Rider help please?

[BigYinUK]

Hi all

 

We've been asked by an agent for a technical and backline rider. An ex-pro was going to help with this by using a rider from a band he worked with as a template but that's no longer possible now (don't ask!)

 

Can anyone help as to what should be included? I'm thinking we should provide an all encompassing rider to include travel and hospitality etc.

 

The band is a 5 piece tribute band.

 

Audio wise we use about 30 channels, quite a few of which are DI. We have a PA technical rider already.

 

We're expecting to be playing 200-400 persons venues but this will be confirmed by our agent.

 

Regards

[stories]

Hi,

 

If it's essentially your contract, then make sure you have all the must have things on there (like travel cost, food, hotel room etcetc), don't take the pi$$ tho, if it read like a joke, it will be taken as a joke...

 

Sounds like you've got your technical rider sorted but will add (for the benefit on anyone else that comes across this thread looking for similar info) I'll add:

 

Includ a picture/stage plot showing who is where, what they do/what mic's/monitors/power/etc they need and where (If there is

anything to bring with you, good idea to put a note on that's the case, so the PA supplier dosen't need to provide). Picture

says a 1000 words and all that.

 

(I'm amazed at the number of lower end bands that can provide a quick sketch with the basic info on it to setup a stage in

advance.... or when they do it is just the names of the members depicting where they stand on stage, like I know them personally by

first name and know there life story...).

 

Make sure your tech rider/stage plot is up to date (not the 6 year old that bares no resemblance to the current line up..).

 

htsh

 

Cheers,

 

Matt

[Jivemaster]

Draw an empty stage, on paper, then draw in everything that you need for your show, then subtract anything that you will personally supply. Mark up essential items -brand and model specific, and tolerate alternatives where appropriate.

 

Take photos of your existing setup (phone?) send them to the venue (phone?)

[paulears]

Here's a rider from an Abba Tribute - pretty standard stuff.

 

I've removed phone numbers and personal contact details - but the rest is 100% as received.

WATERLOO uk Technical Rider 2010

Technical Rider

Promoter

XXXXXXXXXXXXXXXXXXXXX

Technical Production

General Information this order is for theatre shows only, On private functions or events, times will

change and show running times will be altered.

Show Running times Normal 7.30pm Show

Crew Get in 12.00pm

Band Get in 2.00pm

Sound check 5.00pm

Doors 7.00pm

Show Start 7.30pm

Act one 7.30pm to 8.30pm

Interval 8.30pm to 8.50pm

Act two 8.50pm to 10pm

 

Dressing rooms required:

Venue to provide three well maintained, heated dressing rooms for the use of Waterloo uk.

All rooms must be lockable and equipped with table, chairs, hot & cold water, toilet, mirror and

13amp power sockets

1 x Band (4 persons)

1 x Female (4 persons)

1 x Male (2 persons)

Preferably all the above should have washing facilities included, and toilet facilities nearby.

It would be appreciated by all the company if fresh water and tea/coffee making facilities were

available backstage from 3pm onwards on the day. There are a total of 13 people in our company.

 

Parking required

The Venue/ Management to arrange permission for Access and parking for off loading and

re-loading of all equipment. Access and Parking for

1 x 7.5 tonn truck

2 x Cars

 

Technical

 

Venue to Supply

A suitable Black Box Stage is available of a size no less than 24ft deep, 36ft wide, and completely

free of other equipment plus PA wings if poss.

If available in house PA may be required

Tabs – To be in for start act 1 and act 2

1 x Drum riser at 8’x 8’ and approx 18-20 inches high

2 x Riser 8x4x1ft high

Quick change area close to the stage as possible.

2 x Crew for get in fit up and get out (no extra charge)

Communication between FOH Stage, Follow spots and LX Control

Control of house dimmers via DMX 512

(DMX line at Sound FOH Position).

1 x 63amp single phase cee form power for PA

Production to use in house lighting

Pre Rigged Lighting system consisting of where Possible, Various colour Washes over entire stage

Minimum 4 x Colour Wash and o/w Red, Blue, Pink & Amber or nearest too

O/W Pars on single circuits if available.

Use of star cloth would be nice if you have one (no extra charge)

9 x FOH Profile Specials (focused on the cast positions)

2 x Follow Spots with operators (no extra charge)

63amp 3 phase cee form Power for LX

Technical Notes

We will be touring

Zero 88 Leapfrog L.X. desk

6 x Mac 250 +

4 x oby3 moving heads

3 x bars A.C.L.s

Full self supporting truss rig

 

FX

2 haze machines

1 Strobe

8 Pyros le maitre silver jets/stars

Lighting /Mixing Desk Position

FOH sound / Light desk and racks require space 2m long x 1.7 m depth plus space for operators.

Our Sound Multi is 50Mtrs Long

 

Please advise your technical manager to contact the Tour manager at least 2 weeks prior to event

date to discuss the show.

For Attention of Front of House

Waterloo will be selling their own merchandise and will liase with your front of house staff on the

day of the performance. No other merchandise apart from the Waterloo product is to be sold at the

venue on the day of the Performance (excluding sweets and icecream).

Recording

No audio or video recording of the artist’s on stage performance will be allowed without the

permission from the producer.

The show cast will come out at the end of the show

Haze and strobe lighting will be used during some parts of the show can you please display relevant

warning signs.

 

Please provide Tour manager with box office show report at interval.

Your Contact on day of event

Tour Manager XXXXXXXXXXXXX

Company Manager XXXXXXXXXXXX

Many thanks for your attention to detail whilst dealing with our rider.

IF THERE ARE ANY CONTRA CHARGES FOR ANY OF THE ABOVE PLEASE CONTACT:

XXXXXXXXXXX IMMEDIATELY TO DISCUSS

Otherwise we assume all is inclusive of the original contract agreement.

Signed for Venue………………………………DATE…………………………

Your contact name…………………………..phone number………………………

[Wilflet]

and backline rider.

 

Please dont do this if you dont have to-

Ie if your always providing your own backline, and the promoter is never providing it for you dont send a list of the size, make and model of every cymbal and tom you own, things like that make me skim read and increase the chance im going to overlook somthing that is needed.

 

As stated already stage plot with where people are, where power needs to be, where the sound sources come (numbers help ie 1-8 writen by the drums, 9-10 writen over the amps, 11-16 in keyboard world or whatever applies to your band), remember to mark on where anything like samplers and laptops are (the amount of specs I receive with backing tracks and no indication of if they're done from FOH and need returning to the monitor board or from on stage or from side of stage by managment... few extra characters in the spec and its somthing we can get cables run in for before band arrive).

[Stuart91]

Put a date on your rider, and refresh it regularly. People receiving the rider will have more confidence in what it says if has clearly been updated sometime in the current decade.

 

Also re. backline - be realistic! I've seen plenty backline riders that look like a wish list. Often people spec high-end, expensive gear when really what they mean is "don't give me that rubbish that's kicking around in the back of the store". It gets very tiresome having to do the dance between the incoming production, backline provider, and the promoter who is footing the bill. On one occasion the organiser had more money than sense, and actually paid to hire everything on the "wish list". Come soundcheck, it was obvious that the band weren't familiar with the gear. Plus we also now had super-loud backline in a small venue, and telling the guitarist to turn his amp down is that bit more difficult when he thinks Christmas has come early is loving playing through a big stack.

 

I'm generally more impressed by riders which specify that they want gear that works, or at least told where to expect difficulties, and make it clear that they are more interested in having properly set up, well maintained kit, than the latest badge.

 

Also to the OP, have a look through the riders on the Smoking Gun website. (Easy way to waste a couple of hours) There's a huge variety, some sensible, some ridiculous, but it's a useful read and you get a feel for the style in which they tend to be written.

[paulears]

The very worst thing is where you do lots of prep and then when they arrive, you ask where the risers need to go (having hired in the non-standard height or size) and they say they don't need them as it's an old rider. Even worse is when they ask to see the rider their production company sent out, and declare they've never seen it before!

 

If you ask for things you actually need, and forget the daft stuff, the venues are much, much nicer to you.

 

Tribute bands can be HUGE, or really basic, and few venues know which you are by your advance material and photos.

[IRW]

The very worst thing is where you do lots of prep and then when they arrive, you ask where the risers need to go (having hired in the non-standard height or size) and they say they don't need them as it's an old rider. Even worse is when they ask to see the rider their production company sent out, and declare they've never seen it before!

 

It is precisely because of this that I make it part of my admin stuff to phone up companies myself a couple of weeks before they're due in and go through the rider with them, (Prefereably contacting someone who is actually on the road, as opposed to 'the office'). This usually means that any problems can be resolved (especially with regards to anything that may be regarded as a contra) before the companies walk in the door on the day of the show, and it becomes a problem for the guys on the floor!

 

Whenever I've produced a rider for somebody else, I always try and include a couple of photos of the show in action. So long as the house technicians actually see the rider, it means they will have a much better idea of what to expect visually.

 

Ian

[BigYinUK]

Hi everyone and thanks for the replies. Lots of helpful stuff in there.

 

The reason there needs to be a backline rider is that we may do shows that are too far away for it to be practical to take our own backline, which would be our preference. We have fairly simple backline needs anyway and aren't the sort of band that would overspec just to get to play with fancy gear - its tempting maybe but a route to chaos I'd imagine. Actually despite the need for kit to do what we do, we are constantly trying to find ways to rationalise and downsize our kit list for simplicity and to avoid problems.

 

Regards

 

Vid here of us doing our thing

 

http://www.youtube.com/watch?v=k_3RPyiIOOo

[Wilflet]

Hi everyone and thanks for the replies. Lots of helpful stuff in there.

 

The reason there needs to be a backline rider is that we may do shows that are too far away for it to be practical to take our own backline, which would be our preference.

 

In that case can I suggest it be a separate document and you send it out when needed. As I said earlier giving venues list of things you need on other shows but not theres jjust hides the useful information

[BigYinUK]

Good point Wilflet - thanks for that advice

[ImagineerTom]

I'd go so far as to ensure that EVERY PAGE has a mention of precisely which year and which production that rider is intended for (ie "Abbacadabra 2012-13 tour; 30min corporate" Abbacadabra 2010-11 tour 2hr Theatre Show") - agents/bookers have a habit of sending either out-of-date info or sending ALL info (ie every rider they've ever had from you) so it would help if you create a system that ensures the tech's at venues can tell at a glance whether they've been sent old stuff or too much stuff

[Ken Coker]

I have a Swans' rider sitting on my desk top in PDF form.

Message me with an email address if you would like it.

 

KC

[dbuckley]

I have a Swans' rider sitting on my desk top in PDF form.

 

And quite a chortlesome rider that is too.

 

For a backline rider, make sure you are specific about what it is you want, and make sure what you want is likely to be available.

 

Amps like "Marshall 50 with 4x12 cab", or "Fender twin", or "vox ac30", keyboards "Nord Stage" are the sorts of things that you can ask for and you'll get. Demand a Rhodes Chroma and you're likely to be out of luck.

[Ken Coker]

Did it arrive?

 

KC