080 VENUE
“While we principally use MAC 700 Profiles alongside the still-excel- lent High End Studio Beam PCs, last year we were impressed with the new type of effect offered by Clay Paky’s Alpha Beam 300, and sub-hired these units frequently. When the 700 version was released, offering much brighter output from the same compact body as the 300 version, we got hold of a demo unit and were very impressed - even in the noise department,” enthused Rob. “The output is the main attraction; they’re bright enough to have serious impact on daylight stages, and alongside bright LED video screens. For such a powerful unit they’re ridiculously small and light, and movement is both extremely fast and smooth,” he added. This was perfectly demonstrated during the Forest Party when their long- range beam effects were projected through the sky and onto the surrounding mountains.
Another notable addition to this year’s festival was award-winning VJ, projection and installation specialists, Immersive - formerly inside-us- all - who created bespoke visuals for headline shows in main arena, The Racket Club, and for two of the keynote events, the Forest Party and Street Party. They worked with their own Addict Media Server, which was projected by Sanyo XF47’s in the Racket Club, and via Lighthouse screens. Other than the Addict, all AV equipment was supplied by LED Screen Hire. Lighthouse’s presence was in answer to Fatboy Slim’s technical rider, which, for his Forest Party performance (his second of the week), included a high-resolution LED screen for the stage backdrop. Production Eye’s Simon Barrington, who designed the stage shows this year explained the process of sourcing the necessary kit: “LED Screen Hire came up with the goods. We had Lighthouse out here last year with Pictureworks and it happens to be what LED Screen Hire use too. We wanted to utilise it as much as possible so we’ve had the guys working hard to move it around.” The 7mm panels were stacked and used as a lighting effect for the pre-show party at the Racket Club, then repositioned for the live shows, whilst a few panels were moved for the Street Party for either side of the DJ booth, before coming together as one big 6 x 5 screen at the Forest finale.
TECHNICAL INFORMATION - RACKET CLUB
SOUND 8 x d&b J-8 mid/hi speaker; 4 x d&b J-12 mid/hi speaker; 12 x d&b J-SUB sub; 4 x d&b D12 amp rack; 1 x XTA GQ-600 graphic; 1 x Midas Heritage-3000 40+8 console; 1 x insert/fx rack: (1 x Lexicon PCM-80; 1 x TC M-2000; 1 x TC D-2; 1 x SPX-990; 2 x XTA G2 gate; 2 x Drawmer DS-201 gate; 2 x XTA C2 comp; 2 x BSS DPR-402 comp); 12 x Turbosound TFM-450 monitor speaker; 1 x Audile CS-215 drum sub; 2 x QSC/XTA amp/drive rack (5 mixes + drum fill + listen); 2 x Sennheiser EW-300 IEM system; 1 x Yamaha M7-CL 48+4 console; 1 x Klark Teknik 48ch active stagebox c/w VDC sat boxes; 1 x 48+24 VDC multicore 4 x Sennheiser EW-935 radio mic; 1 x mic/DI kit (Shure, Sennheiser, Beyerdynamic, Audio Technica, BSS); 1 x mic stand kit; DJ set-up: 2 x Turbosound TFM-450 monitor speaker; 2 x Pioneer DJM-800 DJ mixer; 2 x Pioneer DJM-909 DJ mixer; 1 x A&H Xone-92 DJ mixer; 5 x Pioneer CDJ-1000 Mk3 CD deck; 4 x Technics SL-1210 Mk5G deck c/w Isonoe feet; 1 x Rane SL-1 Serato interface
LIGHTING 50 x Chroma-Q DB-4 ColorBlock LED unit; 48 x Chroma-Q ColorWeb 250 LED panel; 6 x Clay Paky Alpha Beam 700 moving light; 8 x Martin MAC-700 Profile moving light; 12 x High End Studio Beam PC moving light; 8 x Martin MAC 250 Entour moving light; 8 x Martin MAC 300 moving light; 8 x Martin Atomic 3000 strobe; 2 x Studio Due CS-4 moving ACL bar; 4 x bar-of-6 Thomas PAR-64 1kW; 4 x Thomas 4-lite Molephay blinder; 8 x Thomas 2-lite Molephay blinder; 6 x ETC Source Four Junior profile; 2 x JEM ZR-12 smoke machine; 8 x JEM AF-1 fan 2 x JEM 24-7 hazer; 1 x Avolites Pearl Expert control desk; 1 x Green Hippo Hippotizer Express media server; 1 x Anytronics dimmer rack; 2 x Light Processor Q-Buffer DMX buffer
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The Lighthouse Screen at the Forest Party
LED Screen Hire’s Mark Gent said: “There are lots of small manu- facturers of LED screen, but what sorts the wheat from the chaff is reliability, the picture quality, the type of LEDs they use and also how closely matched they are, because when you put a big 6 x 5 screen together like we had on the Forest Stage, your eyes are extremely sensitive to colour difference. Lighthouse is a bit more expensive, but they’re reliable and are an industry standard.” Immersive’s Mark Calvert, whose team included Ralph Lambert, Martin Harvey, Gianni Fabricio and Ste Jones, commented: “We’re good friends with Simon Barrington and LD Alan King, who did the Deadmau5 tour with us, so we knew each other really well and what worked and what didn’t. They gave us the impression it was going to be a freeform event where we would chop and change styles because of the bands and DJs, but that didn’t happen because when the bands arrived the day before, they realised there was a good AV set up, so we ended up doing bespoke clips for Editors, Friendly Fires and Metallic. Because we’re all animators, production people and VJs, we can do that really quickly on the cuff, of course budget and lead time improve the results!”
Immersive used its proprietary Pixel Addicts media server for the job, which is the first re-programmable media server using the Salvation AV engine. The system features a purpose-built media controller with motorised faders, a quick scan jog wheel and T-Bar and a toughened 19-touch screen. The user can see and design all aspects of the event in the visualiser before, during or after the show in real time. The server has the capacity to control multiple HD/PAL outputs,
“
...that didn’t happen because when the bands
arrived the day before, they realised there was a good AV set up...”
- Mark Calvert
output custom aspect ratio footage, map / warp any 3D surface, provide audio reactive content, master / slave to other Addict servers or DMX based show control systems, control moving head projec- tors, playback any media format and synchronise to time code input. Immersive pixel mapped the LED and projection screens using the Addict media server as the VJ station. Most of the graphics were sourced from its stock library of around 4,000 clips in HD, except for the custom designs for certain acts. Hippotizers were also employed for some of the acts in the Racket Club.
Throughout the festival, across its various stages and arenas, DJs played off a fairly consistent set-up of Pioneer CDJ-1000 Mk3 CD decks, DJM-800 and Technics SL-1210 Mk3 vinyl decks, with DJ mixer options of an Allen & Heath Xone:92 or Rane TTM-57 Serato also available. The stock also carried a Rane SL-1 Serato interface and Pioneer DJM-909 DJ mixer, both stationed in the Racket Club and Pioneer DJM-600 DJ mixers, which were used in some of the
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