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"It was oversized for the stage that we had to work with, but because it was new, SLS Production wanted to roll it out in its entirety to ensure all the components were working properly.
"Two technicians from the roof's UK-based supplier, Total Fabrications, were also flown in to provide assistance."
Despite the many factors working against Casey and the smooth operation of the event as a whole, organisers seem to have defied Murphy's Law by keeping things on-track.
"One of the biggest challenges I faced was that one of my colleagues, who would normally be responsible for managing the site facilities, fell ill before the event," he explains. "Losing someone with that kind of expertise obviously creates issues."
Casey says factoring in unexpected issues, whatever they may be, is a necessary virtue for any production team.
"There is always something to do, whether it's closing up some fence areas or filling in potholes," says Casey.
With such a large crew and a myriad of companies and freelancers collaborating on the event, challenges were bound to crop up, but it is the way in which the Casey and his team dealt with these issues that determined the ultimate success of the project.
In addition to level-headedness, the importance of putting contingency plans in place to avoid inevitable issues is something that Casey can surely attest to.
Desk Jockeys
Cross-console file compatibility issues tend to crop up from time to time, particularly when multiple lighting engineers are involved in a gig.
Gulf Bike Expo lighting specialist Steve Shipman initially began flashing through the lighting installation for the Deep Purple performance using his console of choice, the GrandMA.
However, Deep Purple LD Louis Ball's preference for a High End System's (HES) Wholehog 3 console created a number of compatibility issues for the production team.
"There was a bit of head scratching going on when we were trying to get the show across on to the HES console," admits Shipman. "To flash the system through I had to put the whole show onto the MA desk.
"But when Louis arrived, we had to convert all the programming file types from the MA to the Wholehog 3 equivalent," he continues.
"It can prove quite challenging because the personality files are written by the manufacturer of the desk, not the manufacturer of the lighting fixtures.
"When you shift from one desk to another, the manner in which you programme the lights initially isn't necessarily the way that the new desk is going to interpret it."
While the setback was only a minor one, it highlights the need for manufacturers to address compatibility issues across different lighting consoles.
Cross-console file compatibility issues tend to crop up from time to time, particularly when multiple lighting engineers are involved in a gig.
Gulf Bike Expo lighting specialist Steve Shipman initially began flashing through the lighting installation for the Deep Purple performance using his console of choice, the GrandMA.
However, Deep Purple LD Louis Ball's preference for a High End System's (HES) Wholehog 3 console created a number of compatibility issues for the production team.
"There was a bit of head scratching going on when we were trying to get the show across on to the HES console," admits Shipman. "To flash the system through I had to put the whole show onto the MA desk.
"But when Louis arrived, we had to convert all the programming file types from the MA to the Wholehog 3 equivalent," he continues.
"It can prove quite challenging because the personality files are written by the manufacturer of the desk, not the manufacturer of the lighting fixtures.
"When you shift from one desk to another, the manner in which you programme the lights initially isn't necessarily the way that the new desk is going to interpret it."
While the setback was only a minor one, it highlights the need for manufacturers to address compatibility issues across different lighting consoles.
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