Flume Plays Red Rocks with Claypaky Fixtures, grandMA2 Consoles and MDG Atmospheric Generators in Support

When electronic music producer Flume returned to Red Rocks in July, a large complement of Claypaky Sharpys and Sharpy Washes, grandMA2 light consoles and MDG theONE atmospheric generators helped the Grammy winner light up the iconic Colorado amphitheater. Brown Note Productions provided the equipment, which is distributed exclusively in North America by A.C.T Lighting, Inc.
Publish date:

When electronic music producer Flume returned to Red Rocks in July, a large complement of Claypaky Sharpys and Sharpy Washes, grandMA2 light consoles and MDG theONE atmospheric generators helped the Grammy winner light up the iconic Colorado amphitheater.  Brown Note Productions provided the equipment, which is distributed exclusively in North America by A.C.T Lighting, Inc.

Image placeholder title

Flume, the professional name of Harley Edward Streten, enjoyed a successful Red Rocks debut in 2016.  This year he added the date to an already impressive American tour during which he headlined at Bonnaroo, CRSSD and Electric Forest.  Flume, who won a Grammy for Best Dance/Electronic Album for his second LP, “Skin,” is regarded as the pioneer of future bass.

For Red Rocks, and for Flume’s ongoing tour, Lighting Designer Stu Dingley was charged with creating a design that reflected the musician’s new and unique musical sub-genre and helped deliver “an experience [for the audience] that left a lasting identity to associate with Flume and his brand,” he explains.  “It had to be thoughtful and precise without falling into anything too cliché EDM.”

Production Designer Rob Sinclair crafted the scenic elements of neon-lit glass cubes and booth working alongside Creative Director Jonathan Zawada.  Chris Rupple was the Lighting Crew Chief. Joel Eriksson was the Production Manager.

Dingley used 46 Sharpys for Red Rocks, a light he calls “still one of the best beam fixtures out there.  It’s exceptionally fast, it has a beam with an even continuity and it retains its position information well.  The simple lens arrangement in the optical chain keeps it looking crisp, and the prism cleanly chops up a gobo without distorting the image.  It also has the advantage of being in almost every festival rig around the world, so any subtle programming retains perfectly.” 

Dingley positioned 16 Sharpys on the floor forming two horizontal lines at offset heights backing the artist.  Thirty more were mounted overhead and kept in reserve for heavier electronic moments in the show.

He also used 36 Sharpy washes, a fixture that Dingley says “proves that discharge washes haven’t quite been replaced by LEDs yet.  The Sharpy wash has beautiful color mixing and is a real breath of fresh air compared to the current saturated use of LED fixtures.  It feels somewhat old school and familiar but with a modern twist.”

At Red Rocks he deployed four of them as side key lights and 32 overhead.  While the floor package at Red Rocks was the same as that on Flume’s tour, the overhead fixtures are only used for headline shows.

At Red Rocks, “a large part of the design used spots and colored strobes.  We wanted to avoid drawing too many parallels to the EDM world so we kept the overhead beams in our back pocket for the sporadic EDM-esque drops to pair with the vast shift in music and really attack the audience.  Some of the musical drops were almost tongue in cheek to the other EDM acts out there, so we wanted to prove we could flex when asked to!”

Dingley says the Sharpys are “very consistent and bright.”  During Flume’s American tour the fixtures travel on pre-rigged truss “with very few issues – it’s really important for the show to preserve as much time as possible for the scenic build, so being able to retain the fixtures’ position after being powered off from the previous night’s focus is invaluable.  A lot of beam fixtures aren’t so good at that.”

The lighting designer has used grandMA2 as his console of choice since its release.  “The console has consistently proven itself stable and reliable with excellent support all over the world,” Dingley says.  “The MA hardware is rock-solid internally, very well made and extremely ergonomic to use.  In the states we’re always covered by A.C.T Lighting for support.  A.C.T has also been brilliant in writing custom fixture profiles and sending them over rapidly.”

Dingley had two grandMA2 lights and two NPUs at Red Rocks.  “As far as workflow, the MA2 platform is very logical to me.  Flume’s show is heavily reliant on timecode and audio triggers.  It is easy to come up with an aesthetic idea when talking with the artist, while simultaneously visualizing how it will work on a practical level.  For example, we have a continuing theme of a ‘Weapon’ soundscape intertwined throughout the set.  It is far too abstract to run timecode over it, and most of the sounds are created live.  We can link an audio frequency band from the waveform and trigger a corresponding effect.  Being able to confidently deliver a concept is invaluable when brainstorming ideas.”

Dingley explains that, “for the rest of the show, timecode is chopped into hundreds of loops and assigned all over the Ableton session.  Being able to work on a horizontal timeline opens a lot of possibilities when trying to hit all the sounds and layer up moments throughout the show.  If [Flume] decides to jump ahead, skip a verse, jump into a new track for example, the console picks it up far quicker than an operator would!”

He adds that while the video content from the media server is locked to timecode for the most part, “when we add new tracks at the last minute before fresh timecode is stripped into the set, we can trigger this from this console.  It gives the artist flexibility to play with the set and gauge the crowd’s response before we settle on it and lock it in.”

A pair of MDG theOne atmospheric generators is also featured in Flume’s show.  “They really are the best units out there,” says Dingley.  “In arenas, they create a beautifully clean and cloud-free haze.  The small particle size makes the haze almost disappear to the eye, which really helps keep the video walls sharp.  Then, in complete contrast, when we get to outdoor festival stages, we toggle in the fog mode and really wipe out the field.”

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory.  The company provides superior customer service and value for money to all of its clients. 

For more information, visit www.actlighting.com .


More than 55 of the 2018 Fall Television and Streaming Series Rely on Blackmagic Design

More than 55 of the 2018 Fall Television and Streaming Series Rely on Blackmagic Design

Blackmagic Design today announced that the company’s production and post products were used to complete many of the fall 2018 season’s new and returning television shows and streaming series. More than 55 shows rely on Blackmagic Design’s digital film cameras; Fusion visual effects (VFX), compositing, 3D and motion graphics software; and DaVinci Resolve editing, color correction, VFX and digital audio software; as well as its switchers, routers, monitors and capture and playback devices.


Jingle All the Way: Luxul's XMS-1208P Managed Gigabit Switch is Available for All CI Integrators this Holiday Season

Luxul, the leading innovator of IP networking solutions for AV integrators, today announced that it's giving CI integrators the gift of enterprise-level performance at affordable price points this holiday season. It doesn't matter if they've been naughty or nice, the company's XMS-1208P 12-port/18 PoE+ managed Gigabit switch — that delivers high-speed performance while enabling simple network expansion — is now available for all. And to ring in the new year, Luxul will begin shipping its AMS-1816P 18-port/16 PoE+ L2/L3 managed Gigabit switch in early January.


HoverCam Transforms Classrooms Fit for Future-Ready Students at Val Verde USD

HoverCam, an innovative technology leader in the digital education market, announced that Val Verde Unified School District (USD) in Parris, California, successfully installed HoverCam's Pilot digital teaching stations and CenterStage interactive flat panels (IFPs) in new STEM labs in the elementary schools, with plans for an eventual rollout to the district's middle and high schools. As part of the district's goal to create future-ready students, Val Verde USD chose HoverCam digital education solutions to address the rising challenge of updating classrooms and introducing curriculum with advanced systems that will prepare students for a rapidly changing career landscape.


The Sigma Holiday Sale Is Back!

Nothing makes gift giving as enjoyable as special prices on award-winning Sigma lenses and accessories; get the lens you’ve always craved or surprise a fellow shooter with the perfect present.


Global News Agency Ruptly Relies on Riedel's MediorNet and Artist on Board New OB and DSNG Vehicles

Riedel's MediorNet real-time media network and Artist digital matrix intercom are providing the decentralized and redundant signal routing and communications backbone on board two all-new, state-of-the-art OB vehicles for Ruptly, a Berlin-based international news agency. Qvest Media, a world-leading system architect and integrator for the broadcast and media industries, designed and built the new broadcast van and DSNG vehicle.