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GLP Fixtures Accentuate Gary Numan’s Savage Orchestral Tour LD Luke Edwards specifies multiple X4 Bar 20s and JDC1 hybrid strobes
UK – When Gary Numan decided to play six Autumn shows (including the Royal Albert Hall) with The Skaparis Orchestra joining his regular band, fans of the '80s electro champion were quick to respond. Featuring songs drawn not only from his ‘Savage’ album, but also back catalogue favourites, his LD Luke Edwards (of Cue Design) made sure there was plenty of inventory from GLP to highlight both the theatrical and more dynamic electronic elements.
‘Savage’ itself foresees a post-apocalyptic world and, for Edwards, the challenge was to create a delicate balance between “keeping everyone lit while still creating a dark and moody atmosphere on stage”.
As Numan’s long-term lighting designer, he has seen production values raised incrementally over the years, and now with a full orchestra the bar has been lifted again. “Everything was much bigger and needed more space on the floor, while the orchestra adds so much drama which gives me a lot of sounds that I can accent or do lights to.”
Of his journey with GLP’s market-leading LED tools, he says that having been weaned on the X4, when the X4 Bar 20s came along he went into overdrive. “That was instrumental in me looking a bit more deeply into GLP,” he says. “When the Bar 20 came out I really liked it, and I don't think we have done a show since without them.”
In addition, he has found that GLP’s JDC1 hybrid strobe, run in aggressive flash mode, to be a perfect solution to highlight the powerful electronic element of Gary Numan’s music. “The show itself,” he says, “is lit like a dramatic theatre piece with an electronic rock and roll element overlaid on top.”
He deployed 24 X4 Bar 20s as part of the backdrop, with a further 12 of the fixtures as side lights, and 36 on the overhead rig, where they kept company with 16 JDC1s. The remaining eight hybrid strobes were part of the floor package.”
In terms of the Bars’ functionality, because production was using the new Avolites Synergy technology they needed a pixel batten to be able to map video across the fixtures. They were used both for narrow effects as well as for wide sidelight.
As for Luke’s introduction to the JDC1, this had come via David Stewart at GLP’s UK office. “He brought some to a show for me to demo them,” remembers Luke. “As a result we had them out with Jessie J for the summer and that convinced me to use them for the Numan shows.”
Finally, X4s positioned on the side trusses helped light the orchestra. “The colour palette on this ranged from deep red, blues and greens to pastels, and anywhere in between,” he confirms.
Luke Edwards’ product selection certainly paid handsome dividends and provided features that comparable fixtures would have been unable to deliver. “The X4 Bar, for instance, is something that in my opinion is the only thing of its kind on the market. As for the JDC1, at the moment for me it is the best LED fixture out there. It provides the best of both worlds, the big colour plate and then the white led beam which is very close to an old Martin Atomic.”
The shows were piloted from two Avolites Sapphires. “The way Avolites handles multi-instance fixtures is great, especially when we have X4 Bars in full [single pixel] 89 channel mode,” he says in summary.
Inventory was provided for the tour by PRG, and Luke Edwards confirms that all GLP fixtures behaved perfectly throughout the tour without the necessity for a single swap-out.
Edwards was assisted in the programming the show by Pete Budd. Other members of the team were Bradley Stokes (crew chief), Daniel Everitt (dimmer technician) and Tom Prew (video technician).
photos: David Stewart
30th November 2018
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