FIGURE 1.
Showing the upstage vertical corner parbar and mid-stage-left diagonal parbar, which is mounted on a pipe-truss, attached to the roof truss and anchored on the venue floor.

FIGURE 2.
The Diamond. This configuration can only be mounted on 4-bar trusses.

FIGURE 3.
Closeup of the Diamond, from almost beneath it. All the cans are focused in this picture. [See FIGURE 2.]

FIGURE 4.
Shows the focus for corner vertical parcans, and ACL's on the floor in front of the drumkit.
Both corner vertical bars are focused symmetrically. The top two cans are focused on the drum position. The bottom 4 cans should be aimed at downstage centre, then splayed out..
ACL's: Two sets of four, both splayed outwards.

FIGURE 5.
This strange configuration came about because there was not enough cabling to make the rear parbar vertical, so it could only slant at a 20-degree angle.
There WAS however enough cabling to fly the parbar in front of it at a vertical angle.
Ideally, the rear parbar should have been vertical and the forward parbar should have been at a 45-degree angle.

FIGURE 8.
ACL's on truss. Two groups of 4.
I have drawn in the angles of each can's beam. Focusing such as this creates more of a 3-D effect, as opposed to just fanning out along a flat plane. Note that the outside cans are focused almost straight downward.