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Do you see anything funny?

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Brad Gibson:
SOUND SYSTEM:
 
The____  ____ Band requires a professional, high definition sound reinforcement system.  This system shall be in perfect working order and totally free of noise or distortion. The ____  ____ Band  Manager will have full access to all system controls.There should be no hidden compression or limiting.  Clarity and headroom are our main objective.  The ____  ____ Band is a  rock band,which means we have a LOUD stage volume and house volume.The P.A. system is expected to maintain 117DB minimum sustained SPL in the F.O.H. mix position at all times with no distortion. The system should include the following components. (In order of preference)
 
Foh Console Requirements
40x10x2 House Console
The F.O.H mixing console will be a minimum of 40 channels with 10 VCA groups and 8 aux sends.-Yamaha PM 3000,3500, 4000,5000  Midas H3000, XL200, XL250,XL-4,XL-3 or Venice320,Gamble EX,ATI Paragon, Crest VX, Soundcraft Series Five,MH4
-Individual On/Off - Pre/Post aux send switch ability preferred.
-All console functions 100% operational with spare power supply included.
PRODUCTION MANAGER MUST APPROVE ANY CONSOLES OTHER THAN ABOVE
 
HOUSE SIGNAL PROCESSING
-Four (4) Channels of 1/3 Octave equalization for system left-right, front fills and delays.  Klark-Teknik, BSS, or TC Electronics.
-Eight (8) channels of insertable compressor/limiters, side chain accessible.  BSS, Valley, Drawmer, DBX.
-Six (6) channels of insertable expander/gates, side chain accessible.  BSS, Valley, Drawmer, DBX.
-Two (2) Digital Reverbs.  SPX 1000, 990, TC Electronics, Lexicon, Rev 5.
-One (1) Digital Delay. Lexicon, SPX 900, TC Electronics.
 
HOUSE SPEAKER SYSTEM - Meyer, V-Dosc, Adamson, Nexo (guideline below)
-Eight (8) Meyer MSL-4’s with four (4) Meyer PSW-2 Subs for Venues of 2500 seats or less.
-Four (4) Meyer MSL-4’s and one (1) PSW-2 for each additional 1000 seats.
-Four (4) Meyer UPA1’s for front/center fills (as needed)
-Flown whenever possible
 
HOUSE AMPLIFICATION
-Adequate RMS wattage to cleanly drive the above speaker systems to manufacturer’s rated output specifications.
-All amplifiers and crossovers preferably identical in make.
TECH RIDER - page 2
 
STAGE MONITORS
 
40X10 MONITOR CONSOLE
-Yamaha PM4000, 3000, 2800; Midas H3000, XL200, XL250, or Venice 320; Soundcraft,
-8  DISCRETE mixes with pre and post fader listen capabilities.
-MUST BE ABLE TO HEAR EQ IN QUE MIX.
-Individual aux send pre and post input fader switching preferred.
-All console functions 100% operational with spare power supply included.
 
 
MONITOR SIGNAL PROCESSING
-8 channels of identical equalization, inserted at the mix sends.
-Klark-Teknik, TC electronics 1/3 octave equalizers
 
MONITOR SPEAKER SYSTEM
-Line array systems are preferred
Acceptable line array speaker enclosures are:
L’ Acoustics V-Dosc
Martin, Meyer ,Adamson ,Nexo,  EAW ,EV , JBL
 
MONITOR AMPLIFICATION
-Adequate RMS wattage to cleanly drive the above speaker systems to manufacturer’s rated output.
-All amplifiers and crossovers preferably identical in make.
 
MIC’S/STANDS/DIRECT-BOXES/CABLES
-A FULL COMPLIMENT OF MICROPHONES AND ACCESSORIES.
-See input list and stage plot
 
 
**The sound system shall be assembled in a totally professional manner using low noise, high resolution, studio grade cabling and connectors.
**The system shall be in phase and available for testing and tuning Three hours before scheduled sound check where all system controls and operating parameters shall be available to Artist’s production staff.
**Ground Loops, RF interference, Hums, Hisses, Pops or Buzzes are not acceptable.
**In some situations (Festivals, small clubs) some substitutions of components and timing may be unavoidable.  However, all substitutions or deletions must be approved by the Artist’s Tour Manager prior to arrival.
 
 TECH RIDER - page 3
 
LIGHTING NOTES
-Sufficient lighting instruments, power, dimming, console to cover entire stage area.
-Please have at least one (1) special  at the “star” position on the stageplot.  This special should be a Lee 110 Gel or equivalent.  Specials on separate dimmers for each of the band member positions with the same spec’s where available.
-At least 4 color changes (back truss light) to go from ballad to uptempo - preferably Reds, Congo Blues, Light Blue, green or Amber .
-Each member, including  should look natural (no color shades or dark spots)
-System should have a competent operator on site and available from set-up to tear down, capable of doing lighting focus at Production Managers discretion.
-If spotlights are used, clearcom is to be provided to all positions and to production manager for lighting cues.

Gareth Marsh:
You will have to ask them if the new Nexo 'line monitors' will be ok as a compromise. 8 sends from that spec would be something to behold!

In all seriousness (and I am party guilty here too) the number of mistakes in riders seem to be on the rise.

Combine that with vague answers to subsequent questions and it makes for a very frustrating advance.



Gareth

Bob Leonard:
Seems to me that they prefer the same single cabinets as would be used in any of those arrays , but for monitor use, and failed to make that clear enough.  (One box = one monitor)
 
OR, it's a mistake and the promoter needs to be called.

David Morison:
Umm, Venices amongst those other desk choices? ???
Cheers,
David.

Steve Bunting:
What's the band manager hoping to do with his access to the system control?

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