electronic moments in the show.

He also used 36 Sharpy washes, a fixture that Dingley says “proves that discharge washes haven’t quite been replaced by LEDs yet.  The Sharpy wash has beautiful color mixing and is a real breath of fresh air compared to the current saturated use of LED fixtures.  It feels somewhat old school and familiar but with a modern twist.”

At Red Rocks he deployed four of them as side key lights and 32 overhead.  While the floor package at Red Rocks was the same as that on Flume’s tour, the overhead fixtures are only used for headline shows.

At Red Rocks, “a large part of the design used spots and colored strobes.  We wanted to avoid drawing too many parallels to the EDM world so we kept the overhead beams in our back pocket for the sporadic EDM-esque drops to pair with the vast shift in music and really attack the audience.  Some of the musical drops were almost tongue in cheek to the other EDM acts out there, so we wanted to prove we could flex when asked to!”

Dingley says the Sharpys are “very consistent and bright.”  During Flume’s American tour the fixtures travel on pre-rigged truss “with very few issues – it’s really important for the show to preserve as much time as possible for the scenic build, so being able to retain the fixtures’ position after being powered off from the previous night’s focus is invaluable.  A lot of beam fixtures aren’t so good at that.”

A.C.T Lighting is the exclusive distributor of Claypaky products in North America.

Francesco Romagnoli, Claypaky Area Manager for North and Latin America, added, “It’s festival season and we’re happy to see our fixtures appear on so many stages.  The Flume team are all great artists and we were glad to be a part of the show.”

Claypaky Sharbar has the ‘Global Spirit’ for Depeche Mode

The Claypaky Sharbar, a versatile, multi-beam baton lighting effects fixture, is being used to deliver an important element of the retro-style stage lighting package for the current ‘Global Spirit’ world tour by record-breaking British rock-band, Depeche Mode.

Responsible for the tour’s bold, asymmetrical lighting design are Sooner Routhier and Robert Long, co-founders of production design company SRae Productions. The company has an enviable track record in concert lighting design, having worked with high-profile artists including Rihanna, Audio Slave and Nicki Minaj.

“Depeche Mode’s management team asked Robert and I to design the lighting in support of Anton Corbijn’s production design for the tour,” says Routhier. “Anton sketched out what he wanted on a piece of paper and held it up to the camera on one of our Skype calls. We quickly re-sketched it on our end and began the drafting process with our technical director, Matt Geasey.”

Corbijn’s artistic concept centred around the sleeve artwork of Depeche Mode’s ‘Spirit’ album. Routhier and Long worked with Geasey to draft Corbijin’s set design featuring a large, rectangular video wall upstage, with a ‘flag pole’ of video and light that extends out into the audience. For the tour’s flown lighting package, Corbijn was keen to keep an ‘industrial’ theme to the rig’s appearance.

“Anton’s requests led us to design an asymmetrical lighting rig above the stage,” says Routhier. “We decided, with all the clean lines of the staging and the rectangular video wall, that we wanted to mess things up a bit with trussing and lighting in an asymmetrical set-up.”

The production’s rear video wall, approximately 52’ wide x 28’ high, is designed to cut off just above the band’s head height on stage. Routhier and Long were therefore faced with the challenge of how to extend the content of the video wall down and out across the stage, but without having the bottom third of the screen obscured by bodies and equipment.

“We used the Sharbars to extend the video wall’s content to the base of the stage,” says Routheir. “These fixtures are able to match the colours in the video content and provide the backlight for the band without being distracting. The Sharbar’s ability to create amazing effects was realised through the clever programming of our associate lighting designer Brian Jenkins.”

The Sharbar features six individual motorized units, each double mirrored and surrounding an OSRAM Ostar RGBW LED light source. The arrangement allows for completely independent control of the fixture’s six light beams.

“Robert and I love the look of the mirror lens on the front of each LED unit,” says Routhier. “It has an almost retro nature – like old school raylight packages. This, coupled with the retro feel of the rest of the lighting rig, gives the show an industrial and vintage aesthetic.”

The tour’s lighting director Manny Conde is currently on the road with the band and has been working with the production’s 40 Sharbar units almost non-stop since the tour began in May.

“The Sharbars have been great!” says Conde. “Through all the rain and weather we’ve gone through in the last three months in Europe I have never had a unit go down. I am looking forward to the rest of the tour with them.”

According to Routhier, the team expected nothing less than the high standard they are used to from the Italian lighting manufacturer.  She says, “I use Claypaky products because of three things: the colour mixing, the lens quality and the optics. In fact, the first ever moving light I programmed was the Claypaky Golden Scan!”

Depeche Mode’s Global Spirit tour is currently completing its American leg before returning to Europe. The second European leg begins with a show at the 3Arena in Dublin, Ireland.

Providing the lighting for the worldwide tour is UK rental experts, HSL Group Holding Ltd. Claypaky products are available in the UK and Ireland from the company’s exclusive distributor, Ambersphere Solutions.

Lighting Design: Sooner Routhier and Robert Long (SRae Productions)
Associate Lighting Designer: Brian Jenkins
Lighting Director: Manny Conde
Production Design: Anton Corbijn
Technical Director: Clear All Visuals
Rental: HSL Group Holding Ltd.

Scorpions Conclude North American Leg of Crazy World Tour 2017 with Support from Claypaky Fixtures

NORTH AMERICAScorpions, the multi-platinum German heavy metal band, has wrapped the first North American leg of the Crazy World Tour 2017 with Megadeth.  A large complement of Claypaky fixtures hit the road with the legendary rockers.

The North American leg’s September and October dates included a performance at New York City’s Madison Square Garden, the first time the band played the iconic venue since 1984.

Lighting and Show Director Manfred Nikitser
, of Manfred Nikitser Show Lighting, designed a “classical rock show” with “big, strong looks” guaranteed to please audiences who expected “a good rock show.”  He created a “clean overall look with big LED screens, thrust and ego risers plus a massive angled stage set.  My intention was to meld lighting and video, so LED screens were a lighting element that actually immersed the stage with saturated color” for some songs.  “Live camera integration was a big part,” too but clean camera feeds were always manipulated in some way to give a cohesive look to the on-stage VFX.

Nikitser was also challenged to create a show that could be easily adapted to different continents and countries with varying venue sizes and technical standards.  “The show design has to use elements we can get in every country,” he says.  The band carries the stage set, angled LED screens and drum riser while rigging, motors, truss and lighting are obtained locally.

Nikitser selected Claypaky Scenius Spots, A.leda B-EYE K20s and Sharpy Washes for the tour.

He specified 58 Scenius Spots as his main effects lighting fixtures.  “I was very excited coming to the rehearsals and firing up all fixtures for the first time and seeing the overall impression of the rig with the LED screens,” Nikitser recalls.  “I have a pretty good feel for how things look and can tell within seconds if a fixture delivers or if it is a compromise. When I saw how everything worked together I was really satisfied.  The strong saturated colors of the Scenius, the brightness with even the widest zoom, and the speed of the effects was very impressive.”

Nikitser used 36 B-EYE K20s on the side ladders that finished off the giant LED screens.  “After trying different fixtures types, LED washes did the best job.  They are also great even if there is little smoke.  With smoke you have the classy, soft side wash looks, but you can also have strong, sharp narrow focuses.”

He calls the K20s “kind of an industry standard when it comes to LED washes: The brightness is good, the zoom is good and the light quality is awesome.  I like the fact that the LEDs are color calibrated, and I can run them in a regular CMY wash mode.  That is an important feature to me since I don’t want to look after an extra white channel.”

Seven Sharpy Washes rounded out the Claypaky fixtures.  They were positioned under the scissor-lift drum riser, which came into play for the drum solo.  “The lift went up, it had a row of LED panels installed and behind them the Sharpy Washes were hiding,” Nikitser explains.  “Their main purpose was effects lighting for the drum solo, to dramatize the flying out process.  Although we tried different fixtures here, nothing was comparable to the Sharpy Wash when it came to size and brightness, effects and moving speed, and also power and weight.  We couldn’t use a big fixture because the weight adds up and the lift has to push too much.  There also was limited space and the drum set had to hide behind the LED riser masking.

“The output and punch of the beam was just incredible,” he adds.  “There was no other fixture in my eyes that fulfilled these requirements.”

A.C.T Lighting is the exclusive distributor of Claypaky products in North America.
Francesco Romagnoli, Claypaky Area Manager for North and Latin America, added, “The Scorpions are a great classic band and it’s very gratifying to see them use fo many of our fixtures on this tour.”

Gorillaz ‘Got the Power’ with Mythos2 on Humanz World Tour

Worldwide British ‘virtual band’ Gorillaz have headed out on their much anticipated worldwide Humanz tour with a bigger than ever light and video experience. Delivering the tour’s sophisticated light show is lighting designer Matt Pitman who this year has expanded his rig to include the Claypaky Mythos2.

Having worked with Gorillaz for a year, Pitman is experienced in delivering shows sensitive to the band’s large projection element. This year the designer wanted a workhorse lighting fixture that not only delivered on power output but also provided sophisticated colour palettes to complement the on-screen animation, developed by award-winning comic artist Jamie Hewlett.

“The Mythos2 was one of the first fixtures to be drawn on the lighting plan,” says Pitman. “I have always been a fan of its colour temperature, it has a lovely illuminance and sparkle to it. We use an extremely wide colour gamut for the Humanz show and the Mythos2s keep up brilliantly.”

Pitman, who is a self-proclaimed “huge Gorillaz fan” worked closely with lead singer Damon Albarn, Hewlett and London-based set and environment designers, Block 9. “For the Humanz tour I was tasked with designing a light show that felt relevant to the landscape and style of the new Gorillaz artwork,” says Pitman. “The graphics are heavily influenced with grids, tiles and heptagrams, so I allowed this to be the basis for the lighting design”.

Designing lighting to keep up with the dynamic stories and messages of the on-stage animation was a key focus for Pitman, “I had to ensure that the entire rig contained fixtures that gave me as much flexibility and colour range as possible,” he says. “As well as colour, the Mythos2 has a powerful output that provides me with not only strong beam looks against the projection, but also wide gobo looks. We needed this versatility as the show lighting is quite unconventional at times and extremely theatrical at others.”

Pitman specified 36 of the fixtures overall rigged on the onstage trusses. “When specifying a fixture I always look at the more difficult colours first,” he explains. “Even in orange, out of focus or dimmed with a gobo, the Mythos2 still has a uniform colour output. The fixture’s mixing bulkhead is also fast enough to keep up with the colour snaps in the show!”

The global availability of the fixtures was also an important factor in Pitman’s specification. “When designing for a world tour, it’s important to be realistic about what fixtures you’re going to be able to source. Claypaky is available nearly everywhere and the global network of available Mythos2 rental houses makes it the only fixture of this type that is easy to find across the world.”

“It was only ever going to be a Mythos2, no substitutes,” he says. The Gorillaz Humanz tour played its last UK date at the 02 Arena in London on 5 December before heading across the Atlantic to Uruguay for its South American run until 30 March. The tour then returns for the festival season, kicking off with Sonar on 14 June in Spain.

Fall Out Boy Ramps Up for the “Mania Tour” With Their Largest-Scale Production Ever Including Claypaky Mythos 2 and A.leda B-EYE K20 Fixtures

NORTH AMERICA – Fall Out Boy has embarked on their sold-out arena “Mania Tour,” whose North American leg kicked off in Cleveland in October and wrapped in Phoenix in November.  UK dates will follow in the first quarter of 2018.

The rock band has had five consecutive Top 10 albums.  The new tour, in support of their “Mania” album due out in January, features hip hop artist blackbear and actor-rapper Jaden Smith.

The size and scope of the “Mania Tour” marks “the next chapter in the band’s history,” notes Production Designer Robb Jibson of Chicago based So Midwest, Inc.  “It’s a much larger endeavor than previous tours with lighting, scenic, pyro and visuals.  We had 14 trucks in the first load out and hope to get that down to 12.  Typically, we’ve had six to eight trucks in the past.”

Large numbers of Claypaky Mythos 2 and A.leda B-EYE K20 fixtures play key roles in the lighting rig with Jibson showcasing their versatility throughout the show.

The overall concept for the tour is “very clean, symmetrical and linear,” says Jibson, with “no set on stage.  The ‘Mania’ visuals for the record cycle are very linear and the show mimics that.”

Complex staging adds dynamics and keeps the band moving from the main stage down a thrust to two additional automated stages – all in one linear plane from the downstage edge.  The content deign makes extensive use of LED video to display hand-drawn illustrations, found live-action footage, CGI animations and IMAG content.

Fall Out Boy opens their show on the main stage, which spans the arena and is backed by a (18 Meter x 6 meter) LED screen.  Band members run up and down a 100-foot thrust in the middle of the arena that terminates in a 16x16-foot B stage.  At one point the band vanishes from the main stage and is shuttled, in the dark, under the thrust.  Drummer Andy Hurley and lead guitarist Joe Trohman emerge atop a stage nested within the B stage, which rises 12-16 feet in the air. LED fascia trim the elevated B stage and display video content.

An approximately 15 square-foot elevated cube downstage of the B stage resembles an arena scoreboard displaying IMAG.  When the B stage begins to rise, the cube descends to floor level to become the C stage featuring an LED pixel-mapped projection cube.  Lead singer Patrick Stump and bass guitarist Pete Wentz jump on top and the C stage lifts 20 feet in the air.

“The band performs three songs in the air then the B and C stages are lowered, the guys are back on the thrust and everything returns to its original state,” Jibson explains.

With so much activity up and down the arena Jibson was challenged to design a lighting rig of appropriate scale and functionality.  “There’s a lot of square footage to this show,” he says.  “We have positions to cover it everywhere.”

Large triangular-shaped trusses form a roof of lighting over the main stage.  Seventy-foot trusses line the sides of the arena, a truss hangs over seats at the Back of House, and trusses bookend the short sides of the arena.

Jibson deployed large complements of Claypaky fixtures on Fall Out Boy tours in 2013 and 2015 when he used Sharpys as FOH spots and tapped Mythos for washes, key lighting, effects and follow spots.

For the “Mania Tour” he selected 64 Mythos 2 fixtures, which are mounted on the triangle truss, the side trusses, the B stage and the bookend trusses.

“Mythos are my go-to fixtures,” says Jibson.  “When I did another production earlier this year I wished I had Mythos – another fixture I used just didn’t cut it.  I can hang Mythos 60 feet in the air and get punch; I know they will cut through the videowall.  Claypaky is well known for its optics, and you get every little bit of output of the lamp.”

For this show he’s using Mythos as hard-edged fixtures with a lot of versatility.  On a truss behind the main stage, for example, Mythos serve as accent and fill lights “without making the stage strobe all the time,” he explains.  “The accents and hits blast through as sort of a drop shadow or outer glow for the main lighting system. This lets me blast strobes into the air without seeing the face of the fixture and makes for more interesting looks at times without having to get nuts!”

Jibson is mixing 74 Claypaky A.leda B-EYE K20s with Mythos in the same positions.  “The B-EYEs are such versatile fixtures,” he says.  “They’re really bright and the pixel mapping inside is really interesting.  It’s like having a 64-pack box of crayons – there are so many things you can do with them.”

VER in Glendale, California
is the lighting and video vendor for the “Mania Tour.”
The So Midwest team also includes Content Creator Josh Stone, Content Producer Kyle Flaharty and Chief Animator Matt Barker with a host of other freelance talent!

A.C.T Lighting
is the exclusive distributor of Claypaky products in North America.

Francesco Romagnoli, Claypaky Area Manager for North and Latin America, added, “Robb is one of the most innovative designers we’ve worked with and we’re always thrilled when he incorporates our fixtures into his plots.”