Kyle was so impressed with the Jolt Bars that he also selected the Jolt Panel FX variant to serve a particular need for big strobe punches that would fill the whole stage. These units each feature a central strip of 48 x 5-Watt cool white SMD LEDs, surrounded on both sides by a total of 800 x 0.3W RGB SMD LEDs, grouped into 6 white and 40 color zones. Four fixtures were mounted underneath San Holo’s blow-through riser, angled straight up, while four additional units were rigged at the bottom of each truss tower, angled across the stage and out towards the audience.
“When it comes to the Jolt Panel FX,” opines Jeff, “the first thing to say is that it is really bright. And that’s what we really wanted: bright and reliable! It’s a solid LED strobe at an affordable price point. As with the bar, it’s also very versatile, which was another factor that contributed to our decision to invest in 32 for our rental inventory.”
In addition to the bars and panels, Kyle’s design also made use of ADJ’s original Jolt 300. This compact fixture offers a similar combination of LEDs, with a central strip of 144 x 0.5-Watt cool white diodes surrounded on both sides by a total of 144 x 0.5-Watt RGB color mixing variants. For the Existential Dance Music Tour, 18 of these fixtures were incorporated into the steps at the front of the main riser. These units were fitted with acrylic diffusers and the steps were dressed with transparent white fabric, which caused the entire front of the riser to glow when they were all triggered simultaneously.
When it came to programming the show, Kyle was aided by Blake Addington, who also went out on the road with the tour as the Lighting Operator. The show predominately ran from a timecode, which synchronized the lighting and video elements to San Holo’s musical performance, however Blake did have some punt control to customize each performance on the fly. The Jolt fixtures were utilized heavily throughout the entire show, both for high energy strobe flashes and more subtle pixel-mapped effects. The Panels in the blow-through risers were used sparingly for key moments when San Holo was specifically highlighted, however the units on the truss towers were used extensively to fill the stage with strobe hits. The bars were used for almost every song, to create a wide variety of accents and build up looks, while the Jolt 300s served to draw attention to the riser through a variety of different colored chase patterns and white strobe effects.
|
