Page 217 - Protec PR Book Volume 2

LIVE ETA – January, 2018
Protec fielded 16 Sennheiser G3 receivers and a transmitter as wireless monitoring for the dancers so they could work with the music and receive feeds from their choreographer. A couple of hand held radio mics meanwhile covered DJ requirements.
Ancillary coverage was required in two VIP lounges which were serviced variously by a compact Bose PA system and L-Acoustics Syva – which is equally slick and compact. Comms were taken care of by Clear-Com Helix Net, which was used for their nine wired positions, and Freespeak II for their eight wireless.
Commented Protec senior audio engineer, Dan Dignan, who was supported by Ed Ross and William Morrison, “The Sensation guys were great to work with, particularly Niels from [Sensation's] NoizBoyz audio production team. He took care of the desk whilst I took care of
the system. The guys from Backbone were also great, Tom and Roden
especially. The
benefit of a good
team was an amazing production.”
Protec Lighting
department, in the
shape of Aaron Russ
– the company's
Lighting HOD and
Paul Coopes,
provided a mixture
of their front line
Robe, Martin and
ClayPaky fixtures.
This included 45
Robe Pointe fixtures mounted on the triangular backdrop set, both on stage left and stage right screens, and also on the main triangle for the main stage. Inside the scaffold structure was a combination of 37 Clay Paky K10B-eyes and seven ClayPaky K20's, which were positioned in various parts of the scaffolding structure for uplighting effects, giving the scaffold a funky industrial look.
A further 28 Martin Atomic strobes were positioned
on the floor, the walkways where the dancers were performing and within the set itself Another 50 Par 36 single par pinspots were mounted onto the structure as well as onto the bars above the Robe Pointe fixtures to create a tremendous blinding effect, while along the front edges of the stage 28 ClayPaky show battens lit up the dancers.
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Popular SGM low-profile LED fixtures were also involved in the shape of P5's for the VIP decks and Q7's to light up the bars.
For the front of the DJ riser, Protec chose 16 Jarag lights, all DMX controllable, so they could be programmed to have words flashing through. This provided an extra dimension to what was already really well-lit set.
At FOH Protec also placed ClayPaky Scenius Unico fixtures – little spots that served as various lighting positions for the dancers.
Finally, for the entrance, Protec featured 12x ClayPaky Super Sharpies to create
a welcoming effect, controlled from a Cham Sys Magic QMQ 60 desk.
Under the direction of Scott Walker Protec's Video HOD, the company deployed three screens on stage –
stage left and stage right, for which they used their 6mm Mambo LED panels (13panels wide x 7 panels high, 10 metres x 5.5 meters high)in a triangular shape. For the main screen they used their 9mm panels (21 panels wide x 11 panels high, 16 metres x 8.5 meters high) also in triangular shape. These were controlled from NovaStar VX4 S processors, fed from the media servers of the Sensation production team.
Three Panasonic remote cameras were focused on the DJs, which could be controlled from a single remote at FOH, and were vision mixed through a Roland V1200 HD.
Signals were run from FOH to the LED control backstage via Protec's Lightware 220 pro fibre transmitters and receivers and three150m Neutrik fibre cables. Lightware MXDVI-PRO matrixes were used at FOH and backstage to
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All were brought to life by a combination of Le Maître and MDG hazers with all lighting dynamics under the control of three grandMA full-size consoles at FOH, (including spare), and two grand MA NPUs.