Six systems that hold a venue together
CIRQUE CAP A LLC engineers show control systems, rigging telemetry and stage automation for performance venues from Salt Lake City, Utah. The six service lines below are not add-ons to one another. They are one integrated systems design, drawn on a single set of drawings and commissioned under a single load, so the tent rises in time and stays up. Our address is 136 S Main St Ste 400, Salt Lake City - 84101-3632, United States (US).
Service line oneShow Control Systems
Show control is the center pole of everything CIRQUE CAP A LLC builds. We design the authoritative timeline that every other subsystem reads from, whether that subsystem is a winch drive, a dimmer rack, a lift, a video server or an effects panel. The control enclosure houses the show computer, a locked timecode source, managed network switches and the safety interlock logic that decides which actions are allowed to fire at all. An operator presses one key and the whole yard moves together on the same instant.
The work starts with the cue structure. We interview the director, the production manager and the house electrician separately, because the three of them describe the same show in very different language. From those conversations we build a cue stack with named groups, guarded macros and clear recovery states. If a node drops off the network mid-show, the stack keeps running, flags the fault and lets the operator decide whether to continue or hold. Every enclosure is labelled, every cable is numbered and every macro is documented so a venue can maintain the system for a decade without us in the building.
Service line twoRigging Telemetry
Rigging telemetry is the guy rope set of the building. Load pins, position encoders, slack detection and motor current sensing report the true state of every point in the grid, continuously, into the same system that runs the show. No one ever has to guess how much weight is in the air, which point is drifting or which brake is dragging. Our telemetry loops are quiet until they matter, and then they are unmistakable.
We begin with a load study of the actual grid, not the drawing that was filed when the building opened. Points are grouped into zones, each zone gets a ceiling, and the control system enforces that ceiling before a motor is allowed to move. Alarms are tiered so that a slow encoder drift produces a maintenance note while an overload stops the move and locks the axis. The telemetry feeds the same scheduling platform the venue uses for its season, so a point that needs inspection shows up in the maintenance calendar instead of in a post-show report.
Service line threeStage Automation
Stage automation is our winch house. Revolves, stage lifts, fly bars, traveler tracks and point hoists are driven through controlled acceleration profiles with clean braking and hard mechanical limits behind the servo loop. We size drives, brakes and stop categories to the load the venue actually carries, then prove every axis under that load before a single performance. Motion does not have to be violent to be exact, and it should never be violent by accident.
Each axis is delivered with a motion profile that matches its job. A revolve needs a gentle ramp and a precise stop; a fly bar needs speed and repeatability; a lift needs a crawl into its final position so scenery keys cleanly. Behind the profile sit mechanical limits, redundant position sensing and a stop category chosen with the house safety officer. Operators are trained to jog, park and recover each axis so that a fault becomes a procedure rather than a crisis.
Service line fourCue Lighting Networks
Cue lighting networks are the radial seams of the tent. Redundant data paths keep every fixture and dimmer listening even when one leg of the rig drops out. We plan universes, gateways, priority merging and network segmentation so a lost node is an inconvenience rather than a blackout. Lighting data shares the building with show control and telemetry, so the segmentation we draw for one protects the other two.
The design names every universe and every patch point before the first cable is pulled, then proves the routing with a recorded count so nothing is discovered at the worst possible moment. Fixtures that carry a safety function, such as working light or egress indication, sit on their own priority path that no show cue can override. When a venue later adds a moving light rig or a media wall, the spare universes and spare ports are already waiting in the plan.
Service line fiveVenue Scheduling Platforms
A roadhouse is a building with one grid, one dock, one power house and one crew, and it will happily double-book all four if nobody stops it. Our venue scheduling platforms model the building as a set of real resources and let the season schedule push against those constraints. Load-ins, rehearsals, matinees, dark days and maintenance windows live on one calendar, so the rig is never asked to be in two places at once.
The platform speaks to the systems we installed. A rigging point due for inspection blocks the calendar slot it would occupy. A dimmer room at thermal limit pushes a show call later. A dock with a single door sequences two trucks instead of promising both at once. House management sees the season as a whole, promoters see only the slots that are honestly available, and the crew sees a day that will actually work. Over a full season this is the difference between a venue that survives and a venue that quietly falls apart in week six.
Service line sixTour Logistics Systems
Tour logistics systems carry the same discipline onto the road. Truck packs, travel days, power availability, venue constraints and local crew calls travel with the show in one coordinated system. A company arrives to a dock that is actually ready, with the right crew and the right power already staged, instead of discovering on the morning of load-in that the local house cannot supply what the rider assumed.
We build a pack plan that matches the truck to the venue list, a power plan that matches the rig to the service the building can provide, and a crew plan that matches the call times to the local labour market. When a venue on the run is one of our own installations, the tour plan reads directly from the same scheduling platform, so the building and the show are looking at the same calendar. That is the whole idea behind CIRQUE CAP A LLC: the tent, the tour and the clock all come from one systems house.
Our process, in order
1
Walk the yard
We survey grid, galleries, dock, dimmer room, control position and every cable path before proposing anything.
2
Draw the system model
A single model names each subsystem, its owner, its failure modes and its maintenance interval, and it drives every later drawing.
3
Install and commission under load
Every axis, telemetry loop and lighting universe is proved under the real load the venue carries before one show is run.
4
Train and hand over
The house crew learns to run and recover the system, with a printed manual, a spare parts list and a maintenance calendar.