Has anyone put one together?
I was struggling last night to put together a technical rider for my band. I found lots of examples on the net but they were either too detailed or not detailed enough. Has anyone ever made one?
I could probably get you some pro advice for that. Might take a few days, though…
Any advice you have would be appreciated, but don’t spend too much time on it (or I’ll have to pay you :-). I’m going to make a stab at it again this weekend.
So what’s the right level of detail for you ? Personally I won’t spend time with it, I’ll just forward your question and post back the results - if any…
Thanks. Actually an outline for one would be all I need. I’m just looking for an example
In some technical riders, I see all the hospitality stuff. Also, I don’t want all the actual contract stuff either. In fact, I thought the TR was supposed to only have technical stuff in it, not all the other stuff I mentioned. Is this correct?
While searching I found some “big name” TR’s. Check out Michael Martin Murphy’s sometimes - it’s big!
Wow - great reference!
Interesting tidbits. I checked out a few:
- The Wallflowers - "PURCHASER shall make absolutely no reference to “Bob Dylan’s son”…
Hey - if I were Bob Dylan’s son, I’d be using that all the time 
- Coldplay - has 2 x 48’ Tractor/trailors and 4 tour buses.
Does each band member get a tour bus or what??? Maybe Gwyneth (who I think is the most beautiful woman on the planet by the way) and Chris get 2 buses and the band gets the rest? 
But these are more like Hospitality Riders from what I’ve seen, so I’m still looking, but thanks again.
Clay Aiken’s has technical stuff, but it’s obviously for very large venues. Look at his and downsize…A LOT. I doubt you’ll be needing three 400 amp per leg 3 phase services for lights and PA, and and an additional two 100 amp per leg 3 phase services for the rest.
Things like distance from the stage, number of outlets, total amps, and whether or not you need separate service for lights and PA are things to think about.
Some clubs I’m been in have nothing more than a couple of standard outlets on the wall that double as power for the vacuum cleaner in the day. That’s TOTALLY inadequate for most amped bands, and just won’t work if a band has any kind of lights more than a couple of floods.
The las few bands I was in carried our own distribution box. We HAD to have access to the mains box of the club so we could tie in directly to the power. I don’t remember but every so often it would be to far away or totally inaccessible. We needed a rider at those times and didn’t have one.
We’ll talk about the boner on the road crew that burned the screw driver in half later…yes it did involve a call to 911. Some guys just should not be allowed to use hand tools and electrical chords at the same time.
I looked at it - it’s all food & rooms, etc.
I just finished a 1 page Technical Rider & I’m hoping that it’s enough.
I’ll check with my pro friend on Monday anyway.
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| I looked at it - it’s all food & rooms, etc. |
Not so. Look at page 2. The electrical needs are very specific.
http://www.thesmokinggun.com/backstagetour/clay/clay2.html
What kind of stuff are you looking to add? What does you band need that MUST be there or you can’t do your show properly? That’s what goes in it.
Riders go to extremes because the needs (frivolous desires, quirks, etc.) of each band or artist or so drastically different, and because so many places don’t live up to them very well. They may get close. Ask for a little more than what you ABSOLUTELY most have, so when you don’t quite get it there isn’t a problem. That accounts for many large riders.
There really can’t be a generic rider or it most likely would be in the initial contract, up to a point. Ther WOULD be a TR form somewhere. T-Rider’s include ANYTHING extra the artist wants that’s not in the “form” contracts.
Well OK but it’s just not very useful info for me. I put together a one page rider:
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| B) Sound: A professional sound system and engineer must be provided to run sound for the entire show. Assistance in the setting up of the sound equipment for the band and to provide a sound check before each performance (if possible). 1) Sound board must be large enough to support sound re-enforcement 2) A minimum of 3 stage monitors are required – separate monitor mix is preferred 3) 3 vocal microphones on boom stands are required: a) 2 cardioid dynamic mics - Shure SM-58 or equivalent b) 1 cardioid condenser mic - Shure SM-86 or equivalent 4) 4 or more drum mics – bass, snare, high-hat and one or two overheads 5) 3 dynamic mics for amplifiers – Shure SM-57, Sennheiser E609 or equivalent 6) 1 DI-Box for the acoustic guitar 7) High quality reverb on vocals C) Backline: if you cannot provide any backline equipment, please contact us 1) Broken Arrow (BA) will bring 2 main guitar amplifiers 2) 1 bass amp required a) Gallien-Krueger, SWR, Ampeg, or Hartke bass amp or equivalent b) minimum 250 watts 3) Five-piece Drum kit, complete with hi-hat, crash and ride cymbals a) 22” or bigger kick drum b) 1 snare drum c) 1 floor tom d) 2 mounted toms D) Stage: must accommodate a 4 – 5 piece rock ‘n’ roll band 1) Drum riser is preferred but not required 2) Sufficient power supply for amplifiers, effects, etc. E) Lighting: if performing at night, sufficient lighting of the stage is required 1) The ability to illuminate the entire stage 2) At least one spot to illuminate lead singer and guitarist(s) when soloing 3) The ability to change colors - blue and red colored washes preferred F) Hospitality: 1) Dressing room preferred but not required 2) 5 bottles of water during each performance 3) Meals must be provided if performances span lunch and/or dinner hours G) Mechandise: 1) Broken Arrow has sole exclusive rights, but not the obligation, to sell merchandise and retain 100% of the receipts unless otherwise agreed to in writing by Broken Arrow. The sole exception is to any financial arrangements made with venue for the handling and/or sale of this merchandise. |
Mike- here is one old one I had from the Band-They Might Be Giants
Its pretty extensive, so pick out what works!
PB
Sound Technician:
All shows should have at least two technicians who are competent, sober and familiar with the system.
Sound System:
The Sponsor and Venue must make provisions for sound to be mixed from the middle or directly in back of audience. Mix position must be on the floor, not in or under a balcony or perch. Both FOH and Monitor Engineer for TMBG MUST have total access to entire system, including Amplifiers and Crossovers! No Mackie, Peavey, Samson, or other semi-pro gear in the system.
Speakers:
-Four way STEREO professional PA system, capable of providing complete and evenly distributed coverage of the venue with 115 decibels at Front of House without distortion. There should be a minimum of 3 Top Cabinets and 3 Subs Per Side.
-Preffered Speaker Cabinets are Vertec, V-Dosc, Nexo, EAW KF750, 850 or equivalent Proprietary systems Must be discussed.
-Frequency response of 20 to 20k hertz
Stereo 4-Way Active Crossover (XTA, OmniDrive, dbx Driverack) No Compression over Left and Right!!
Appropriate power (Crest, Crown, QSC)
FOH Console:
A Minimum of 52 channels, each with 4 band semi parametric EQ. Hi-pass Filters, 8 aux sends (switchable pre-fader, pre-eq). 8 Subgroubs. MUST have minimum 8 VCA’s All Channels will be used for They Might Be Giants only.
(Midas Heritage, XL200, Crest VX, Soundcraft Series 5, Yamaha PM4000)
FOH Rack:
(2) 1/3 Octave Graphic Equalizer (XTA, KT, BSS)
(10) Channels of Compression (BSS, DBX 166, 166xl, 160)
(8) Channels of Noise Gates (Drawmer, BSS)
(1) Digital Delay (TC-D Two, 2290, Roland SDE-3000)
(2) Multi Effects Units (TC Electronics, Yamaha SPX 990)
(2) Digital Reverb Units (TC M5000, M3000, M-One)
(1) CD Player (That Doesn’t Skip!)
(1) DAT Recorder
Stage Monitor System:
Monitor Mix Position will be Stage Left.
52 Channel Monitor Console. Each Channel must have 4 band Semi-Parametric EQ, Hi-Pass Filters and at least 20 Outputs. (Midas Heritage 3000, XL250, Yamaha PM4000M)
(2) Bi-amped Front Fill Wedges (15” x 2” or (2)12” x 2”)
(2) Side Fill Monitors (Minimum 3 way 18” x (2)12” x 2”)
(1) 3 way Bass monitor (can be same as side fill cabinets)
Monitor Rack:
(4) 1/3 Octave EQ’s (KT, BSS)
(10) Channels of Compression (BSS, dbx 160)
(3) Digital Reverb Units (Lexicon, TC-Electronics)
An Intercom Systems between FOH, Monitors and Stage Right will be needed, as well as Talkback from FOH to Monitors.
All necessary mic cables, patch cables, insert cables, AC Power for Band Gear.
All Channels on FOH / Monitor Consoles, Mics, Cables, Stands will be used solely for They Might Be Giants.
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They Might Be Giants Lighting Requirements
I will be carrying two spotlights with intercom. They are always used, without exception (unless of course it is a daylight show). We even fly them with us for one-offs. Please provide two competant, relatively sober operators who are fluent in English. They should make the LD (Iggy) aware of their presence at least one half hour before TMBG posted show time. The spotlights are small. They each consume 575 watts. Each weighs 58.5 pounds and have an optimal throw within 75 feet. If you traditionally provide risers or towers in your venue when spotlights are brought in, let this time be no exception.
The venue needs to provide a minimum of stage lighting. These needs vary in proportion to the size of the venue. In a night club or small theater with a capacity of under six hundred, I will need at least four washes of four units apiece (16 units) upstage. The units need to be par 56 or better. My four basic washes are blue (Lee 181 is not blue), red, yellow and no-color. This is not an exhaustive list, I love green as well. I will need four washes of two units apiece down stage. These washes should be red, blue (not 181) and two no-color. The no-color washes will be turned around to become audience lights. For larger rooms, I would prefer at least twenty four units upstage and twelve units downstage. I will be bringing a gel file and may change colors. I will not be responsible for restoring the house plot. Of course, I will use all lights available in addition to this minimum.
The venue needs to provide someone to run lights for the opening act. If this person is not your usual house lighting tech,it would be useful that this person have a working concept of how to run a lighting console. If your house lighting console has the letters NSI on it anywhere, I will be replacing it with my own console. If your house console speaks DMX, microplex or analog with cinch jones connectors, I may choose to replace it with my own console.
I MIGHT be carrying moving lights with me. I have four Studio Color 575 and six Technobeams. They are all used on the floor. The entire rig draws fourteen amps per leg, single phase. I have a power distro to run them. When I am carrying my lights, I provide backline power from this same distro. For this reason, I would prefer to be tied in with house sound power. I can adapt to many variations for my tie-in. I have tails, camlock tees etc. IMPORTANT NOTE: Venue or local sound company must provide backline power in the form of six edison quad boxes (three upstage, three downstage). We will use this power regardless of whether or not my power distro is present. Please see TMBG sound requirements for complete details. I will be bringing a backdrop. It consists of three four foot wide, thirty foot tall white muslin banners. They are of insignificant weight. The house should have a black backdrop hung upstage. I will hang my softgoods on the same pipe as the black or, if available, on a separate pipe immediately downstage of the black.
PB - thanks.
They’re supposed to be a good band, but I don’t know their material. Are they good?
Good??? Oh yeah!!
Eclectic is the word that comes to mind.
I thought that might fit just about everybody’s needs.
You probably won’t need/get the Midas consoles etc…but its a place to start!
PB
| Quote (phoo @ Jan. 12 2006,12:50) |
| Good??? Oh yeah!! |
Really, Kelly - that's a matter of opinion...
I always thought they were over-rated. So much so that I figured one or the other of them HAD to be related to someone to get the exposure they enjoyed.
Never heard of TMBG? Istabul-Constantinople? Triangle Man? The Malcom in the Middle theme?
I really only chimed in here to say… If I were U2, I would be shooting a bit higher than Black Opal chardonnay.