Norman Cook was so impressed with the results that he now uses Traction Sound for events held in his newly acquired Big Beach Café in Hove
UK - It all started when a story about Norman Cook aka Fatboy Slim and production partner Riva Starr were out record shopping in Brooklyn earlier in the year when they ran into a dude who was ranting about some three-day bender he had been on (and possibly still was....). We were told he was hooked into their Serato and chopped up into a tune. Upon release, we find out that very dude happens to be world famous beat boxer Beardyman. And so the favourite phrase of club goers was born; Eat Sleep Rave Repeat.

Cut to November of 2013 and the track crashed into the UK charts at No. 3, seeing off One Direction in the process, and a triumphant return to the charts for Mr. Cook.

Norman has always been renowned for his groundbreaking videos and became one of the forerunners of dance producers to embrace the format, so there would need to be something special for this one.

And so the idea for the dance marathon was born. Hire an East London warehouse, invite 500 ravers to come and dance, for 12 hours! With £500 on offer to the last person standing, it was always going to be a fiercely fought competition, with a team of medics, referees and DJs to help find the strongest of the dancers. What was also required was a sound system with more stamina than the most ardent of ravers, so it was only natural for the Brighton based producer and his record label Skint to come to Traction Sound to provide a system fit for the job.

Armed with two of their BPS218 Hades infra subs, 4 BH218 Zeus subs and topped off with 8 SDS12i Kodiaks, all powered by four Powersoft K10s providing 48k of power in just 4RU, the Traction Sound crew personally oversaw the installation of the system into a challenging warehouse space. Although there were only 500 dancers, the warehouse could have held four times that amount, so the 'club' was set up in the middle of the space, allowing a multi camera crew, lighting and production staff to use the perimeters. The focussed dispersion of the SDS horn minimised the reverb inherent in such a lively space.

(Jim Evans)


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