Colour Sound Experiment was asked to provide rigging, trussing, lighting and LED screens for the six main tented arenas which featured sets from Duke Dumont, The Martinez Brothers, Sigma, Sven Vath, Jamie Jones, Luciano, Ricardo Villalobos and many more.
Fourteen top Colour Sound crew were led by Jon Rickets and worked closely with the production team from The Dark Horses and technical production manager James Brennan, who co-ordinated all the site production.
Colour Sound's Haydn Cruickshank, comments, "It's exciting to see a new festival growing and finding its identity, and also embracing 'small is beautiful' whilst investing properly in good production values to present a great overall experience."
Dynamic 'house' production lighting and visual designs for each of the arenas were created by Colour Sound's Fletch with the objective of making each look different, individual and interesting, so a variety of lights and LED screen configurations were deployed.
Colour Sound has its own proprietary BT brand of LED screen - bright, lightweight, reliable and easy to rig - with several different pitch-options, and this was used extensively site wide to great effect.
For Bitch, Colour Sound installed a 6-legged ground support system around the stage, rigged with 36 moving lights - a mix of Clay Paky Alpha Spot 1500 HPEs and Sharpys, Robe LEDWash 600s plus 10 Jarags, eight Atomic strobes and smoke machines. Lighting was run by Sam Campbell using a ChamSys MQ300 console.
The LED screen was Colour Sound's new BT7 HD indoor / outdoor product, arranged as a 6 x 4m main screen upstage, with a 5 x 1m strip cladding the front of the DJ booth.
For Mint, a front truss was flown between the tent's king poles and upstage trussing for lighting positions was rigged via a self-climbing goal-post structure.
The 28 moving lights were 12 x Robe MMX Spots joined by 16 x Beam 200 fixtures, 10 Robe CycFX 8s,10 x Chauvet Q-Wash 260s and eight COLORband PiX LED battens, 10 Atomic strobes and 10 x 2-lite Moles.
Lighting control was a ChamSys MQ200 expertly operated by Phil Lee, and Colour Sound also supplied two 6 Watt green lasers and Pangolin control. The LED set up comprised a 10 metre high by 3 metre wide surface upstage and a 5 x 1m matching strip across the front of the DJ booth.
For Knee Deep in Sound, a self-climbing goal post structure was erected at the back of the stage complimented at the front by a run of Litec truss on two Mobil Tech heavy-duty stands - providing a neat low-profile solution for front lighting, supported by a 12m long advance truss - made from 52cm SuperTruss - flown between the tent king poles.
The lights were again a combination of 12 x MMX Spots and 12 x Beam 200s together with 12 x Diamond seven small LED moving heads, eight active Sunstrips plus strobes and hazers, operated by Toby Lovegrove using an MQ60.
Curated by eclectic UK DJ and music producer Duke Dumont, Blasé Boys Club (BBC) featured a run of truss on Mobil Tech stands at the back of stage and a T shaped section of A-type truss running between the tent king poles down to the ground.
The lighting featured strobes, Sunstrips, Chauvet Rogue R2 LED Spots and eight Robe Pointes - their ability to multi-function as beam, spot, wash and effects fixtures was extremely useful, effectively multiplying the available rig. This was operated by Stu Barr using an Avo Tiger Touch Pro.
The screen was BT-20 medium resolution, 30 panels of it arranged in a graduated half triangle shape behind the DJ booth, with another 5 x 1 metre DJ strip at the front.
In addition to the operators, Ed Blackwell co-ordinated all the LED screens for Colour Sound with Dave Cotter
