Page 234 - Protec PR Book Volume 2

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 HelixNet, which was used for their nine wired positions, and Freespeak II for their eight wireless.
Protec senior audio engineer, Dan Dignan, who was supported by Ed Ross and William Morrison, comments: “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.”
LIGHT, CAMERA, ACTION
Protec Lighting department, headed up by Aaron Russ – the company’s Lighting HOD and Paul Coopes, provided a mixture of their frontline Robe, Martin and Clay Paky 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 K10 B-eyes and seven Clay Paky 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 Par36 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 Clay Paky show battens lit up the dancers.