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<blockquote data-quote="Tim McCulloch" data-source="post: 72250" data-attributes="member: 67">Re: Help me understand &#039;Riders&#039;Hi Martin, long time no see...Yep, there are plenty of ridiculous things in riders and most of what&#039;s in them are negotiable...Things less likely to be negotiable:&nbsp; wireless IEM.&nbsp; If they spec this they probably won&#039;t be happy with wedges but it never hurts to ask.Mic stands:&nbsp; if they call it out on the input list, it needs to be there with spares.&nbsp; Acts that say they carry all stands, cables, etc for their mic &amp; IEM package seem to need some extras.Sufficient quantity of professional grade mics and DIs:&nbsp; common, industry-accepted brands and models.&nbsp; See below for the flip side.Analog mixing consoles:&nbsp; the BE/BME has a favorite or a model that provides for his actual needs.&nbsp; At the Jr. Varsity level this is probably not an issue.More likely to be negotiable:&nbsp; lighting in general.&nbsp; Some can be reduced to &quot;if you can see the band and the light on the boss is a little brighter, it&#039;s fine.&quot;Digital console models:&nbsp; 3 years ago this would have been on the &quot;less negotiable&quot; list.&nbsp; More of the BEs are fluent on more consoles these days.&nbsp; We still see a digital virgin once in a while and they&#039;re a lot more digital-ready than they used to be, too.Console sharing:&nbsp; in Ye Olde Analogue Dayz, not sharing was the norm, getting leftover channels for the support was wishful thinking.&nbsp; With digital consoles there&#039;s no reason for exclusivity unless the artist is providing the mixer.Boutique analog devices:&nbsp; channel inserts, particularly.&nbsp; With much of the market now on digital mixers, chances of finding esoteric analog gear with a local or regional provider is such a crap-shoot that savvy BEs bring with or will do without.Picky or vintage mic lists:&nbsp; same as boutique analog stuff.&nbsp; It it&#039;s critical to the show the band should carry it.&nbsp; Expect to provide common mics.Hospitality:&nbsp; buy-outs rather than providing catering - is often cheaper, too.And you&#039;re absolutely right, calling the PM/TD is the best way to represent ones firm and the event.&nbsp; The &quot;KF850 sidefills&quot; might get crossed off the list for the 24X16&#039; stage - or not - but you can bet that whatever is presumed will probably the opposite of what is needed.Have fun, good luck.Tim Mc</blockquote>

[QUOTE="Tim McCulloch, post: 72250, member: 67"] Re: Help me understand 'Riders' Hi Martin, long time no see... Yep, there are plenty of ridiculous things in riders and most of what's in them are negotiable... Things less likely to be negotiable: wireless IEM. If they spec this they probably won't be happy with wedges but it never hurts to ask. Mic stands: if they call it out on the input list, it needs to be there with spares. Acts that say they carry all stands, cables, etc for their mic & IEM package seem to need some extras. Sufficient quantity of professional grade mics and DIs: common, industry-accepted brands and models. See below for the flip side. Analog mixing consoles: the BE/BME has a favorite or a model that provides for his actual needs. At the Jr. Varsity level this is probably not an issue. More likely to be negotiable: lighting in general. Some can be reduced to "if you can see the band and the light on the boss is a little brighter, it's fine." Digital console models: 3 years ago this would have been on the "less negotiable" list. More of the BEs are fluent on more consoles these days. We still see a digital virgin once in a while and they're a lot more digital-ready than they used to be, too. Console sharing: in Ye Olde Analogue Dayz, not sharing was the norm, getting leftover channels for the support was wishful thinking. With digital consoles there's no reason for exclusivity unless the artist is providing the mixer. Boutique analog devices: channel inserts, particularly. With much of the market now on digital mixers, chances of finding esoteric analog gear with a local or regional provider is such a crap-shoot that savvy BEs bring with or will do without. Picky or vintage mic lists: same as boutique analog stuff. It it's critical to the show the band should carry it. Expect to provide common mics. Hospitality: buy-outs rather than providing catering - is often cheaper, too. And you're absolutely right, calling the PM/TD is the best way to represent ones firm and the event. The "KF850 sidefills" might get crossed off the list for the 24X16' stage - or not - but you can bet that whatever is presumed will probably the opposite of what is needed. Have fun, good luck. Tim Mc [/QUOTE]

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