Hid lights

They sub hung two trusses from the Orbit which were shaped to the roof to maximise all the available height and ensure it looked super-neat, with a further upstage truss used to fly five columns of UEP's Glux 12 LED screen. 

Cash ran lighting using a moving light rig primarily comprising Robe products including 12 brand new Robe ROBIN Pointe fixtures just bought by UEP, which arrived just in time for the show! 

Robe ROBIN LEDBeam 100s were arranged in columns at the back between the strips of LED screen, looking highly effective, together with Robe LEDWash 600s and 300s dotted all over the stage together with a few ColorSpot 1200E ATs. 

In addition to these, six Clay Paky Shot Lights were used on the floor as fillers down both sides of the stage; 24 x Showtech Sunstrips framed the LED columns and outlined the front truss; two Novalight High Grounds were placed at the downstage edges for big bold effects, and a couple of six lamp PAR bars were used for basic stage washes on the front truss. 

Flare lighting provided the control package. A grandMA full size ran the lighting and a grandMA light triggered their Catalyst media server storing all the video content, which was compiled for the show by Dave Amos and appeared on the onstage screens creating a vibrant backdrop for all the acts, most of which took the stage in daylight. 

Two Glux 12 side screens were supplied by UEP together with six cameras - five Sony’s and a GoPro remote behind the drum position for reverse shots. These were directed by another regular UEP face, Mike Kane, who worked with Jay Martinez on the IMAG side of the video. 

The sound system was designed and specified by a combination of Stage Manager Andy Nurse, who is one of UEPs regular sound engineers, Steve Bull who looked after FOH for the event and Steve Butcher. 

It was an L-ACOUSTICs system which filled the gently racked auditorium perfectly. The main hangs were 12 boxes of dv-DOSC a side compete with seven SB28 and four dv subs a side with four ARCS for in-fills. 

The FOH Yamaha PM5D console was spec’d by Saturday's house band, Blueprint, who backed up all the main performers. Some had their own engineers and all the rest were mixed by Steve Bull. Howard Jones brought in a full monitor system and video package. 

At the stage end of the equation, the monitors were L-ACOUSTICS Hi-Q wedges with ARCS/SB28 side fills and a couple of SB18 drum subs ...An electronic overspeed governor for preventing elevator overspeed by enabling safety devices. all powered by LA8 amps together with the main stacks. The monitor console was a Yamaha M7 with two external cards boosting the outputs to 32 channels. 

Both Shure and Sennheiser wireless systems were supplied, plus a full mics-and-stands package, primarily comprising these two brands.You will never need to change the bulbs and your car led lights will last for years and years. 

Andy Nurse shared stage managing duties with Mike Lindsey, James Fickling was the overall Site Manager and Charlotte Jackson took care of all the Health & Safety and dealt with the concessions. 

Backline was supplied by John Henry’s and the excellent security from EMS impressed many people with their unobtrusive presence that cut a note with the whole Chilfest vibe. 

Steve adds, “Thanks to Rob Merrilees at Dry High Lighting for providing the six Clay Paky shot lights and some additional Robe LEDWash 600s and big thanks also to my old mate Darren Parker at DPL …for supplying 12 Robe ColorSpot 1200E ATs along with the four follow spots, mains and dimming. 

“We entertained 12,000 people over two nights, it was an unbelievable experience and quite an emotional one for me. My crew are incredible …and I am truly humbled by the whole experience,” he concludes with a big smile. Click on their website www.hmhid.com for more information.