KALIMBA EQUIPMENT RIDER

Transcription

1 Operator shall provide the following equipment at no cost to Artist: 1) Riser 24 Hx8 Wx8 D 2) Drummer: a) Birch or maple hybrid i) *1 Yamaha: absolute birch/ stage birch, oak custom Or ii) 2 Pearl: Reference or masters Or iii) Mapex: Saturn or armory b) Drums heads: REMO c) Toms Sizes: i) White suede emperor or Clear/Coated emperor ii) 10, 12, 14 optional 16 d) Kick size i) Kick: power stroke pro 22" ii) 18 x22 or 20 x22 e) Snare i) Remo Control Sound, Emperor X with dot, or power stroke with dot. (REMO) ii) 6 x14 or 7 x13 f) Kick pedal: i) DW 8000 g) Hardware: i) 5 boom stands, ii) hi-hat stand, iii) (1) snare stand iv) Saddle throne h) Cymbals: i) Zlidjian (A customs/ K's) ii) 17,18"crash A custom, iii) 16 & 18 EFX A custom, iv) 20" or K Ride, v) 10" (2) splashes, vi) Hi-hat 14" (K) 3) Microphones a) (Must Have) i) Kick Mic with short stand (EV RE20 or Audix D6) ii) Snare Mic with stand (Shure SM57) iii) Hi-Hat Mic and stand iv) Tom mics and stands

2 4) Bassist: a) 300w Mesa Boogie w/ 15 cab OR b) 750w Ampeg w/(4) 10 cab (or similar) c) Bass Stand d) Direct Box (Radial J48 Active DI) 5) Guitarist 1: VOX 2 a) Fender Hotrod Deville 410 (or similar) i) Amp Stand ii) 2 Guitar Stands b) Short Stand with guitar microphone (Sennheiser e 609 or Sennheiser e 906 or similar) c) Microphone Boom Stand with Vocal Mic (Wired) (Shure SM58) 6) Guitarist 2: a) Fender Hotrod Deville 410 (or similar) i) Amp Stand ii) 2 guitar stands b) Short Stand with guitar microphone (Sennheiser e 609 or Sennheiser e 906 or similar) 7) Percussionist 1/ VOX 4: a) provided by Kalimba (5) pad min., Electronic Percussion Pad Station w/stand b) (2) Splash cymbals on Boom Stands c) Microphone Boom Stand (Wireless mic provided by Kalimba) 8) Percussionist 2/ VOX 3: a) (2) Conga Drums i) Conga Stands b) Microphone Boom Stand (Wireless mic provided by Kalimba) 9) Horn Instruments: a) Riser 24 H x 8 W x 6 D b) Microphone Straight Stand X 3 (No Microphones or clips) 10) Keyboardist: VOX 1 a) Riser 12 H x 8 W x 6 D b) Yamaha Motif XS 88 needs to be weighted keys OR c) Nord stage 2 weighted Keys or semi weighted OR d) Nord Electro 2 or 3 weighted or semi weighted''

3 e) Keyboard Stand, f) Throne g) Stereo Direct Box (Radial Pro D2) h) Microphone Boom Stand with Vocal Mic (Wired) (Shure SM58) i) Music stand or small table for laptop computer 11) Percussionist: Vox 5 a) Riser 24 H x 8 W x 8 D b) Microphone Boom Stand with Vocal Mic (Wired) (Shure SM58) c) 2 X Microphone Boom Stand with Overhead Condensers Microphones (Wired) (Shure SM81, or similar) d) 1 Microphone Boom Stand with Condenser Microphones (Wired) (MD421 or similar) Also for electrical Quad Outlet requirements; which also must be in place at the time of Artist arrival. IF PERFORMANCE WILL TAKE PLACE WITH A STANDING OR DANCING AUDIENCE: Stage must be of sufficient height such that performers can be seen easily by all audience members while performing in their normal stage positions. In addition to platforms used for stage production, the appropriate use of risers may be necessary. LIGHTING SYSTEM 1) Lighting system shall have a minimum of fourteen (14) specials, four (4) (including 2 white) on each lead vocalist, two (2) for keyboard, two (2) for horns, two (2) for drums, and enough color washes to provide a well-lit stage. Specials should be used to highlight individual musicians when they solo, as well as general washes, preferably dramatic colors and orientations. Requested gels are: red, violet, amber, blue, green, yellow. The show needs intense colors shifting gradually throughout. A Lighting Cue set list for lights engineer has colors specified for each tune and will be given to engineer before the show. Spot lights will be indicated in Lighting Cue. 2) Lighting console shall have a minimum of fourteen (14) channels of fader control with eight (8) manual presets. 3) Lighting console shall be placed near house console for adequate view of stage unless another location is already resident. 4) Means of communication between house sound engineer and lighting engineer is appreciated.

4 ELECTRICAL REQUIREMENTS KALIMBA EQUIPMENT RIDER 1) Power for sound and lights shall be adequately isolated and on separate main feeds. 2) All power shall be adequately grounded to avoid noise and damage to equipment and to avoid injury to crew and performers. 3) Power for stage shall consist of at least four (4) circuits of fifteen (15) amps each. 4) A minimum of four (4) outlets of AC power (120v circuits) and four (4) 4-way boxes must be available on stage for Artist s electrical equipment. If power conversion is necessary a sufficient number of the proper converters are required. STAGE HANDS 1) A minimum of two (2) stagehands are required for load-in and load-out. SOUND SYSTEM 1) A SOUND CHECK IS MANDITORY. During the performance the sound will be mixed by a representative of the Artist who is to have complete control of the house mix. A house electrician and engineer must be available throughout the entire sound check and performance. The sound system must be operable at least 3 hours prior to doors opening and available for sound check. IMPORTANT: All monitors and speakers must be tested and tuned, all mics and mic stands must be set up, ready for placement and connection prior to the band s load-in. There is (attached) a detailed stage plot and mic chart allowing staff to set up the stage sound support without the band present. Artist needs a minimum of one (2) hours of fully functional stage for reviewing monitors and FOH house sound checks ending no later than one half hour (30 minutes) before doors open. Due to the unique sound requirements of KALIMBA it is absolutely mandatory that, no matter what the circumstances of the concert are, a full monitor check will be provided. The performance will not begin until the band is fully satisfied with the monitor mix. If a full monitor check cannot be so provided, then this contract cannot be completed and the engagement will be considered cancelled by Operator and no deposit paid by Operator will be refunded. The monitor check will be at the sole direction of Chazz Thomas Smith.

5 * A 16 CHANNEL IN-EAR MONITOR SYSTEM IS PROVIDED BY KALIMBA WITH A SPLIT RUNNING TO FOH INPUT SNAKE. ALL MONITOR REFERENCES REFER TO SIDE FILL MONITORS The sound check sequence must be as follows: a) Before load-in, sound company personnel shall conduct a room tuning using a pink-noise generator, calibrated mic and spectrum analyzer and set house EQ s accordingly in order to obtain as close to a flat response as possible. b) Monitor checks first beginning with Lead Vocalists first, followed in sequence by Bass, Drums, Horns, Keys, Guitar. c) House sound will follow under direction of Chazz Thomas Smith and assisted by tour manager/sound engineer Greg Hearns. 2) If an opening act sound checks following KALIMBA, they must not use the channels previously assigned to KALIMBA, and all other settings MUST be marked and returned exactly to those set at the KALIMBA sound check. The channels assigned to KALIMBA must be MUTED, (not turned down) at the console. Levels must remain EXACTLY the same as at sound check. Please ensure that the monitor personnel are fully aware of this. 3) If more than 50% of the console channels must be shared with another act or acts with dissimilar a) Instrumentation to that of KALIMBA, then another house console should be provided for this purpose. The same is true with monitor console sharing. This requirement does not apply to festival venues. If in doubt, please consult with KALIMBA s sound representative: Chazz Thomas Smith (ph: ) (t_smith_64@hotmail.com). i) This requirement does not apply if Operator can demonstrate a console with fully Automated Recall (such as a Yamaha M7CL, or similar). 4) It is vital that copies of the rider and the attached stage plot and input list diagrams be provided for the sound and stage personnel for their director to have at all times during the sound check. 5) A concert sound system of sufficient size, sophistication and quality to deliver to all members of the audience an amplified blend of Artist s music (including all instruments) free of distortion, feedback, and extraneous noises to the satisfaction of the Artist or Artist s representative. Said sound system must consist of the following: a) House Console (professional series only)

6 i) A minimum of twenty-four (32) low impedance inputs and four (4) post fader effects sends. Yamaha, Midas, Soundcraft, Allen & Heath, (equivalent to or better) are preferred. No old consoles, second-hand, modified or marginally working and/or dated equipment are to be used. (1) Each channel must have: (a) Pre-fader level metering -Cueing -Mute (b) Fully adjustable input attenuation (c) Fully parametric equalizers (highs, high mids, low mids, bass) (d) Low-cut filter (preferably with adjustable frequency) (e) Patch point or access for compressors & additional processing. (f) - Output assignment to a minimum of four (4) sub-masters, eight (8) for stereo systems. Each sub-master shall also have patch points available. (g) Ability to go direct into mix (i) - A minimum of four (4) post-fader effects sends (please also refer to foldback monitor situations, below.) ii) A professional quality Digital Signal Processor (Symnet, BSS, or similar) or one-third octave graphic EQ for house mix (two for stereo setups).