The Crystal Method's
"7 Day Tweekend 2001 Tour"
Tweaking the Tweekend

For Immediate Release
Aug. 9, 2001

The Crystal Method's "7 Day Tweekend 2001 Tour" is heavy on beamage and pattern projections from a lighting rig that is filled with High End Systems automated luminaires.

The lighting design -- a collaboration by LD Lawrence "Loz" Upton and High End Systems' Brad Schiller -- was inspired by the movie Incredible Voyage.

To carry out their desired looks, the LDs specified a rig of 10 Cyberlight(R) Turbos with custom Lithopatterns™, 12 Studio Beam™ with custom color mix wheels, 8 x.Spots with custom Lithopatterns™ fog machines.

Control is with a Flying Pig Systems Wholehog (R) II lighting console. Lighting was supplied by Delicate Productions, set fabrication by Total Structures and fabrics by Show International.

Working also as the show's set / production designer, Upton had a strict set of variables to design within. "This tour will play clubs, theaters, and radio shows, so there is every imaginable size venue along the way," Upton says. "The lighting and set has to be flexible enough to change with the environment." Upton had to design a ground-supported system, but was tired of the common lighting tower look. Instead he created a dome around the band.

The dome is similar to an orchestra shell with fixtures along its outer edge. The interior cyc material of the "tunnel" is painted with projections from 8 x. Spot fixtures.

Brad Schiller programmed the Wholehog II with the expansion wing. "We had about two weeks of programming time, which was just wonderful. We spent most of this time creating fascinating looks on the cyc with the x.Spots," says Schiller. "The electronic strobing capabilities of both the x.Spot and Studio Beam added a layer of tension that was previously not possible. I defaulted both fixture types in this mode and then created my own shutter strobes when needed."

The projections from the x.Spots create a myriad of looks that amazed everyone, including the band. "It is great to have 21 patterns in each fixture," says Upton. "We were able to create unique looks for each of the songs. In fact, I have more looks than a year's subscription to Vogue magazine!"

After spending two weeks preprogramming on the primary rig (known as the A rig), the show got under way. "The first few shows were in small clubs, so we had to use the B system," says Upton. The B system is a reconfiguration of the dome. Using the same truss and fixtures, the set is rebuilt in a lower configuration to accommodate venues with low ceilings. The projection surface changes from a shell type structure to more of a wrap around cyc. Upton dubbed this "the thinking man's rig" as the B system has several sub-configurations possible.

"The really amazing thing is that the show comes off the same with either the A or B system," says Schiller. "By simply updating the positions in the Wholehog II, we were able to convert our entire show to the 'new' rig."

And they did it again for the radio shows. Several stops on the tour are large shows with multiple bands. There is only about a 15-minute changeover between acts, so neither the A nor B system could be assembled on stage. For this Upton and Schiller came up with a C rig.

The C rig takes the curved arch of the A rig and turns it into a flat FOH truss. The three sides of the stage are draped with white scrim for projection surfaces. After the first C show, Upton was again blown away by the power of the x.Spots. "They looked amazing," he enthuses. "The zoom is huge and the projections really made the show."

Andrew Figueroa is the lighting crew chief and Todd Gingell is the lighting tech. Production/stage manager is Scott Goodwine.

The tour continues through Sept. 29.

For more information, please contact Debi Moen, High End Systems' marketing
communications specialist, by phone at 512-836-2242 extension 178 or by
e-mail at debi_moen@highend.com