The Glasshouse: a 550 Guest Wedding in a Glass Marquee

The dancefloor was printed to a mirror finish with a trailing foliage pattern and the couple's monogram in a ring at its centre, and the DJ booth was printed to match, so the stage read as one surface from the decks to the front row of tables. Both came out of our print department. In a glass room a mirror floor earns its cost twice: the chandeliers, the florals and the sky all land on it a second time.

Behind the booth stood a central LED wall of 35 Absen PL 3.9mm panels, half a metre by a metre each, driven by two Novastar MX30 processors with a Barco S3 4K switching the sources, the signal carried the length of the structure from the control position on Lightware HDMI over TPS and Kramer HDMI fibre. Either side of the wall, white drape panels edged in LED battens framed it, so the screen sat in a lit proscenium rather than floating in glass. The content moved with the night: an illustrated English garden for the arrivals, the floral monogram through dinner, an alpine valley at sunset, and the monogram alone, in white, pink or red, for the party.

The sound was a d&b system flown from the frame: six Y12 on Y Series flying frames as the main hangs, eight E3 as fills across the width of the room and four Y8 for the tables furthest from the stage, all on a Yamaha QL1 with a Rio1608-D2 stagebox. A quad Shure ULXD receiver with four SM58 handhelds covered the speeches, the drum kit was close-mic'd into the same desk as the decks, and the DJs had an Alto monitor stack of their own in the booth.

One system for everything is the point. The drummer's kit sat inside the DJs' mix rather than fighting it, and the speeches went through the same rig at a level set that afternoon rather than found on the night. Outside, a pair of RCF Evox 8 column systems on the deck covered the drinks reception, played from an iPad.