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<blockquote data-quote="Martin Primus" data-source="post: 72245" data-attributes="member: 2937">Re: Help me understand &#039;Riders&#039;I can definitely see both sides of this equation, and what it really boils down to is the artist&#039;s production manager/sound tech/promoter communicating with the venue or show promoter while at the same time realizing that every show is a business transaction and there has to be some level of flexibilty on both sides.&nbsp; As the show $ goes up, the flexibility can (and probably does) go away some.&nbsp; However, I&#039;ve seen riders asking for $150k in production on a 400 seat club gig for a regional touring band. If the venue can&#039;t sell enough tickets (at a price the market will bear) to fill the club and pay the act as well as other event costs, then forget about hiring in exactly what&#039;s on the rider.&nbsp; In some locations it&#039;s very difficult to source some gear at any kind of reasonable cost, so again it boils back down to negotiating what is needed to make the event successful for both parties.&nbsp; The last rider I saw for a B touring band was laughable...but a quick chat with the PM allowed for much more reasonable accommodations for the gig, and everyone was happy.&nbsp; It&#039;s a starting point for convesation, no more, no less (at least for the JV audience).</blockquote>

[QUOTE="Martin Primus, post: 72245, member: 2937"] Re: Help me understand 'Riders' I can definitely see both sides of this equation, and what it really boils down to is the artist's production manager/sound tech/promoter communicating with the venue or show promoter while at the same time realizing that every show is a business transaction and there has to be some level of flexibilty on both sides. As the show $ goes up, the flexibility can (and probably does) go away some. However, I've seen riders asking for $150k in production on a 400 seat club gig for a regional touring band. If the venue can't sell enough tickets (at a price the market will bear) to fill the club and pay the act as well as other event costs, then forget about hiring in exactly what's on the rider. In some locations it's very difficult to source some gear at any kind of reasonable cost, so again it boils back down to negotiating what is needed to make the event successful for both parties. The last rider I saw for a B touring band was laughable...but a quick chat with the PM allowed for much more reasonable accommodations for the gig, and everyone was happy. It's a starting point for convesation, no more, no less (at least for the JV audience). [/QUOTE]

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