FOH engineers, whats on your tech rider?

[bishopthomas]

Write it up how you think it should be then post it here. If there's anything you've left out or that needs changing we can help you out.

[jasonraboin]

Does the band have an agent? Usually I get a rider template from the agent and then personalize it. This keeps it in a general format they are comfortable with.

[mixedupsteve]

Originally Posted by nathanvacha

I guess I'd just like to see a few that are a little more serious than the iggy pop one for example. Basically trying to find what would make my life and others' a bit easier.

Really not sure what I'm looking for. Ideas I guess.

The Iggy Pop was really just meant to be funny not especially informative.
One thing I have noticed on many riders is that rather than state exactly what must be provided as cast in stone, they often state or imply that substitutions may be acceptable with mgmt. approval. Sometimes they even
just say what is needed and what brands etc are not acceptable.
I would post your template as suggested as there are good offers to help being made here.

[mixedupsteve]

Here's one offered on another thread on this exact subject elswhere.

http://www.themonitorguy.com/pwts-rider.pdf

[headwerkn]

Originally Posted by mixedupsteve

Sounds reasonable
TSG Backstage: Iggy Pop

You can read all the tech rider by starting on page 1 on the bottom.

That's bloody hilarious! If I ever get in a position where I can have a rider (god help us all) I'm asking for a Bob Hope impersonator too

[jasonraboin]

Quote:
Originally Posted by jasonraboin
-High quality PA that delivers clear sound to EVERY sold seat.
-Acceptable systems include: D&B Q1, Meyer M’elodie, DV-DOSC.
-Other systems, including non-line array systems MAY be acceptable.
A lot of engineers are demanding line-arrays without any consideration to the suitability of said system to the room they are playing. Guys, line-array systems are not perfect for every situation, a lot of times point source loudspeakers are the better choice!

That is why I add that other systems will be considered, including non line array systems.

Quote:
-All systems must include a low profile front fill on a separate send.
And what if such a system is not necessary?

Then I can turn it off. I have been burned too many times by people telling me that I don't need it and then I need it and it's not there. How much extra does this cost to ensure that the first few rows, often the most expensive tickets, can hear?

Quote:
-Larger line arrays, like V-DOSC and Milo will not require subs.
Even if you're playing outdoors to 20,000 people...or Bercy in Paris?

I replied earlier that I need very little sub energy. V-DOSC and Milo put out plenty of 50hz for this show. The size of the venue would not change that.

Quote:
-The PA must be downstage of the artist position on stage. The artist prefers to stand 1m upstage of the downstage edge.
-Nothing may be hung in front of the PA. This includes “acoustically transparent” fabric.
I'm sure you can't enforce/dictate the former in most venues since hang points and stage are usually fixed, has something to do with structural engineering. You will not be able to enforce the latter in any festival situation, sponsorship helps to pay your band (and you).

This artist won't play if the sponsorship banners are not in an approved location. She does not endorse products, and will not lead an audience to believe she endorses products because banners are hung on the stage.

I understand that I cannot change fly points, but we can fly some of the PA for the balcony and stack some for the orchestra level, if that helps my gain issues. This is really about including me in the discussions about possible array configurations.

-All crossover settings must be set to the most recent manufacturer settings.
Quote:
-All system processing must be unlocked and accessible at mix position.
Apart from system EQ and compression, who is going to allow you to mess with their system? Why would you want to be messing around with system
settings anyway, if the system was not setup correctly in the first place, get the system tech. to remedy the situation.

There are a lot of situations where I come in and there is a Lake or XTA processor with tons and tons of eq on the system. I want the right to listen to a baseline system with only the manufacturers settings and appropriate delays. I have posted many times before about finding filters still in left over from a previous pa, or left and right on different presets, and all sorts of mistakes. The processing power we have now gives us the ability to screw it up more than ever before. I want to be able to make sure I am starting from a level playing field. I always involve the system tech in this process.


Quote:
-Signal flow must be simple, and can never include running through another console.
What do you mean by simple, and how will you manage or dictate how it's run, especially in a festival or multi band situationwhere more than one console is in use? Another thing to consider also; Unless your band is the headliner, a lot of festivals will not allow you to use your own console.

We rarely play festivals, and if we do we are the headliner, like Newport Folk this summer. We rarely have support acts. I have never had anyone tell me I can't use my own console.

By simple I mean that I don't want to run out of my console into a 5D, into an XTA 448 as a matrix mixer, then into XTA 226's as crossovers, all with analog connections between.

Quote:
-Mix position must be in the center third of the venue, between the left and right PA hangs. Mix position can never be in the balcony, a booth, or a control room. I would prefer not to be under the balcony.
-Mix position must provide a clear unobstructed view of the entire performance area.
All of these things will depend on the venue and the band you're touring with. many world famous venues have their mix position in less than ideal locations and there is nothing that you can do about it.

This is the rider for one artist I tour with. I would never be this picky and specific with a small band, and I am even more specific with the other band I work with.
I understand that some mix positions are not ideal, but I am doing monitors from house, so the sightline issue is non negotiable, and I want it on paper that if there is a mix position available on the main floor, I want it. We did a show in SF last year where the promoter, whom I have worked with many times and always has it together, told me everything was to spec and my mix position ended up being all the way house left halfway up the balcony. The house people said there was a mix position possible on the main level, but the promoter had sold those seats. I need to avoid that from happening again.

[glissando]

Every technical rider will vary depending on the act and the level that the act is performing.

[Beyersound]

Originally Posted by Samc

You are in such a hurry to have a dispute that you totally missed the point of the statement and post.


I said it; especially in monitor land when the band is on in-ears.

This thread is about FOH!

[Remoteness]

Originally Posted by Beyersound

This thread is about FOH!

Well, technically this thread is about tech riders for FOH engineers, but it morphed into battle between analog and digital desks among other things...

Perhaps we should get back on track or start a new thread if it's of interest to one of you folks.

Furthermore, if applicable - please PM each other with your credentials and stuff.
It's completely not necessary to post them here in this thread.

Thank you in advance for understanding; now back to the show!

[Beyersound]

Originally Posted by Remoteness

Well, technically this thread is about tech riders for FOH engineers, but it morphed into battle between analog and digital desks among other things...

Perhaps we should get back on track or start a new thread if it's of interest to one of you folks.

Furthermore, if applicable - please PM each other with your credentials and stuff.
It's completely not necessary to post them here in this thread.

Thank you in advance for understanding; now back to the show!

I do understand Steve, check back a couple of posts ago, I requested exactly that! Cheers

[Remoteness]

Originally Posted by Beyersound

I do understand Steve, check back a couple of posts ago, I requested exactly that! Cheers

Yep, I saw that post and I was even thinking of splitting the thread into two, but I'm not up for it at the moment...

I mean, the thread went into another direction on the third post, so it will become an interesting split since I'm not sure what will be left when I move all the digital/analog desk dialog.

Perhaps I need to get some shut-eye first.
I cannot deal with it at the moment.

Originally Posted by Samc

You got that right.

I like the Digico but was very pleasantly surprised by the Soundcraft which I think sounds better than even the Digico.

I also like the Studer Vista 5 and the Digidesign consoles, and I think the Studer is the best sounding digital live board on the market today.

Yes, I dig the Soundcraft too and it's seriously easy to use.
That Studer desk is (for sure) pretty awesome.

Now, I got to add these additional posts to "that" new digital/analog desk thread.

[jude]

Originally Posted by Remoteness

Perhaps we should get back on track or start a new thread if it's of interest to one of you folks.

Furthermore, if applicable - please PM each other with your credentials and stuff.
It's completely not necessary to post them here in this thread.

Thank you in advance for understanding; now back to the show!

perhaps a digital vs analog desk and pissing fest thread is needed?

it wasnt my intention to cause such dramas with this thread, but it seems to have caused a few issues. mr remotness, feel free to delete the thread if you cant be bothered splitting it. there isnt much relevent in here anyway

Jude

[Remoteness]

As you can see, I moved 90 "off topic" posts from this thread.
These posts can now be seen and continued here > The digital vs analog desk challenge - 2009

As you can imagine, it made a lot of sense to separate these two subjects.

Furthermore, Studjo did not title or start this thread.
It just happened to be the first post in the timeline.

[studjo]

I appreciate the disclaimer


Jo

[Fuzzy Logic]

jude did you finish your tech rider yet?
i would like to see what you worked out.

[jude]

i wasnt doing one, i was just curious what other folk have on theirs


ive got my prefered brands, and tend to stick to them when possible

[Remoteness]

So, jude,

You don't have a tech rider?

[pan]

bump

What's hot in 2010?

Still diggin that LS9? dfegad

I'd be interested in other's riders for "smaller" venues up to 500 ppl - festivals are a nice opportunity to show off, but with tighter budgets in mind, what do you request?
What requests are usually met and where are you willing/forced to compromise?

[Beyersound]

PM-5D, M&Ms (no brown ones)

[jude]

Originally Posted by Remoteness

So, jude,

You don't have a tech rider?

sorry bout the late reply, i didnt see your post
the gear i spec depends on the setup/size of the band
however for a typical rock gig i try to get to get drawmer gates, drawmer or bss comps and 2 spx990's

pretty simple hey!

[Murton]

Still digging my LS9 on gigs where I can bring my own console.

I did a 3000 crowd show the other month. Nice A&H 32 channel analogue, Presonus ACP88, a horde of DBX gate/comp/limiter's, four effects processors, a lexicon, a T.C. electronics and a yamaha SPX990 and something else.

Basically, tech rider has come to be, either I bring my own console or atleast eight gate/comp's to work with plus graphics and two effect processors, three if I am lucky. (Room, plate, delay.)