Sorry for taking so long to reply to this thread, I have been very busy the past few days, and have not had time to get online much.
To answer a few of your questions:
If you are going to have a simple
light plot, and by the looks of the inventory you could take with you it seems you will, I think your best bet would be to use the
theatre's in
house inventory, in many cases it will probably be better than what you have. Include a
plot with the tech
rider and/or contract, and in the contract have a lighting section and specify things you want, aka a lavander top light
system, R02 and R60 Front Light Systems, a special DSC. This will be the most painless way to do it.
That is the inventory that is currently owned by the company. There is more money available for the
purchase of additional instruments, but we are waiting until the master
light plot is done, so that the
lighting designer can give us a good idea of what others are needed.
Now for the bad news. No offense, but the kind of questions you're asking indicate a lack of experience with this kind of stuff. You might be in over your head, so getting from design to execution might be beyond your
current capabilities.
I don't know if I would say I don't have the experience. I would say I don't know a lot of the industry terms, such as "
Soco". After you explained what "
Soco" means, I understand what it is. Also, I have never had to deal with hoisting a
truss up into a non-batten
grid or anything of that nature, so I was unsure of what you would use a motor for when using a
batten system.
If you have battens, typically don't hang motors off them.
Exactly. Because we have such a complex fly
plot, we will only be able to perform in theaters which have a full fly
system, including battens. Therefore, that's not really a big concern.
I suppose that would work, but it's not a traditional way of doing it. Traditionally, a "
feeder" cable carries electricity to the
dimmer rack and/or
distro panel, then each set of 6 circuits or dimmers is run via the socco/
soco/multi/
etc. to the pipe or
truss. From there, you can either use a fan out or a box of some type to connect to the individual instruments. Again, that's not the only way, but it is fairly common in the touring industry.
I have came up with a fairly good way of doing it I think. We are buying a total of 12 of the Behringer LD6230 6
channel dimmer's, Duo-Truss for the hanging, and I am going to pre-wire and
circuit each
truss, which will come apart in sections. We will be using a
Socapex cable to run from the
truss's down to the dimmers, with a
break-out box on the
truss to connect the instruments.
From the comments here, that seems to be the best way of doing it. While I have considered it, using the
house plot is probably not a good idea, even though I'm sure most houses have a proper amount of lights. This way we have the best options for ourselves when we arrive.
Also, I will be going along on the "tour" as the technical director, and I'll be in charge of insuring the
light plot is hung and connected in the proper way. Our lighting
plot designer is going to do several different sub-plots, for smaller theaters.
Since this is not really a full-tour, renting stuff is pretty much out of the question. From what I'm getting from the office, they will only be going out on "mini-tours", aka: one
venue at a time, then back home.
I also just got word today they might be changing their mind on the show again... which sucks because we already have the
lighting designer working on a
plot for "The Secret Garden". They are now wanting to do a version of "Pirates of Penzance". I wish they would make up their mind, as if they don't hurry, there gonna miss any opportunity to get the show out by fall...
Thanks!
James