Nightlife
Your night out owes more to light and sound engineers than you think. Here, The Hydra's production team reveals the tech, challenges and creativity behind one of London's most popular clubs.
Clubbing is a visceral experience felt far beyond simply what track a DJ is playing. The quality of the sound that gets your muscles moving, and the light that heightens a spectrum of moods, can separate the forgettable blurs from those truly memorable moments. Though we don’t tend to think much about the logistics behind this sensory immersion when we’re locked in on the dance floor, behind it are teams of engineers and creative minds that make the operation feel effortless. And at a club the size and spectacle of Printworks, this is no mean feat.
“The building wasn’t created to house raves,” say Ajay Jayaram and Dolan Bergin, the promotor duo behind London party institution The Hydra, “but the tireless efforts of the venue team have made it feel like that was the remit all along.” Having built a dedicated following of ravers by throwing parties in obscure locations (churches, pool halls, former department stores, you name it), The Hydra have been integral to Printworks’ programming since its inception in 2017. Describing their ethos, they say it has "always been about representing the alternative, in a way that we consider to be the best possible. This includes sound, visuals, lights – everything really." Here, they've built a core production team that bring the old printing press to life, weekend after weekend.
To find out more, we went behind the scenes at the venue to speak to the engineers that transform the space into one of London's premier clubbing destinations. From cutting-edge technology to the future of clubbing, Richard Cufley and Natalie Heckl – two of The Hydra's sound and light technicians, respectively – provide an insight into the inner workings of your night out.
Sound engineers
Needless to say, the sound engineer is a crucial link between the DJ and the crowd – after all, it’s what you hear that makes you move. With an expansive knowledge of acoustics and sound systems, they are responsible for maintaining a consistent sound in the booth and on the dance floor, which includes protecting the gear and any damage an excited DJ might do to your ears by pushing up the volume ‘into the red’.
“The quest for perfect sound [has] always been a challenge,” say Dolan and Ajay, “especially given the unusual nature of some of the spaces we have used.” One technicians you’d find behind the mixing decks at Printworks is Richard Cufley of Sound Services, a London-based company who built up their reputation at Metalheadz’s drum’n’bass parties, and now can also be found at the likes of Glastonbury and Resident Advisor events. For him, he explains, the art of a sound engineer lies in making the operation feel effortless.
As long as we are giving audiences an experience that they remember and want to repeat, we are in a good place!
What's your setup for The Hydra?
We have tried to emulate the same system spec and setup that we used for the Hydra’s legendary one-off nights in various ‘challenging’ venues and spaces. No matter where these nights were held, Sound Services always strived to deliver a standard of audio that matched the incredible talent in the booth. At Printworks, we use 4 Funktion-One Infrabass loudspeakers in conjunction with 2 Infrahorn waveguides, which enhance the efficiency, directivity and projection of the Infrabasses. This extends the low frequencies of the system for a smooth and deep bass, which with dance music can really make a huge difference!
Can you explain the relationship between you and the DJ?
Our prime objective at every gig is to work with the DJ to get the best possible result for them and the audience. We try to make them comfortable with great monitoring (that sounds like the dance floor), by setting up exactly the equipment specified on their rider (in the correct place) and ensuring they are supported and assisted by the engineer.
We also take responsibility for the sound on the dance floor and the fine tuning of the system. This leaves the DJ to immerse themselves in the monitoring system and concentrate on selection and atmosphere for the clubbers on the floor. All we really need to do our job is clear undistorted audio from their mixer (no red lights!).
What are some of the main challenges you face on the night?
As an engineer, there is always the risk of equipment failure or the possibility of a drink being spilt! The hot sweaty atmosphere of a club can be challenging when using sensitive electronic equipment. We try to be ready for any eventuality.
Are there any misconceptions about your field, or anything which people might be surprised to hear about working behind the scenes at a major club like Printworks?
Maybe the amount of preparation we do before any show starts? We arrive early and check every aspect of the system before using it, plus we set up and plan equipment changes in advance to make the operation as smooth as possible during the show. Also, time spent after the event double-checking all equipment and connections to ensure we are ready for the next time. This makes it seem effortless and deceptively simple – it isn’t!
What have been some of the most exciting and cutting-edge developments or trends in your field from the past few years?
In general, the last few years have seen an incredible move forward in new technologies within sound systems. New Digital Signal Processing technology and Class-D amplifiers have made it possible to have lots of power with high fidelity sound quality. We are able to adjust delay times, EQ and crossover frequencies with amazing precision. This means that we can adjust and tune to each room and individual set up to give clubbers a really immersive experience with perfectly balanced audio.
The evolution and rapid development of new ideas and products from Funktion-One have also made this a great time to be deploying sound systems! Their work on new products and ideas ensure there are always new products to master and use.
What do you think the future of your industry might look like?
I’m not sure! Technology is definitely giving us more control and precision every day. All we need is passionate people making exciting, great sounding music to keep us engaged and moving forward. As long as we are giving audiences an experience that they remember and want to repeat, we are in a good place!
Lighting engineers
The way a space is illuminated – whether it be a haze of grey in a smoked-out basement, or a spectacle of strobes and multi-coloured lasers – has a significant impact on your response to the sounds played within it. It could be a hands-in-the-air reaction to a bright wash of light, or an emotional tear-jerk reaction to a glittering disco ball. Whatever the physical and emotional response, it's all down the to lighting pros.
For Dolan and Ajay, “the lighting at Printworks really serves to highlight the scale and grandeur of the main hall and its architecture.” A set up of rotating spotlights and beams, strobes, LED strips and the warm dazzle of blinder lights are brought to life by engineers like Natalie Heckl, the technician at Berlin's Panorama Bar and various European festivals. As she discusses below, a light show should carry the crowd on the DJ set's journey.
My challenge for the night is to create those special moments, where light and music fit in perfect harmony.
What's your set-up for The Hydra?
Usually I work with grandMA desks, but I think it's a matter of habit which system you work with. In the end, the console you work with does not really affect the experience of the clubbers – its more that the lighting engineer has found a workflow for him or herself, and can handle the desk which has been selected.
Can you explain the relationship between you and the DJ?
It’s a deep one! I interact with the DJs from the beginning until the end. I try to understand the structure of the story of the set and translate it visually.
What are some of the main challenges you face on the night?
It can be hard to stay focused all night and to delve into any DJ's story, even if it does not necessarily touch me on a personal level. Sometimes, of course, there are slower periods. But in the end my challenge for the night is to create those special moments, where light and music fit in perfect harmony (and generate goosebumps).
Are there any misconceptions about your field, or anything which people might be surprised to hear about working behind the scenes at a major club like Printworks?
Sometimes people are surprised that I don’t work with timecode, which is a sequence that can synch up lighting cues with music. For me, the show is done just in time and not being rehearsed.
What have been some of the most exciting developments or trends in your field from the past few years?
The further development and conversion to LED spotlights and moving heads have certainly enhanced club lighting. Also, light tracking systems that can automatically track objects using infrared light pulses and cameras.
What do you think the future of your industry might look like?
I think we will see the development of tools which work together with sequencers for music production, and convert beat-based data to light (meaning that the light can be controlled autonomously by these tools). I expect other media, such as visuals or mapping, to gain more and more importance at events.
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