Ed Warren Shapes Space on Four Tet Warehouse US Tour with CHAUVET Professional PXL Curve 12

	"I loved starting with a thin sheet of light right down the center of the room, then slowly tilting it as one slowly increasing in size and speed, as it morphs into a sine wave," says Warren.

Designer Ed Warren is clear about his lighting of electronic musician Four Tet's Warehouse Tour: "I have a long straight line of lights down the center of the room -- they are the show. The entire show is built around them. I use them to create curves, shapes, movements of light that most people might not have seen before, to complement the music."

Collaborating closely with his client, Warren has conjured a design featuring flowing geometric configurations that transform the entire room, altering the sense of space within its walls and pulling everyone on the dance floor into the all-embracing mood of Four Tet's sound.

The design centered on a long straight line of CHAUVET Professional COLORado PXL Curve 12 motorized battens. Its length depended on the venue: 65 units at Brooklyn Storehouse, supplied by Tag Live; 32 at Mission Ballroom in Denver from Brown Note Productions; and 138 at San Francisco's Portola Festival, from Felix Lighting.

However, the design concept's immersive effect remained consistent throughout the tour. "This design is a development from the Alexandra Palace shows we did last year," says Warren, who programmed the shows on his ChamSys MagicQ MQ500M console. "Kieran [Four Tet] chose these shows and venues because they would suit our design, as each features a long, slightly narrow room which can house enough people.

"One of the unexpected positives of this show was that it worked very well in short and long formats," Warren continues. "It's all relative to the dance floors. If they're covered, then we have our show. Mission Ballroom had a 28-long [91.8'] stick over its dance floor, which was as long as we were permitted. Brooklyn had 61 [200'], Portola 138 [452.7']. These were all based on the dance floor sizes. It's basically exactly the same show file/programming for each room."

Helping Warren keep his long line of fixtures straight was his ChamSys MagicQ Remote. "I used it to wander down the line without having to drag my desk everywhere with me," he remarks.

Working with production manager Josh Rahalski, Warren's sweeping movement carved up space in intriguing ways. Among the more dramatic was the line of overhead light that seemed to split the room as it radiated from the center.

"It wasn't really a conscious decision to do that; I just played around with the lights until they did something cool, then saved it in the programming," Warren says of that particular look. "I loved starting with a thin sheet of light right down the center of the room, then slowly tilting it as one slowly increasing in size and speed, as it morphs into a sine wave."