The technical side of Juliana's

Club Data

• Floor Area: 1,200sq m

• Ceiling Height: 7.5 metres

• Capacity: 1,500 people

Audio

Main Dance floor, Stage and Sub Bass speakers were all from Renkus Heinz and powered by Crown amplifiers.

The dance floor was also fitted with a patented "Bodysonic" acoustic floor system. Special transducers mounted beneath the dance floor and powered from their own amplifier rack, sent Bass frequencies straight to your feet. This produced an amazing experience allowing you to feel the bass through your body without the need for ear defenders. In fact David 3D Ward liked it so much he has gone on to sell an upgraded system himself.

One 24 channel stage mixer to provide sound mixing for the live shows.

Various digital audio effects units from Yamaha and Alesis for live stage use.

Rane MP24 DJ mixer. This routed audio not only from the decks and CD player but also from the video and laser disc players. The Rane may not be the most exciting DJ mixer but it works and can withstand the abuse every mixer gets from DJs. It was the standard mixer Juliana's specified in all its clubs around the world.

2 Technics SL1200 turntables. Like the Rane mixer, you couln't have a DJ booth without two of these little beauties.

1 Dual CD player.

The DJ monitoring was provided by 2 JBL 25 speakers mounted either side of the console and fed via a 23 channel Yamaha equalizer driven by a Crown amplifier.

As well as a wired microphone, the DJs had use of 2 locally purchased Yamaha radio microphones to allow them to move about the club.

The above equipment was often supplemented by various midi keyboards, mini disc and DAT players brought in by the DJs and temporarily patched in to allow them to test out their latest mixes on the crowd. In the end we added another patchbay to the booth so they stopped rewiring the mixer.

Lighting

Twenty Two Intellabeams from High End were mounted either side of the Dance floor with four more mounted on truss above the stage.

Six Roboscan 1200s from Martin were later added to the system and mainly used floor standing on the stage to provide extra effect. When not required these were left in flightcases in the rack room beside the stage. These were not controlled by the enigma but had their own controller which was usually mounted beside the stage mixing desk as at show time one operator took care of the dance floor and another controlled the stage.

Four Molefay blinders fitted onto a custom built truss frame.

Most of the dance floor lighting was fitted onto 8 ceiling mounted elevators. which allowed the rigs to drop down around 3 metes from the ceiling. Each rig being individually controlled from the enigma lighting controller. The picture at the top of this page shows the dance floor lighting layout and which was taken from the DJ booth.

One Centre Effect - Can't remember exactly what this was now but I seem to remember it was a Coemar unit but it was again mounted on an elevator and hidden inside the Chandelier until it was needed.

Four 1000W strobes. Each of these were mounted at the corners of the dance floor.

Eight curved lighting panels were mounted underneath ceiling mounted elevators and were kitted out with strips of alternating Red, Pink and Blue neon, two rotating scanners per panel and a host of pin spots.

Four rotating Harvesters were mounted direct to the ceiling one to cover each corner of the dance floor.

Numerous Profile spots were located around the room to provide animated house lighting. These and the actual house lights themselves could be slaved into the enigma which would allow the lighting operator to chase just about every light in the place except for the emergency lighting when the mood took him.

A Pulsar 48 channel stage lighting desk sat beside the live audio mixing desk on the right of the DJ booth. This controlled the Par cans on stage but which could also be slaved to the enigma controller so that one Lighting operator could control the stage lighting level as well as the dance floor.

The dance floor lighting controller was a computerized Enigma unit which allowed us all to program our own chases and sequences to be later called up at the push of a button, providing you could remember exactly which page you had saved the sequence to of course.

Video

The famous V shaped 52 monitor Video wall behind the main stage comprised of individual open frame CRT monitors mounted in a steel lattice structure. Wonderful idea except when you need to repair one and have to clamber up the framework to remove the offending monitor. It became a pre requisite for any technical staff member to prove they were small and agile enough to clamber up behind the wall before they got the job.

Twelve more 21" or so monitors were located around the Club along the walls surrounding the dance floor and one more in each VIP bar.

There were also Twenty Four 4" LCD Tvs built into the architecture of the Club in both the arms of the VIP banquet seating and in the walls of the ticket and retail area.

Four Panasonic PT102Y Projectors were fitted to custom built moving frames and mounted in the ceiling, one at each corner of the Dance floor. These frames could be rotated through 270 degrees as well as about 30 degrees of angle from the DJ booth. This allowed the video images to be displayed not only on the Dance floor but also around the raised areas.

One analogue Fairlight CVI video processor provided the majority of the effects but this was later supplemented by one of the first digital Kaleidolight Video computers, which held some custom Julianas graphic sequences.

The video switching array and video processor unit was called a XYLO Turbine. I do remember that we had the second or third one that was ever made and when the case was opened it revealed a mass of wire wrap modifications. Basically this unit allowed us to select any one of the video input signals and send it to any other of the video monitors in the Club. This was done not just by means of programmed push button presets but any sequence of input or output selection could be stepped through in real time to provide video scratching or sequenced to the music being played and this long before digital video. A clever piece of software for sure to be able to do that much processing.

A Panasonic video mixer provided the main mixing ability. It could select from any of the players, the laser disc or from the three video cameras mounted around the Club. Initially all the video decks were UK PAL standard but of course Japan uses the american NTSC system so pretty soon we shoe horned another two NTSC decks into the booth to allow us to use local video content.

Three PAL video decks, one multi standard video deck and one laser disc player provided the main video program material. In addition there were 3 video cameras in the Club 2 fixed and one mounted on a pan and tilt unit.

Each of these inputs required their own monitor to allow you to cue the video up. Given the number of audio channels the video operator also required another audio mixer to select which of the audio channels he was going to send to the DJ Booth and out into the Club.

Special Effects

Three F100 Smoke machines were initially fitted in the Club. Two were mounted near the ceiling alongside the follow spot positions high above the crowd. There was a third unit mounted behind the stage to push the smoke out on stage. These were supplemented by two smaller units mounted either side of the DJ booth.

One full colour RGB Laser was mounted above the video wall behind the stage. Beams were then shot out to a number of reflector units mounted around the club so that nearly the entire area could be bathed in laser light. In addition there was Black gauze projection screen which dropped down in front of the stage to allow us to project graphic sequences and patterns to the audience.

3 phase 240V electricity and water cooling is an expereince.