078 VENUE
Racket Club
rack running a Lexicon PCM-80, TC M-2000, TC D-2, SPX-990, two XTA G2 gates, two Drawmer DS-201 gates, two XTA C2 comps and two BSS DPR-402 comps. The 12 Turbosound TFM-450 moni- tor speakers were mixed through a Yamaha M7-CL console. Discussing the system’s merits, Rob said: “The initial thing that strikes you about the system as you first build it is how nicely it all goes together; the flying system particularly is a work of art. The integration of the D12 amps and the R1 network software with the system is great too. The system check feature that tests the con- nected loads and identifies any faults is particularly impressive. Also the [d&b] ArrayCalc prediction software, which is very comprehensive and clear and simple to use. The directivity control, both of the line elements and the cardoid J-Subs, is fantastic, and the coverage is very smooth and even.
“Our favourite feature, though, is the consistency that’s engineered into the system. An important part of the d&b ‘System Reality’ is that the results the system delivers are reproducible worldwide, which
Fatboy Slim who headlined the Forest Party
“
...consistency between different users can be a serious problem. One bad experience of a poorly set-
up system is enough to turn people against it forever...” - Rob Ashworth
pixel-mapping the LED fixtures, an Anytronics dimmer rack and two Light Processor Q-Buffer DMX buffers. A variety of lighting fixtures included 50 Chroma-Q DB-4 ColorBlock LED units, 48 Chroma-Q ColorWeb 250 LED panels, six Clay Paky Alpha Beam 700’s, eight Martin MAC 700 Profiles, 12 High End Studio Beam PCs, eight Martin MAC 250 Entours, eight Martin MAC 300’s, eight Martin Atomic 3000 strobes, two Studio Due CS-4 moving ACL bars, four bar-of-6 James Thomas PAR-64 1kWs, four James Thomas 4-lite Molephay blinders, eight James Thomas 2-lite Molephay blinders and six ETC Source Four Junior profiles.
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means that every system uses the same speakers, amplifiers and settings, with the only adjustable parameters being those that need to be adjusted. “Some people find this approach a bit militant, but our past experi- ence has been that when a manufacturer recommends amplifiers, processors and settings rather than imposing them, consistency between different users can be a serious problem. One bad experi- ence of a poorly set-up system is enough to turn people against it forever, and the manufacturers who lead the market are those who do everything they can to eliminate this possibility.” A bespoke bomb-shaped truss structure with rectangular rear truss framing the artists and two angled horizontal trusses flown close to the roof flew most of the lighting in the Racket Club, with additional fixtures on the floor uplighting the action and others perched on top of the stacked LED screens dotted around the stage. Alan King, un- der lighting crew chief Rob Leach and assisted by Steve Barnett, ran the show from an Avolites Pearl Expert control desk with a Hippotizer
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