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Welcome to our latest discussion of a document
that’s critical to the performance of any
tour: the technical rider. Here we’ll continue
exploring the technical portion of the rider and
what it means to the parties involved.
The technical portion should present the topics
in a way that ensures a natural flow. (This helps
the brain to process things more easily, where
by contrast a document that skips around will
only frustrate the reader.) The audio aspects
should be grouped together, as well as lighting,
video, staging, backline, etc. You’ll find a simple
outline presented in order on my website.
The contract packet can be divided into several
parts: the cover letter, outline, business requirements
and technical requirements.While the first
two are optional, they do serve their purposes.
The cover letter is a great way to describe in layman’s
terms what the tour is about, how the
production typically runs, timelines, etc. This is
particularly useful when multiple acts are touring
together. The outline helps when the rider is fairly
lengthy, since the promoter can see exactly
where to go for something.
Your first rider might not require that the business
aspects be separated from the technical
ones. But however short it may be, certain fundamentals
must be included.
The header might consist of something like, “In
regard to the proposed BAND NAME engagement
on DATE, this letter of agreement sets
forth additional conditions regarding said
engagement between BAND NAME (hereinafter
referred to as Artist) and between ____
(hereinafter referred to as Purchaser).” This
statement establishes the two parties in the
agreement.
You’ll want to be sure the venue has all records of
ticket sales, unsold tickets, etc. The band’s representative
should have access to the box office at
all times. If there’s a difference in the ticket prices
they’re selling at and what was agreed upon in
the financial contract,100% of that difference
should be paid to the band. In fact, that would
make a good topic for the first paragraph.
Next, be sure to include the parameters
beyond which the band does not have to perform
and therefore has the right to reschedule.
If the date can’t be rescheduled by both parties,
any deposits should be returned to the
promoter.
Complimentary tickets, security and sound
check should be added, and each should have
its own paragraph.
From here we could get into the sound system
and the associated technical requirements. The
console, outboard gear, monitors, front-ofhouse
and stage power should all be covered.
If you have any requirements in regard to the
dressing room, include them in this portion of
the rider.
You’ll want to organize an input list, too. Starting
with the drums, list all instruments that require
either a microphone or a direct line.When this is
in a numbered order (the main mix), you can
make a simple monitor mix. If the kick drum is
the first in order, what monitor mix numbers
does it go into? Normally the monitor mixes will
go from downstage right to left, then upstage.
Stage right would be mix No. 1 and stage left
would be mix No. 4.Whatever instruments are
upstage (such as drums and keyboards) would
be mix Nos. 5 and 6. Just be sure they’re clearly
identified on the stage plot, which is next. The
stage plot doesn’t have to be elaborate, just
clear. If an unfamiliar sound company is putting
the gear together before you arrive, they won’t
want to take more time re-patching monitor
sends because your plot and input list were
hard to understand.
You should also organize a backline list for
future use, whether or not you ever actually
use one. If the promoter should ever need to
provide your gear for you, the promoter should
know what you need. This can be one of the
most frustrating aspects of the rider. Too many
people think an amp is an amp and a drum is a
drum, and often there is no consideration whatsoever
for tonal qualities or other details. So,
it’s extremely important to provide this information
in advance in one or more telephone calls.
Specialty equipment needs a little more time
to find. Leslie cabinets and Moog synthesizers
aren’t so readily found. If your drummer uses
Chinese cymbals, make a special note of that.
When the artist has a little more pull with the
promoters, a lengthier rider can be submitted.
In this case the technical aspects could be broken
down into several categories:
Merchandising, Hospitality, Stage Hands,
Lodging, Runner, Permits, Stage, Audio,
Lighting, Video, etc. Following the rider should
be pages for the backline, input list and separate
plots for the stage, elevation, security and
rigging (if necessary), lighting, etc.
Don’t forget merchandising, in which case the
number of tables and sizes (along with chairs)
should be noted.
Hospitality can be an issue. You might need to
separate locations and times like “on stage at
load-in,” “band and crew lunch,” “dressing
rooms,” “band and crew dinner,” “on stage for
show” and “on bus after show.” Bottled waters
should be noted with sizes and, of course,
“unopened” should be specified. Stage towels should be freshly laundered or new. If Sharpie
permanent markers and batteries are provided,
they should be new. A separate paragraph following
this portion could note that a buyout
can be substituted for the band and crew lunch
at something like $10 per person; and $20 per
person for the supper. A dressing room or total
“other” buyout can be discussed when the
show is advanced.
The “Stage Hands” section includes times and
the number of personnel. A general duration is
noted unless a union minimum is required.
“Lodging” states how many people should be
accommodated, the number of rooms and
their types, plus any other special notes you
feel should be included.
The runner needs to know when to be where,
at what times and for how long. General details
should be given here, and someone should
personally discuss the details with the runner
both on the day preceding and the morning of
the show.
Particularly when using special effects, pyrotechnics
or flame effects, permits need to be
acquired in advance. You might want to include a
time to test-fire effects for the fire marshal.
The minimum stage size and risers should be
noted, though many people try to ignore such
considerations. Outdoor shows should include
a covered stage, covered front of house, tarps
for equipment and consoles, etc.When backdrops
are to be hung, the truss should be able
to bear the weight.
Go over the audio consoles for the front of the
house and monitors, inserts and returns, microphones
and locations.
The “Lighting” and “Video” sections should
include watts, gels, PAR* can sizes, other lighting
types, and lens and lamp specifications
should be clearly noted for each. Video screens
and projector locations, as well as any necessary
cooling systems, such as water lines needed
to cool lasers, should be addressed here.
Laters - Munch
www.Lanissa-Marx.com
or
Munch@Lanissa-Marx.com
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