The completely sold out two-day event returned to the summer festival calendar in a new location, Houghton Hall near Kings Lynn, Norfolk.
Overkill at Glade 2011 was project managed for CPL by Nick Diacre from the Bristol office. It is the second year that CPL has supplied the complete stage production package to Overkill and the fifth year that Diacre has been involved. Performers inc;luded Eskimo, African Hitech, The DJ Producer, Ed Rush, MachineDrum, Jacky Murda, 2 Bad Mice and many others.
The venue was a 20m dome from Gaia Nova, which was a challenging space in which to work in from a technical angle, with everything having to be rigged and fitted in a specific order. Says Diacre, "It was a real imaginative collaboration aimed at producing a fabulous overall production design involving some great teamwork."
Forty-eight panels of Barco MiTrix were installed upstage centre stage in columns. This was using Resolume software and fed with custom content created specially for the event stored on Lumacoustics' bespoke media servers. Some of the content was audio-reactive, so an input from the sound desk was also fed directly into the video servers, which were programmed by Tom Hogan.
CPL supplied three Sanyo 15K projectors which beamed footage onto a set of three bespoke printed scrims stage left, right and centre.
The centre-stage scrim was rigged in front of the MiTrix columns, creating two different overlaid surfaces offering completely different and atmospheric properties that could be run in varying configurations during daylight and after dark.
Lighting was designed by James Bunning, with fixtures rigged off two 9m trusses that were installed by the CPL team.
The moving lights were a mix of Martin Professional MAC 700 Profiles, MAC 250 Washes and MAC 250 Entours, joined by a bunch of Atomic strobes, 4-lite Moles and PixelPARs, which were utilised for general stage washing and around-the-tent illuminations. All of this was operated by Bunning using an Avolites Pearl 2008 console.
CPL brought Dirt Sound from Bristol onboard . They used a powerful but carefully balanced Void PA, the main arrays comprising 12 Stasys Prime mid-top cabinets - six a side - and 12 ground stacked Psycho Subs, all powered by Labgruppen and Powersoft amps, with XTA processing.
The system was zoned and focussed for accurate and precise directional control of the imaging and colouration, and so that different areas could be adjusted quickly and easily to contain and control the noise if needed. The shows were all mixed via a Midas Venice console by Bryan McLean and Tom Tucker.
(Jim Evans)
