Clay Paky Fire Up Maná’s Cama Incendiada World Tour

Mexican rock pop band Maná concluded their Cama Incendiada World Tour early 2016 with a large complement of Clay Paky Mythos, A.leda B-EYE K10 and K20, and Stormy lighting fixtures, controlled by grandMA2 consoles, adding colour and punch to the global production.

The Cama Incendiada World Tour was the eighth concert tour by the band, which hails from Guadalajara. It was in support of Maná’s latest studio album, Cama Incendiada (Burning Bed). The band has earned four Grammy Awards, seven Latin Grammys, five MTV Video Music Awards Latin America and more. No other Latin rock band consistently sells more albums or concert tickets: Maná has sold more than 40 million albums worldwide.

Alain Corthout was the Lighting Designer for the tour, which featured 107 Clay Paky Mythos, 54 K10’s, 32 K20’s and 36 Stormys in the rig.

Two groups of Mythos were on upstage and side cranes. “Sometimes I used the spot function and sometimes the beam function; eight more Mythos acted as followspots,” explained Menga Cruz, the tour’s Lighting Programmer and Operator.

16 K20’s were positioned on the floor, five per side for the band and six at the back of the stage. The remaining 16 K20’s were mounted on the upstage top truss. The K10’s joined the Stormys on a little wall at the back of the stage.

“The Clay Paky fixtures made the lighting design pop with their powerful colours,” Cruz said. “The Mythos were very impressive. They had the same punch of light in white or red, the gobos were incredible and the zoom was awesome. The tour was my first project with Stormys. I liked their brightness and the flash speed.”

Cruz used a full-size grandMA2 and a grandMA2 light to control all the lights, video and motors on the show. “Versatility, robustness and reliability are the main reasons I use grandMA2,” he reported.

“I needed versatility because of how we work with the system on shows. Two users worked on the two consoles. Lights and preset adjustments were programmed with the grandMA2 full size while the grandMA2 light was used for the system set up and for full tracking and back up during the show; it was operated by Tacho Gonzalez.”

Cruz hailed the “robustness” of the system, which used 35 universes. “Besides being very reliable, grandMA2 always gives you the results you expect. It’s a console that easily adapts to the user, so you are able to program your show with endless possibilities always arriving at the same result.

“A tour like this, in my opinion, could never be achieved with another console. We needed to manage nearly 10,000 parameters; one show file had over 1,600 cues for moving lights, follow spots, video servers, engines, projections and backdrops.”

He concluded, “With grandMA2, even if there’s an emergency during the show, you can solve the problem without affecting anything. I believe no other console can do that.”

The equipment was provided by Procolor of Guadalajara.