Info about Lighting:
UK – Manchester- based dbn Lighting are supplied an integrated lighting and visual design plus equipment – including lighting and LED screens – to The Warehouse Project (WHP).
dbn’s Pete Robinson created the production and lighting design for all three rooms in the space.
there is a strip of dbn’s 12.5 mm LED screen 13m wide by 2m deep at the back of the stage flanked either side of the PA wings at front truss level by two vertical LED drops at 1 metre and half a metre wide by 2m deep.
Several panels of LED are mounted on the front truss facing into the audience, and the visual surfaces are completed with a versatile 10 metre wide by one metre deep strip of LED – divided into four sections each mounted on wheeled tank traps – which can be placed onstage in different configurations according to the band or DJ set up.
dbn supplies all the processing, scaling and switching, while the video content for each week is supplied by a third party and/or the performing artists.
The idea is that the LED screen design will work on different perspectives whether you are standing right close up to the stage or right down the far end of the room – there will always be some eye-catching visuals in view.
“I presented this exhibition in Reykjavik in June 2013, and it consisted of two different
installations, both engaging with sound’s impact in multiple ways, so that people could both feel and create music, by hearing, touching and seeing the sound.
by Patrick O’Neil
Unofficial Music Video:
Listening to the King of Limbs remix album and I started running an old security camera out of the tv and back into it to create video feedback.
A low key event with good acoustics and amazing hidden visuals/lighting play if you looked up to the the ceiling. Spotted them when I lied back flat on the floor. People circled around the stage which was located just below the Roundhouse dome trying to catch a glimpse of the artists. Initially I tried to sit on some elevated platform but was moved by the security. Sometimes it’s good to be right at the back behind the crowd with the vision of the musicians obstructed it turns out. Big thanks to the lighting guys, made the sonic experience hypnotising and truly unique. Captured with a crap mobile camera so it doesn’t make the show justice of course.
Animation and Edit: Sally Sibbet
Design: Dominic Flannigan & Lionel Skerratt
“Last year – in a live show I did with Massive Attack – we tried to evoke this new world. We used a song from the 1980s called “Bela Lugosi’s dead” – which I love because it has a very powerful feel of repetition. The audience were surrounded by 11 twenty-five foot high screens.
I’m not sure how successfully we did it – but what I was trying to show is how your past is continually being replayed back to you – like a modern ghost. And it means we stand still unable to move forwards. Like a story that’s got stuck.
I’ve put a short bit of it together from some camera-phone videos shot by the audience in New York. It’s a bit rough – as is the sound – but you’ll get a sense of it.”
Videos by designer / directors Clayton Welham and Sam Williams
Function: processed digital and analogue visuals, sent through a chain of devices including a UHF transmitter, a 1960’s black and white TV and a DV camcorder.
The project created around the Woodchester Mansion in Gloucestershire. The Gothic Mansion was abandoned by its builders in the middle of construction, leaving behind a building that appears complete from the outside, but with floors, plaster and whole rooms missing inside. It has remained in this state since the mid-1870s. There were recordings with vintage mics and other analog machines then transformed into the powerful sounds you hear. All footage was filmed on site and broadcast, processed and captured before editing, mirroring Emptyset’s ‘chain of sound’ processes.