We deal with a lot of big acts and a lot of stupid riders.Just last weekend we did a punk rock show, outdoors, at a college. The rider spec'ed a H3k at FOH, XL4 and Mons, and "4 way system capable of 120 db of clear undistorted sound at 15 meter from edge of stage" They got M7s, and I sent 6dvdosc and 3sb28s/side. The BE mixed loud, but we still had headroom. Everyone was perfectly happy.I don't think anyone ever intends on mixing at 120dB A, or probably even 110, but it's in the rider to cover their asses. I'm sure bands have shown up to a gig with 15" Eon mains and 12" wedges, with peavey and mackie boards/gear. That's the kind of stuff that is unacceptable and what this all is meant to weed out. It's real easy to fire up some playback, and watch as everything goes to redline at 100dB. Band can then void the contract, (while still getting paid) and walk out.Luckily, if the provider isn't totally incompetent, that will never happen. We've had riders that specify "Yamaha M7 ONLY!", but it turns out they're perfectly fine using the Profile when we offer it to them... or "JBL VERTEC ONLY" but they're excited when they show up and we have KUDO hanging.Since we use LA8s, a lot of parameters are locked out (specifically crossover pts), and out of the dozens of riders which had specified complete unrestricted access to crossovers, only 1 BE has ever actually asked about the crossovers, and then he just asked I shade the bottom few boxes a bit.When I see a rider for the first time while advancing, I assume it is at least 4 years old, the current BE had nothing to do with it, and is probably not even aware of what's on it. That's why I always ask about a *current* input list and stageplot (or at least verify what was sent), and ask about realistic console choices and explain what PA they're getting.
Just accept that it's a crap situation and take the money.
I see this often too. I just tell the guy in the venue's office to cross it off the rider, initial it, and send it back to the agent. There are many items in the contracts and band riders that clients redline all the time. If a BE were to bring it up, I would ask him for a copy of the signed rider and point out that it was struck. Fortunately, no guest engineer has asked to access the processors. I just tell them how everything is laid out and they stay within the console. (knock wood)
That is the reason to require access. I much prefer walking into properly tuned systems - it make my day easier too!
But do you actually require access to the system processing or for the house to work with you on it? The problem seems to be that for every experience like yours is probably one of a BE messing up the house system processing and/or damaging a house system. I also have to wonder how many times the system processing setups a BE encounters may be those left by a previous BE. Perhaps many of the issues could be avoided if the language used in the riders were a little more clear on exactly what is being requested, is it the venue working with you to make adjustments to the processing or their literally giving you direct full access to everything?
Underlined for emphasis.
But do you actually require access to the system processing or for the house to work with you on it? The problem seems to be that for every experience like yours is probably one of a BE messing up the house system processing and/or damaging a house system. I also have to wonder how many times the system processing setups a BE encounters may be those left by a previous BE.
In this case, the house was not willing to make ANY changes. It had been set up by their installer after noise complaints. Unfortunately, the installer had everything exactly backwards!I do generally prefer working with the house tech - after all, they should know their systems and processors. Normally, it's small tweaks, and I would assume they would have their base programs saved so they can promptly wipe it back to normal after I leave.
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