Lighting
In action for Oasis' Friday night headline slot on the Pyramid stage were192 James Thomas Pixelline LED battens - part of a stunning lighting scheme designed by LD Andi Watson, with gear supplied by LSD/Fourth Phase.
On The Other Stage, LD Jonny Gaskell used 55 Pixellines and PixelDrive software, supplied by Bandit Lites, for Orbital's final set. Taking an experimental approach, Gaskell took Orbital's video content and fed it into the PixelDrive computer, producing some unusual patterns and images. Gaskell also designed for Goldfrapp, this time using 27 Pixellines and PixelDrive, with the battens supplied by Neg Earth.
The Budweiser dance tent, with lighting designed by Nick Jevons of Electric Fly Productions, featured 12 Pixellines. Colour Sound Experiment, lighting contractors for the Glade Stage, also supplied 12 battens and 12 PixelPAR 90 (A) fixtures as part of the general lighting scheme. Utopium Lighting was responsible for lighting in the Dance Tent, which featured performances from the Scissor Sisters, Kosheen and Sister Sledge, among others.
A huge truss supported a diverse collection of fixtures including Clay Paky Golden Scan 3s (rated by die-hard party lighting people as the best retro disco scanners in the universe!), Martin MAC 600s, Pars, five strings of ACLs and High End Dataflash strobes. Stage wings were lit with Pulsar Chroma Range LED fixtures - ChromaBanks and lots of ChromaPars - plus six ChromaPanels lighting other areas. In additition, 18 OPTI Solar 250 projectors projected celestial patterns and effects onto the back of the dance booths. For a touch of disco, 34 mirror balls were rigged for the Saturday disco extravaganza. Control was via an Avolites Diamond 4 programmed and operated by Chris Rock.
Also in The Dance Tent was Audiolight with two of its RiLL Aurora 1200 DPSS Whitelight Lasers, positioned at each end of the stage, controlled through one of RiLL's custom PC systems.
Utopium also supplemented the main stage rig with additional Pixelline fixtures, plus others for the Basement Jaxx (LD Vince Foster/'Leggy' Armstrong).
Sound
Sennheiser UK has been a long-term supporter of Glastonbury and of up-and-coming talent, and continued this commitment by sponsoring the New Tent, in conjunction with production company Reality Check and hire company South West Audio. 90% of the 40 acts performing on the New Tent Stage used Sennheiser microphones and in-ear monitoring. Sennheiser supplied its new G2 wireless hand-held evolution e935 radio mic and 300 series IEM G2 in-ear monitoring systems, used for the first time at Glastonbury. Acts using Sennheiser and Neumann equipment included Scissor Sisters, Jamie Cullum, Ben Harper, Goldie Lookin Chain, Franz Fedinand and Damien Rice, along with Sennheiser endorsees Lostprophets, Starsailor and Joss Stone.
Adlib Audio was out in force, fielding 19 engineers and technicians who serviced seven stages. The 3,000 capacity Cabaret Tent was the largest of the Adlib systems, featuring Nexo Alpha speakers, and a Soundcraft Series 4 console at FOH with an SM20 on-stage, complete with Adlib monitors.
The Circus Tent used an Adlib FD system with Allen & Heath control at FOH and on monitors; many of the other Adlib stages used a similar set-up. A mobile stage was co-ordinated by Danny Castree and Scott Negus, who looked after 12 complete Shure radio systems for assorted stages. Adlib's Dave Kay and Ben Booker mixed FOH and monitors f
