STRATFORD, UK – HSL supplied lighting equipment, LED screens, trussing and rigging for the 2012 Global Gathering event, staged at Long Marston Airfield near Stratford. The event attracted up to 50,000 dance music fans over two days. Even the sun participated in the fun over the two days – one of the few UK festivals this summer not to be plagued by erratic weather.
More details from HSL (http://www.hslgroup.com):
STRATFORD, UK – UK lighting and visuals rental company HSL supplied lighting equipment, LED screens, trussing and rigging for the Main Stage and five tented arenas at the 2012 Global Gathering event, staged at Long Marston Airfield near Stratford. The event attracted up to 50,000 dance music fans over two days.
HSL’s Tim Fawkes project managed the event and co-ordinated the supply of seven trucks of equipment to event production LDs Nick Jevons and Phil Windward of Electric Fly, also working closely with their lighting crew chief Mark Callaghan.
Main stage headliners were Tinie Tempah (Friday) and Chase & Status (Saturday). They and a host of other top international DJs and live acts setting the Warwickshire countryside buzzing with the dance vibes.
Even the sun participated in the fun over the two days – one of the few UK festivals this summer not to be plagued by erratic weather.
HSL is also supplying Chase & Status’s LD Neil Carson with a lighting and screens ‘specials’ package for their on-going summer festival tour, with a new variation making its debut at Global.
The approach to lighting the festival took a slightly different route this year, using lots of LED and smaller, lighter, brighter units – like Robe LEDBeam 100s, LEDWash 600s and ROBIN 300E Beams and Clay Paky Sharpys – with HSL supplying more than 200 moving lights.
In addition were 160 Molefeys, 150 Martin Professional Atomic strobes, 156 Pulsar Chroma Strips and Source Four profiles for key lighting.
For the Main stage and Arenas 4 and 5, HSL supplied sizable quantities of Martin LC and EC LED screens, arranged in different configurations.
The main stage ‘house’ lighting rig this year comprised 22 Robe ColorWash 2500E ATs and 12 ColorSpot 2500E AT moving lights – picked for their power and punch – together with 30 Atomic strobes and six i-Pix BB4s.
A Mole blinder count totalled 52 x 2-lites, 12 x 8-lites and 24 x 4-lites scattered all around the ‘cubed’ set structure that clad the stage.
For control, the choice was between a Chamsys MagicQ200 and a Martin M1 for lighting, with a Maxedia system running video operated by Dave Stewart for most of the weekend. Avolites supplied consoles to all of the arenas.
Neil Carson’s dynamic, edgy visual design for this band continues to evolve with the Specials Package they are currently touring, which has at least three different permutations, with another (the A-Rig) debuted for the first time at Global – all supplied by HSL.
The ‘standard’ Specials are four vertical trussing towers, 24 x GLP Impression Zooms, 16 x Sharpys, Atomic strobes and three Novalight Nova-Flowers positioned upstage.
Global saw an additional six Mac XB Washes, stationed on the floor, together with eight more GLPs and 30 x 2-lites – which even in addition to the 50 plus in the house rig were not enough for Carson, who said he who simply loves these units.
Also extra was an automated video screen system. Twenty-four panels of Martin EC10 screen were rigged in 2 x 4 format on six Kinesys motors and moved in and out to create different shapes throughout the set. Also on these pantographs was a Sharpy and a 2-lite. The Kinesys system was operated by Chris Roper.
Video fed to these and the band’s touring EC10 and EC 20 Screens – also from HSL – comes from Chase & Status’s own custom media server.
HSL’s Neil “Braveheart” Smith is looking after all the kit on tour, with Chris Roper and Matt Brown on the A-Rig variation, which next appears at the SW4 Festival in London on the August Bank Holiday weekend.
HSL has looked after Chase & Status’s lighting and visual requirements for three years now, and project manager Mike Oates explains that the challenges for the current tour are in the logistics – with four alternative Specials rigs.
Commenting on Global Gathering generally, Oates says, “It’s become a seamless and efficient operation working with Electric Fly on this event – it goes like clockwork. The interesting thing each year is to see how they develop their designs and looks for the different arenas. The trend toward using the smaller and more energy efficient light sources brings many bonuses while losing nothing on impact.”
