I AM HARDSTYLE

I AM HARDSTYLE

CLF IS HARDSTYLE

Dutch-based lighting brand deploys a plethora of lighting fixtures for I AM HARDSTYLE, a one-day electronic hardstyle festival in Mannheim, Germany.

The brainchild of hardstyle champion Brennan Heart and ratified promoters Musical Madness, the celebration of the electronic dance genre implored over 10,000 revellers to show their true colours and truly party hard.

The team at 4Light Showprojects was tasked with the brief of designing a brand-new concept for the German rendition of I Am Hardstyle production, which marked the start of the year for the one-day electronic hardstyle festival. 4Light Showprojects Technical Manager, Ronnie Santegoeds, discussed the concept. “The briefing was to make a design that could scale from 5,000 to 15,000 visitors.”

Descending on the hardstyle vanguard of Mannheim for the third time, I Am Hardstyle raised the Maimarkthalle roof once again. Santegoeds commented: “Maimarkthallen was a venue without an in-house rig or technical equipment, so all of the material used in the design was made available at Rent-All and local AV rental companies, which meant we didn’t need to ship or freight equipment.”

The venue typically hosts trade shows, conferences, club nights and music festivals all year round. However, the exhibition space presented a litany of challenges. “Because of the limited roof capacity and positions, we brought in Eurotruss TT/XT/ST trussing to create a prerig, landed them on

aorun ultra-bright beam fixture

Aorun, an ultra-bright beam fixture which combines high output, fast movements and an extensive feature package. The fixture utilises a 330W HRI light source which produces heavy mid-air effects through the special designed 169mm lens.

The fixture has an eight and sixteen facet prism on-board. These prisms can be combined for even wider effects. Additionally, the gobo wheel offers three animation ranges, creating unique beam effects. A softening frost completes the effect package of the Aorun.

2.3° BEAM ANGLE 8 & 16 FACET PRISM (COMBINABLE) 3 ANIMATION EFFECTS 169MM WIDE LENS FOR BIG MID-AIR EFFECTS FOLDABLE QUICK TRIGGER CLAMPS ATTACHED

CLFLIGHTING WWW.CLF-LIGHTING.COM

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I AM HARDSTYLE

top of Layher, which was poadercoated black.” The extensive lighting rig boasted myriads of CLF lighting fixtures. Specifically, 100 CLF Conan fixtures were structured in a big matrix behind the set to accent the depth of the setup. In addition, 68 CLF Orions, the CLFs latest hybrid fixture, were purposed for mid-air gobos because of its output. Additionally, 56 CLF Yaras were used to “spook” the venue trussing and highlight CO 2 clouds generated via 3 MDG 3K and JEM AF1 Air Force MKII products used for haze. While 44 CLF Aoruns, the company’s most powerful beam fixture added to the lighting line up. Santegoeds explained: “We like the speed on all parameters. The positioning is steady, even with using high speed effects, it returns to the position as programmed. The fact that the big lense is always filled and is useful for pictures. We utilise the frost feature a lot to create a beam which looks like a punchy wash.”

A total of 53 Martin by Harman Atomic LED fixtures used as an LED strobe and aura effect. A total of 30 Robe Spiiders were used for basic LED Wash coverage -16 2Lite Blinders were placed on the floor of the stage to “create depth and accentthe corners and angling” of the solid LED screens, without having content on it.

Additional audience blinders and stage key lighting was a result of 90 single blinders and 89 Showtec Sunstrip Actives. A couple of Fresnell 500W fixtures were also used as conventional key lighting in addition to 6 Martin by Harman MAC Viper Performances which were placed in the DJ booth.

“The briefing was to make a design that could scale from five thousand to fifteen thousand visitors.”

4Light Showprojects Technical Manager, Ronnie Santegoeds.

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An MA Lighting grandMA3 fullsize and grandMA2 Light with NPU, as an active backup, was specified for lighting control. Lasers were controlled via the grandMA2 Light, which the LD merged with the main lighting console to trigger it.

SFX was controlled by an MA Lighting dot2 console, which featured a remote from the ELC sideKICK too positioned at the showcaller, to control the CO 2

. “We also created a merge between the dot2 and the lighting console achieved by a DMX remote. The function for this was to colour the CO 2 clouds the same as the lighting rig, and to control the Intensity of the LED pars by the SFX console,” Santegoeds added.

The set-up was split into three days. The first was dedicated to prerigs, while day two focussed on the trussing, video and lighting of the production. While the third and final day was homed in on the lighting and video. “An additional day of programming and finetuning ironed out any creases before the show day with a day to loadout everything following the show,” Santegoeds reflected.

He concluded: “The setup was scaled nicelyfor the venue and the crowd. The dimensions fitted exactly during the load in and the impact was big. It was a pleasure to work on the project and we’re really pleased with the result.” TPi Photos by Spark - Vincent van den Boogaard www.iamhardstyle.com www.4lightshowprojects.com www.clf-lighting.com