This page contains a Flash digital edition of a book.
102 VENUE


When it came to choosing lighting brands for HQ, Frank told mondo*dr: “It all came down to performance, innovation, up-to-date functionality and design. Beam technology has become a corner- stone of our designs and Robe currently leads the way with its new Beam 300’s and 600’s, as well as the new Pointe units.” Lighting within HQ is primarily Robe Robin 600E Beam and Robe Robin 300E Beam moving heads - 12 of each - providing the main rig effects, which, for Frank produces, “an astounding visual display creating defi ned beams and movements over the main dancefl oor,” with 12 Robe Scan 575 XT lighting fi xtures in an arc above the DJ box for quicker movements and chases. “The DJ is central to the drama and is centre stage, with the room running through several curves towards the semi-circular balcony level,” said Frank. “There are a further four Robe Robin 300E Beam moving heads on the balcony level.


“Martin Professional Atomic 3000 strobes are an industry standard and we utilised the renowned colour-changing scrollers to add an extra dynamic and excitement to the show,” said Frank. “While four Laserworld compact DMX lasers are used to add an additional dimension to the lighting look; they enhance the shows while keeping the power issues under control - Avolites’ Pearl Tiger lighting desk provides us with superb control for both set piece shows and ‘on the fl y’ lighting moments, it’s a very fi ne piece of technology that is justifi ably gaining ground in the US.” Special effects are provided by two Salvin Confetti cannons, along with two Salvin CO² bazookas and four Robe Faze 1050 FT - an evolution between a fog and haze machine. Two custom circular rigs were used to underline the ampitheatre shaped dancefl oor, which has been created by the seating booths. According to Frank, AMG was very focussed on getting the seating and booth areas integrated into the dancefl oor, there was to be no demarcation between the two social spaces. “In this, AMG suc- ceeded admirably,” said Frank. “There is a real feeling of intimacy in the room with the seated booths being right on the dancefl oor. The raised banquette seating is both intimate and right in the action; the raised seating areas and accompanying dance platforms integrate the entire space.


A 164-metre Absen LED video wall wraps the back of the nightclub wall, in a 45º arc and runs from fl oor to ceiling. “This is one of the biggest, most high value LED wall installations in the nightclub indus- try and video control is PC-based ArKaos Pro software,” said Frank. When working on a high-end project such as HQ, for Frank what stands apart is that everyone is on the same page - from the clients and promoters, to the interior designers and technology specialists - everyone is out to achieve the best they possibly can with the venue. There may be challenges to overcome along the way, but unlike so


www.mondodr.com


many other disciplines, the club industry is motivated by one goal - to be the best, providing the best aural, visual and emotional experience for the paying customer every time they walk through the door. “AMG brings this to every project and every venue,” said Frank. “The group doesn’t compromise and doesn’t countenance failure, every customer walking into one of its venues has an expectation that they will have the best night ever. They expect, deserve and have paid to have that experience, AMG drives us and motivates us to ensure this happens every time and this is what we always strive to create - a sublime night time, social, fun experience. “We have worked with AMG for over a decade and it’s always challenging, always exciting, never taken for granted and very, very fulfi lling. The people at AMG are ‘real’ club people. Neil, Derek, James and Nick are all life-long clubbers; from our fi rst club project for Angel - Code / God’s Kitchen in Birmingham 15 years ago, we’ve had some great adventures with these guys. They are the essence of current, on trend clubbing,” concluded Frank.


TECHNICAL INFORMATION


SOUND 8 x Turbosound TCS-1061/100 loudspeaker; 8 x Turbosound TCS-1061/75 loudspeaker; 4 x Turbosound TFS-900B subwoofer; 6 x Turbosound TSB-212 sub-bass; 4 x Turbosound TA-880L loudspeaker; 11 x Turbosound TCS- 1561/74 loudspeaker; 4 x Turbosound TA-880L loudspeaker; 2 x Turbosound TCS-122 loudspeaker; 4 x Turbosound T-90 amplifier; 21 x Turbosound RackDP-50 amplifier; 11 x Turbosound TCX-8 loudspeaker; 4 x BSS Soundweb London BLU processor; 1 x Turbosound loudspeaker management system; 4 x Pioneer CDJ-2000 Nexus DJ deck; 2 x Technics SL-1210 MK5 turntable; 1 x Pioneer DJM-850 mixer; 1 x Pioneer DJM-900 mixer; 1 x Allen & Heath Xone:62 mixer; 1 x Rane TTM 575L mixer; 1 x Rane SL3 for Serato Scratch Live interface


LIGHTING


16 x Robe Robin 300E Beam moving head; 12 x Robe Robin 600E Beam moving head; 12 x Robe Scan 575 XT lighting fixture; 8 x Martin Professional Atomic 3000 strobe; 4 x Robe Faze 1050 FT fog and haze machine; 2 x Salvin Confetti cannon; 2 x Salvin CO² bazooka; 4 x Laserworld DMX laser; 1 x Avolites Pearl Tiger Touch lighting desk


video


1 x Absen AI10 LED video wall, Madmapper video mapping software, Arkaos LED Pro VJ software


www.revelnightlife.com/venue/hq-nightclub


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142  |  Page 143  |  Page 144  |  Page 145  |  Page 146  |  Page 147  |  Page 148  |  Page 149  |  Page 150  |  Page 151  |  Page 152  |  Page 153  |  Page 154  |  Page 155  |  Page 156  |  Page 157  |  Page 158  |  Page 159  |  Page 160  |  Page 161  |  Page 162  |  Page 163  |  Page 164  |  Page 165  |  Page 166  |  Page 167  |  Page 168  |  Page 169  |  Page 170  |  Page 171  |  Page 172