TECHNICAL RIDER (ENGLISH)

Transcription

1 TECHNICAL RIDER (ENGLISH) Please read this rider carefully. Any issues we can solve before show date, will make all our jobs much easier. Please understand that this rider is part of the booking contract. If any of our requirements cannot be met, please contact the production manager as soon as possible but no later than two weeks before show date. FOH SOUND ENGINEER POSTMEN: Name: Sjoerd Terpstra Phone: +31 (0) LOCAL CREW: Although Postmen has it s own sound engineer, please be sure to provide: DJ s: - One capable sound engineer to assist our sound engineer at FOH with insert patching and general system stuff. - One capable sound engineer to assist our FOH Sound Engineer at MON (monitors) with wedge placement. - One capable sound engineer to patch all inputs. - One capable sound engineer to work monitors. We do not bring our own monitor sound engineer. Very important: absolutely no DJ s on stage during change-over s. Postmen is entitled to play its own music, 2 songs before and 2 songs after the show. In case of a support act Postmen will be entitled to play its own music during change over. STAGE/ RISERS: Minimal stage dimensions for Postmen are: 8 x 6 meters, with a clearance of 5 meters. This does not include PA and MON space. Please make sure that the stage is fully (left, right, back and ceiling) draped with cloth or curtains to ensure good acoustics. 1

2 DRUM RISER Drum riser: 200 x 300 x 40 cm Riser should be available for set-up backstage at get-in time. Festivals should supply a portable drum riser for quick changeovers. BACKLINE POWER: All backline power should be 220 volts with EURO sockets. No Belgian/French type sockets. Please make sure it s not shared with any lights. COMMUNICATIONS: Please provide a talkback microphone from FOH to monitor, and a good working intercom system which connects FOH engineer and monitors engineer(s). Please make sure that this is an isolated line. No light or production on the same line. SUPPORT ACTS: Postmen doesn t share any backline, instruments, microphones or any of that kind. We do not move our gear and no one is allowed to use any of the channels in use for Postmen on the console. In case of shared wedges please make sure extra auxiliary sends are used to feed to the support act. Please do not use the same auxiliaries in use by Postmen. 2

3 PA REQUIREMENTS: We require a PA system capable of producing 105 dba at FOH + at least 10 db headroom. The system needs to be well balanced (correct ratio hi, low and sub cabinets). Line-array modules need to have at least 10 LF drivers. - The PA should be able to cover the whole auditorium. - All components carefully time aligned. - The crossover system is located at the front of house position. - The systems engineer is able to support our FOH engineer the entire soundcheck / change over and show. - The system is "ready to go" at the Postmen crew get in time. Acceptable PA s are; d&b J series, L Acoustics Vdocs, Amdamson Y10/Y18, STS, Synco speakers. All others systems subject to approval by our FOH engineer. (Sjoerd Terpstra) FOH REQUIREMENTS: - 1 professional, high quality FOH mixer with the following specs: 32 mono channels and 4 stereo returns with, 4 band parametric EQ, a separate hi-pass filter 8 assignable VCA groups 8 subgroups with inserts 12 post/pre fader aux sends 10 channels of compression (DBX 160, BSS 402/404, 6 channels of gates 2 stereo reverbs (1PCM 91, 1 PCM 80/60) 1 dual channel reverb (TC M2000/3000) 1 mono delay with tap (TC D-Two, Roland SDE) Examples are Midas XL-4, H2000, Allen & Heath, Mackie or other budget consoles are not an option. Please no digital consoles We will bring a small insert rack. Please make sure there s enough space at the FOH position, as well as a sufficient amount of 220 V outlets. 3

4 MON REQUIREMENTS: - 1 professional quality monitor mixer with the following specs: 32 mono channels with at least 16 POST FADER aux sends 4 band EQ (of which 2 bands parametric) and a separate hi-pass filter 8 VCA groups 1 quality stereo reverb (M2000/3000/4000, PCM81/91) 3 wireless in ear transmitters/receivers (Shure PSM 900/Sennheiser G3) (this is a MUST) 3 wireless microphones (Shure U4D with SM58 head or Sennheiser equivalent) All positioned off stage (right or left) with a CLEAR VIEW of stage. A good example would be a Midas H3000/XL250, a Soundcraft MH2/3, etc. No Allen & Heath, Mackie or other budget consoles please. No digital consoles please. - 8 bi-amped, serious wedges, 1x active, drum-sub Layout on the desk: Mix 1 front 2 wedge Mix 2 front 2 wedge Mix 3 Guitar 2 wedge Mix 4 Bass 2 wedge Mix 5 Drum Sub 1 Sub Mix 6 Drums L mixer in L Mix 7 Drums R mixer in R Mix 8 Remon L in ear system Mix 9 Remon R in ear system Mix 10 Alyssa L in ear system Mix 11 Alyssa R in ear system Mix 12 Mike L in ear system Mix 13 Mike R in ear system Mix 14 Rverb PCM 91 Please include a local wedge. (That brings the total to 11) All wedges need to be identical. This means they have to be the same. Synco CW152 s, Clair Bro s 12AM, d&b MAX, M2. - A 31 band (1/3rd octave) graphic equalizer inserted on each mix output is a must! 4

5 Postmen Patch 2012 CHANNEL SOURCE MIC/DI STAND 1 KICK IN B91 2 KICK OUT B52 LOW 3 SNARE 1 T SM 57 LOW 4 SNARE 1 B SM 57 CLAMP 5 HIHAT CONDENSOR LOW 6 SNARE 2 T SM 57 LOW 7 TOM E TOM E FLOOR E OH L CONDENSOR 11 OH R CONDENSOR 12 BASS DI 13 BASS MIC 14 GUITAR AT 4047 LOW 15 GUITAR ROYER 122 LOW 16 AC. GUITAR DI 17 ALYSSA WIRELESS R.B. 18 REMON WIRELESS R.B. 19 MIKE WIRELESS R.B. 20 KICK/SNARE XLR 21 LOOPS XLR 22 LOOPS XLR 23 SEQ TAPE L XLR 24 SEQ TAPE R XLR 25 SEQ BV XLR 26 SEQ BV XLR 27 SPARE SM

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