Carson has worked for Chase & Status for the last two years. The band shares the same management team as Pendulum, another artist to whom HSL provides lighting.
However, this is the first time Carson has used HSL to supply both lighting and video - a process likely to happen increasing frequently following a recent major investment in Martin EC10 and EC20 LED screen product. "It makes things very straightforward dealing with one source for all these elements," says Carson.
The Chase & Status project was managed for HSL by Mike Oates, who says: "We always enjoy working with Neil. He has great imagination and flare and the Chase & Status show is exciting, atmospheric and a great fusion of lighting and video."
Carson designed the screen architecture - based on a central upstage block of EC10 in the middle, about 6m wide and 2.5 deep - flanked by three columns of EC20 at 5m, 4m and 3m high respectively, which added real depth and three-dimensionality to the stage. The modular design allowed it to be easily - and practically - reduced to fit into smaller venues, whilst ensuring aesthetic continuity.
Their video content is created by The Light Surgeons. In addition to animations and raw, edgy ambient sequences, on this leg of the tour it featured special footage of all the Chase & Status vocalists, who appeared onscreen for their songs - and sometimes onstage for real.
Playback was stored on an AI media server, triggered by timecode from the band at the start of the track. Carson could tweak parameters like the screen intensity from his Chamsys MagicQ 100 lighting desk to match the space and the variable daily configuration of the lighting rig.
HSL supplied 24 Clay Paky Sharpies - also a new addition to their hire stock. They were joined by 24 GLP Impression Zooms, which, like the Sharpies, were dotted all over the towers. They are among Carson's current favourite LED washes and were joined by 18 x 2-cell moles and 12 Atomic strobes.
On the deck were six Martin MAC 3K profiles, strung out along the back wall, used for powerful back lighting effects and highly effective silhouetting of the band. On boom stands upstage of the band were six i-Pix BB4 LED wash lights, six 2-cell Moles and six Atomic strobes.
(Jim Evans)
