Robe DLXs for GH Hotel Installation

Landmark Australian live music and performance venue The GH Hotel in St Kilda, Melbourne has recently taken delivery of 12 Robe DLX Spot moving lights -- which have been added to the lighting rig in the main room.

These were specified by technical manager Jason Rooney and join 16 existing Robe ColorSpot 250E AT moving lights, which were added to the rig in an upgrade of the whole lighting system earlier in the year.

The GH Hotel hopes to offer the best quality technology and production values for all its shows and averts the need for any visiting artists and performers to bring in their own lighting and sound equipment.

The GH is open five nights a week offering a lively schedule of entertainment. This currently includes stage shows such as Boylesque and Saturday nights with "The Classics", together with DJs, dance events, bands, acoustic performances, and Superstar Karaoke. It is also available as a hired event space.

The lighting rig is designed to take this versatility into account and offer the best looking and most flexible solutions to anyone playing the GH.

Once Rooney and the technical team at the GH saw the DLXs in action -- demonstrated by Robe's Australian distributor The ULA Group -- they knew that these were the right moving lights for the venue.

"We wanted a TV-friendly moving light around the stage that had real power and punch for the reds, blues and deeper saturates -- the DLX is a huge step forward and the output is incredible," he says.

Rooney handles lighting design and production for all GH's events and operates many of the shows himself, alternating with one other person, using their Chamsys lighting control system.

He appreciates the smooth iris and speed of the DLX's versatile 10 - 45 degree zoom and uses both these features extensively in his shows, together with almost all of the other features offered by the units. He also likes the super-sharp gobo selection, Rooney says.

The DLXs are positioned all around the main stage area on ladders above the upstage LED screen and on the FOH gantry -- giving full coverage all around the room.

Adding the DLXs and their impressive brightness to the rig has made it infinitely easier to light the stage action without having to reduce the brightness of the LED screen as the DLX output easily rivals the luminosity of the 6.5 mm pitch video surface, Rooney says.

"Truthfully I can't think of a single DLX feature that I don't utilize," he says. "The output is fabulous, the power usage very expedient, they start up fast, and there's no waiting time while the lamp powers on/off."

See Robe at PLASA Focus: Orlando, May 15-16.