For lighting control, the show's lighting designer and operator Paul Smith relied on a grandMA system solution consisting of one grandMA full-size console, one grandMA light as a backup, one MA NSP (Network Signal Processor) and a laptop running grandMA 3D for pre-programming and show adjustment.
"The requirement was to create a dynamic environment for the wide variety of artists who were performing, ranging from classical Arabic Jazz to R&B to Acid Jazz to Soul", explains Smith, "I needed a versatile desk that was familiar to the two visiting LD's - Tom Lesh and Bill Adie, with Liz Berry programming and operating for Bill - as well as a console that enabled me to busk through three acts I had never heard before and one that I only partially knew. Aside from that, the Art-Net output to drive the media servers, and the versatile effects engine meant that the only choice was a grandMA."
The rig that Smith controlled with included 24 Clay Paky Alpha Spot HPE 1200s and 24 Clay Paky Alpha Wash 1200s, plus some Martin moving lights, a plethora of PAR64s and a high-res LED screen fed by two Green Hippo media servers.
Artes supplied the lighting, rigging and staging equipment; IBS Decor delivered the LED screens and media servers.
(Jim Evans)
