Page 230 - Protec PR Book Volume 2

The onstage dancers were given 16 Sennheiser G3 receivers and a transmitter for wireless monitoring, allowing them to receive feeds from their choreographer and of the music. Clear-Com intercom systems were provided in the form of HelixNet for nine wired positions and FreeSpeak II for eight wireless locations. Pioneer DJM 900 Nexus and DJM 2000 Nexus systems and eight CDJ 2000 Nexus players comprised the backline solutions, providing two complete DJ setups and one spare.
Protec head of lighting, Aaron Russ, along with Paul Coopes, provided a mixture
of Robe, Martin Professional and Claypaky fixtures. These included 45 Robe Pointe fixtures mounted on the triangular backdrop set and a mixture of 37 Claypaky K10 B-eyes and seven K20s, which were positioned on the set’s scaffolding structure for uplighting effects. Additionally, 28 Martin Atomic strobes were positioned on the floor, the walkways where the dancers were performing and within the set itself, while 50 PAR36 pinspots were mounted onto the structure as well as onto the bars above the Robe Pointe fixtures for blinding effects and 28 Claypaky show battens lit up the dancers from the front edge of the stage. Le Maître and MDG hazers complemented the stage lighting, which was controlled by three grandMA2 full size consoles at FOH and a pair of grandMA NPUs.
Offstage, SGM P5 LED fixtures were deployed in the VIP decks and Q7s lit up the bars. The front of the DJ riser was illuminated by 16 DMX-controlled Jarag lights and the venue’s entrance was lit by 12 Claypaky Super Sharpies controlled via a ChamSys MagicQ MQ60 console. Claypaky Scenius Unico fixtures were also placed at FOH, spotlighting positions for the dancers.
Scott Walker, Protec’s head of video, oversaw the set up of three triangular screens onstage, formed from 6mm Mambo LED panels. These were controlled from NovaStar VX4S processors and fed by the Sensation production team’s own media servers. Shots of the DJs were captured by three Panasonic remote cameras that were controlled from FOH and vision mixed with a Roland V1200HD switcher.
‘Meydan is very different from the usual kind of dance music venue, particularly because it’s a race track so we had to consider the horses stabled there, in terms of noise levels,’ said Mr Travis. ‘We had restricted time slots where we could carry out the work. The noise was very strictly controlled, as they didn’t want to freak out the horses, though they did move them off site for show day. We thrive on these challenges and it’s always good to be able to come up with innovative and creative solutions. What resulted was a fantastic show for an audience with great energy.’