TERMS and CONDITIONS
As of May 1, 2017
1. PURCHASER shall provide a venue with a flat solid stage of safe construction on which the ARTIST shall perform:
(a) Stage-40-feetwide,30-feet deep and 5-feet high
(b) Clearance-24-feet from the stage to ceiling above the stage and at its front and rear. The PURCHASER shall inform the Tour Manager if there are any intrusions (i.e. balconies, organ, railings etc.) upon the performing area. These dimensions are minimum requirements
(c) Stairs to Stage require safety railing
(d) Barrier - If ‘standing ’venue, then Safety barriers to be fitted minimum 3-feet in front of the whole stage
(e) Risers and Staging Details – TWO risers of solid construction for keyboards, drums, as per stage plot, available from Tour Manager, Eric Troyer. Ideally, the drum riser would be slightly higher than the keyboard riser, which should be about 1-feet to 2-feet high
MIX POSITION - A platform for the lighting and sound console shall be provided where applicable (i.e. all standing venues). Platform shall be at least 16-feet wide, 8-feet deep and 3-feet high. Platform shall be of solid flat construction, surrounded by a protective barrier, having an uninterrupted view of the stage & be situated in line with the center of the stage, two thirds of the distance from the stage to the back of the venue. Platform to be in position, when ARTIST’S road crew arrives at the venue.
2. POWER SUPPLY: The power supply shall be the equivalent of 240 volts, 50 cycles, 3 Phase 120 amps per phase for lighting plus an additional 100 amp single phase supply for stage and P.A. equipment.
Both power supplies should not be more than 50-feet from the center of the stage rear. Should the venue not comply with these power specifications, the
PURCHASER shall agree to provide & pay for temporary alternative power, which will adhere to the above specifications. Should any damage to the ARTIST’S equipment occur due to the power being turned off or being of the wrong specification, the PURCHASER shall be liable for the cost of replacing any equipment that has been damaged as a result of such acts. In situations where 240/220-volt power is being supplied by venue or P.A. Company to run backline equipment, a step-down transformer must be provided to give a 110-volt stabilized supply also.
3. ELECTRICS: A fully qualified electrician familiar with all electrical installations at the venue or the concert site shall be present throughout the day of the performance, who shall:
(a) Connect all sound and lighting power where as maybe required
(b) Provide at all times smooth, safe and consistent supply of "clean" power
(c) Attend when equipment arrives, to establish position of electricity supply and carry out connections at ARTIST’S request
(d) Disconnect power supplies as and when required by the ARTIST’S road crew and not otherwise
4. BILLING: PURCHASER agrees that the ARTIST will receive 100% billing as CHICAGO’S FINEST
in all forms of advertising with respect to this engagement (unless otherwise specified in contract). If this is a festival engagement, ARTIST agrees to Festival Style billing, but usage of proper logo must apply.
5. TAPING AND FILMING: This provision does not apply to the display of the image and performance of the ARTIST on screens within the performance venue, to improve the visibility of those attending the performance. The PURCHASER agrees that no part of the performance by the ARTIST may be taped, filmed or otherwise recorded without written permission from the ARTIST. It is suggested that a notice stating this is displayed at the entrance to the venue. Notices must also state that the ARTIST has exclusive rights on all recordings of their image, likenesses and sound, in the event that any bootleg or unauthorized recordings are confiscated. The ARTIST is aware that it is virtually impossible to police concert attendees making cell phone recordings and this provision pertains primarily to those attendees who may attempt to enter the facility with professional or semi-professional audio and/or video recording equipment. No such equipment shall be permitted. In the event the ARTIST finds such equipment that is recording their performance, the ARTIST shall not be obliged to return any such recording and/or any other subject matter which shall be part of that recording whether it is related to the ARTIST or not. This ARTIST is ONLY authorized to grant synch licenses for compositions of CHICAGO’S FINEST and members of CHICAGO’S FINEST but only in the case of that member of CHICAGOS FINEST, and composer of the song permits IN WRITING at least 30 days prior to filming. If any filming is agreed to between the parties, the PURCHASER, shall be responsible for the securing of a synch license from the music publishers.
6. SPONSOR BANNERS: The PURCHASER will ensure that there will be no promotional or advertising material within the outer limits of the stage area unless prior arrangements have been made and agreed with, in writing, with the ARTIST’S Tour Manager.
7. COMPLIMENTARY TICKETS: The PURCHASER shall agree to make available a sufficient number of tickets and passes for both the ARTIST and ARTIST’S guests. Additionally, the same shall apply for any press, media and promotional purposes that are mutually agreed. At least TWENTY (20) of the tickets, which shall be provided to the ARTIST (for ARTIST’S guests) shall be the highest priced tickets offered to the general public. The above shall be provided at no cost to the ARTIST. A final number of tickets and passes shall be mutually agreed to between the PURCHASER and ARTIST.
8. BREACH OF TECHNICAL REQUIREMENTS: The technical and production requirements of the ARTIST for each engagement shall be provided by and at the expense of the PURCHASER. (Failing compliance with any of which, the ARTIST shall be entitled to cancel the engagement without prejudice to its rights and remedies against the PURCHASER).
(a) CREW - The PURCHASER, at the PURCHASER'S expense, shall provide at load-in, a crew of FOUR (4) experienced and able-bodied persons to assist the ARTIST'S road crew in all the technical aspects of the production. The load- in start time into the venue is normally scheduled at 10:00am;
(b) RUNNER - An experienced "runner", with knowledge of the local language and area and shall have exclusive use of a car which may be required to run sundry errands for the ARTIST'S Tour Manager;
(c) STAGE PRIORITY - ARTIST shall have the primary and over-ruling right to the stage and to set up all instruments and properties in connection with the performance and these shall not be relocated or used by anyone other than the ARTIST, without consent from the ARTIST'S Tour Manager. The ARTIST shall have the sole & exclusive control of all elements of the performance, including staging, lighting, sound and creative material;
(d) COMMUNICATION - The PURCHASER agrees to supply the ARTIST’S Tour Manager with a detailed stage plan with dimensions, power source, dressing room, and load-in shown on it before this contract is signed.
9. PARKING: Shall be provided with ample space for the ARTIST’S tour bus and equipment van.
10. DRESSING ROOMS: PURCHASER agrees to supply at least TWO (2) large dressing rooms for the ARTIST. Properly cleaned, ventilated and well lit, with hot and cold washing facilities. They must be supplied with the following:
• TWENTY (20) TOWELS (large), which must be removable for stage, use and be available to Tour Manager on arrival at load-in
• OVERALL SEATING FOR TWELVE (12) PEOPLE
• IRON & IRONING BOARD
• A CLEAN BATHROOM WITH SOFT TOILET PAPER, MIRROR AND SOAP
• ELECTRICAL OUTLETS
• PROPERLY SET COOLING AND/OR HEATING AND WELL VENTED VENTILATION
• HAND SANITIZER
NOTE: These dressing rooms shall be fitted with a lock and key. The keys shall be made available to the ARTIST’S Tour Manager upon arrival at the venue.
11. GREEN ROOM: The PURCHASER is to provide a Green Room to be provided and used exclusively by the ARTIST before and after the TV and/or concert shows with the option of receiving guests in at the Tour Manager's discretion.
12. CATERING: The PURCHASER shall supply and pay for the following:
• ICE (generous quantity); For NON-NORTH AMERICAN AND NON-EUROPEAN ENGAGEMENTS PURIFIED ICE ONLY
• Six (6) liters of room temperature bottled water
• Two (2) liters of sparkling water
• ONE (1) liter of cranberry juice
• ONE (1) liter of apple juice
• ONE (1) liter of orange juice
• ONE (1) 8-person fresh fruit tray
• ONE case of Coke and 7-UP
• Assorted gums and candies
• Assorted herbal teas
• Pot of Coffee
• Pure honey
• ONE (1) box of soft tissues
• TWENTY-FOUR (24) LAGER (i.e. HEINEKEN or LOCAL MICRO-BREW); NO Budweiser or Miller beer
• TEN (10) LITERS OF STILL WATER (EVIAN, etc.). TWENTY (20) LITERS IN HOT CLIMATES
• TWO (2) LITERS OF CARBONATED WATER (PERRIER, etc.)
• ONE (1) LARGE CARTON OF ORANGE JUICE
• ENGLISH AND HERBAL TEA (i.e. GREEN TEA, PEPPERMINT),COFFEE, MILK AND SUGAR
• TWO (2) LARGE PACKS OF UNSALTED AND SALTED TRAIL MIX
• TWO (2) PACKS OF RICOLA HERB THROAT DROPS (LOZENGES)
• ONE (1) OF EACH FRUIT & VEGETABLE PLATTERS (SMALL)
• ONE (1) SMALL DELI TRAY, WITH WHOLE WHEAT BREAD FOR MAKING SANDWICHES, WITH TURKEY, HAM CHEESE, LETTUCE, TOMATO, ETC., WITH MAYONNAISE AND MUSTARD
• ONE (1) BOWL OF FRESH FRUIT – BANANAS, ORANGES, APPLES, GRAPES
• TWENTY-FIVE (25) LARGE OR EXTRA LARGE DISPOSABLE CUPS FOR USE ON STAGE (for instance ‘SOLO CUPS’)
• AMPLE SUPPLY: GLASSES, CUPS, PLATES, KNIVES/FORKS/SPOONS (METAL), NAPKINS AND CONDIMENTS
HOT ENTRÉ MENU FOR ALL ONSTAGE PERFORMERS AND
CREW SHALL BE DECIDED ON A SHOW BY SHOW BASIS
The above to be delivered to ARTIST’S Green room at 1:00PM (based on a 1:00PM Crew call, 2:00PM Band call and a 2:30PM sound-check) or other pre-arranged time. The above is a general list that can be adapted to particular circumstances depending on the type of engagement and the availability of supplies. Please discuss any changes in this list well in advance with Tour Manager. Please bear in mind that we do this day in and day out, therefore we would like to eat in surroundings with proper cutlery and relaxing surroundings with as little distraction as possible.
13. PRE-SHOW CATERING: Catering to be provided for crew members from load-in time onward. Hot and cold drink, sandwiches, and snacks shall be provided. Timing of the catering for the band should be coordinated with the Tour Manager.
14. PRE-SHOW EVENING MEAL CATERING IN VENUE: Hot evening meal to be provided for entire party at approximately 5:00PM - 5:30PM, or a time arranged with the TOUR MANAGER, depending on show time and other scheduled details. This should be in a comfortable, well-lit setting, with proper table settings, and proper glasses, silverware, and plates, as if it was a restaurant, NO PLASTIC-WARE. VEGETARIAN CHOICES MUST BE INCLUDED IN THIS CATERING, AND THIS CATERING MENU MUST BE APPROVED BY TOUR MANAGER IN ADVANCE DURING THE PRE-TOUR COMMUNICATIONS.
15. MEALS AND RESTAURANT REQUIREMENTS: All meals being provided by promoter during the stay of ARTIST in the promoter’s territory must be approved by the Tour Manager. It cannot be limited to restaurants or clubs that are event sponsors; although, this will be taken into consideration to be helpful to keep the costs down for the promoter. After all the travel that is required to get from venue to hotel and from territory to territory, the restaurants that should be chosen during the ARTIST’S stay, should be in the hotel or close to the hotel, quiet, and have a variety of individual choices available for the band members and crew. No special, limited, or set menus will be acceptable.
16. FORCE MAJEUR: The PURCHASER agrees that if the ARTIST’S performance is shortened or brought to an end for any reason beyond the control of the ARTIST, i.e. strike, lockout, war, fire, serious or dangerous weather conditions, epidemic, riot, civic commotion, national calamity, an Act of God, order of the local government or local licensing or health authority or death or disability (disability meaning any significant injury, illness, or disease) of the ARTIST, it must be clearly understood that in no way affects the salary payable to the ARTIST. The PURCHASER should be accordingly insured against this.
17. EVENTS BEYOND CONTROL: In the event of illness, transport breakdown or any other event beyond the control of the ARTIST preventing his fulfillment of the engagement, the PURCHASER agrees that the contract shall be deemed until null and void, at no liability to the ARTIST.
18. PRE-NOTICES: The PURCHASER agrees that, where any of the stipulations in this rider cannot be fulfilled, he/she will advise the ARTIST in detail before this contract is signed.
19. NOTE: All of the provisions of this contract and rider are of the essence and failure of the PURCHASER to comply with all or any of them shall constitute a breach of said contract.
20. INSURANCE: The PURCHASER agrees to provide an insurance policy or a rider to their existing insurance policy (WITHIN THE ACCEPTED BUSINESS PRACTICES OF THE COUNTRY OF ENGAGEMENT), which allows for payment to the ARTIST, if the ARTIST cannot appear due to PURCHASER’S or Local Promoter’s fault. A copy of the insurance binder page or written confirmation from the insurance provider shall be faxed to management at least thirty days prior to show(s).
21. PURCHASER INSURANCE RIGHTS: Provision #20 of this ARTIST contract insurance that he/she shall purchase, providing it meets the minimum requirements of the venue, vendors and the ARTIST. PURCHASER need not fax his/her private insurance data when faxing certificate required in Clause #20 above. Unless otherwise notified, it is agreed that if the PURCHASER does not send the insurance proof in ample time, the ARTIST hall consider the insurance for liability, damage, advertising errors and anything/everything in effect. The ARTIST shall have no insurable responsibility other than that caused by their own bad-will actions, if any should occur. The PURCHASER shall take full and final responsibility for all legal costs, payments, penalties and settlements relating to improper advertising, if such should occur.
22. PAYMENT: All payments shall be as specified on the face contract attached to this rider. In the event that a currency other than USD is used as the agreed to currency, the currency must be equal to, or greater than, the exchange rate as agreed to on the day the ARTIST accepted this engagement. No local, city, state, provincial, federal or national taxes or fees (or fees of any kind) shall be deducted from any payment to the ARTIST unless otherwise agreed to, approved and confirmed by the ARTIST. Payment shall be as specified on the face contract.
The PURCHASER, at no cost to the ARTIST, shall provide the following backline equipment. Please note that the ARTIST understands that not all brands and models as noted are available. Therefore, the PURCHASER should contact the ARTIST’S Tour Manager who will be able to suggest and agree to reasonable substitutions. Please take advantage of the fact that the ARTIST has toured the world and is able to accommodate local needs. The ARTIST’S Tour Manager is willing to work with you.
DANNY SERAPHINE (Drums)
DRUM TECH IS REQUIRED TO SETUP AND TEAR DOWN DRUMS.
PLEASE DO NOT SET DRUM MICROPHONES UNTIL DANNY HAS ADJUSTED HIS SETUP.
Drums on Center Stage Riser 10’x10’x3’ (8’x8’x3’ is 2nd Choice)
DW (NO EXCEPTIONS)
1 – 22x18” Kick (2nd choice 20”x18)
1 – 5 x 14” Snare
1 – 8x10”, 9x12” Racks. 12x14”, 14x16”, 14x18” Floor Toms
1 – 9002 Doubled Kick Pedal (DW 9000 1st choice, 5000 2nd choice)
1 –1 – 9500 Hi Hat Stand 2 legged (please use short rod)
1 – DWSM 9212 Hi-Hat arm & DWSM 776 Clamp to mount off Ride Cymbal Stand
1 – 9300 Snare Stand
1 – 9934 Double Tom/Cymbal Stand
1 – 9799 Double Cymbal Stand
1 – 9702 Multi Stand
1 – 9900 Double Tom Stand
1 – 9700 Straight/Boom Cymbal Stand
2 – 9710 Straight Cymbal Stands
1 – DWSM 934 Cymbal Arm
1 – 9100 AL Air Lift Drum Throne
13” Hybrid Hi-hats
14”K Hi hats
18” A custom med-thin crash
16” A thin crash
8” & 10” fast splash
20” sweet baby ride or 20” K Custom Dry Complex Ride II
17” A Custom Rezo Crash
18” China. (Anything close will suffice)
BILL CHAMPLIN (vocals/keyboards/guitar)
( 2 keyboards AND 1 guitar amp required )
1 - Hammond B-3, or C-3 with a Model 122, or 147, Leslie plus bench, no bass pedals.
Note: If Hammond not available a Hammond SK1 with a stand and cords, but a big organ system is preferable.
1 - Yamaha Motif ES-8 synthesizer, 88 keys with sustain pedal - if not available, stand and all the cords needed to input to the PA system.
2nd choice Yamaha S90 88 keys with sustain pedal
3rd choice Korg Triton 88 keys synthesizer 88 keys with sustain pedal
1 - X type keyboard stand and all the cords needed to input to the PA system
1 - Heavy duty music stand
1 – Deluxe Guitar Stand
1 - Fender Blues DeVille Guitar Amplifier, or other Fender amp, Twin Reverb, Tweed Bassman, Deluxe etc. 1 - Fender Stratocaster with cords and adjustable strap.
RAY PARKER JR. (vocals/guitar)
1 – Fender Deluxe Reverb
2nd choice The technical equivalent to a Fender Deluxe Reverb
1 – Deluxe Guitar Stand
(Note that Ray always uses a wireless microphone on a boom stand, with a bar stool in easy access)
WILL CHAMPLIN (vocals/keyboards)
1 - Yamaha S90
2nd choice Roland RD 700
ROB McDONALD (vocals/bass)
1 – Aguilar 750 Power amp
2 – 4 x 10 Aguilar Speaker Cabinets
Local brass section shall consist of 3 players. Information given on a show by show basis.
1 - SHURE WIRELESS UHF (BETA 58 CAPSULE)
1 - SHURE BETA 58 CAPSULE
1 - STRAIGHT MIC STAND
4 / 20’-1/4” guitar cables
6 / 10’-1/4” guitar cables
4 / 6’ MIDI cables
1 - Cowbell
1 - Tambourine
1 - Set of Conga Drums
3 - additional good-quality Guitar Stands
24 - PROCELL/DURACELL 9-VOLT PP3 BATTERIES
24 - PROCELL/DURACELL AA BATTERIES
4 - AC Electrical Power Transformers 220V to 110V. ONLY if the engagement location is 220V
(non-North American standards). Artist has SOME pieces of 110V ‘USA standard’ equipment.
5 to 6 - Barstools (to be used for up front acoustic portion of the show)
SOUND EQUIPMENT SPECIFICATIONS
ARTIST AGREES TO BE FLEXIBLE PROVIDED DETAILED INFORMATION IS GIVEN ONE MONTH PRIOR TO SHOW DATE. SUBSTITUTIONS CAN BE AGREED TO BETWEEN PARTIES.
MAIN PA SYSTEM:
The main PA system should be Line Array of professional quality where appropriate, Meyer sound, Martin, EAW or equivalent. There should be enough system to produce an undistorted 100dbA at the back of the room and subs/high boxes should be balanced for system specification. The system controller/crossover should be correct for the system being used. There should be an easily accessible stereo EQ for the main system, which must be at least third octave, such as Varicurve, KTDN360/DN3600, TC Electronic etc.
ONE (1) 40-channel mixing console e.g. Digidesign Profile, Yamaha PM5D, LS9, Midas XL4 or Heritage 3000, supplied complete with main and spare PSU’s and suitable desk lights; MUST HAVE AT LEAST 24 PHYSICAL FADERS If not a digital desk out board processing should include:
• FOUR (4) Reverb or multi effect units, such as SPX990, SPX2000 etc.
• ONE (1) Digital delay unit such as PCM42, T.C. D2
• SIX (6) Channels of noise gates
• EIGHT (8) Channels of compressors
All gates and compressors should be able to be inserted at any channel on the console
• ONE (1) 32-Channel console, with at least TWELVE (12) mono mixes; e.g. Yamaha PM5D, Midas Heritage 3000, Digi-design Profile
• ONE (1) Yamaha SPX2000 or equivalent
The ARTIST does require a back-up option of FOUR (4) wedges, which should be available if necessary. (Bi-amped 15"/2")
• One (1) Drum fill consisting of at least one Sub and 15"/2" for mid/high these must be driven by substantial amplifiers, Amcron or Crest for example, and should be at least Bi-amped.
MICROPHONES & D.I.’S:
The ARTIST prepared to use any of the generally accepted professional microphone configurations but it is well to note that there are 13 D.I’s in use. Vocal Mic stands FOUR (4) should be European style tripod boom stands with two-piece arms.
• Where 110V power is not available, we will need TWO (2) 6-amp step down transformers for stage left & right (one each side) and the appropriate cabling.
• TWELVE (12) PROCELL/DURACELL 9-VOLT PP3 BATTERIES (per show); for the wireless IEM’s and wireless instrument transmitters.
LIGHTING EQUIPMENT SPECIFICATIONS
The following lighting equipment has been chosen and specified to present the ARTIST according to the design set by the ARTIST’S Lighting Designer.
If you wish to submit any substitutes or changes, please email them directly to the ARTIST’S Tour Manager.
• ONE (1) AVO PEARL 2008/ EXPERT
• ONE (1) AVO / CELCO 72 WAY 2KW DIMMER
• ONE (1) 100m 4 WIRE DMX REMOTE & BUFFER BOX
• ONE (1) MAINS SET
• FOURTEEN (14) 6 WAY PAR 64 1Kw BARS
• TEN (10) SOURCE 4 PROFILES (MINIMUM 6)
• SIX (6) FLOOR PAR 64 1Kw
• SIX (6) 4/8 LITE BLINDERS (DWE)
• SIX (6) LED BATONS (PIXEL LINE 1044)
• ONE (1) MDG ATMOSPHERE OR (2) X WATER BASED HAZER WITH FANS
• TWO (2) 40' "A" TYPE TRUSS (SLICK/THOMAS/TFL) TO INCLUDE ALL NECESSARY FLYING EQUIPMENT
• TWELVE (12) MAC 2000 PROFILES or VARI*LITE 3500 SPOTS
• ONE (1) 40'BLACK DRAPE
• TWO (2) BLACK TRUSS BORDERS
ALL ASSOCIATED CABLES, RIGGING, CASES, SPARES AND ARTIST AGREES TO BE FLEXIBLE WITH THIS PROVISION PROVIDED DETAILED INFORMATION IS PROVIDED ONE MONTH PRIOR TO SHOW DATE SO THAT SUBSTITUTIONS AND ALTERNATE PLANS CAN BE AGREED TO BETWEEN THE PARTIES.
Lighting system to be ‘prepped’ and patched and moving lights addressed, PRIOR to arrival at venue.
PLEASE PATCH DESK AS PER PATCH SUPPLIED – ALL UNITS ON ONE PAGE!!
This Rider is to be considered correct and the ARTIST’S Tour Manager must approve any changes at least THIRTY (30) days in advance of the show date.
TRUSS SYSTEM: TEN (10) sections of slick style general-purpose truss will be needed. This system is to be flown and have a trim height of no less than 30-feet from the stage level. This system, including floor units, must contain no less than ONE HUNDRED TWENTY (120) fixtures. These fixtures are to contain a mixture of 1Kw and ACL lamps. NO 500-WATT LAMPS WILL BE ACCEPTED.
GEL SELECTION: The gel color selection is very important to the quality of this show. All gels are listed as LEE. Rosco & Gam are acceptable substitutes, if matched correctly. NO FADED OR BURNED OUT CUTS WILL BE ACCEPTED.
LIGHT PLOT: A light plot will be sent to the lighting contractor when they contact the Tour Manager.
FOLLOWSPOTS: ARTIST prefers NOT to use any follow spots.
DIMMERS: This show requires dimmers of sufficient size and number, so as to amply power the above system. They are to be properly and equally trimmed, to have even dimming curves and to have a zero reaction time. Each dimmer channel is to have its own breaker and is to have the capacity of being assigned to any console control channel. Favored dimmers are AVO, CELCO, etc.
CONSOLE: An Avolites Pearl is the console that has been used for all of the production work and programming for the show. If the ARTIST’S lighting director is present then this is the console of choice. If the production is supplying the Lighting Operator, then they should use the console they are most comfortable with.
INTERCOM: Intercom system should have a minimum of FIVE (5) headset stations. Each headset should have dual muff, except L.D. (single muff). Stations are to be located at lighting console, dimmers, house light control, and F.O.H sound and monitor board.
ARTIST AGREES TO BE FLEXIBLE WITH THIS PROVISION BASED ON VENUE’S IN-HOUSE LIGHT INVENTORY AND OTHER FACTORS.
LIGHTING RIDER - EQUIPMENT LIST
• Avo Pearl 2008 / Expert
• ONE (1) MDG Atmosphere or 2 x water based hazers with fans
• FOURTEEN (14) bars of 6...& dimmers
NOTE: PLEASE ENSURE DESK & DIMMERS ARE PATCHED PRIOR TO ARRIVAL AT VENUE
• SIX (6) Blinders
• SIX (6) LED Batons (pixel line 1044)
• TEN (10) Source 4 profiles
• SIX (6) floor cans (wide beam) (not shown on drawing)
• TWELVE (12) Mac 2000 profiles (24-channel)
• Any Black legs available to assist with side masking
40' MINIMUM, IF THEY CAN BE WIDER TO TAKE A BLACK LEG THAT WOULD BE USEFUL. Back drop = Black drape – Out-rigged from Upstage truss, or on separate truss/bar. 1-metre gap UPSTAGE TRUSS: SIX (6) Mac 2000, NINE (9) Bars of 6 (WITH NARROW LENSES), TWO (2) Blinders Front stage edge.
THREE (3) Bars of 6 (MEDIUM FLOOD), TWO (2) Mac 2000, TEN (10) Profiles (overhung), TWO (2) Blinders (overhung)
Floor – TWO (2) bars of 6 (MEDIUM FLOOD) (upright in tank traps), FOUR (4) Mac 2000, SIX (6) LED Batons, SIX (6) floor cans (wide beam, in THREE (3) pairs)
• EIGHT (8) cuts 164 (R) cuts 132 (B)
• SIX (6) cuts 164 (R)
• SIX (6) cuts 119 (B)
• SIX (6) cuts 158 (A)
• SIX (6) cuts 116 (T)
• SIX (6) cuts 128 (P)
• EIGHT (8) cuts 202 (W)
• FOUR (4) cuts 106 (r)
• FOUR (4) cuts 132 (b)
• FOUR (4) cuts 105 (a)
• FOUR (4) cuts 124 (g)
• FOUR (4) cuts 126 (m)
• EIGHT (8) 205(w)
• FOUR (4) cuts 116
• TWO (2) cuts 128
MISCELLANEOUS DATE PROVISIONS
The following terms and conditions are for any and all engagements. These provisions are specifically to outline the travel, hotel and trucking requirements for the ARTIST. These specifications are to be strictly adhered to, as they are part and parcel to the acceptance of this engagement by the ARTIST.
1. AIR TRAVEL: The air travel for this engagement is outlined on the face contract attached.
2. TRANSPORT: It is fully understood that the PURCHASER is responsible for the following:
(a) PURCHASER is to provide a one (1) first class tour bus large enough to accommodate COMFORTABLY up to TEN (10) people that constitute the ARTIST, their personal CREW and possibly their manager, together with their luggage. This tour bus shall be provided from the time of arrival in the country of the engagement until the time of the ARTIST’S departure from the country of the engagement. ALL TRAVEL MUST BE DETAILED AND APPROVED, especially where the ground travel is difficult, or cars may be used, and all road conditions and driver’s qualification must be fully discussed in advance.
(b) TRUCKING REQUIREMENTS: Sufficient for excess baggage and guitars.
3. HOTELS: The PURCHASER, at no cost to the ARTIST, shall provide TWO (2) nights of hotel (minimum) for every ONE (1) night of concerts unless otherwise agreed, in a minimum of 4-star hotel accommodations. PURCHASER shall provide up to TEN (10) hotel rooms near to the center of the city/town of the engagement and as near to the show venue as possible, and must be pre-approved by ARTIST’S Tour Manager. Accommodations shall include a complimentary breakfast and must be prepaid, in full.
NOTE: THE PROMOTER SHALL PROVIDE FOR INTERNET ACCESS
FOR THE BAND AND CREW TRAVEL PARTY IN THEIR HOTEL ROOMS,
AT NO ADDITIONAL COST TO THE ARTIST.
The ARTIST’S Tour Manager must approve all of the details of these hotel accommodations no later than TEN (10) days prior to the engagement.
4. ROOM SHARING PROHIBITED: Under no circumstances will anyone in the ARTIST’S travel party share a room. All personnel must be pre-registered. Under no circumstances should the ARTIST or CREW be asked to personally check- in to a hotel. All check-in work shall be advanced by the Tour Manager, one week prior to date of check-in and shall be personally handled at the hotel by the Tour Manager.
The hotel shall typically have the following amenities:
• Air conditioning / heating, as the seasons shall require.
• In-room bathroom with shower and properly working toilet and sink (all with hot and cold water)
• Direct dial telephone capability
• Television with cable channels
• Mini-bar or Refrigerator
• 18 to 24 Hour room service or in room tea / coffee making service
• 24 Hour lobby and room access
• Same-day laundry service (which is the cleaning of clothing)
• Same-day dry-cleaning service (which is the process of cleaning clothing using chemicals other than water)
SPECIAL NOTE: If the hotel does not have its own Leisure facilities,
please provide information on nearest facilities.
RADISSON, HILTON OR MARRIOTT HOTELS
WOULD TYPICALLY FULFILL ARTIST’S REQUIREMENTS.
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