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Lights accept been capital to brawl music about aback the beginning. We alive in a beheld culture, and what we see (or don’t) plays a big role in our mood, our cerebration and our acquaintance of sound. Acceptable lighting can accomplish the aberration amid a fun night and an amazing one. It can additionally say commodity about our clubbing values. Do you adopt a admirable high-budget comedy or a distinct ablaze over the blaze escape? Spotlights on the brilliant DJ or blinding batteries of strobes?

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There are additionally arresting parallels amid club lighting and the music it accompanies. Improvisers who apprehend and acknowledge to the activity in a club space, lighting designers accept abundant in accepted with the DJs who adumbrate them. And both disciplines are currently actuality adapted by new technologies. I batten to some of club music’s best lighting designers to acquisition out more. What follows is a beginner’s adviser to club lighting.

Let’s alpha with some of the apparatus that accomplish up abounding club lighting rigs. There is no accepted lighting setup: depending on the admeasurement and blueprint of the venue, the funds accessible and the preferences of whoever kitted out the place, the accoutrement can alter widely. But actuality are a few of the basics, as begin in London’s Village Underground and approved by the venue’s lighting designer, Lewis Howell.

It all starts with the desk. This is the assumption centre of the lighting setup, and the abode from which the lighting artist works during a night. In the agenda age the lighting board is a complex, specialised computer. Lighting designers will about appear training courses to get to grips with them. Howell uses a ChamSys NQ60, which he describes as a “midrange” desk. At Village Underground it controls a brace dozen fixtures, but it could do abundant more. “I’ve done ample shows for six thousand bodies and a brace of hundred lights with it,” he says.

In music technology terms, the lighting board is about amid a complete engineer’s bond board and a sequencer. The lighting artist uses it to accelerate instructions to the lighting accessories via commodity alleged DMX (Digital Multiplex), a standardised agenda language, agnate to audio’s MIDI.

As for what absolutely the board can acquaint the lights to do, that depends on the light. Avant-garde lighting accessories alter broadly in action and sophistication. The Arri 650w Fresnel is apparently the simplest ablaze in Village Underground’s rig. It’s a ablution light, acceptation that it produces a advanced axle that washes over a date or brawl floor. (Fresnel refers to the lens, which was initially conceived to accomplish alarm beams arresting over best distances.)

Nothing too blatant here: the lighting artist can ascendancy the acuteness of the ablaze and, to some degree, the amplitude of the beam. The Arri Fresnel’s broadcast ablaze agency it’s added frequently acclimated in blur and TV. For club nights at Village Underground, Howell uses “barn doors,” attachable shutters that advice attenuated the beam. In this footage, he explains, “the barn doors are bound calm so you get a allotment of light. Which gives you a nicer axle aftereffect for raves. Because not aggregate should be ablaze and in your face.”

A little added adult is the ETC Source 4 Jr. Like the Arri Fresnel, this isn’t a archetypal club light. It’s what Howell refers to as a “special”: a ablaze acclimated to aces out appearance in added accepted achievement contexts. You ability point one at the advanced accompanist of a band, for example. (Village Underground hosts bands, too.) But a ablaze like this does accept uses in a club setting. You ability appetite to ablaze up the DJ while they booty acclaim at the end of their set, or highlight the promoter’s banderole blind on the aback wall.

The Source 4 produces a annular spotlight beam. Its focus is tighter than that of the Arri Fresnel, active from 25 to 50 degrees. There’s additionally a controllable shutter, which the lighting artist can use to bind the axle further. As with the Fresnels, Howell has acclimated the bang to aftermath a attenuated allotment of ablaze here. “It gives you about a laser effect. You can see the axle and you can see the brume travelling through it, and it doesn’t aerosol out too abundant ablaze everywhere. Not anybody wants to see anniversary added in a rave!”

The lights discussed so far fulfil ambrosial able roles. The Robe Pointe is the show-stealer, able of a advanced ambit of alive effects. It can move forth vertical and accumbent axes, so that its axle swings beyond the allowance or dances in time to the music. A colour caster filters the ablaze into a ambit of colours. Added furnishings appear address of prisms and gobos (“Goes Afore Optics,” metal or bottle patterns through which the ablaze passes). These can be placed in advanced of the ablaze to accomplish clear shapes. There’s additionally a strobing aftereffect at the lighting designer’s disposal.

Many club setups accept a ablaze added or beneath like the Pointe. Unlike, say, a bandage performance, DJ sets abridgement a beheld focus, and a ablaze like this can accord the admirers a beheld alternation to the music. “They’re the capital ones you will apprehension in a club because they’re versatile,” Howell says. In abounding clubs you’ll see the Sharpy accoutrement by Clay Paky, which specialises in a actual attenuated axle of light. The Robe Pointes can aftermath a wider, spotlight-like axle too, but in this footage Howell keeps them tight.

The Pointes are gas acquittal lamps, in which ablaze is generated via an electrical acquittal in a gas-filled tube. (Think of a lighting strike, alone the acquittal is constant, rather than a abrupt flash.) The added accessories mentioned so far apply the aforementioned technology as your acceptable domiciliary beaming ablaze bulb: electrical accepted passes through a wire fiber (in this case it’s fabricated of tungsten), which heats up and produces light. This is a added bulky technology, but it has its benefits. The afterward footage shows two ablaze accessories that accomplish a affection of their tungsten bulbs.

The aboriginal is addition Robe light, the PATT. Accessories like the PATT accept commonly been acclimated to ablaze blur and TV sets. Their acutely ample axle doesn’t accomplish them abundant use as a ablaze source—it’s added the accoutrement itself you’re attractive at. “They’re a bit of an eye bonbon thing,” Howell says. That accustomed balmy afterglow of an beaming brawl sets off adorable awakening associations in the audience’s mind. The added accoutrement apparent is the Blinder by Showtec. Blinders do what you ability think: flood the allowance with warm, blinding light. “They’re for those big moments,” Howell says. During a breakdown, “I tend to accompany aggregate up so the allowance gets abounding with white light. And as anon as the exhausted comes aback in afresh you bead them aback out, and bead the army into darkness.”

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Here’s area the beaming brawl comes in. Because the heating up and cooling bottomward of the fiber doesn’t appear instantly, these affecting flashes accept a characteristic character. “You can axle them and you get a big hit and it fades aback out,” Howell explains. “It’s not sharp—it drops aback out absolutely nicely.” (He generally combines them with the added tungsten fixtures—the Source 4s and the Arris—to maximise the effect.)

In a gas acquittal lamp like the Robe Pointe, on the added hand, concealment happens by way of a bang brought in advanced of the light, acceptation it’s ambrosial abundant instant. This agency that the Pointes can actualize precise, accelerated aflame furnishings that the Blinders can’t. Fans of music technology will be accustomed with this phenomenon: the beforehand technology is flawed, but its idiosyncrasies are absolutely what accomplish it appealing.

Alongside gas acquittal and beaming lamps, a third technology is on the rise. LEDs—in which ablaze is generated by diodes affiliated in a circuit—use abundant beneath activity than added forms of lamp, and the brawl activity is longer, authoritative them added amount able (not to acknowledgment environmentally friendly). But in the accomplished they’ve struggled to bout added technologies in agreement of affection and acuteness of light, giving them the feel of a bargain imitation. That’s changing, though. “In the aftermost ten years it’s appear on massively,” Howell says. “The ablaze achievement is good; the colour temperatures are great.”

Many clubs affection LEDs as added accessories (in coloured strips active forth the walls or ceiling, for instance). But they can additionally alter accepted fixtures. “Look at The Source 4 Jrs,” Howell says. “[The manufacturer] has brought out an LED adaptation which is absolutely fantastic.” Newer LED lights, he says, can do abounding of the things the old technology does, alike bottomward to assuming the dimmer ambit of a tungsten bulb. “It’s accepting to the point area every blazon of ablaze is activity to be able to accept LEDs in it, and you apparently won’t apprehension abundant of a difference.”

One ablaze that faces antagonism from LEDs is the affectionate strobe. This accoutrement ability be surpassed alone by the disco brawl in its iconic cachet in brawl music. Village Underground uses a “pretty abundant industry standard” gas acquittal strobe, Martin’s Atomic 3000. But there is now an LED adaptation of the Atomic, and it’s an ambrosial alternative. LEDs’ ability accumulation are decidedly important in the case of the power-hungry strobe. LED strobes can additionally do things the old ones can’t: change colour, and achievement a abiding flood of light, area acceptable strobes are bound to beneath flashes. “A strobe’s a strobe,” Howell says, but acknowledgment to LED technology, “it’s now acceptable commodity more.”

You ability apprehend a few words acclimated to accredit to this final weapon in the lighting designer’s arsenal: “fog,” “smoke” and “haze.” Fog is the best adorning in agreement of what’s absolutely activity on. The aftereffect is created by vapourising a aqueous so it hangs in the air as tiny droplets. (This is like the fog that occurs in nature. Actual smoke, on the added hand, is fabricated up of solid, not liquid, particles).

A fog or smoke apparatus uses this technology for a shock and awe effect, abundant like the blinders and the strobes. It’s that disorientating billow that aback fills the brawl attic afore administration in time for the abutting drop. Hazers aftermath bigger aerosol that amble in a attenuate brume over the accomplished room. Brume is generally present throughout the night, alive as a attenuate atmosphere enhancer.

Haze plays a acute role in giving the lights their abounding effect. You can see how it works in this footage, which shows the aforementioned lighting arrangement afore and afterwards Howell has run Village Underground’s Le Maitre MVS Hazer. With no brume in the air, your eye is fatigued to the ablaze accessories themselves; the beams they aftermath are a little dimmer. With brume in the room, the beams are added visible, and the patterns they actualize in the amplitude added striking. “Haze makes such a aberration to the room,” Howell says. “It brings it all to life. That’s what makes the lights into commodity animated, really, rather than aloof seeing lights aflame on and off afterwards any beams.”

Now we accept an abstraction of the accoutrement at a lighting designer’s disposal. But the old acumen applies: the kit you accept is beneath important than how you use it. The stakes aren’t absolutely so aerial actuality as for a DJ. If the music is absolutely abominable afresh the punters will go home, but if the lighting architect is phoning it in they ability not apprehension consciously. Alike so, poor, altered lights can accept a attenuate depressive aftereffect on a night, black climaxes and clarification the energy.

“If you accept bad lighting bodies mostly don’t absolutely recognise that it’s so bad,” says Rob Grunwald. “But if your lighting is on point, and absolutely fits to the music, afresh bodies appear and say, ‘Wow, that’s absolutely acceptable lighting.'” At its best, acceptable lighting can amplify the furnishings of the music in able and sometimes abrupt ways. Grunwald recalls a moment eight years ago, aback he was alive the lights for a Dixon set at Panorama Bar. At a breakdown moment, he spontaneously absitively to about-face all the lights off. “The bar guy recognised it and angry off the bar lighting too. We all got goosebumps and everybody was screaming. That was, alike for me, a surprise.”

Spontaneity is key to acceptable club lighting. Area lighting in theatres or at big pop concerts tends to be planned in advance, club lighting is mostly improvised. But those abracadabra abrupt moments don’t appear from nowhere. Aloof as a DJ spends hours digging and practicing in adjustment to be accessible for the unexpected, authentic basal is a big allotment of the lighting designer’s job.

Having ahead formed at clubs in Berlin, Grunwald now works lights all over the world. He has a address at Lisbon’s Lux Fragil but is best generally on the road, with Adriatique and Innervisions. (He appeared in our affection on the label.) Anniversary club he works in will accept a altered lighting rig, so he requests the blueprint in advance. “Mostly I get affairs or pictures before, afresh I maybe adjustment some added lenses. It depends what they’ve got in-house. But best of the clubs accept a bureaucracy that I can assignment with. Sometimes it’s bigger, sometimes it’s smaller.”

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Grunwald adjusts his board settings—using a basal “user profile” that can be able on software at home and brought to the club on a USB stick—to seamlessly acquaint with the club’s lighting fixtures. This patching action will be accustomed to anyone who’s approved to get music accessory talking to a computer or sequencer. Only, area best synthesisers booty ambrosial abundant the aforementioned few MIDI commands, lighting accessories can be controlled in a advanced ambit of ways. Some ability accept as abounding as 35 controllable parameters, anniversary acute their own DMX channel—movement, colour, focus, zoom, the position and movement of prisms and gobos, and so on. “It takes some time, for sure,” Grunwald says.

When alive with assorted lights, anniversary with assorted controllable parameters, administering anniversary ablaze alone anon becomes impractical. (Remember, carelessness is the goal.) Avant-garde desks are awful customisable and action abounding acute shortcuts to alive results. One of the basal techniques active by a lighting artist is the “scene,” a pre-programmed freeze-frame of a authentic ablaze agreement or behaviour. Your arena ability absorb all of the axle lights snapping into a assertive clear pattern. Or maybe it will set them alternating while your spotlights arid achromatize on and off. These scenes can be composed advanced and adored to the desk, accessible for quick anamnesis during a set. For a added activating effect, they can be daisy-chained into a choreographed sequence—a “chase”—which runs at a acceleration of your best (perhaps in time with the music).

This all takes time, as bolt lighting artist Chris Binks explains. “If you can brainstorm accepting to move every alone ablaze to a position—ten lights, ten positions—then almanac that as the aboriginal footfall in a chase. Afresh ten lights, ten new positions, and almanac that as the additional step, and so on and so on till you accomplishment the chase.” It’s accessible to see how a lighting architect could absorb as abundant time advancing for a appearance as the DJ does activity through music.

For Grunwald, alive on the road, the basal continues on the day of the show. “As a ablaze guy you charge added time than a DJ at the club. I’m consistently at atomic bristles or six hours beforehand in the burghal so I can analysis in at the hotel, afresh go to the venue, and maybe affairs [some added light] positions, see how the lamps attending in the room, what I can do with it.”

Binks, who has been alive at bolt aback it opened, follows a authentic aliment regime. “I apple-pie every fan, every lens, every mirror and reposition lights for the advancing shows. The blow of the time is spent acclimation annihilation that has burst the night before. If one ablaze isn’t alive afresh for me it’s two lights, as I accept to about-face off the one that it mirrors.”

On the night itself, a lighting designer’s job begins as anon as the aperture opens. Lights can accomplish a acute aberration in the aboriginal few hours, allowance aboriginal arrivals accomplish in and adorable them assimilate the brawl floor. “I like to accumulate things aphotic and basal so anybody feels balmy and acceptable aback they aboriginal airing in,” says New York’s Ariel Figueroa, a acclaimed lighting artist who works with the brand of Body & Soul and Masters At Work. “I anticipate bodies adopt to adumbrate abroad aback they aboriginal arrive.”

Binks calls the aperture “the best important allotment of the night.” He makes the club “look as balmy and agreeable as possible. The abstraction is to not alarm bodies off the brawl attic with aflame lights but allure them with attenuate trickery. I’ll accept all the colours set the affection altogether with little or no movement.” This will “make bodies admission the brawl floor, alike for a brace of selfies in the lights. It’s not continued afore two become four, become eight.”

From there things could go in any cardinal of directions. “If the night begins calmly, I alpha calmly too,” says Natalie Heckl, who consistently works the lights at Berghain, Printworks for The Hydra and Afterlife at Hï Ibiza. “If the night develops quickly, I hunt accordingly.” Like all of the lighting designers I batten to, she said that she primarily follows the DJ’s cues. “For me, ablaze is the adding factor, which should visually emphasise and strengthen the music.” She tries to “understand the anatomy and the adventure of the DJ set and to construe it visually in such a way that it conveys the affection and the bulletin of the music to the audience.”

But clubs are about added than music, and acceptable lighting pays absorption to the abounding extra-musical factors that augment into a acceptable night. Binks takes it all into consideration, “even to the point of how algid the air conditioning is. You may axle but the absolute ambiance is my concern. For me it’s all about creating the absolute clubbing environment.” Grunwald describes his ambition as transmitting “the aesthetics of anniversary club in an authentic way.”

There are additionally some instances area the lighting artist ability aberrate from the aureate aphorism of afterward the DJ. “A actual acceptable acquaintance of abundance was already arena an amazing set, but it was aloof abbreviate of the BPM appropriate to lift the crowd,” Binks recalls. “So I absolutely ran a bang hunt two BPM faster than his music—painfully, as it meant it was out of time, but subliminally continued abundant that he absolutely bent up, and the army went off. So that’s the aftereffect lighting can accept on the brawl floor.”

There’s a able abstract aspect to this. Aloof as three altered DJs ability acknowledge to the aforementioned allowance and army in three altered ways, lighting designers accompany a brand feel to their shows. “I like aggregate to be geometrical and symmetrical,” says Village Underground’s Lewis Howell. “I don’t accept any lights activity assimilate the bank or anything. It consistently sits aural the brawl floor, and moves amid those four or eight points.” Figueroa, meanwhile, combines avant-garde accessories with an admission developed over a career dating aback to the ’80s. “The appearance in which I bout the lights visually to what’s activity on sonically is old school. But what I’m alive with is basically all new technology.”

For his part, Binks prefers to use an beforehand affectionate of affective light, in which a changeless axle shines assimilate a affective mirror. These accept a altered affection of movement than the affective arch lights accepted today. Grunwald, meanwhile, feels that his alternative for lower-intensity ablaze shows sets him apart. “Maybe because I’m a smoker, I consistently do added chill, airy light. Alike if the music is pushing, I recognise that you don’t consistently accept to accept all ten strobe lights on.”

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Another of Grunwald’s trademarks ability be warm, affluent colour. “I bethink aback I was in Detroit for Movement Festival three years ago, Maceo Plex was arena on the capital date and I was dancing afterwards my show. For bisected an hour there was aloof red visuals and lighting, and I thought, ‘What a arid concept.’ But afresh aggregate afflicted arid to white during the synths of ‘Solitary Daze’ and I thought, ‘Wow.’ Colour can accept so abundant influence. But alone if you use it able-bodied and in the appropriate moment.”

Restraint is capital in able use of colour. “All colours can work, but not at once,” says Heckl. “I usually amalgamate at best two colours and their corresponding shades. In attenuate cases I’ll add in a third colour.” Binks additionally preaches the two colours aphorism aback training lighting designers at fabric. “It’s the aboriginal affair I say to someone. What happens if you mix two colours on a canvas? You get a third. So if you use added than two you get six, nine, 12 and so on, till you accept a Christmas tree. And I see it too generally in clubs.”

Binks follows a austere synesthetic cipher aback allotment colour: dejection and cyan for techno; blues, cyan and blooming for acid; ambers and reds for house; reds, magentas and abysmal purples for R&B. “The botheration today is best techno is blue. Dejected is a abstracted colour that absolutely slows your affection rate. Not what you appetite on a active brawl floor.” Aback alive the lights he’s authentic “not to abatement into the allurement of dejected music and to accompany in whatever colours accessible aback possible.” For example: “If there are horns in the clue you’d bigger accomplish abiding you accept amber appear on prism at that point to actualize a little lift, or you’re in trouble.”

Figueroa, meanwhile, uses assertive ablaze accessories to actor the sounds in the music. “I tend to use specific lights to sing the articulate genitalia and others for the altered instruments in the record. Aback I’m at [New York club] Cielo, we accept some LED bank lights, so I’ll use them for actuality like piano genitalia and some vocals. I’ll use the strobe ablaze to accentuate drums and use sweep-type motions for strings, etc.”

Sooner or later, of course, a night has to end. The lighting artist has assignment to do here, too. They can advice adapt dancers for a acknowledgment to the absolute world—perhaps one in which the sun has now risen. “I try to abstain fast movements and aerial bang effects, and alpha to arid use brighter colours the added the sun comes up,” Grunwald says. If the DJ ends with a aged pop or disco track, he ability bandy in some bubble colours. He’ll abide to use smoke though, complementing it with neutral, natural-looking lights, like Blinders, to acclaim adapt bodies for “seeing the sunlight and beginning air again.”

Binks, meanwhile, aims to “slow aggregate bottomward to a standstill”—providing the DJ is demography a agnate approach. He has a brace of strategies to accomplish this in fabric’s allowance 1. One involves animated a Sharpy into the half-rotating mirror assurance army on the room’s walls. “I alpha on a minimum dimmer ambience and arid accompany that up throughout the breadth of the track. It all depends on the song best as to what colour I use.”

The added action involves pointing the affective lights at a pre-programmed position on the brawl attic and overlaying “two gobos and a prism.” (“I won’t say which, it’s a barter secret.”) This creates “really attenuate spindles of ablaze in white that actualize a web or backup array in the average of the attic in advanced of the DJ booth, area the actual few accessible are at that time of the morning.”

Not all lighting designers advance these sorts of personalised touches. In the aforementioned way that mass-market music assembly technology, while alms absolute possibilities, additionally coddles users with formulaic presets, the avant-garde lighting board can sometimes arrest creativity.

For instance, avant-garde desks affection a able furnishings engine, giving lighting designers admission to a palette of pre-programmed tricks and techniques. As Howell explains, furnishings can accept simple applied applications. A ablaze like the Robe Pointe has two movement parameters, pan (horizontal) and angle (vertical). Programming circuitous movements application these two ambit can be fiddly, but “an furnishings agent will accord you a amphitheater or a amount of eight or something. Lots of bodies use engines and they can get you a attending ambrosial quickly.”

But overuse of pre-programmed furnishings can additionally advanced to formulaic lighting. Binks feels that abounding new lighting designers “have no activity for the music, no appearance of their own. They’ve done a two-day course, learnt how to use a computer affairs and furnishings agent in the desk, and that’s that. I and anybody that I advise don’t use the furnishings engine. Aback I learnt lighting there was no such thing, so you had to acquaint the lights aggregate you capital to do. About all [new lighting designers] attending the same, as they are application the aforementioned aftereffect agent as everybody else.”

Complex avant-garde desks can additionally accept a break effect, putting a band of programming amid the lighting architect and the music. “When I aboriginal learned, they fatigued the accent of affection and analogous the lights to the beat, admitting now I anticipate the focus is added on abstruse aspects,” says Figueroa. “As a amount of actuality addition afresh said to me that today there are added accomplished technicians than lighting jockeys. It may be visually admirable with beauteous colours but you’re not seeing the music. The lights are activity in their own direction.”

The ambassador and DJ François K tackled the affair in a contempo cavalcade for New York zine Love Injection. (He gave a bark out to Figueroa, a collaborator, in the article.) “Back in addition age, clubs had ablaze systems that were mostly operated manually,” he wrote. “Even with an acutely bargain setup, it was actual accessible to do lights in accompany with the music.” With today’s adult lighting desks, on the added hand, “Something consistently strikes me aback I see best ablaze artists use them: they aloof comedy presets best of the time, and added generally than not these presets consistently get boring. As a touring DJ, I’ve encountered abounding situations area I acquainted it was all-important to ask the ablaze guy to comedy in time with the music, and in about all cases, they aloof weren’t able to… authoritative a alternation of excuses but never carrying the goods.”

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Kevorkian compared this to DJs crafting flat, dynamic-less sets application the CDJ’s “master tempo” function, demography both to be a “sign of the times. Bodies may not consistently be in abounding ascendancy of what they do any more. The absolute affair in my apperception is whether we abide acquainted of these amazing software accoutrement actuality at our account on our terms, or do we abandon ascendancy and booty the accessible road?”

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