Everyness. Wang Ramirez Company TECHNICAL RIDER

Transcription

1 Compagnie Wang Ramirez Clash66 c/o Casa Musicale 1 rue Jean Vielledent Perpignan France SIRET : APE : 9001Z N TVA intracommunautaire/eu VAT N : FR Licences : & Everyness Wang Ramirez Company TECHNICAL RIDER Technical Director and Lighting Manager/Designer (France) Cyril Mulon: technique@wangramirez.com Sound Manager/Designer (France) Clément Aubry: aubryclem@gmail.com Rigging Operator/Designer (Germany) Kai Gaedtke: kai@take7.de Production, Booking & Tour Coordinator (France) Manon Martin production@wangramirez.com Date of issue: August 2017

2 Running time: 70 minutes (video trailer: (website: Company: - 5 dancers (3 male, 2 female) - 1 Rigger - 1 Lighting Manager/Stage Manager - 1 Sound Manager - 1 Producer/Tour Manager GENERAL INFORMATION We kindly ask the partner venue to send us a very detailed technical rider with precise material listings (lights, sound, maskings and curtains) and information about the grid (dimensions and maximum load). We also require precise plans with measurements (ground-plan and cross-section) and, if possible, photos of the stage. Please send us a plan in Autocad format. Once your plans have been received, we will send you the adapted lighting and stage plots including a technical schedule. STAGE CONFIGURATION The performance space is an Italian black box (12 m wide and 12m deep) composed by 5 wings on each side, 1 flat backdrop in two pieces with a 2m wide opening and 1 full upstage backdrop. A white marley (16m wide x 11m deep) starting behind the house curtain covers the stage and the wings. The proscenium area in front of the house curtain is black (or covered with black marley). A white inflatable ball of 2.4m in diameter (6kg) is part of the choreography, manipulated on the stage by the dancers and moved up and down by pulleys. Inside the ball there are led lights (wireless dmx controlled) and a fan (radio controlled). 2 pipes of the grid equipped with pulleys and ropes are used to fly the ball up and down in two different positions on the centre line of the stage. A double bouncing system is also set on a third pipe (with pulleys, ropes and bungee cables) to provide a suspension effect for 2 of the dancers. In the side wings, weights on the floor are required under the pipes used for the flying of the ball and the bungee effect in order to provide steady anchoring points on the ground for the operating ropes. These "rigging" effects are installed and operated by the rigger of the company. The regular working height of the pipes (lights, ball flying lines, bungee line) is 8m. There are 4 microphones on the floor on the proscenium in front of the white marley and 1 on a stand in the stage left and the stage right wings. 2 sound boxes are rigged overhead upstage. 4 monitors are required on stands in the wings. The performance consists of a lot of floor choreography: the audience sight lines should be carefully taken into consideration. Everyness technical rider August / 11

3 DESCRIPTION OF THE RIGGINGS USED FOR "BALL FLYING" & " BUNGEE" (see attached stage plans) The fly bars of the grid need to have a minimum arbour capacity of 400daN (counterweighted or motor driven). 3 fly bars are equipped with pulleys and ropes in order to create the line of the bungees and the 2 overhead points to fly the ball up and down in its two different onstage positions. Each fly bar must be solidly spanned off the sidewalls of the stage or side galleries with straps or pipes to prevent any movement in all directions (left/right AND upstage/downstage) during the effects. It is also secured at the working height with heavy duty ropes starting from each pulley and attached to the overhead steel beams of the grid. The "bungee" effect is operated from both sides of the stage. The "ball flying" effects are operated only from the stage right wing. A) Two lines of riggings (at ±2m from the downstage edge of the white marley) are equipped on 2 adjoining fly bars braced together with small pipes and double clamps: 1 fly bar is used for the "bungee" effect, 1 fly bar is used for a "ball flying" effect. In the stage left wing, 188 kg weights are required on the floor to "anchor" the operating cables: the weights are distributed into 2 piles. In the stage right wing, 212 kg weights distributed into 3 piles are required on the floor. Pieces of carpet are required under each pile to protect the marley. 6 ropes (above 6 master pulleys) are required to secure the fly bars. If the arbour capacity of the fly bars is less than 400daN, it is necessary to use a square truss of 300mm to attach the pulleys. The truss is rigged to the overhead steel beams with 2 or 3 point hoists of 500daN and secured with safety slings. B) A third fly bar (at ±5,50m from the downstage edge of the white marley) is used to provide the overhead point for the second "ball flying" effect. In the stage right wing, 84 kg weights distributed in 2 piles are required on the floor to "anchor" the operating cables (a piece of carpet may be required under the pile to protect the marley). 2 ropes (above 2 pulleys) are required to secure the fly bar. A simple counterweight system (24kg) is set to make the ball disappear in the SR wing. TO BE PROVIDED BY THE VENUE The venue must provide all the necessary equipment to rig the pulleys and cables of the company, including the weights on the floor and all safety and spanning items Line n 1 & n 2: small pipes and double clamps to brace the 2 fly bars together every ±3m, 6 heavy duty ropes, 4 straps to span or pipes to rig the fly bars to the side galleries or side walls. Line n 3: 2 heavy duty ropes, 4 straps to span or pipes to rig the fly bar to the side galleries or side walls. On the floor: a total of 508kg weights distributed into 8 piles. A few more weights might be needed to provide specific rigging points on the floor (±10 units of 12kg) Pieces of carpet under each pile of weights. The company only provides the pulleys and cables necessary to operate the moving effects, which are set and run only by the rigger of the company. Everyness technical rider August / 11

4 TECHNICAL SPECIFICATIONS STAGE Italian black box with 5 wings: 12m wide x 11m deep (minimum: 9m x 11m) Total width from side wall to side wall: 14m minimum Total depth from apron line to back wall: 12m minimum Upstage masking equipment: - Flat black backdrop in two parts with a 2m wide opening - Full black backdrop White marley: 16m wide x 11m deep (minimum: 13m x 11m) House curtain (if possible) The floor of the stage which is not covered by the white marley shall be black or covered with black marley Stage left to stage right cross-over behind the full backdrop Counterweighted or motorized fly bar grid with minimum arbour capacity of 500daN each Working height of fly bars: 8m Rigging of the heavy duty ropes on the overhead steel beams of the grid Spanning of the fly bars off the sides wall (galleries, catwalk, or anchor points ) 2 clothes racks for the costumes 4 chairs on each side Blue lights in the wings and crossover (controlled by the light desk) SOUND (see attached plan and patch table) L-acoustics or D&B sound system for stage, monitors, FOH and surround. The sound desk has to be in the house, in a centre position (not in a booth). The company provides a laptop, a sound controller and a pad that require a working space to the right of the sound desk. The sound manager of the company also operates the radio controller of the inflatable ball's motor. Standard FOH sound system adapted to the house, with subwoofer 2 speakers (L-acoustics X12 or 12XT) rigged on a fly bar at the back of the stage in front of the split backdrop (6m high, 11m apart) 2 speakers at the back of the audience for a stereo surround effect 4 monitor boxes (2 upstage, 2 downstage) on stands in the wings to cover the entire stage Digital sound desk (like Yamaha M7CL or CL3) with ADAT input/output, separated levels for monitors, FOH, stage and rear; EQ, reverb and delay for all outputs 4 microphones NEUMANN KM cables (on the floor in front of the white marley, 1.50m apart) 2 microphones NEUMANN KM cable on stands in the 4 th wing, stage left and stage right 2 microphones DPA 4060 with 2 wireless systems (the transmitter is in the inflatable ball, the second one is used as a spare) For the rehearsals : 1 hand held wireless microphone and 1 talkback microphone (SM58) Intercom capabilities between the stage and the light/sound booth Everyness technical rider August / 11

5 LIGHT (see attached theoretical lighting plot) 2 x 5kW dimmers 76 x 3kW dimmers (20 on the floor) 1 DMX line (5 pins) on stage on the floor Light desk with programmable cues, playback and submasters (like Avab Cobalt) 2 x 5kW Fresnel with barndoors 8 x 2kW PC with barndoors 29 x 1kW PC (10 with barndoors) 9 x 2kW Profile x 1kW Profile x 1kW Profile x PAR 64 CP 60 VNSP 10 x PAR 64 CP 61 NSP 27 x PAR 64 CP 62 MFL 6 x 1kw asymmetric flood 10 booms for side lights (lens heights: floor / 0.80m / 1.40m / 1.90m / 2.50m) 1 stand (1.50m high) Filters: LEE 117 LEE 152 LEE 197 LEE 200 LEE 201 LEE 202 LEE 203 LEE 702 LEE 708 LEE 711 LEE 712 ROSCO Frost: SET 1 white inflatable ball, 6kg, 2.40m wide. LED inside are wireless DMX controlled, fan is radio controlled. The set equipment of the company is delivered and picked up by a freight company. The delivery is usually scheduled in the morning of the first day of setup. The pickup is usually scheduled in the morning of the day following the load out (without the presence of the company managers). 2 suitcases for the inflatable ball and accessories (size: 80 x 55 x 33 cm / weight: 16 kg per bag) 2 suitcases for the rigging equipment (pulleys, cables, harness ) (size: 75 x 50 x 30 cm / weight: 22 kg per bag) 1 suitcase for the costumes (size: 75 x 50 x 30 cm / weight: 13 kg) DRESSING ROOMS & CATERING 4 dressing rooms for the dancers and 1 dressing room for the rigger, with WC, shower, towels and soap 1 dressing room/production office for technical director and tour manager, if possible with internet/wifi access Please provide small bottles of still water, fresh fruits, nuts, cereal and chocolate bars, juice, coffee and tea Everyness technical rider August / 11

6 REQUIRED CREW & WORKING HOURS The load-in starts two days before the performance. Two days before the performance, the venue shall provide, during 3 periods of 4 hours each, for the stage setup (black box, marley, rigging effects) and light setup/focus: 1 lighting manager, 3 light technicians 1 stage manager, 1 fly bar technician, 3 stage hands (for only 2 periods) The day before the performance, the venue shall provide: - 1 period of 4 hours for light focusing and sound setup: 1 lighting manager, 2 light technicians 1 stage manager, 1 fly bar technician 1 sound manager - 1 period of 4 hours for rehearsals: 1 lighting manager 1 stage manager, 1 fly bar technician 1 sound manager - 1 period of 3 hours for technical adjustments (light, sound, stage): 1 lighting manager, 1 light technician 1 stage manager, 1 fly bar technician 1 sound manager The day of the performance, the venue shall provide: - 1 period of 4 hours for light cueing and stage finishing: 1 lighting manager, 1 stage manager, 1 stage hand/fly bar technician 1 wardrobe person: ironing of the costumes upon arrival. A daily costume cleaning service is required from the second performance or in the case of a run-through with costumes for a preview or photo call. In the case of a day to day tour, please provide a costume cleaning service upon arrival. - 1 period of 4 hours for cueing/sound programming/rehearsal/run-through: 1 lighting manager 1 stage manager, 1 stage hand/fly bar technician 1 sound manager - The performance: 1 lighting manager 1 stage manager 1 sound manager - The load out of the equipment of the company (2 hours): 1 stage manager, 2 stage hands, 1 fly bar technician 1 wardrobe person: a quick washing and drying (max 2 hours) is requested at the end of the last performance. N.B.: the load-in may start one day before the performance if the light setup (filters and hard/soft patch included) is complete before our arrival. A specific technical schedule adapted to the venue will be send Everyness technical rider August / 11

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9 WANG/RAMIREZ _ Everyness _ sound stage plot upstage BUS 1 BUS 2 AUX 1 AUX 2 KM 5 KM 6 AUX 3 AUX 4 white marley KM 1 KM 2 KM 3 KM 4 apron

10 SOUND PATCH n Input Equipment Routing Console Insert Notes 1 KM KM 184 Apron floor mics 3 KM KM Stage Right Mic KM 184 Bus 5-6 (routed to ST) in & out 7-8 Sound Interface FX in Ableton Live 6 Stage Left Mic KM Ball Mic DPA 4060 wireless in & out ADAT1 Sound Interface FX in Ableton Live Sound Interface OUT 1-2 OUT 3-4 STEREO (+send to AUX 1-2 & 3-4) BUS 1-2 (+send to AUX 1-2 & 3-4) FOH UPSTAGE OUT 5-6 BUS 3-4 SURROUND n Output Boxes (type) Bus Console Insert Notes 1 Monitor USR 12XT 2 Monitor USL 12XT 3 Monitor DSR 12XT 4 Monitor DSL 12XT 5 UPSTAGE 12XT 6 12XT 7 12XT SURROUND 8 12XT 9 10 FOH AUX 1&2 (pre) AUX 3&4 (pre) BUS 1-2 BUS 3-4 FOH System w/ subs STEREO 2x EQ 31 parameters (ext or in the desk) 2x EQ 31 parameters (ext or in the desk) 2 rows of monitors on stands in the wings 1&5 6m high x 11m wide in front of the split backdrop

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