A total of five W-DMX S-1 transmitters and ten R-512 receivers were used to handle DMX control of the lighting equipment, all of which was managed from four grandMA full-size consoles. Lighting supplier for the event was Belgium’s Procon.
Tremblay managed all W-DMX specifications and supervised the on-site deployment, in addition to assisting Lariv_e throughout the production. He also managed all DMX data, patch information and the MA network, as well as programming the grandMAs in conjunction with main operator Hubert Gagnon.
“I’ve worked with W-DMX in the past on elaborate shows such as Cirque du Soleil’s Delirium and knew it was reliable,” said Tremblay. “Not only is it impossible to run cable when dealing with set-ups of this magnitude, but we were under extremely tight time constraints. We only had eight days from the time the equipment arrived until the actual concert to get almost 600 fixtures up and running – and they were scattered over the span of an entire square mile of highly protected land. Even if we had that much cable, it would have taken weeks and made an unsightly mess.”
Lead on-site W-DMX technician Tobias Rylander was also impressed. He told II: “We worked at night, since the days were so hot. I started wondering how hot it actually got during the days. I asked one of the crew members and he said he didn’t really know but that one day his thermometer in his closed toolbox had indicated 62_C ! So I had one more thing to worry about: how hot did it get in the black W-DMX boxes? But they never had a single problem – it all worked perfectly.”