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Sample Artist Contract and Rider for a Fair, Festival or Event

The following rider is not meant to scare you; it is really a very typical rider we deal with every day. If you only hire local, regional, or lower dollar acts, you will get an easier rider or no rider at all. Every event is different, but for those of you that want a nationally known artist, read the following very carefully.
- Name of the artist here -
(Revised January 22nd, 2007)
This rider is herewith attached to and made part of the contract dated _______________________ between Entertainer (herein referred to as "PRODUCER") f/s/o (herein referred to as "ARTIST") and ____________ ________________________ (herein referred to as "PURCHASER").

All payments are to be made in the form of Cash, Certifi ed Check, or Cashier's Check. A deposit in the amount of ____________ is required upon the return of the contract to be made payable to______________________ ________________________________________________. Balance of monies due in the amount of ______________________ is to be made on demand by the Tour Manager. In the event balance is not paid in cash, please make certifi ed or cashiers check payable to: Name of Entertainer.

There shall be twenty-five (25) complimentary tickets (in rows 10-20 center) for use by PRODUCER for each show that they perform available the day of show, in addition to any previously arranged tickets by ARTIST'S Record Label, local radio stations, press, or ARTIST'S Management Company.


PURCHASER agrees to indemnify and hold harmless PRODUCER and ARTIST from any cause, action, protest, or claim raised in relation to his services performed herein.

1. PURCHASER shall provide workers compensation insurance for all of PURCHASER'S employees engaged in the Production and shall supply PRODUCER with a certifi cate of insurance evidencing such coverage and naming PRODUCER and ARTIST as additional insured with respect to any claims arising out of services rendered in connection with the Production.
2. PURCHASER shall obtain and/or maintain, or cause the owner of the venue to obtain and/or maintain, comprehensive public liability insurance, of no less than $1,000,000 per occurrence, and $1,000,000 in the aggregate, covering any damage or injury to third parties in connection with the Production, naming PRODUCER and ARTIST as additional insured, and shall provide PRODUCER with a certifi cate of insurance evidencing such coverage.

1. PRODUCER maintains the right to cancel the engagement upon written notice to PURCHASER not less than thirty (30) days prior to date of event.
2. RAIN OR SHINE: In the event this show is not presented because of inclement weather and ARTIST is present and ready to perform, PURCHASER must pay ARTIST in full.
3. FORCE MAJEURE: PRODUCERS obligation to furnish the entertainment unit referred to herein is subject to the detention or prevention by sickness, inability to perform, accident, and means of transportation, Act of God, riots, strikes, labor diffi culties, epidemics, and any act or order of any cause, similar or dissimilar, beyond

4. TAXES: PURCHASER shall pay, at its sole cost, all taxes, fees, dues, levies, and the like relating to the Engagement and the sums payable to PRODUCER shall be free of the same. The foregoing shall not apply to any Federal or State income taxes imposed by law on PRODUCER or ARTIST for Engagements Performed within the United States (unless otherwise stated in this Contract) but shall apply to all other forms of taxes including, without limitation, any business occupations tax or any value added tax ("VAT").

1. HEADLINE ACT: Unless otherwise stated to the contrary in this contract, ARTIST shall receive 100% sole headline billing in any and all press releases, advertisements and other publicity including, but not limited to, radio, television, ad mats, tickets, newspapers, programs, fl iers, signs, lobby boards, and marquees. PRODUCER shall have approval over each of the foregoing. No other name or photograph shall (1) appear in equal or larger type with respect to size, thickness, boldness, or prominence than the type afforded ARTIST; nor (2) shall appear on the same line or above the name or likeness of ARTIST.
2. SUPPORT ACT: If this contract calls for ARTIST to perform as a support act, then ARTIST shall receive 100% special guest star billing in any and all advertisements and/or publicity including, but not limited to, stated in previous paragraph. PRODUCER shall have approval over all advertising and promotions. If requested, PURCHASER agrees to use all ad mats, photographs, and other material provided by PRODUCER. Upon sell-out of an Engagement, PURCHASER shall promptly stop all advertising in connection therewith.

1. For Publicity and Special Promotions, contact Artist Management for approval. All interviews (advance and/or on-site), press conferences, special promotions, or other publicity needs or requests involving ARTIST must be cleared prior to engagement through Artist Management. No one else is authorized for approvals
2. In the event this engagement will be presented, promoted, co-promoted, and/or sponsored by radio station(s), PURCHASER shall notify PRODUCER of any station playing this role prior to making the commitment for approval. PURCHASER shall coordinate with ARTIST'S manager for approval.

PURCHASER shall secure, at its sole cost, all licenses, permits, certificates, leases, authorizations and the like required or requested by any union, guild, governmental authority, performing rights society, venue owner, or any third party in connection with (1) the Engagement; and (2) ARTIST'S/PRODUCERS' exercise of any rights granted herein. PURCHASER agrees to fulfi ll, or cause to be fulfi lled, all terms, conditions, covenants, rules and/or regulations of such parties in connection therewith as well as pay all levies, dues, and fees applicable thereto. Upon request, PURCHASER shall provide PRODUCER with four evidence of the foregoing; provided that PRODUCER'S failure to request or review same shall not be deemed a waiver of PURCHASER'S obligations or PRODUCER'S rights hereunder.

**To be discussed with Tour Manager during advance**

PRODUCER shall have exclusive control over all creative elements of the Engagement including, without limitation, the creative elements of the following: sound check, sound and lighting systems, choice of performers (including opening acts, master of ceremonies, and welcoming speakers), and their length of performance, stage sets, curtains, backdrops, props, song selection, manner of performance, and any music, fi lm, or videotape played to patrons at any time during the Engagement including prior to performance and during intermissions. ARTIST is guaranteed adequate time for sound check and a minimum, but not limited to, sixty (60) minute set.

**To be discussed with Tour Manager during advance**
If the Engagement is to be performed outside the continental limits of the United States, PURCHASER Agrees to procure, at its sole expense, the necessary visas, work permits, customs clearances and any other documents of any nature whatsoever necessary or usually obtained to enable ARTIST, entourage, and their equipment to enter and leave the country of the Engagement and for ARTIST and ARTIST'S performers to render their services hereunder. PURCHASER shall cause the foregoing to be provided to PRODUCER (in writing) in a timely manner. To the extent, PURCHASER requests any information or documents from ARTIST or PRODUCER in connection therewith, such requests shall be in writing and shall be made in a timely manner.

**To be discussed with Tour Manager during advance**
PRODUCER shall have the sole and exclusive right, without obligation to any party, to sell and distribute ARTIST'S merchandise of any kind at the Engagement including, without limitation, merchandise containing the name, voice, likeness, and logo of ARTIST and any member thereof (collectively "ARTIST'S MERCHANDISE"). Unless otherwise agreed to in writing, PRODUCER shall retain 100% of the gross receipts resulting from the sale of ARTIST'S MERCHANDISE.

PURCHASER shall provide, at its sole cost, well lit, securely covered, prime locations for vending including: lights, electric outlets, at least two (2) eight-foot tables, and adequate display space. Upon request from PRODUCER, PURCHASER shall provide competent, well able bodies to vend ARTIST'S MERCHANDISING at no extra cost to ARTIST.

PURCHASER shall, at its sole cost, prohibit the sale or distribution of all unauthorized or so-called "bootleg" merchandise on or adjacent to the venue. No "Event Merchandise" can be produced using ARTIST'S name or likeness without PRIOR APPROVAL IN WRITING BY ARTIST'S MANAGER.

**To be discussed with Tour Manager during advance**

PURCHASER agrees to provide one (1) large room for ARTIST and one (1) large room for the Band (two rooms total). Both rooms shall be well-lit, clean, dry, heated and/or air conditioned with a shower, sink, toilet, AC outlets, and mirrors. Two (2) towels, two (2) hand towels, and a bar of soap are required in ARTIST room, and twelve (12) towels, twelve (12) hand towels, and soap are required in Band room. Also, whenever possible, an outside phone line is appreciated in each room.

Dressing rooms must be clean and ready for ARTIST'S use upon arrival time at venue. Dressing rooms must be capable of being locked with keys and presented to ARTIST'S Tour Manager upon arrival at venue. If locks are not available, a security guard must be present outside each room from the time of scheduled load-in until ARTIST has left the grounds.

**To be discussed with Tour Manager during advance**
PURCHASER is solely responsible for providing security in connection with the Engagement.

PURCHASER shall provide and pay for the adequate security for the protection of all persons and property in connection with the Engagement including, without limitation, PRODUCER, ARTIST, (and each of their respective employees, agents, contractors, equipment, and patrons.
PURCHASER shall guarantee security from thirty (30) minutes before scheduled load-in time until completion of load-out and any signing of autographs by ARTIST after show.
PURCHASER shall provide a secured parking area for ARTIST'S Tour Bus. Area should be easily accessible to venue load-in doors, dressing rooms, and stage with "shore-power" available. At least one (1) uniformed security guard will be assigned to ARTIST'S vehicle from arrival on site until departure. This security guard will be assigned exclusively to this duty and not assigned any other second duty.
When ARTIST meets with his "Fan Club," PURCHASER shall designate and provide a secure backstage area that is clean, dry, well-lit, air-conditioned, and/or heated, and with adequate security (at least two (2) uniformed or T-shirted men) for the duration of this meet and greet. Time to be determined by Tour Manager.
When ARTIST signs autographs for the public, it is usually at the merchandise stands, and takes place after each performance. PURCHASER agrees to supply the same as aforementioned. Again, this also is to be determined by Tour Manager.
PURCHASER must also provide adequate security guards for the following:
1. Dressing room area from load-in through load-out.
2. Mixing consoles for sound and lights.
3. All entrances to the backstage area.
4. The auditorium including both sides and center of the stage.

All security personnel shall function at the direction of ARTIST'S Tour Manager and should be present for a meeting with him at least thirty (30) minutes prior to the opening of the venue doors to the public.
Backstage passes will be provided by ARTIST'S Tour Manager. No other passes will be valid during load-in, sound check, show time, performance, and load-out. All backstage passes and lists shall be subject to ARTIST'S Tour Manager's approval. No other passes or lists shall be acceptable.

**To be discussed with Tour Manager during advance**
PURCHASER agrees to provide the following catering needs at no cost to
One (1) hot catered meal to accommodate twelve (12) people upon arrival at venue. This meal is to be considered lunch.
One (1) hot catered meal to accommodate twelve (12) people at a time set by Tour Manager. This meal is to be considered dinner.
The following "suggested" menu requirements are:
Lunch (12) People:
Salad with assorted dressings (including low carb)
Soup or chili
Deli tray (consisting of turkey, roast beef, and assorted cheeses)
Bread loaves (wheat and white)
Assorted condiments (including low carb)
Assorted soft drinks (including Dr. Pepper, Mt. dew, Coca-Cola, Diet Coke)
Freshly brewed sweet & unsweetened iced tea
Freshly brewed hot coffee (cream, sugar, splenda)
Plenty of bottled spring water, Gatorade, and assorted fruit juices
One (1) gallon whole milk
Whole fresh fruit
Assorted chips (Dorito's, Fritos's, Barbecue, etc.)
One (1) bag kettle-cooked potato chips
One (1) bag Tostitos brand tortilla chips (with salsa & cheese dip)
Enough plates, cups, forks, napkins, etc.
Dinner (12) People:
Fresh green salad with assorted dressings (including low carb)
Soup or chili
Rolls with butter
Grilled chicken, fi sh, pork, or beef-type meal with baked potato
Assorted grilled or steamed green vegetables
- Or -
Homestyle meal (meatloaf, roast beef, or chicken w/potatoes and green vegetables)
Several choices of dessert
Whole fresh fruit
Freshly brewed sweet & unsweetened iced tea
Freshly brewed hot coffee (cream, sugar, splenda)
One (1) gallon 2% milk
Assorted soft drinks (including Dr. Pepper, Mt. Dew, Coca-cola, Diet Coke)
Bottled spring water
Assorted bottled fruit juices
All appropriate condiments with plates, silverware, and napkins
Also please include a bottle of your local favorite hot sauce

On such Engagements where facilities are deemed "inappropriate" for catered meals, PURCHASER agrees to provide, at his sole cost, a cash buyout for each member of ARTIST'S entourage (up to 12). Total amount will not exceed, nor be limited to, $300. This amount consists of a $15.00 buyout per member for lunch and a $20.00 buy-out per member for dinner.
All meal times to be approved by ARTIST tour manager prior to date of engagement.

**All catering shall be in place at least three (3) hours prior to show**
1. ARTIST shall receive in his respective dressing room:
One (1) small fruit tray
Two (2) blocks various cheese (sharp cheddar, swiss, etc. - KEPT COOL)
One (1) large bag Chex Mix
One (1) loaf white bread
One (1) six pack Coca-Cola
One (1) six pack bottled water
One (1) six pack Gatorade
One (1) six pack Dr. Pepper
One (1) six pack Red Bull Energy Drink
Adequate amount of plastic cups and ice
2. Band shall receive in respective dressing room:
One (1) large fruit tray (consisting of sliced assorted fruits)
Two (2) blocks various cheese (sharp cheddar, swiss, colby, etc. - KEPT COOL)
One (1) large bag of either hot and spicy chips or BBQ Fritos
One (1) large bag Fritos Scoop Corn Chips
One (1) large bag of Doritos brand chips (any fl avor - with salsa)
One (1) large can cashews
One (1) box Wheat Thins or Triscuits
One (12 pack) Red Bull
One (1/2) gallon orange juice and cranberry juice
One (1/2) gallon pineapple juice
One (1) six pack Hot & Spicy V-8 Juice
One (1) case bottled spring water
One (1) case bottled Gatorade (orange, purple, or cool breeze)
One (1) case assorted soft drinks (including Coca-Cola, Diet Coke, Mt. Dew, Sprite)
One (1) case domestic bottled beer (Budweiser, Coors Lite, Corona w/lime, Imported)
One (1) six pack Green Apple Smirnoff
One (1) liter Malibu Rum
One (1) Pineapple juice
Adequate amount of condiments, plastic cups, and ice

PURCHASER shall provide a small amount of "Bus Catering" following ARTIST'S final performance.
One (1) large box of cereal (Cinnamon Toast Crunch, Honey Bunches of Oats)
One (1) box Kellogg's brand pop-tarts (frosted, any fl avor)
One (1) loaf white wheat bread
One (1) small jar peanut butter
One (1) small jar jelly
One (1) box granola bars
One (1) box Zesta or Premium Saltines
One (1) package sliced Colby Cheese
One (1) gallon 2% milk
Two (2) six pack regular Red Bull Energy Drink
Two (2) six pack sugar-free Red Bull Energy Drink
One (1) case of original Coca-Cola
One (1) twelve pack Diet Coke
Two (2) six packs Mountain Dew
One (1) case bottled spring water
Two (2) cases domestic bottled beer (Bud Lite, Coors Lite, Michelob Ultra, Corona w/lime)
One (1) six pack Green Apple Smirnoff
One (1) large bag of Ruffl es brand plain potato chips (with french onion dip)
One (1) large bag of Tostitos brand tortilla chips (with spicy cheese dip)
Four (4) large pizza's (1 supreme/1 plain cheese/2 pepperoni-sausage
Chicken wings for twelve (12) people
40 pounds of ice

The relationship between PRODUCER and PURCHASER is that of an independent contractor.

Accordingly, nothing in this contract is intended, nor shall it be construed, to constitute the parties as a partnership, joint venture, employee/employer relationship, principle agent relationship, or other relationship, and neither party shall represent itself to third parties as such. PRODUCER and ARTIST shall not be liable in whole or in part for any obligation incurred by PURCHASER in carrying out its obligations hereunder.


PURCHASER agrees to sign and return this Rider and Contract to PRODUCER'S agent, Creative Artists Agency, within ten (10) days from the issue date of the Contract; otherwise, PRODUCER shall have the right to cancel the Engagement upon notice thereof without liability. PRODUCER'S failure to exercise its right to cancel the Engagement upon the completion of said ten (10) day period should not be deemed a waiver of PRODUCER'S right to cancel the Engagement at any time thereafter.

This Rider and Contract is the sole and complete agreement between the parties with respect to the Engagement and supersedes all prior and contemporaneous agreements regarding the subject matter hereof. This Rider and Contract (or any part thereof) may not be changed, modifi ed, or waived except by a signed, written agreement of the parties. Nothing in this Rider or Contract shall require the performance of any act contrary to the law or to the rules or regulations of any union, guild, or similar body having jurisdiction over the services of ARTIST or the Engagement. Whenever there is any confl ict between any provisions of this Rider and Contract and any law, rule, or regulation, said law, rule, or regulation shall prevail, and this Rider and Contract shall be modifi ed to the extent necessary to eliminate such confl ict. This Rider and Contract may not be assigned without the written agreement of the parties; otherwise, any such attempted assignment shall be deemed null and void.

All notices, consents, approvals, and the like given in connection with this Rider and Contract shall not be effective unless contained in writing, signed by the party giving same.

Paragraph headings are used herein for convenience only and shall not be used to interpret this Rider.
Purchaser __________________________ Date ____________________



Producer/Artist reserves the option to use any and all of ARTIST'S equipment when ARTIST is headlining. NO ASSUMPTIONS SHOULD BE MADE AS TO THE USE OF ARTIST'S AND/OR ARTIST'S BAND'S EQUIPMENT BY ANY OTHER ACTS. PRODUCER or PRODUCER'S REPRESENTATIVE will determine the placement of any and all equipment owned by, placed on the stage by, or used by any and all opening acts.
PURCHASER shall ensure that the stage area is completely cleared of any and all equipment, except P.A. and lighting equipment, before PRODUCER/ARTIST arrival.
(Production Manager)
(Tour Manager)
  1. A. THE STAGE: Stage shall be of safe, solid construction, and be level so as not to hinder free movement of equipment and personnel. Stage should be clear of any equipment not being used in conjunction with ARTIST'S show.
  2. B. MINIMUM STAGE DIMINSIONS: 42' width x 35' depth x 5' height. In addition, a minimum work area of 12' x 20' x 5' is required both Stage Left and Right (wings). Illuminated steps to be placed both Stage Left and Stage Right and a ramp placed at the rear of the stage. A toe-rail should run the outer edge of the up, left, and right sides of the stage.
  3. C. THE ROOF: There shall be a minimum of 45' above the stage of clear space to hang lighting trusses at 40' from the stage to the bottom of said trusses. The roof of any stage must be secure and able to support the weight of the lighting system. Otherwise a ground support system, approved by ARTIST'S Production Manager, must be provided.
  4. D. CONSOLE AREAS: A 24' x 12' space to be used in house area for house console and lighting console. This will be in house center approximately 75' from center of stage. In the event of festival style seating (no seats), or any situation impairing the sight-line from house mix position, risers must be provided for sound and lighting consoles.
  5. E. STAGE RISERS: Three risers should be carpeted, draped, level, and stable, and placed on stage. Dimensions and placement as the attached Stage Plot directs.
  6. F. OUTDOOR SHOWS: The following requirements pertain to outdoor shows.
    1. A stage cover must cover complete stage, wings, and work areas at a height of 45' above stage. Cover shall be a professional seamless, waterproof roof.
    2. A house sound and lighting console covering must be 24' x 12' at a height of 8' above platform. In the event of a night show with no signs of rain, front of house covering should be removed.
    3. An adequate supply of visqueen must be made available in the event of rain.
  7. G. UNSAFE CONDITIONS: ARTIST shall have the right to refuse to perform if water is standing on stage or ARTIST otherwise deems performance conditions unsafe. Despite such refusal to perform, PRODUCER shall pay full contracted price as shown of the face of contract.
  1. A. SOUND POWER: 100 amps, 120 volts per leg, single or three-phase service to supply sound power distro only. (Lighting and sound cannot be on same service.)
  2. B. LIGHT POWER: 400 amps, 120 volts per leg, three-phase service that is used solely for lighting equipment.
  3. C. STAGE POWER: For ARTIST consisting of two (2) 30 amp, 120-volt services, terminating into three (3) professional quality quad boxes. Services to be supplied by sound power and positioned on stage according to attached Stage Plot.
  4. D. SHORE POWER: For one (1) 45' bus, consisting of a 50 amp, 120-volt service to be located within 30' feet of the bus parking. House electrician must be available to connect this service to ARTIST'S equipment during load-in, and available to disconnect during load-out.
  5. E. GENERATOR POWER: If power is provided by generator, two (2) separate generators must be provided for lights and sound separately. Generators must be properly grounded with adequate fuel for operation from lighting company's load-in till post show load-out. A qualifi ed technician must be onsite for the entire duration of both generators use.
  1. A. HANDS: The ARTIST requires a minimum of four (4) able-bodied people to assist with the unloading, set-up, loading, etc., of ARTIST'S production. Hands to be made available at production managers specific call times, and their services will be required from load-in through load-out.
  2. B. ELECTRICIAN: One house electrician is required at load-in and loadout to connect and disconnect the PRODUCER'S sound and lighting equipment and the ARTIST'S shore power.
  3. C. TECHNICIANS: are to be provided at no cost to PRODUCER or ARTIST, including at least a lighting director and pre-show focus crew, and two (2) or more competent technicians for both house and monitor system. Technicians are to be available for load-in, sound check, performance and load-out.
  4. D. LIGHT OPS: Two (2) follow spot operators are required from one-half hour prior to scheduled show time until the ARTIST show is concluded. In addition, one (1) person to control house lighting. Spot and house light procedures are determined by ARTIST'S Lighting Director.
  5. E. TRANSPORTATION: PURCHASER shall provide one (1) eight- (8) passenger van or limousine with driver to be used for transportation of ARTIST, Band, and Crew at Tour Manager's request.
IV. MONITOR SYSTEM Currently ARTIST carries his/her own monitor system. In the event the ARTIST does not have their monitor package, please follow the requirements below. Contact Production Manager before ordering monitor system.
  1. A. MONITOR CONSOLE: 40-channel mixing console for on-stage mix with 12 independent mixes and four (4) auxiliary sends. Acceptable consoles include Midas, Yamaha 4k, Soundcraft MH. Monitor mix position must be stage left and at stage level with clear sight lines to stage. B. MONITOR ELECTRONICS: Five (5) Shure PSM 700 or 600 wireless, and three (3) PSM 600 hardwired personal ear monitor systems. In the event that personal ear monitors cannot be provided, monitor wedges must include a high quality 1/3 octave equalizer (all same brand and model) with appropriate two- or three-way crossover on each mix. Cue system must contain the same wedge, components, and crossover as other mixes and be wired so that the operator has a post EQ signal of all 12 mixes.
    1. Ten (10) professional bi-amped monitor wedges with single 12" woofers and single 2" horn.
    2. Amplifi cation, for each wedge, to be no less than 650 watts (8 ohms) for low-end, and no less than 125 watts (8 ohms) for the high end.
    3. A separate 3-way drum fi ll must be provided, or a system consisting of a sub speaker box with either 2 x 15" or a single 18" and a bi-amped high-powered wedge, with adequate power of no less than 1000 watts (8 ohms) minimum.
    4. All monitors must be able to provide clear, undistorted musical program of frequencies from 60 Hz to16 kHz at (+ or - 3 dB) handling peak levels of 120 dB (c weighted) 5' from cabinet. For this reason, passive wedges are not acceptable.
    5. See attached Stage Plot monitor placement and confi guration.
    1. REVERBS: One (1) high quality digital reverbs (SPX 990, 90, REV 5, 7 are acceptable)
    2. GATES: Six (6) channels of noise gates (Drawmer, Apex).
  4. E. SEE ATTACHED STAGE PLOT AND INPUT LIST for positions of monitors, microphone specifications, and confi gurations of system inputs. Suffi cient microphones, direct boxes, stands, sub-snakes, and cables are required to support all inputs, house, and monitor needs for both ARTIST and opening acts separately.
  1. A. HOUSE CONSOLE: A FOH console with a minimum of forty-eight (48) channels is required. Separate console(s) will be needed for any other acts. YAMAHA (PM5D preferred, PM1D, M7CL, PM4K) MIDAS (Heritage 1k, 2k, 3k, XL3, XL4, XL 200, etc.) Digico (D5, D1) Digidesign (Venue, Profi le) consoles are preferred and only those of similar professional quality will be accepted. Digital consoles are preferred. House mix output must be from matrix send. House Position must be 75' from stage, Slightly to the right of center with clear sight lines to entire stage.
  2. B. HOUSE ELECTRONICS: Should be set up in stereo with two (2) matched 1/3 octave equalizers and high quality crossover. Any center cluster, front fi lls, or subs should have a separate EQ and matrix send/aux send. EQ's and crossover must be accessible to FOH engineer.
  3. C. SOUND SYSTEM: High quality horn loaded three-, four-, or fi ve-way sound system capable of providing clear, undistorted, evenly distributed sound throughout the venue. System must be able to sustain musical program of frequencies from 20 Hz to 20k Hz (+ or - 3 dB) at a main level of 115 dB and handle peak levels of up to 110 dB, measured (c weighted) 75'-100' from front of stage.
    1. REVERBS: Four (4) high quality digital reverbs. (SPX 990, REV 5/7, LEX 480/224, PCM 70, SPX 2000, T-CM-1, M-3000/5000, ET-H 3000)
    2. DELAY: One (1) digital delay (Roland SDE 3000 or 330, TCD2, 2290)
    3. COMPRESSORS: Ten (10) channels of compression (Klark, BSS, DBX, or Drawmer)
    4. GATES: Six (6) channels of noise gates (Klark, Behringer, BSS, DBX, or Drawmer)
    5. RTA: One (1) Real Time Analyzer Klark, Teknik DN60, or Goldline)
    6. CD PLAYER/BURNER: One (1) CD player/burner patched to open matrix or aux send
  5. E. AUDIO CLEAR-COM: Two (2) positions of intercom, house mix position, and stage monitor mix position. Clear-com fl asher must be at eyelevel, visible to operator at each station. This system must be independent from the lighting intercom.
  6. F. HOUSE SNAKE AND SPLIT: House snake must be capable of sending stage inputs (40+) to house mix position and return sends to stage. Snake must be of a length (150'-250') to reach from stage to house mix by a path that meets house fi re-code regulations. Splitter should have ground lift capabilities and at least 40 lines splitting to monitor console.
  7. G. SOUND LEVEL MAXIMUMS: House Engineer has the right to make decisions regarding appropriate Sound Pressure Levels at Sound check and during show. No HOUSE VOLUME MAXIMUM will be heeded without prior signed consentment by Tour Manager.
  1. A. LIGHTING CONSOLE: 60-channel lighting console with at least three scenes of pre-set and three separate programmable chases (Celco Gold and Avo are acceptable consoles). All lighting equipment should be patched to appear on the console's channels as indicated on the attached lighting plot.
  2. B. SIGHT LINES: At ground level, console must be on a secure riser allowing an unobstructed clear view of the entire stage. Height must allow sightlines above persons standing in their seats.
  3. C. THE LIGHTING SYSTEM: Should consist of two (2) 40' box style trusses. Trusses must be secure and it's support system, whether chain motors or ground support, suffi cient to lift and hold all lighting instruments and additional ARTIST provided lighting equipment and scenery.
  4. D. TRUSS HANG AND TRIM: The front truss shall be hung even with the downstage edge of the stage, the rear truss edge 30' from the downstage edge of the stage. Trim for both trusses shall be set at 30'-40' above stage. In addition, a black curtain or black backdrop is to be hung from upstage truss extending the length of the truss and from truss to stage.
  5. E. INSTRUMENTS: The following instruments are to be provided by Production Company.
  6. FRONT TRUSS: a. Sixty (60) 1-kilowatt fi xtures; b. Six (6) Leko's; c. Two (2) Mole lights.
  7. REAR TRUSS: a. Sixty (60) 1-kilowatt fi xtures; b. Two (2) quad bars of ACL's
  8. FLOOR MOUNTS: a. Two (2) quad banks of ACL's on stage beneath rear truss.
  9. F. SPOTS: Two (2) Super Troopers (Xenon) shall be provided solely for ARTIST'S use. They shall be in good operating condition and placed in an elevated environment that must allow a clear sightline of entire stage above persons standing in their seats. Each spotlight should be equipped with such gels as specifi ed in the Lighting Plot. All spot operators must be experienced, capable, and sober.
  10. G. LIGHTING CLEAR-COM: Five (5) positions of intercom (independent from audio clear-com).
    1. Lighting Console
    2. Dimmer Racks
    3. House Lighting Controls
    4. Spot Light Operator #1
    5. Spot Light Operator #2
EXISTING SYSTEMS/PLOTS: Venues with existing lighting systems may compromise above mentioned lighting system. All changes with system/plot must be approved in advance by PRODUCTION MANAGER.
PURCHASER/PRODUCTION COMPANY shall provide appropriate dimmer racks, cabling, rigging, and focusing crew for PRODUCER/ARTIST'S equipment. ARTIST'S Lighting Director shall have Full Creative Control over all aspects of the Lighting System throughout the duration of ARTIST'S performance including House Lighting.

A. PURCHASER AGREES that any sound and/or light companies, being independent or other, hired for Engagement shall be a professional, competent, and experienced Production Company with current quality equipment and properly insured for damage of equipment or personnel. It is understood that PURCHASER assumes full responsibility for any liability arising from physical/internal damage to equipment, life, or limb. PURCHASER also agrees that any such damages are not the responsibility of the PRODUCER or ARTIST and his or her crew.
B. RESPONSE REQUIRED: Any and all changes made to this Technical Rider by PURCHASER and/or any third parties directly involved with said Engagement (such as Production Companies) must be provided in writing to ARTIST'S Management for approval no later than 30 days prior to date of Engagement.

Purchaser __________________________ Date ____________________

Now that you see the awesome amount of equipment these acts require these days and the vast amount of details don't get scared off, just hire a production company with years of experience in dealing with these items.

Many of these can be negotiated out of the rider BEFORE you sign on the dotted line. It is mandatory to show this paperwork to your production manager or company before you hire the band.

It is so much more involved these days to put on a national artist and you can really get in a bind if you don't have everything just right. In fact, the band can refuse to perform.

If in doubt, may I recommend you phone 1-800-844-9173 and visit with us about handling these details for your event? We have been doing it for the past 32 years.

Planning a Successful Event,
Table of Contents

1. Planning
2. Organizing
3. Fundraising
4. Corporate Sponsorship
5. Promotion
6. Buying Media
7. Setting the Image of the Event
8. Operating
9. Buying Music Acts
10. Grounds Attractions
11. Sound, Lighting & Staging
12. Sample Artist Contract and Rider
13. From the Entertainers View
14. Backstage Hospitality
15. Talent Contests
16. Queen Contests
17. Parades
18. Horse Events
19. Rodeo's and Horse Events
20. Farm Youth Program
21. Choosing a Carnival
22. Concessions
23. Legalities and Risk Management
24. Event Insurance
25. Royalties
26. Location/Physical Facilities
27. Grounds and Facilities
28. Office and Staffing
29. Tractor Pulls
30. Estimating Crowd Attendance
31. Festival Evaluation
32. Event Impact Studies
33. Conclusion, Final Word

12 Ways to Kill an Event

Bibliography: Sources and Contributors