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[Peter Kowalczyk]

Hi Folks,

I'm working on a bid for a summer concert series that will involve a not-yet-determined lineup of both local and touring artists, and playing the 'what-if' game in my head.  I don't expect any of the talent to be travelling with an engineer or stringent tech rider requirements, but I could foresee a touring engineer being underwhelmed by my little rig*  Since I don't want to be responsible for renting a visiting engineer's favorite desk or speakers (killing any hope of a profit on my part), I wonder if there's precedent for an escape clause in your contract to get out of a gig if your rig doesn't satisfy the talent's rider.  I'd rather pass the gig on to a company who can provide what they require at that point.

This wouldn't be an issue if we were bidding on a single gig with known requirements, but since the Venue is booking production before talent for this series, we don't know what we might encounter.  I doubt it will become a problem, but better safe than sorry, right?

Anyone include such a clause in their agreements?

Thanks in advance; grateful for any insights!

* rig is an X32, driving DSR112s over DSR118s for a reasonably-upscale outdoor audience of 100-200 diners and lawn-chair wine-drinkers over an area of ~200 square feet.  As best I can gather, the program material won't require rock-concert levels; more adult-contemporary than heavy metal.

[Steve M Smith]

Since I don't want to be responsible for renting a visiting engineer's favorite desk or speakers (killing any hope of a profit on my part), I wonder if there's precedent for an escape clause in your contract to get out of a gig if your rig doesn't satisfy the talent's rider.

Surely your contract would be with the event organiser (who I assume is paying you).  If a band turns up and is not happy with the equipment supplied, they should take it up with him - although at that stage, it's a bit late.

It would make more sense to see all of the riders before you bid but I appreciate that could be near impossible sometimes.

I think that if your contract specifically states what you will be providing, then you don't need a get out clause - it's effectively already there. 


Steve.

[Brian Jojade]

Why would having to rent other gear make you want to cancel the contract? Instead, put terms in the contract that specify what you will provide, and have a clause that if additional gear is requested by talent or otherwise, the promoter is responsible for any costs associated with the additional requirements.  Pretty standard way to operate.

[David Morison]

Why would having to rent other gear make you want to cancel the contract? Instead, put terms in the contract that specify what you will provide, and have a clause that if additional gear is requested by talent or otherwise, the promoter is responsible for any costs associated with the additional requirements.   Pretty standard way to operate.

Exactly what I was thinking as I read the OP.
Cheers,
David.

[Matt Vivlamore]

* rig is an X32, driving DSR112s over DSR118s for a reasonably-upscale outdoor audience of 100-200 diners and lawn-chair wine-drinkers over an area of ~200 square feet.  As best I can gather, the program material won't require rock-concert levels; more adult-contemporary than heavy metal.

With that event setting & rig... I wouldn't stress out about not meeting Riders.  I am sure once you talked to the Band Tech about the event, he would be happy with this rig.

When I send out the Rider for the band; it starts out with a big name Line Array and a couple dreamy digital consoles (written up for large conferences in huge ballrooms/convention centers).  Then when I speak to the System Provider & Promoter about the event, I adjust the rig accordingly.  There have been a few events that I accepted PRX612m & VRX918SP with an LS9-16 (we've done this private event a few times and its a fly date for us).

[William Schnake]

This wouldn't be an issue if we were bidding on a single gig with known requirements, but since the Venue is booking production before talent for this series, we don't know what we might encounter.  I doubt it will become a problem, but better safe than sorry, right?

Anyone include such a clause in their agreements?

If we are doing a series of dates with blind riders, which we have done, I specify exactly what we are going to provide and then add:
'Any additional equipment requested by the artist will be clear by the Event Coordinator and add at additional cost to the event if approved.'

This has only happened a couple of times and when the Coordinator screamed about cost, I could go back to my original contract and explain the difference in price.  This way it is the Event Coordinators responsibility to accept the additional cost, not yours.

Bill

[Peter Kowalczyk]

'Any additional equipment requested by the artist will be clear by the Event Coordinator and add at additional cost to the event if approved.'

Okay, that makes perfect sense - pass the cost of additional tech requirements to the promoter, rather than passing on the gig. 

Thanks for your insight, I'll be sure to write this into the contract.

[ProSoundWeb Community]