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[Chris Hindle]

wait... how long ago was this? who ever heard of the Shack have more then 3 of ANYTHING in stock these days?

92 or 93? mayby 94.
I've been in this game a long, long time.
(It was on rev.2 "main PA". I am currently on rev.4)

[Lee Brenkman]

wait... how long ago was this? who ever heard of the Shack have more then 3 of ANYTHING in stock these days?

But I bet they probably bought 6 "assorted" keyboard instruments.

And if they got them back to India in one piece without paying customs and duty those same "kiddie" keyboards are probably more expensive there than they were at RatShack.

Or they may have just left them or donated them to someone at the end of the tour.

I used to work with a Brazilian band that would come first to either NY or LA and buy a new Pearl Export drum set, change the heads, gaff tape up the cardboard boxes and carry them around for their US shows and, at tour's end, sell them cheap or donate them to a school.

Either way, it was cheaper than renting a kit everywhere and in those days rented backline of ANY quality was not available in all parts of the country.

[drew gandy]

Yeah, I get this all the time.
I simply attribute it to "If someone else paying you to rent some gear, I want the best stuff available; however, if I'm paying for this gear *myself*, then I'm going to find that Behringer (or Mackie) gear is just fine..."
Cheers,
Randy Hyde

Not be politicalacious or anything but.... sounds like a health care system....

On the topic of asking for things outside of the scope... I wonder if this is a good way to pick up some extra skills.  I could put a nice camera on the rider and have the local company teach me about high end photography.  Or maybe southwestern beadwork.  "So, how do I turn on the hydraulic post hole digger?" 

[RYAN LOUDMUSIC JENKINS]

Just had a show Friday night where we had to rent a couple extra FX units, an Avalon 737 and a piece of unobtanium.  Set up the show, got it all attached correctly.  I left and my crew did the show.  My lead tech said the BE for the artist was really cool and had it sounding great.  He didn't miss the unobtanium and he barely used any FX.  He did use the Avalon.  So at least he used some of it and according to my tech did an awesome job on the mix too.

[Alec Spence]

The simplest solution to this for me has always been to speak with the artists FOH guy. Firstly, this quickly establishes what is an absolute need and what is just a nice to have. Secondly, it gives me the opportunity to work out what they're like - it's it going to be a pleasure or an ordeal of a night!

Very few of the demanding specs I've received have ever been must have. And, even when they are, there's normally plenty of room for compromise. But having the conversation is the opportunity to work out what the deal is....

[Alex Thompson]

I'm not picking on the band who sent this rider, I very much enjoyed working with these guys and they were very appreciative of my services.
I really enjoyed the Sound portion of their rider.  Some of it was worded vaguely enough that virtually any system I could have put together would have fulfilled the requirements.


Purchaser shall provide a professional Sound System and Production properly sized in accordance to the size and layout of Venue along with experienced Technician(s) who have extensive knowledge of Sound System and Production. Artists will not compensate Sound and Production Technician(s).

Purchaser shall provide this Technical Rider to Sound and Production Technician(s) prior to Date of Event to insure that Artists and Technician(s) can smoothly and effectively work together.  Familiarity with Artist’s music prior to Date of Event will also greatly benefit Sound and Production Technician(s).

The Sound System and Production shall be set up and functioning properly prior to Artist’s arrival at Venue. Sound and Production Technician(s) shall be available to set up and sound check Artists four (4) hours prior to Doors Open Time.

The Sound System’s mixing console should be twenty-four (24) channels (sixteen (16) minimum), and three (3) monitor mixes are preferred. Sound System should be able to produce clear, distortion-free sound at 120 decibels.

The Sound and Production Technician(s), in conjunction with the Venue’s Production, should be able to create a visually appealing atmosphere that assists in properly conveying the mood set by the Artist’s music.

[ProSoundWeb Community]