Colour Sound's Haydn Cruickshank created an overall production design for the dance areas - Dance East, Dance West, WOW and Cube Henge. Colour Sound supplied 22 crew and six trucks of equipment in total.
The Dance East and West designs featured a mix of Clay Paky Alpha Spot 1500, GLP Impression and Robe ColorSpot 700E AT moving lights, which were rigged off Supertowers at the upstage end and the tent poles further downstage and in the audience in both areas.
These were joined by Atomic strobes, Sunstrips, blinders, PARs, profiles and an assortment of other generic fixtures - with the aim being to produce visually stimulating lightshows for many continuous hours of operation - involving some long stints by operators at the consoles. Some of Colour Sound's new GLP Impression Spot One LED profile fixtures were used to great effect.
The East and West stages both had Chamsys MagicQ consoles for control, as did WOW, while Cube Henge lighting was run on an Avo Pearl - one of 13 different Avolites consoles supplied by Colour Sound for the event.
The East Dance lightshow was co-ordinated by Kester McClure, Chris Wilkes and Dan Williams. Dance west was looked after by Stuart 'Woody' Wood, aided and abetted by Sam Campbell, WOW's lighting got into the groove with Toby Lovegrove and Ricky Andrews, and Cube Henge's with Stu Barr and Sarah Payne.
Colour Sound lit several areas of the Glade, the main ones being the G Stage and Spirit of 71, with Jasper Johns getting back to his freestyle roots and co-ordinating the area wide lighting. He was joined by Alan Davis, Steve Coombes and Sam Akinwhale.
The kit included Robe moving lights, an LED video screen for the G Stage and a 10K projector for Spirit of 71, together with Hippotizer media servers to store and run all the content. A selection of i-Pix LED products were utilised around the Glade, including BB4s, BB7s and BB16s all on the Spirit of 71 stage.
Centrally located in the Shangri La area of the festival site, the Club Dada Stage was another significant area receiving the Colour Sound treatment, crewed by James Hind, Summee Holloway and Douglas Hale. Located in a 30m geodesic dome, the lighting consisted of 24 moving lights - including more GLP Spot Ones and a wide selection of generics and LED fixtures.
(Jim Evans)
