This is how I'd approach the situation:
Channels 1-32: anything that needs to be accessed individually. If you happen to get any lekos for specials, or if you use parcans for specials, they should go in the first few faders. Also, you probably want your blinders on the top row as well. The bottom row can contain your backlight pars, which you won't need to access individually nearly as often, because they'll just be a back
wash. Here's how I'd do subs: first few would be color washes, second few color chases. Then I'd do some useful color combination effects/chases (blue purple, red amber, amber purple are the ones that I'd choose), and any other lights (ACLs if you get 'em, blinders, and so forth) that you'd like to group together to have on one
fader. Leave the rest open for individual groups of lights that you set up on a per band basis by listening to their music beforehand and setting up some scenes during
sound check.
Again, this is my opinion, you may use a completely different method.
For the color chases, you basically
chase across the US
truss with a single color. So for the purple
chase, you start with the first purple
fixture on one end for the first step, the next purple
fixture in
line for the next step, and so on. If you have 8 of a color, you start with the first and fifth fixtures on in the first step, the second and sixth fixtures on in the second step,
etc. I've found that this works well for having some effects on
stage. For the color combo chases you can set up different arrangements on the US
truss to
chase. I never do much with the frontlight, if you hadn't noticed yet, it's usually a
wash of warm, cool, and
neutral, and lekos or some other sort of spots for the band members.