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Colour Sound supplies lights & LED screens to Mint Festival
The 2015 Mint Festival, a 10,000 capacity event, expanded to two days for the first time, and also had a new location at Wetherby Racecourse near Leeds in the UK. Colour Sound Experiment was asked to provide rigging, trussing, lighting and LED screens for the six main tented arenas.
Fourteen Colour Sound crew were led by Jon Rickets and worked closely with the production team from The Dark Horses and technical production manager James Brennan, who co-ordinated all the site production.
Dynamic ‘house’ production lighting and visual designs for each of the arenas were created by Colour Sound’s Fletch with the objective of making each look different and individual, so a variety of lights and LED screen configurations were deployed. Colour Sound has its own proprietary BT brand of LED screen with several different pitch-options, and this was used site wide.
Colour Sound installed a 6-legged ground support system around the stage, rigged with 36 moving lights - a mix of Clay Paky Alpha Spot 1500 HPEs and Sharpies, Robe LEDWash 600s plus ten Jarags, eight Atomic strobes and smoke machines.
The Jarags were on upright trusses at the front of the stage flanking the DJ booth and also along the front of the extended stage wings. Lighting was run by Sam Campbell using a ChamSys MQ300 console. The LED screen was Colour Sound’s new BT7 HD indoor/outdoor product, arranged as a 6 x 4 metre main screen upstage, with a 5 x 1 metre strip cladding the front of the DJ booth.
“Mint presents” tent
A front truss was flown between the tent’s king poles and upstage trussing for lighting positions was rigged via a self-climbing goal-post structure. The 28 moving lights were 12 x Robe MMX Spots joined by 16 x Beam 200 fixtures, 10 Robe CycFX 8s,10 x Chauvet Q-Wash 260s and eight Colorband Pix LED battens, 10 Atomic strobes and 10 x 2-lite Moles.
Lighting control was a ChamSys MQ200 operated by Phil Lee, and Colour Sound also supplied two 6 Watt green lasers and Pangolin control. The LED set up comprised a 10 metre high by 3 metre wide surface upstage and a 5 x 1 metre matching strip across the front of the DJ booth.
“Knee Deep in Sound” tent
A self-climbing goal post structure was erected at the back of the stage complimented at the front by a run of Litec truss on two Mobil Tech heavy-duty stands - providing a low-profile solution for front lighting, supported by a 12 metre long advance truss - made from 52 cm SuperTruss - flown between the tent king poles.
The lights were again a combination of 12 x MMX Spots and 12 x Beam 200s together with 12 x Diamond seven small LED moving heads, eight active Sunstrips plus strobes and hazers, operated by Toby Lovegrove using an MQ60.
The BT-20 screen was hung off the back truss in seven 1 metre columns, ranging between 2 and 3.5 metres in drop length with a 5 x 1 metre strip on the front of the DJ booth. Some of the Sunstrips filled the gaps between the LED columns, with the others were running horizontally across the back truss. Lasers were also part of the visuals package with two 3.2 Watt RGB units.
“Blasé Boys Club (BBC)” tent
Curated by UK DJ and music producer Duke Dumont, the look in here was a bit edgier and starker, with a run of truss on Mobil Tech stands at the back of stage and a T shaped section of A-type truss running between the tent king poles down to the ground.
The lighting featured strobes, Sunstrips, Chauvet Rogue R2 LED Spots and eight Robe Pointes. This was operated by Stu Barr using an Avo Tiger Touch Pro. The screen was BT-20 medium resolution, 30 panels of it arranged in a graduated half triangle shape behind the DJ booth, with another 5 x 1 metre DJ strip at the front.
A curved ground support system was designed based on a 10 metre diameter circle made up of Litec QX30 truss. Between the four tent king poles, a 12 metre square box of the same Litec truss was flown for audience lights.
The moving lights were a combination of Robe LEDWash 600s, 12 x Pointes and 6 x Clay Paky A.leda K20s with B-Eye lenses which were individually mapped to produce some trippy effects into the crowds. SGM XC-5 LED strobes and 14 active Sunstrips were available for additional effects, all operated by Jon Curtis using another MQ60 desk. Ten columns of one metre wide by three deep BT-37 were arranged in an arc around the stage matched with a strip in front of the DJ booth.
The rigging infrastructure was a Litec goal post at the back of the stage, two upright trusses onstage and two sets of QH40 trusses flown between the king poles. Forty-four moving lights included GLP Impression Spot Ones, Beam 200s and Q-Wash 260s, plus XC-5 strobes, Colorband Pix battens and smoke machines. Control was an Avo Tiger Touch II operated by Nick Hamlyn.
The BT-12 screen was arranged in three sections - a centre one in conventional portrait shape, flanked by two inverted pyramids with jagged edges either side, with floor-based upright sections of truss rigged with lights filling in the gaps for a ‘wall of visuals’ idea.
In three of the arenas - Mint, BBC and Knee Deep - Colour Sound also supplied their V-Tower masts for flying the main PA hangs - 9 metres tall for Mint and 6 metres tall a side in the other two. Site wide audio systems were supplied by Audio Plus from Colchester. VJs - complete with front-end control and individual content for each arena’s LED screens - were supplied via production. They were hooked into the requisite LED screen systems. In addition to the operators, Ed Blackwell co-ordinated all the LED screens for Colour Sound with Dave Cottermole and Jani Fodor and on the lighting crew were Tony Wilson (also rigging), Sarah Payne, Aamir Riaz and Alex Ryan.
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