PRODUCTION RIDER FOR SYMPHONY SHOWS

STAGING REQUIREMENTS

STAGE SIZE: Minimum 75' x 50'

SOUND WINGS: Minimum 18' x 18' when required

HOUSE MIX AREA: Minimum 16' x 16'

Seats in front of any balcony must be removed or special tables must be provided to go over existing seating. Usually three (3) rows should be killed. Sound console MUST be placed in the center of the house in front of any balconies, and no more than 100 feet from the stage.

RISERS:

• One (1) 40' wide x 12' deep x 4' high rise for orchestra (upstage)
• One (1) 40' wide x 12' deep x 3' high rise for orchestra (upstage)
• Eight (8) 4' x 8' x6' risers
• Eight (8) 4' x 8' x 12' risers

SOFT GOODS: Proscenium: Full masking must be provided including legs, boarders, full black back drop and front curtain.

PORTABLE STAGE: Full black back drop Minimum 40' wide by 20' high and hung at the rear of the stage. All lighting trusses and supports must be masked from the front. The stage must be skirted. Rear black and skirting must be in place prior to load in.

RIGGING: Where possible, sound and lights must be flown.

SPOTLIGHTS: Four (4) supertrooper or equivelant spotlights in as-new condition with operating 6 color boom, iris, fader and shutter placed not less than 40' or farther than 120' from stage. Lamps to be colored per lighting directors specs. Competant and EXPERIENCED operators will be required.

COMMUNICATIONS: High quality intercom system using double muff headsets to be located at S. left and S. right lighting desks, 4 spot positions, and with house operator. System to be fully operable and noise free. All positions must have MIC switch to turn off microphone.

KEYBOARD: One of the following: (must have string and celeste sounds & powered monitor w/cables)

• Kurzweil PC88X

• Roland RD600

• Roland A90EX

• Korg Sg-PROX

SOUND (INPUT LIST WILL FOLLOW)

This technical contract rider concerning the sound quality for the performance of said artist must be fulfilled so that the purchaser and audience alike will receive the best possible performance. Consistant with the sound created in the studios from which the artists' albums originate. It is agreed that the artists' own sound engineer shall have absolute authority in mixing and controlling all sound equipment both while the artist is performing and during the sound check. The complete sound system shall be in place and fully operational prior to the productions scheduled load in time.

If the sound system is provided by other than the artists' touring company, the following equipment and conditions must be provided. Upon receipt of this rider, the purchaser shall provide within ten (10) days, the name, address and phone number of the sound company contracted for the date. Specific sound system requirements and equipment requested by the artist shall be:

HOUSE SYSTEM: Discreet stereo sound system, including:

A) Two (2) 48 input Yamaha PM 4000's or PM 3500's (these consoles are a must)

B) Stereo speaker drive system with 1/3 octave equalizers for each speaker cluster, 3-way active crossovers with time correction and limiting.

C) 20 Channels of patchable compressor/limiters (DBX-160X)

D) All of the following:

• One (1) Eventide H-3000

• One (1) Yamaha REV-5

• One (1) Yamaha REV-7

• One (1) Yamaha SPX-990 or SPX-900

• Cassette Deck and CD player for playback

• Cassette and a DAT for recording

E) House talk back to monitor board

F) Communication system to both sides of stage seperate from lighting.

G) Speaker system must be adequate to cover the entire venue with even high fidelity frequency response. The system shall utilize EAW or JBL components. The system should be flown whenever the venue permits. Any venue with seating 175 feet from stage will require a stereo delay system properly positioned, and flown if possible.

Main System examples:

• EAW KF-850

• MD Claire T-2

• EV X-Array

ABSOLUTELY NO PROPRIETARY BOXES ACCEPTED

H) Power amplifiers must be capable of providing 110 DB S.P.L. without distortion at the mixing console. Mixing console should be no further than 75 feet away from stage. (centered).

I) Two (2) input snakes will be needed from stage to front of house consoles with discreet split to monitor mix position. Sub snakes will be needed to pick up inputs from all areas of stage.

J) Any substitutions of the above sound system should be agreed upon in advance with artists' Production Manager Bill Carbone (770) 682-5821 (office) (404) 229-9101 (cell).

MONITOR SYSTEM: Must be placed Stage Left

A) Monitor console must have 10 discreet mixes. A minimum of 40 inputs is required.

B) 9 1/3 octave graphics (KTDN-300's) or equivalent.

C) Monitor console must be able to PFL Post EQ

D) Kansas will require 7 discreet mixes consisting of side fill right and left, 3 down stage wedge mixes and 2 up stage wedge mixes. 1 discreet mix for conductor. Other mixes to be placed by monitor engineer day of show. Side fills must be tri or bi-amped consisting of a minimum of 1 x 15: cone and 1 x 2" compression driver on a 60 degree horn.

E) Monitor effects:

• One reverb (Yamaha REV-7 or SPX-900)

• 8 comp/limiters

• 8 gates

F) Monitor listen position wedge must be identical to down stage wedges. Including power and EQ headphones are not acceptable.

G) All necessary cables, connectors, and power distribution for the stage equipment as well as the sound system. MIC cables to cover all inputs.

H) At least two skilled engineers fully conversant with the provided equipment will be required. These are in addition to the stagehand call.

Monitor EQ must be inserted on the console sends so that the engineer may monior all stage posiions post EQ from the cue on PFL system of the console. If this is not possible monitor select must be post EQ.