Bobby McFerrin with Orchestra Tour Manager: Kate Elliott 1

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1 Tour Manager: Kate Elliott 1 Bobby McFerrin with Orchestra Hospitality/Hotel/Dressing Room/Technical Requirements as of Contents: Contacts and Ground Transportation...Page 1 Hotel suite specifications..page 2 Dressing room specifications..pages 3-4 Technical specifications.pages 5-8 Input list & stage plot.pages 9-10 Additional Rider Conditions.Pages Tour Manager: Kate Elliott kate@originalartists.com Sound Design/FOH: Dan Vicari dfvicari@gmail.com Sound advance/monitors Ross Labrie rlabriesound@gmail.com Ground Transportation: If the group is arriving/departing by air, generally we need a van (or two) for four staff/crew with adequate luggage compartments for hand luggage and oversized luggage and five tech cases plus a separate driver and sedan for Mr. McFerrin. From the hotel to the venue: Sound crew will need a vehicle to accommodate five suitcase size tech cases. For Mr. McFerrin please provide a sedan. After the show: please provide a sedan for Mr. McFerrin 15 minutes before estimated show completion along with one van for the crew to shuttle four persons and tech cases to hotel. Kate will work with you on a very detailed ground transportation schedule. Thank you!

2 Tour Manager: Kate Elliott 2 Bobby McFerrin with Orchestra Hotel Suite Requirements Purchaser must obtain Artist approval (via Kate) before booking the five star, centrally located luxury hotel emphasizing personal service. Mr. McFerrin s suite must be a one-bedroom suite. 1. Mr. McFerrin respectfully requests that all televisions be removed from his accommodations prior to his arrival 2. Hotel suite must have a humidifier and air-purifier in the room 3. Living area of suite must have comfortable chair with lamp with adequate illumination for reading (no low wattage bulbs) 4. Suite and deluxe single rooms must have down pillows 5. Mr. McFerrin prefers windows that open if possible 6. Hotel rooms must have wireless Internet service 7. Bathroom must have a bathtub (Please notify Kate if this is not an option.) Please provide one hour before check in and refresh during stay: Electric tea pot w/ tea settings Ceramic cups (no Styrofoam cups, please) Assortment of herbal (only) teas (including chamomile, peppermint, sleepy time and ginger tea) and honey Bowl of organic fruit (apples, pears, plums etc) One lemon per day duration of stay with knife Fresh apple/carrot/parsley juice, and/or other fresh squeezed vegetable juice on request. If not available then provide a very small plate of raw, organic vegetables (cut into small pieces.) Small amount of sea salt Assortment of organic, unsalted nuts (no cashews, filberts preferred) Lots of bottled water (at least 3 liters per day) Volvic preferred(no Evian, please)refresh DAILY Thank you for taking care of this and accommodating Mr. McFerrin s needs. In addition to Mr. McFerrin s one bedroom suite, five deluxe singles are required in same approved hotel.

3 Tour Manager: Kate Elliott 3 Bobby McFerrin with Orchestra Dressing Room Accommodations Please provide best and most accessible to stage dressing room to Mr. McFerrin. One room with wifi for production and additional rooms as needed for special guests. Artist dressing room must have a humidifier and air-purifier in the Dressing room: The following foods and beverages are requested in the Artist Dressing room. This needs to be set up one hour before Mr. McFerrin arrives for sound check and refreshed for performance as needed: Electric tea pot w/ tea settings Two-four ceramic cups (no Styrofoam cups, please) Assortment of herbal (only) teas (including chamomile, peppermint, sleepy time and ginger tea) and honey Bowl of organic fruit, small, for one person (apples, pears, plums etc) Assortment of organic, unsalted nuts, small, for one person (no cashews, filberts preferred) Lots of bottled water Volvic preferred 3 liters per day Onstage: Please provide an attractive small table for Bobby during performance. Production Dressing Room 1. The following foods and beverages are requested in the Production Dressing room 2. This needs to be set up one half hour before load in Electric tea pot w/ tea settings Ceramic cups (no Styrofoam cups, please) Assortment of coffee, teas and honey Bowl of organic fruit, small, for one person (apples, pears, plums etc) Small organic vegetable platter, whole grain crackers or rice cakes Bottled water --Volvic preferred (no Evian, please) Coffee, tea, and water should be available for all special guests. Onstage: Please provide bottled waters for sound check and performance.

4 Tour Manager: Kate Elliott 4 Dinner (McFerrin staff and crew) Please discuss with Kate whether a buyout, catering, or dinner at a nearby restaurant is most appropriate. If catered, dinner should feature light, healthy, fresh ingredients. Please avoid cream sauces. There is one vegetarian (dairy and eggs ok) and one non-red meat eater in the group. Sample menu might be: Chicken or fish Spicy tofu Green/Caesar salad to include oil and vinegar dressing Rice or potatoes or light pasta side dish (no heavy sauce) Green vegetable (any kind, but sautéed greens always popular!) Small portions dessert items

5 Tour Manager: Kate Elliott 5 TECHNICAL PROVISIONS: ENSEMBLE: This rider is for Bobby McFerrin solo performance with Full Orchestra or Full Orchestra with Special Guests STAGE PLOT AND MIC INPUT LIST: See Below MICROPHONES: Please supply Two (2) wireless microphone systems (i.e. Shure Axient or UR4D), transmitters and receivers, with Shure SM58 capsules on both microphones, and Eight (8) small diaphragm condenser microphones (i.e. Neumann KM184) for area and audience miking. Please provide one (1) round base straight microphone stand with a quick grip clutch. STAGE: Stage must be accessible in a manner other than through the audience. There must me a minimum of Ten feet (10 ) from downstage edge of stage to first orchestra chair. In the case of an outdoor event, the stage, mix position, and backstage areas must be made of solid construction and be completely covered and leak proof. All metal stages must be securely electrically grounded. FRONT OF HOUSE: The Front of House system a professional, high quality, minimum Three (3) way stereo PA system with a frequency response of 20Hz 20Khz. Front of House mixing console a high quality console must conform to the following specifications: Console preference: Analog Midas consoles are always the first choice. Any other analog console must be approved and in good working condition Digital consoles: Yamaha CL5, Soundcraft vi6, vi4. Digico SD7 s or SD5. Any other console must be pre-approved by touring crew 1. Minimum Thirty Two (32) inputs 2. Four (4) band fully parametric EQ per channel with high pass filtering 3. The facility to assign input channels to sub-groups OR direct-to-mix 4. Minimum of Eight (8) pre/post auxiliary sends per channel 5. Minimum of Eight (8) sub-groups 6. Phase reverse for all channels 7. Phantom power with individual channel control 8. Set up mixing console in unobstructed location approximately Seventy-Five (75) feet from downstage edge and as close to center as possible. (NO ENCLOSED SOUND BOOTHS) 9. Drive Rack must contain one-third (1/3 rd ) octave graphic EQ s for the main House Left/Right feeds, Center clusters and the system s cross-overs must be located at the FOH mix position. No other location is acceptable. 10. There must be a capable house engineer that is dedicated to FOH that is fluent in operating and or programming (if digital) whatever mixing console is being used. He (she) must be in attendance at all moments of sound check and show.

6 Tour Manager: Kate Elliott 6 OUTBOARD EQUIPMENT: The following Outboard Equipment is required: 1. High quality EFFECTS as follows: a. Reverb: 2-T.C. Electronic or Lexicon b. Tap Delay: TC Electronic 2290, m3000, m2000 c. Harmonizer/Chorus: Eventide H3000, T.C. Yamaha SPX 990, d. (We supply dbx 120a subharmonic) 2. One (1) rack mounted CD player PLEASE NOTE THAT ALL MIXING CONSOLES AND OUTBOARD RACKS MUST BE WELL ILLUMINATED. MONITORS: *Monitors will typically be run from FOH. If a monitor console is required see specifications below Console Preference: Yamaha M7CL 48 (M7CL 32 is 2 nd choice) Other Yamaha digital consoles such as M7CL-ES, CL series, LS9 32, & PM5D are 3 rd choice. Any console other than 1 st choice must be pre-approved by touring crew 1. The monitor console shall have at least Thirty-Two (32) channels with Four (4) band parametric EQ s on each channel. 2. One-Third (1/3 rd ) octave graphic EQ s for each mix 3. A minimum of Sixteen (16) discrete mix outputs is required. 4. There must be One (1) cue mix with a floor wedge identical to those used on stage with the ability to solo any individual mix complete with that mix s in-line graphic EQ. 5. A minimum of Three (3) identical, bi-amped floor wedges are required. Mixes should be distributed in accordance with the attached Stage Plot. 6. Four (4) side fill monitors at ear level (i.e. Meyer UPA) 7. There must be a capable house engineer that is dedicated to stage/monitors and is fluent in operating and programming whatever mixing console is being used. He (she) must be in attendance at all moments of sound check and show and must be a proficient English speaker. 9. Two-way headset communication must be provided between the FOH and Monitor position 10. Monitor console must be positioned so there is a clear line of sight to all ensemble members

7 Tour Manager: Kate Elliott 7 LIGHTING: Absolutely no smoke or fog to be used in sound check or performance Mr. McFerrin does not bring his own lights or bring a light technician. It is therefore important that you supply both a lighting system and an engineer. The lights system must be rigged and tested for functionality before artist arrives for setup and sound check. Local engineer must be available for focusing during the sound check, and for operating the lights during the concert. PURCHASER shall provide and pay for a lighting system as follows: Three (3) to four (4) color washes from the front and the back. Colors should include flesh pink, light blue, dark blue, and magenta. One (1) or two (2) follow spots with operators, one for Artist and one to cover other soloist(s). Follow spot colors to include flesh pink and a lavender special. During Artist solo section he may sit and stand on the edge of the stage and move out to the audience. The area at the front and edge of the stage should be covered in light so the Artist can be seen standing or sitting on the edge of the stage without a follow spot. Lighting to augment house lights should be considered to cover Artist in the house in the event that he enters the house. Cues Prewritten cues to have ready include full stage looks in each color and isolated areas to act as a "pull-down look" including down center where Artist is located. (see stage plot) Please use a MINIMUM of moving lights with loud fans and be conscious of their use (no scrolling across keyboards etc.) Cueing can follow the mood of the songs, but never too dark and never too dramatic, subtlety and beauty should rule. Never go to blackout between tunes...a blue out or something similar is acceptable. The stage should never go to a total blackout during the performance. House lights are NOT needed when audience is engaged in a sing-along and Artist is on stage, unless the Artist makes a request for the house lights to be turned up. BOARD OPERATOR MUST HAVE CONTROL OF HOUSELIGHTS. POWER: 1. Minimum power requirement to run equipment is Four (4) 120 Volt/60 Cycle, single-phase circuits each rated at Twenty (20) Amps. There must be absolutely NO voltage between Neutral and Ground. 2. The Maximum acceptable voltage deviation from that stipulated is plus (+) or minus (-) Three (3) volts. Artist s equipment will be disconnected or not plugged in at all if the power does not remain within the specified voltage range.

8 Tour Manager: Kate Elliott 8 STAGEHANDS / TECHNICIANS: 1. At least two (2) able bodied people to assist at load-in and load-out of the band s equipment. 2. At least one (1) experienced sound technician to assist at set-up, sound check, and during the show 3. At least one (1) experienced lighting technician to assist at set-up, sound check, and during the show. Sound and lighting technician may be the same person. 4. A qualified electrician should be on-site at all times. 5. All sound equipment must assembled and in position, ready for musicians and engineers prior to the scheduled load in time. This is typically before 12:30pm or a minimum 3-1/2 hrs prior to the scheduled sound check time. Load-in and sound check times are subject to change as per tour manager.

9 Tour Manager: Kate Elliott 9

10 Tour Manager: Kate Elliott 10 Bobby with Orchestra INPUT LIST CHNL SOURCE INSERT MICROPHONE NOTES 1 Orchestra Area Mic 1 Neumann KM 184 need 2 Orchestra Area Mic 2 Neumann KM 184 need 3 Orchestra Area Mic 3 Neumann KM 184 need 4 Orchestra Area Mic 4 Neumann KM 184 need 5 Orchestra Area Mic 5 Neumann KM 184 need 6 Orchestra Area Mic 6 Neumann KM 184 need 7 Audience Recording Mic 1 Neumann KM 184 need 8 Audience Recording Mic 2 Neumann KM 184 need 9 Bobby Vocal 1 comp. Shure Axient we bring 10 Bobby Vocal 2 comp. analog split we bring 11 Bobby BU Vocal 1 comp. Shure Axient we bring 12 Bobby BU Vocal 2 comp. analog split we bring 13 Spare Vocal 1 comp. Wireless SM 58 need 14 Spare Vocal 2 comp. Wireless SM 58 need fx 1 dbx 120xp mono we bring fx 2 tap delay stereo need fx 3 stereo reverb stereo need fx 4 harmonizer or chorus stereo need

11 Tour Manager: Kate Elliott 11 Bobby Mcferrin Additional Rider Conditions The following stipulations are included here as part of this rider and required to be a part of the attached contract: 1. Performance Control A. ARTIST shall have exclusive control over the production, presentation, and performance of the engagement hereunder, including, but not limited to, the details, means and methods employed in fulfilling each obligation of ARTIST hereunder in all respects. ARTIST shall have the sole right, as ARTIST may see fit, to designate and change at any time the performing personnel other than the ARTIST specifically named herein. B. Purchaser agrees (a) to comply promptly with ARTIST s directions as to stage settings for the performance hereunder, (b) that no performers other than those previously agreed to by ARTIST hereunder will appear on or in connection with the engagement hereunder, (c) that no stage seats are to be sold or used without ARTIST s prior written consent. 2. Performance Reproduction A. No part, portion, or segment of the engagement hereunder is to be reproduced either audibly or visually. Authorization by the ARTIST shall be necessary for the PURCHASER to allow entrance to the place of performance with any and all sound, video, or motion picture recording device. B. Cameras (other than those built in to mobile phones) will not be permitted entrance into the place of performance. PURCHASER shall be responsible for preventing entrance to the place of performance of all cameras, tape recorders, video cameras and/or motion picture cameras. C. No video transmission or projections during performance are permitted without the prior express consent of artist. If permission is given by Artist, then a DVD copy of the recorded video footage or projection should be forwarded to artist for archival purposes to oa@originalartists.com. D. Any and all artist consent and/or permissions for video and audio recordings and/or digital photography are considered to be fully valid only when an electronic file transfer, is received by original artists at the above address. 3. Interviews and Personal Commitments PURCHASER shall not make any commitments on ARTIST s behalf for any promotional activities, personal interviews, or personal appearances (including post-concert activities) without the prior express consent from ARTIST. All such commitments must be cleared and coordinated in advance through Original Artists (oa@originalartists.com) ARTIST reserves the right to cancel any such appearance, if necessary, due to time, travel, or other considerations.

12 Tour Manager: Kate Elliott 12 Bobby Mcferrin Additional Rider Conditions 4. Advertising and Promotion A. ARTIST shall receive one hundred percent (100%) headline billing in any and all advertising and publicity as headliner, pertaining to the engagement hereunder, including but not limited to newspaper advertising, all printed material, programs, fliers, signs, lobby boards, table cards and marquees. When playing with other performers, no artist s name will appear in larger type or on the same line with BOBBY MCFERRIN. B. PURCHASER agrees to use only photographs, likenesses, and biographical material furnished by ARTIST or ARTIST s agent. C. PURCHASER shall not use ARTIST S likeness for any commercial purpose or in connection with an so-called commercial purpose or in connection with any so-called commercial tie-up except the advertisement or promotion of the engagement without the prior express permission of the ARTIST D. PURCHASER agrees that no advertisements or promotional activities of any type shall be issued or arranged prior to the PURCHASER s receipt of a fully executed contract. 5. Complimentary Tickets PURCHASER shall provide twenty (20) complimentary tickets per performance, the unused portion of which may be placed on sale the day of the show with permission of ARTIST. 6. Security A. PURCHASER shall furnish ARTIST with reasonable and adequate security, and ARTIST shall be entitled to cancel the engagement if ARTIST shall reasonably conclude that performance of same might subject ARTIST, members of his entourage, or any member of the audience to risk bodily injury or property damage. In the event of such cancellation, ARTIST shall be entitled to receive his full guaranteed compensation hereunder. B. ARTIST reserves the right to refuse admission to backstage area to any person not directly involved with the performance. C. PURCHASER shall provide and pay for security of ARTIST s equipment from the time of load in until the completion of load out.

13 Tour Manager: Kate Elliott 13 Bobby Mcferrin Additional Rider Conditions 7. Insurance PURCHASER agrees to provide liability insurance coverage to protect injuries to persons or property as a consequence of the installation and/or operation of the equipment provided by the ARTIST, his employees, contractors and agents. In addition, it is agreed that the PURCHASER shall have in effect a policy of worker s compensation covering all of its employees. The PURCHASER further agrees to provide full insurance coverage for any equipment provided by the ARTIST, his employees, contractors, and agents against fire, theft, riot, or any other type of act that would cause harm or damage to equipment. 8. Indemnification PURCHASER agrees to indemnify and hold harmless the ARTIST, his employees, contractors and agents from and against any claims, costs, damages, liabilities, losses and judgments arising out of or in connection with any claim, demand, or action made by any third party sustained as a direct or indirect consequence of the engagement. Furthermore, PURCHASER shall also indemnify ARTIST and his employees, contractors, or agent s equipment at the venue, including but not limited to damage or destruction suffered by Acts of God. 9. Force Majeure In the event of any Act of God, illness, failure of transportation, acts of war or terrorism, riot, strike, or labor difficulties, or cases similar or dissimilar beyond ARTIST S control which renders it impossible or impractical for ARTIST to perform hereunder, this agreement may be canceled by ARTIST by written notice to PURCHASER in which case neither party shall have any continuing liability to the other hereunder; provided, however, should such cancellation arise from strike, labor difficulty or other matter of which PURCHASER had actual prior knowledge, ARTIST shall be entitled to retain any and all deposits. Notwithstanding anything contained herein, inclement weather shall not be deemed to be a force majeure occurrence, and the PURCHASER shall remain liable for payment of the full contract price even if performance called for herein is prevented by such weather conditions. ARTIST shall have the sole right to determine in good faith whether any such weather conditions shall render the performance impossible, hazardous or unsafe. 10. Promoter Failure If on or before the date of any scheduled concert, PURCHASER has failed, neglected or refused to perform any contract with another performer for any earlier engagement or if the financial standing or credit of PURCHASER has been impaired or is unsatisfactory and is in bad standing with the American Federation of Musicians, (A.F. of M.) or is on their unfair list, ARTIST shall have the right to demand the payment of the guaranteed compensation forthwith. If PURCHASER fails or refuses to make such payment forthwith, ARTIST shall have the right to cancel this engagement by notice to PURCHASER to that effect, and in such an event, ARTIST shall retain any amounts therefore paid to ARTIST by PURCHASER.

14 Tour Manager: Kate Elliott 14 Bobby Mcferrin Additional Rider Conditions 11. Representations and Warranties PURCHASER warrants and represents that s/he has the right to enter into this Agreement and undertake the performance of all obligations on its part to be performed. PURCHASE also represents and warrants that s/he is at the present time the owner/operator of, or has a valid lease upon the place of performance covering the date(s) of this agreement. PURCHASER shall obtain all permits, licenses, certificates or permission required to enable the engagement to be lawfully performed. 12. Contractual Provisions It is agreed that ARTIST signs this contract as an independent contractor and not as an employee. This contract shall not, in any way be construed so as to create a partnership, or any kind of joint undertaking or venture between the parties hereto, nor make ARTIST liable in whole or in part for any obligation that may be incurred by PURCHASER in PURCHASER s carrying out any of the provisions hereof or otherwise. Nothing in this Agreement shall require the commission of any act contrary to law or to any rules or regulations of any union, guild or similar body having jurisdiction over the services and personnel to be furnished by ARTIST to PURCHASER hereunder. If there is any conflict between any provision of this Agreement and any law, rule or regulation, such law, rule or regulation shall prevail and this Agreement shall be curtailed, modified, or limited only to the extent necessary to eliminate such conflict. PURCHASER agrees to comply with all regulations and requirements of any union(s) that may have jurisdiction over any of the said materials, facilities and personnel to be furnished by PURCHASER. 13. Cancellation Privileges All of the terms and conditions as contained in this rider and addendum are by their nature essential and fundamental to this agreement in part or entire. ARTIST accordingly reserves the right to cancel the engagement in the event of failure by the PURCHASER to fulfill any of the terms and condition provided herein. In the event of cancellation, the ARTIST shall be discharged of any further liability hereunder and shall be entitled to retain any deposits or other monies theretofore paid to ARTIST by PURCHASER, in addition to ARTIST s other legal and equitable remedies.