SYMPHONIC RIDER

THE ORCHESTRA

Production Rider

Symphonic Format

TERMS and CONDITIONS

Updated: March 18, 2016

 

 

 

1. PURCHASER shall provide a venue with a flat solid stage of safe construction on which the ARTIST shall perform:

 

a. Stage - 40 feet wide, 30 feet deep and 5 feet high;

b. Clearance - 24 feet from the stage to ceiling above the stage and at its front and rear. The PURCHASER shall inform the tour manager if there are any intrusions (i.e. balconies, organ, railings etc.) upon the performing area. These dimensions are minimum requirements;

c. Stairs to stage require safety railing;

d. Barrier - If ‘standing’ venue, then Safety barriers to be fitted minimum 3 feet in front of the whole stage;

e. Risers and Staging Details – Three risers of solid construction for keyboards, drums, and orchestra as per stage plot attached to this rider. The risers for the symphony orchestra musicians should be elevated in relationship to the band’s keyboard riser and drum riser, in order to make the orchestral players visible slightly above and behind the band while performing. An optimum example of the various heights would be, keyboard riser: 1 feet high, drum riser: 2 feet high, symphony orchestra riser: 3 feet high. The symphony orchestra riser should have at least two stairways for access to the symphony platform area, with hand rails on at least one side of each stairway. One of these stairways should be in the middle of the stage for the conductor to move freely between the platform levels. IN ADDITION, THERE MUST BE A CONDUCTOR’S PODIUM, CONDUCTOR’S MUSIC STAND (LARGE ENOUGH FOR FULL MUSIC SCORES) AND MUSIC STANDS AND LIGHTS FOR ALL SYMPHONIC MUSICIANS.

f. Mix position - A platform for the lighting and sound console shall be provided where applicable (i.e. all standing venues). Platform shall be at least 16 feet wide, 8 feet deep and 3 feet high. Platform shall be of solid flat construction, surrounded by a protective barrier, having an uninterrupted view of the stage & be situated in line with the centre of the stage, two thirds of the distance from the stage to the back of the venue. Platform to be in position, when ARTIST's road crew arrives at the venue.

 

2. POWER SUPPLY: The power supply shall be the equivalent of 240 volts, 50 cycles, 3 Phase 120 amps per phase for lighting plus an additional 100 amp single phase supply for stage and P.A. equipment. Both power supplies should not be more than 50 feet from the centre of the stage rear. Should the venue not comply with these power specifications, the PURCHASER shall agree to provide & pay for temporary alternative power, which will adhere to the above specifications. Should any damage to the ARTIST's equipment occur due to the power being turned off or being of the wrong specification, the PURCHASER shall be liable for the cost of replacing any equipment that has been damaged as a result of such acts. In situations where 240/220-volt power is being supplied by venue or P.A. Company to run backline equipment, a step-down transformer must be provided to give a 110-volt stabilized supply also.

 

3. ELECTRICS: A fully qualified electrician familiar with all electrical installations at the venue or the concert site shall be present throughout the day of the performance, who shall:

a. Connect all sound and lighting power whereas may be required;

b. Provide at all times smooth, safe and consistent supply of "clean" power;

c. Attend when equipment arrives, to establish position of electricity supply and carry out connections at ARTIST's request;

d. Disconnect power supplies as and when required by the ARTIST's road crew and not otherwise.

 

4. BILLING: PURCHASER agrees that the ARTIST will receive 100% billing in all forms of advertising with respect to this engagement (unless otherwise specified in contract). If this is a festival engagement, ARTIST agrees to Festival Style billing, but usage of proper logo must apply.

 

5. TAPING and FILMING: The PURCHASER agrees that no part of the performance by the ARTIST may be taped, filmed or otherwise recorded without written permission from the ARTIST. It is suggested that a notice stating this is displayed at the entrance to the venue. Notices must also state that the ARTIST has exclusive rights on all recordings of their image, likenesses and sound, in the event that any bootleg or unauthorized recordings are confiscated. The ARTIST shall not be obliged to return any such recording and/or any other subject matter which shall be part of that recording whether it is related to the ARTIST or not. This ARTIST is not authorized grant synch licenses for any compositions written by Jeff Lynne, but is authorized to grant synch licenses for compositions of Electric Light Orchestra Part II, The Orchestra, Violinski, Orkestra, Michael Kaminski, Michael Groucutt, Louis Clark, Eric Troyer, Philip Bates and Gordon Townsend. Composition by Parthenon Huxley and Bev Bevan synch licenses will have to be secured from their respective music publishers. If any filming is agreed to, prior to broadcast the PURCHASER shall be responsible for the securing of a synch license from Attorney Zia Modabber of Los Angeles, California USA and/or Mr. Craig Fruin, Jeff Lynne’s manager.

 

6. SPONSOR BANNERS: The PURCHASER will ensure that there will be no promotional or advertising material within the outer limits of the stage area unless prior arrangements have been made and agreed with, in writing, with the ARTIST’s Tour Manager.

 

7. COMPLIMENTARY TICKETS: The PURCHASER shall agree to make available a sufficient number of tickets and passes for both the ARTIST and ARTIST’s guests. Additionally, the same shall apply for any press, media and promotional purposes that are mutually agreed. At least twenty (20) of the tickets, which shall be provided to the ARTIST (for ARTIST guests) shall be the highest priced tickets offered to the general public. The above shall be provided at no cost to the ARTIST. A final number of tickets and passes shall be mutually agreed to between the PURCHASER and ARTIST.

 

8. BREACH OF TECHNICAL REQUIREMENTS: The technical and production requirements of the ARTIST for each engagement shall be provided by and at the expense of the PURCHASER. (Failing compliance with any of which, the ARTIST shall be entitled to cancel the engagement without prejudice to its rights and remedies against the PURCHASER).

a. Crew - The PURCHASER, at the PURCHASER's expense, shall provide at load-in, a crew of four (4) experienced and able-bodied persons to assist the ARTIST's road crew in all the technical aspects of the production. The load-in start time into the venue is normally scheduled at 10:00 am;

b. Runner - An experienced "runner", with knowledge of the local language and area and shall have exclusive use of a car which may be required to run sundry errands for the ARTIST's Tour Manager;

c. Stage Priority - ARTIST shall have the primary and over-ruling right to the stage and to set up all instruments and properties in connection with the performance and these shall not be relocated or used by anyone other than the ARTIST, without consent from the ARTIST's Tour manager. The ARTIST shall have the sole & exclusive control of all elements of the performance, including staging, lighting, sound and creative material.

d. Communication - The PURCHASER agrees to supply the ARTIST’ Tour manager with a detailed stage plan with dimensions, power source, dressing room, and load-in shown on it before this contract is signed.

 

9. PARKING: Shall be provided with ample space for the ARTIST’s tour bus and equipment van.

 

10. DRESSING ROOMS: PURCHASER agrees to supply at least two (2) large dressing rooms for the ARTIST Properly cleaned, ventilated and well lit, with hot and cold washing facilities. They must be supplied with the following:

• 20 TOWELS (large), which must be removable for stage, use and be available to Tour Mgr. on arrival at load-in;

• OVERALL SEATING FOR 12 PEOPLE;

• IRON & IRONING BOARD;

• A CLEAN BATHROOM WITH SOFT TOILET PAPER, MIRROR AND SOAP;

• ELECTRICAL OUTLETS;

• PROPERLY SET COOLING AND/OR HEATING AND WELL VENTED VENTILATION;

• 2 PINK CARNATIONS OR YELLOW ROSES (Orchestral / Symphonic shows only) for the conductor’s button hole;

• GERM-X TYPE HAND SANITIZER.

 

These dressing rooms shall be fitted with a lock and key. The keys shall be made available to the ARTIST’s Tour Manager upon arrival at the venue.

 

11. GREEN ROOM: The PURCHASER is to provide a Green Room to be provided and used exclusively by the ARTIST before and after the TV and/or concert shows with the option of receiving guests in at the Tour Manager's discretion.

 

12. CATERING: The PURCHASER shall supply and pay for the following:

• ICE (generous quantity); For NON-NORTH AMERICAN AND NON-EUROPEAN ENGAGEMENTS PURIFIED ICE ONLY.

• FOUR (4) BOTTLES OF QUALITY DRY WHITE WINE (CHARDONNAY);

• FOUR (4) BOTTLES OF QUALITY RED WINE (CABERNET SAUVIGNON / MERLOT / BORDEAUX);

• TWENTY-FOUR (24) LAGER (i.e. HEINEKEN or LOCAL BREW); NO Budweiser or Miller beer;

• TEN (10) LITRES OF STILL WATER (EVIAN, etc.). TWENTY (20) LTRS IN HOT CLIMATES;

• TWO (2) LITRES OF CARBONATED WATER (PERRIER, etc.);

• ONE (1) LARGE CARTON OF ORANGE JUICE;

• ENGLISH AND HERBAL TEA (i.e. GREEN TEA, PEPPERMINT OR LICORICE),

• TWO (2) LARGE PACKS OF UNSALTED AND SALTED TRAIL MIX;

• TWO (2) PACKS OF RICOLA HERB THROAT DROPS (LOZENGES);

• ONE (1) OF EACH FRUIT & VEGETABLE PLATTERS (SMALL);

• COFFEE, MILK AND SUGAR;

• ONE (1) SMALL DELI TRAY WITH WHOLE WHEAT BREAD FOR MAKING SANDWICHES, WITH TURKEY, HAM,CHEESE, LETTUCE, TOMATO, ETC., WITH MAYONNAISE AND MUSTARD;

• ONE (1) BOWL OF FRESH FRUIT – BANANAS, ORANGES, APPLES, GRAPES;

• TWENTY-FIVE (25) LARGE OR EXTRA LARGE DISPOSABLE CUPS FOR USE ON STAGE (for instance ‘SOLO CUPS’);

• AMPLE SUPPLY: GLASSES, CUPS, PLATES, KNIVES / FORKS / SPOONS (METAL), NAPKINS AND CONDIMENTS.

 

The above to be delivered to ARTIST’s Green room at 4:00 PM (based on a 5:00 PM Sound-check) or other pre-arranged time. The above is a general list that can be adapted to particular circumstances depending on the type of engagement and the availability of supplies. Please discuss any changes in this list well in advance with Tour Manager, Mr. Eric Troyer, via USA telephone 1 (732) 371-7897 or via E-mail: ericleetroyer@mac.com. Please bear in mind that we do this day in and day out, therefore we would like to eat in surroundings with proper cutlery and relaxing surroundings with as little distraction as possible.

 

13. PRE-SHOW CATERING: Catering to be provided for crew members from load-in time onward. Hot and cold drink, sandwiches, and snacks shall be provided. Timing of the catering for the band should be coordinated with the tour manager.

 

14. PRE-SHOW EVENING MEAL CATERING IN VENUE: HOT evening meal to be provided for entire party at approximately 5:30PM, or at time arranged with the TOUR MANAGER. This should be in a comfortable, well-lit setting, with proper table settings, and proper glasses, silverware, and plates, as if it was a restaurant, NO PLASTIC-WARE. VEGETARIAN CHOICES MUST BE INCLUDED IN THIS CATERING, AND THIS CATERING MENU MUST BE APPROVED BY TOUR MANAGER IN ADVANCE DURING THE PRE-TOUR COMMUNICATIONS.

 

15. MEALS AND RESTAURANT REQUIREMENTS:  All meals being provided by promoter during the stay of artist in the promoter’s territory must be approved by the tour manager. It cannot be limited to restaurants or clubs that are event sponsors; although, this will be taken into consideration to be helpful to keep the costs down for the promoter. After all the travel that is required to get from venue to hotel and from territory to territory, the restaurants that should be chosen during the artists stay, should be in the hotel or close to the hotel, quiet, and have a variety of individual choices available for the band members and crew. No special, limited, or set menus will be acceptable.

 

16. FORCE MAJEUR: The PURCHASER agrees that if the ARTIST’s performance is shortened or brought to an end for any reason beyond the control of the ARTIST, i.e. strike, lockout, war, fire, serious or dangerous weather conditions, epidemic, riot, civic commotion, national calamity, an Act of God, order of the local government or local licensing or health authority or death or disability (disability meaning any significant injury, illness, or disease) of the ARTIST, it must be clearly understood that in no way affects the salary payable to the ARTIST. The PURCHASER should be accordingly insured against this.

 

17. EVENTS BEYOND CONTROL: In the event of illness, transport breakdown or any other event beyond the control of the ARTIST preventing his fulfillment of the engagement, the PURCHASER agrees that the contract shall be deemed until null and void, at no liability to the ARTIST.

 

18. PRE-NOTICES: The PURCHASER agrees that, where any of the stipulations in this rider cannot be fulfilled, he/she will advise the ARTIST in detail before this contract is signed.

 

19. All of the provisions of this contract and rider are of the essence and failure of the PURCHASER to comply with all or any of them shall constitute a breach of said contract.

 

20. INSURANCE: The PURCHASER agrees to provide an insurance policy or a rider to their existing insurance policy (WITHIN THE ACCEPTED BUSINESS PRACTICES OF THE COUNTRY OF ENGAGEMENT), which allows for payment to the ARTIST, if the ARTIST cannot appear due to PURCHASER’s or Local Promoter’s fault. A copy of the insurance binder page or written confirmation from the insurance provider shall be faxed to management at least thirty days prior to show(s).

 

21. PURCHASER INSURANCE RIGHTS: Provision #20 of this Artist contract rider does not limit the PURCHASER from having additional insurance to cover the PURCHASER’s costs, audience protection, liability or errors and omissions. It is at the PURCHASER’s sole discretion as to the amount of insurance that he/she shall purchase, providing it meets the minimum requirements of the venue, vendors and the ARTIST. PURCHASER need not fax his/her private insurance data when faxing certificate required in Clause #20 above. Unless otherwise notified, it is agreed that if the PURCHASER does not send the insurance proof in ample time, the Artist shall consider the insurance for liability, damage, advertising errors and anything/everything in effect. The Artist shall have no insurable responsibility other than that caused by their own bad-will actions, if any should occur. The PURCHASER shall take full and final responsibility for all legal costs, payments, penalties and settlements relating to improper advertising, if such should occur.

 

22. PAYMENT: All payments shall be as specified on the face contract attached to this rider. In the event that a currency other than USD is used as the agreed to currency, the currency must be equal to, or greater than, the exchange rate as agreed to on the day the ARTIST accepted this engagement. No local, city, state, provincial, federal or national taxes or fees (or fees of any kind) shall be deducted from any payment to the ARTIST unless otherwise agreed to, approved and confirmed by the ARTIST. Payment shall be as specified on the face contract.

 

THE ORCHESTRA

Addendum “A”

BACKLINE REQUIREMENTS

 

The PURCHASER, at no cost to the ARTIST, shall provide the following backline equipment. Please note that the ARTIST understands that not all brands and models as noted are available. Therefore, the PURCHASER should contact the ARTIST’s Tour Manager who will be able to suggest and agree to reasonable substitutions. Please take advantage of the fact that the ARTIST has toured the world and is able to accommodate local needs. The ARTIST’s Tour Manager is willing to work with you.

 

MONITORS AND TRANSMITTERS:

6 x WIRELESS IN EAR MONITOR SYSTEMS, PREFERABLY SENNHEISER SYSTEMS, SOME SHURE SYSTEMS ARE ACCEPTABLE UPON APPROVAL OF TOUR MANAGER.

1 x WIRED IN EAR MONITOR SYSTEM, PREFERABLY A SENNHEISER SYSTEM, SOME SHURE SYSTEMS ARE ACCEPTABLE.

THE IN EAR MONITOR SETUP MUST INCLUDE PADDLE ANTENNAS.

4 x SENNHEISER GUITAR TRANSMITTER SYSTEMS. (If SENNHEISER systems aren’t available, other high quality systems will suffice) MAKE CERTAIN THAT THE FOUR SYSTEMS ARE TUNED TO 4 DISCRETE WIRELESS FREQUENCY BANDS.

 

GUITAR:

GUITAR AMPLIFIERS:

2 x MARSHALL JCM 800 (preferred) or 900 SERIES HEADS AND 1960A 4 X 12 CABINETS

1 x MARSHALL JCM 800 or 900 SERIES HEAD AND 1960A 4 X 12 CABINET, SPARE

1 x ELECTRIC GUITAR, FENDER STRATOCASTER, FENDER TELECASTER, GIBSON SG, or GIBSON LES PAUL; 1 x ELECTRIC BASS, to be used as spare, FENDER PRECISION, or FENDER JAZZ.

 

MISCELLANEOUS:

3 POWER TRANSFORMERS FOR 110V EQUIPMENT, IF ENGAGEMENT IS IN A TERRITORY WITH 220V ELECTRICAL POWER;

5 x QUALITY GUITAR STANDS;

12 x PROCELL/DURACELL 9-VOLT PP3 BATTERIES (per show); 12 x 1/4“ INSTRUMENT CABLES OF VARIOUS LENGTHS;

2 X 25’x 1/4” INSTRUMENT CABLES

3 x 50 FEET 1/4“ SPEAKER CABLES;

3 x 8 FEET MIDI CABLES;

4 x FULL ROLLS OF GAFFER TAPE.

 

KEYBOARDS:

1 x ‘88 KEY’ STAGE PIANO; Must be weighted keys: such as the Roland RD-700 or RD-800. Confirm keyboard with Tour Manager, Mr. Eric Troyer via Email:ericleetroyer@mac.com

1 x HEAVY DUTY SINGLE TIER KEYBOARD STAND (‘A’ FRAME or ‘X’ FRAME or ‘Z’ FRAME)

2 x ADJUSTABLE-LOCKING NON-MANHASSET TYPE MUSIC STANDS, Such as: On Stage Orchestra-Style Music Stand or Pyle PMS1 Heavy-Duty Tripod Music Stand

2 x MANHASSET TYPE MUSIC STANDS WITH LIGHTS

 

DRUMS:

1 x YAMAHA RECORDING CUSTOM (IN EITHER BLACK OR WHITE) CONSISTING OF: 1 x DRUM CARPET AND FULL ROLL OF GAFFER TAPE

1 x 22" BASS DRUM (CLEAR POWERSTROKE HEAD)

1 x 16" FLOOR TOM (WITH LEGS)

1 x 12" TOM TOM AND BASS DRUM TOM HOLDER

1 x BASS DRUM PEDAL

1 x 5x14" BRASS OR METAL SNARE DRUM and STAND

4 x STRAIGHT CYMBAL STANDS YAMAHA PREFERRED

1 x PORTER DAVIES GIGSTER OR BC2 DRUM THRONE (if available)

1 x HIGH HAT STAND (3 legged stand, not 2 legged stand)

1 x SET OF ZILDJIAN K, MEINL, PAISTE (or comparable quality) CYMBALS

2 x 15” MEDIUM THIN CRASH CYMBALS (USED AS HI-HATS)

2 x 20” CRASH CYMBALS (DARK and THIN PREFERRED)

1 x 22” RIDE CYMBAL (DARK, DRY, THIN PREFERRED)

1 x DRUM STOOL

 

Note 1: 2 Large Electric Fans

 

Note 2: SPARE COATED REMO EMPEROR HEADS MUST BE PROVIDED FOR ALL DRUMS SUPPLIED EXCEPT KICK (CLEAR POWERSTROKE)

 

Note 3: PLEXIGLASS SCREEN for Orchestral performances a Plexiglas screen should be provided to shield the orchestra from the drums.

 

Note 4: Conductor Podium, Seat, and Lights

 

THE ORCHESTRA

Addendum “B”

SOUND EQUIPMENT SPECIFICATIONS

 

ARTIST AGREES TO BE FLEXIBLE PROVIDED DETAILED INFORMATION IS GIVEN ONE MONTH PRIOR TO SHOW DATE. SUBSTITUTIONS CAN BE AGREED TO BETWEEN PARTIES.

 

MAIN PA SYSTEM: The main PA system should be Line Array of professional quality where appropriate, Meyer sound, Martin, EAW or equivalent. There should be enough system to produce an undistorted 100dbA at the back of the room and subs/high boxes should be balanced for system specification. The system controller/crossover should be correct for the system being used. There should be an easily accessible stereo EQ for the main system, which must be at least third octave, such as Varicurve, KTDN360/DN3600, TC Electronic etc.

 

FOH EQUIPMENT:

One (1) 40 channel mixing console e.g. Digidesign Profile, Yamaha PM5D, LS9, Midas XL4 or Heritage 3000, supplied complete with main and spare PSU’s and suitable desk lights; MUST HAVE AT LEAST TWENTY FOUR (24) PHYSICAL FADERS.

• Four (4) Reverb or multi effect units, such as SPX990, SPX2000 etc.;

• One (1) Digital delay unit such as PCM42, T.C. D2;

• Six (6) Channels of noise gates;

• Eight (8) Channels of compressors;

• All gates and compressors should be able to be inserted at any channel on the console.

 

MONITOR EQUIPMENT:

• One (1) 32 Channel console, with at least 12 mono mixes.

  - e.g. Yamaha PM5D, Midas Heritage 3000, Digidesign Profile;

• One (1) Yamaha SPX2000 or equivalent.

 

The ARTIST does require a backup option of 4 wedges, which should be available if necessary. (Bi-amped 15"/2")

 

• One (1) Drum fill consisting of at least one Sub and 15"/2" for mid/high these must be driven by substantial amplifiers, Amcron or Crest for example, and should be at least Bi-amped.

 

Microphones & D.I.’s: The ARTIST prepared to use any of the generally accepted professional microphone configurations but it is well to note that there are 13 D.I’s in use. Vocal Mic stands (4) should be European style tripod boom stands with two-piece arms.

 

PLEASE NOTE THAT EVEN IN THE BEST OF CIRCUMSTANCES, SYMPHONY ORCHESTRAS PERFORMING WITH ROCK BANDS HAVE VERY SPECIFIC SOUND REQUIREMENTS AND ADDITIONAL DIFFICULTIES FOR FOH MIXING, AND IF THERE TOO MANY ‘AREA’ MICROPHONES AND NOT ENOUGH CONTACT MICROPHONES USED IN THE SOUND PRODUCTION, THE SYMPHONY ORCHESTRA’S MUSICIANS WILL SIMPLY NOT BE HEARD. FOR THE VERY BEST SOUND QUALITY FOR THIS PERFORMANCE, AN ADDITIONAL SUB- MIXER, ENGINEER AND ADDITIONAL CONTACT MICROPHONES MAY BE REQUIRED. A SOUND COMPANY EXPERIENCED IN ORCHESTRAL PRODUCTIONS WILL BE REQUIRED TO PROVIDE AMPLE TIME AND RESOURCES TO PREPARE.

 

Power: Where 110V power is not available, we will need 2 x 6amp step down transformers for stage left & right (one each side) and the appropriate cabling.

 

THE ORCHESTRA

Addendum “C”

LIGHTING EQUIPMENT SPECIFICATIONS

 

ARTIST AGREES TO BE FLEXIBLE WITH THIS PROVISION PROVIDED DETAILED INFORMATION IS PROVIDED ONE MONTH PRIOR TO SHOW DATE SO THAT SUBSTITUTIONS AND ALTERNATE PLANS CAN BE AGREED TO BETWEEN THE PARTIES.

The following lighting equipment has been chosen and specified to present the ARTIST according to the design set by the ARTIST’s Lighting Designer. If you wish to submit any substitutes or changes, please email them directly to the ARTIST’s Tour Manager, Eric Troyer • EricLeeTroyer@Mac.com

• ONE (1) AVO SAPPHIRE or PEARL & GRAPHICS TABLET;

• ONE (1) AVO / CELCO 72 WAY 2KW DIMMER;

• ONE (1) 100m 4 WIRE DMX REMOTE & BUFFER BOX;

• ONE (1) MAINS SET;

• EIGHTEEN (18) 6 WAY PAR 64 1Kw BARS;

• FOUR (4) 4 WAY PAR 64 1Kw BARS (or ACLS);

• SIX (6) FLOOR PAR 64 1Kw;

• TWO (2) 4/8 LITE BLINDERS (DW E);

TWO (2) DF50 or MR. MISTER & FAN (NO ALTERNATIVES);

• TWO (2) 40' "A" TYPE TRUSS (SLICK/THOMAS/TFL) TO INCLUDE ALL NECESSARY FLYING EQUIPMENT;

TWELVE (12) CYBERLITES;

• FOUR (4) MAC 500 (FLOOR);

• SIX (6) MARTIN POR400 (4 x FLOOR);

• FOUR (4) ‘TRAPEZE DROPS FOR 4 CYBERS (refer to plot);

• ONE (1) 40' foot x 30' foot STAR / BLACK DRAPE CLOTH (pref. Fiber optic);

• TWO (2) BLACK TRUSS BORDERS;

• ALL ASSOCIATED CABLES, RIGGING, CASES, SPARES

 

Lighting system to be ‘prepped’ and patched and moving lights addressed, PRIOR to arrival at venue.

PLEASE PATCH DESK AS PER PATCH SUPPLIED – ALL UNITS ON ONE PAGE!!

AND

This Rider is to be considered correct and the ARTIST’s Tour Manager must approve any changes at least thirty (30) days in advance of the show date.

 

TRUSS SYSTEM:

TEN (10) sections of slick style general-purpose truss will be needed. This system is to be flown and have a trim height of no less than THIRTY (30’) feet from the stage level. This system, including floor units, must contain no less than ONE HUNDRED TWENTY (120) fixtures. These fixtures are to contain a mixture of 1Kw and ACL lamps. NO 500-WATT LAMPS WILL BE ACCEPTED.

 

GEL SELECTION: The gel color selection is very important to the quality of this show. All gels are listed as LEE. Rosco & Gam are acceptable substitutes, if matched correctly. NO FADED OR BURNED OUT CUTS WILL BE ACCEPTED.

 

LIGHT PLOT: A light plot will be sent to the lighting contractor when they contact the Tour Manager.

 

FOLLOWSPOTS: This Artist DOES NOT use any follow spots.

 

DIMMERS: This show requires dimmers of sufficient size and number, so as to amply power to the above system. They are to be properly and equally trimmed, to have even dimming curves and to have a zero reaction time. Each dimmer channel is to have its own breaker and is to have the capacity of being assigned to any console control channel. Favored dimmers are AVO, CELCO, etc.

 

CONSOLE: An Avolites Sapphire with Graphics tablet is the console that has been used for all of the production work and programming for the show. Any other console results in loss of production and programming on the day of the show is almost impossible. Any substitutes must be agreed to, in advance and the only acceptable substitute would be a console with minimum of sixty (60) control channels (with own fader and bump button) and have multiple pages of electronically programmable preset scenes, with each scene having its own fader and bump button, i.e.: CELCO GOLD SERIES II 60, AVO DIAMOND, PEARL or at worst LEPRICON LP2000.

 

INTERCOM: Intercom system should have a minimum of five (5) headset stations. Each headset should have dual muff, except L.D. (single muff). Stations are to be located at lighting console, dimmers, house light control, and F.O.H sound and monitor board.

 

ARTIST AGREES TO BE FLEXIBLE WITH THIS PROVISION BASED ON VENUE’S, IN-HOUSE LIGHT INVENTORY AND OTHER FACTORS.

 

THE ORCHESTRA

Addendum “D”

MISCELLANEOUS DATE PROVISIONS

 

The following terms and conditions are for any and all engagements. These provisions are specifically to outline the travel, hotel and trucking requirements for the ARTIST. These specifications are to be strictly adhered to, as they are part and parcel to the acceptance of this engagement by the ARTIST.

 

1. AIR TRAVEL: The air travel for this engagement is outlined on the face contract attached.

 

2. TRANSPORT: It is fully understood that the PURCHASER is responsible for the following:

a. TOUR BUS: PURCHASER is to provide a one (1) first class tour bus large enough to accommodate COMFORTABLY up to TEN (10) people that constitute the ARTIST, their personal CREW and possibly their manager, together with their luggage. This tour bus shall be provided from the time of arrival in the country of the engagement until the time of the Artist’s departure from the country of the engagement. ALL TRAVEL MUST BE DETAILED AND APPROVED, especially where the ground travel is difficult, or cars may be used, and all road conditions and drivers qualification must be fully discussed in advance.

b. TRUCKING REQUIREMENTS: Sufficient for excess baggage and guitars.

 

3. HOTELS: The PURCHASER, at no cost to the ARTIST, shall provide a minimum of 4 star hotel accommodations.

PURCHASER shall provide up to TEN (10) pre-approved by Artists hotel rooms near to the center of the city/town of the engagement and as near to the show venue as possible. Accommodations shall include a complimentary breakfast and must be pre-paid, in full. The ARTIST’s Tour Manager must approve all of the details of these hotel accommodations no later than TEN (10) days prior to the engagement.

 

NOTE: Purchaser shall supply two (2) nights of hotel (minimum) for every one night of concerts unless otherwise agreed. INTERNET ACCESS THE PROMOTER SHALL PROVIDE FOR INTERNET ACCESS FOR THE BAND AND CREW TRAVEL PARTY IN THEIR HOTEL ROOMS, AT NO ADDITIONAL COST TO THE ARTIST.

 

4. ROOM SHARING PROHIBITED: Under no circumstances will anyone in the ARTIST’s travel party share a room. All personnel must be pre-registered. Under no circumstances should the ARTIST or CREW be asked to personally check-in to a hotel. All check-in work shall be advanced by the Tour Manager, one week prior to date of check-in and shall be personally handled at the hotel by the Tour Manager.

The hotel shall have the following amenities:

• Air conditioning;

• In-room bathroom with shower and properly working toilet and sink (all with hot and cold water);

• Direct dial telephone capability;

• Television with cable channels;

• Mini-bar or Refrigerator;

• 18 to 24-Hour room service or in room tea / coffee making service;

• 24-Hour lobby and room access;

• Same-day laundry service (which is the cleaning of clothing); same-day dry-cleaning service (which is the process of cleaning clothing using chemicals other than water).

 

SPECIAL NOTE: If the hotel does not have its own Leisure facilities, please provide information on nearest facilities. RADISSON, HILTON OR MARRIOTT HOTELS WOULD TYPICALLY FULFILL ARTIST’S REQUIREMENTS.

 

 

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