----------------------------------------------------- AUGUST 2002 ----------------------------------------------------- Source: Pro Lights & Staging News, August issue, pp. 24, 25 Production Profile-LD Greg Scott proves he's a true "Yes" man By Steve Jennings The Classic Yes Tour 2002 was for diehard Yes fans a journey back in time, to hear early material the band hadn't played for a decade or more, for it was the return of keyboard wiz Rick Wakeman. Back playing with the band live, and for anyone too young to have seen them back then, it was a new experience to behold. Lighting Director Greg Scott was first introduced to Yes by way of EMP (Experience The Music project) in Seattle WA, a museum with a learning center for up-and-coming musicians, as well as being a concert event center. "Yes played a private event at EMP, at which I am the house lighting director. The event went well and the band was happy with my work. They were in need of an LD on very short notice, so they called me and asked if I was interested. One of my biggest advantages was that I knew the band's music, having grown up listening to Yes. "I am using a Whole Hog II with an expansion wing for the tour. Programming time was very short so I am using "pars" for those "cover all bases" situations. [Pars are simple parabolic reflected lights that are not focusable, like most of the stage lights you see in club settings. -TR] For beams and special effects I am using Mac 600 NT's, Mac 2000's, Mac 500's and Clay Paky stage scans. I am also using ETC source 4 lekos [We use those here a lot at Ace AV. Very flexible focusable lights, common industry workhorses. -TR] with Chroma Q color changers as band specials because they don't like being in the dark. I have a few other assorted instruments to fill some of the other lighting gaps. The tour already was in the final stages of rehearsal by the time I joined the entourage. With the support of my crew and Christie Lites Seattle, I redesigned the lighting rig, re-purposing all fixtures and truss to make a smoother and more cost-effective transition into my role as the bands new LD. The first couple of weeks were crazy as I was programming the tour on the road, doing the first couple of shows on the fly. I had more wings than The Colonel for the first week of the tour." [lighting tech geek humor. Bwah haha. -TR] "Yes' music is very progressive, moving from extremely fast tempos to slow moving melodies. Their lyrics are also very colorful with great themes which helped me envision some of the design ideas. Themes in songs like "Heart Of The Sunrise" and "South Side Of The Sky" are really big and bright. Singer Jon Anderson is a very light-refractive person, illuminating the stage with his very presence. He likes light and that is great for me. Their music is very visual which really allows me full artistic expression. "For this Yes tour I am using Martin fixtures and that is completely new to me. I have been using a GrandMA with High End fixtures for the last 4 months at EMP so I am reacquainting myself with the Hogg console and getting used to the instrument features and response of the Martins, which has been a bit of an adjustment, but it is coming along." The tour is for six weeks, with a second leg tentatively starting in November, possibly culminating in a three year world tour. "Between Terry Higgs and everyone at Christie Lites Seattle and most assuredly my crew out here, assistant LD Eric Sax, Crew Chief Dirk Alenduff and rigger Ryan Daudistel, I certainly couldn't have ""captained the ship"" without them. I am working with a great bunch of people, from the band to great personnel including Tour Manager Paul Silveira and Production Manager Ken Kaler." If you would like to check out the world of professional lighting and staging production, go to www.plsn.com. Close Window YesInThePress.com For site comments, problems, corrections, or additions, contact YesinthePress@aol.com