THE DEL McCOURY BAND with THE PRESERVATION HALL JAZZ BAND PRODUCTION RIDER (CURRENT AS OF February 29, 2012) 1. SOUND EQUIPMENT One of the most important aspects of our performance is the quality of the sound we produce to be enjoyed by the audience. This is dependent on the quality and expert application of an adequate and appropriate sound reinforcement system. The equipment and specifications herein should be considered the absolute minimum. Thank you for helping us provide the most professional quality production possible. PURCHASER will provide a quality sound system which will be approved by ARTIST tour manager. In larger venues it may be necessary to mic the front horns. We would like to achieve this in the most low profile manner possible. Wireless beltpacks for the 4 horns are best. ARTIST prefers to play as acoustically as possible. Microphones for vocals, bass, and piano only unless absolutely necessary because of the venue size or outdoor festival. In that case 4 wireless mics are preferable for the horns (sax, clarinet, trumpet, trombone). An option in some cases is to use two lo profile condenser microphones on desk top or kick drum type stands downstage on the same plane as the vocal mics. In addition, For Large Indoor Auditoriums, Large Convention Halls and Outdoor Venues: A communication system to all equipment operator positions as well as program and paging to all backstage areas will be required. PURCHASER shall provide a professional quality sound system adequate to cover venue and including at least: A. A professional quality sound mixing board with phantom power with 31 band EQ for each zone. B. 6 discrete biamplified mixes, 31 Band EQ for each mix, a monitor console, and competent monitor operator unless approved by Tour Manager C. The mixing and soundboard must be operated from an audience position. This position must have a full, clear view of stage center. D. One (1) qualified sound technician and one (1) qualified monitor technician who shall be the same person at the soundcheck and all performances of this engagement. E. Carpet/carpet insulation needs to be placed under each mic stand to insulate foot tapping and stage movement from the sound system. Area rugs are the best choice and must be in good condition. Oriental or Persian type rugs place under the mic areas and chairs for the PHJB as well as under the area where the McCoury s set up their mics. F. *Note: In lieu of wireless microphones. Two (2) low profile condenser mics can be provided on kick drum sizemics stands downstage and between the saxophone and clarinet and also between trumpet and trombone. The mic stands can be on the same plane as the downstage vocal mics. This option should be thoroughly discussed with the Tour Manager Michael Paz and the Tour Engineer (Contact info for Engineer will be provided by Tour Manager.
2. BACKLINE/SOUNDCHECK/LOAD-IN/: PURCHASER to provide and pay for: - Drum Set Preferred Kits - Slingerland, DW, Ludwig Drums Floor tom Snare Drum Bass Drum (20 22 24 or 26 ) Hardware Snare drum stand Bass drum pedal Hi Hat stand Drum throne and Drum Rug Cymbals Splash Cymbal (1) 10 Hi-Hats NO other hardware is needed - Piano (to be tuned day of show) Grand Piano preferred (Steinway, Bosendorfer, Yamaha) NOTE: IF A QUALITY GRAND IS NOT AVAILABLE A QUALITY UPRIGHT PIANO CAN BE SUBSITUTED. THE UPRIGHT SHOULD HAVE ALL WORKING KEYS AND HAVE EXCELLENT ACTION AND SOUND QUALITY. - 4 Wooden Straight back chairs (distressed looking and non matching a plus) - Two Bar Stools Please contact Michael Paz to advance date, schedule soundcheck at load-in times at least fourteen (14) days prior to show. Mobile number is 504-382-0343. Email address is Michael@preservationhall.com. Soundcheck normally takes no longer than thirty (20-30) minutes for each band and load-in is limited to personnel and instruments. 3. SET LENGTH Usually two (2) 45-50 minute sets. 4. LIGHTS A. PURCHASER shall provide a professional quality lighting system for any indoor performance and/or any outdoor performance when performance will take place near or after sunset. B. Lighting should be a minimum of a general stage wash covering the entire area designated on the stage diagram. Specials should be available for all positions especially vocal positions, piano, tuba, and the McCoury s area. Specials on the two front vox mics, on Del McCoury mic Position, piano player, tuba player, and drummer (in that order if there are a minimum available. 5. STAGE A. PURCHASER shall provide a covered stage which will protect ARTIST from the elements, including bright sun and/or rain and insure the safety of ARTIST and ARTIST'S equipment. Performance area should be a minimum of 24 X 24. B. PURCHASER shall provide two (2) stools placed behind ARTIST on stage with three (3) bottles of water on each stool. (for Del McCoury Band) C. THE DEL McCOURY BAND and PRESERVATION HALL JAZZ BAND personnel shall have access to all areas of venue..
6. DRESSING ROOM AND HOSPITALITY A. PURCHASER agrees to furnish at least two (preferably 3-4) clean dressing rooms with private bathroom facilities for ARTISTS. PURCHASER agrees to be solely responsible for the security items in the dressing room, and shall keep all unauthorized persons from entering said area. B. PURCHASER agrees to provide: For Del McCoury Green Room Assorted fresh fruit tray Fresh brewed coffee Starbucks house blend preferred Half and half creamer (no powder) 12 cans of Coca-Cola Assorted Veggie Tray Case of bottled water 1/2 gallon of Orange Juice (Minute Maid preferred) Cheese and Cracker tray 1 bag of pretzels 1 bag corn chips and organic salsa 1 can of assorted nuts C. PURCHASER agrees to provide: For Preservation Hall Jazz Band Green Room Daily Provisions: To be set up backstage before sound check. Hospitality should be at a time designated by the tour manager in the advance process and remain available until 30 minutes following the end of the performance. The coordination of same should be advanced with Tour Manager prior to event. A cash buy out is preferred by the band and crew and sometimes much easier and cheaper for presenters. Band members eating habits vary to before and after the concert, keeping food good and wholesome can be a challenge. There are also health issues that need to be considered. We have 2 diabetics that can have NO SUGAR, so any desserts please make sugar free. Please discuss with the tour manager during the advance process. When hot meal catering is provided, the menu MUST be approved by the tour manager at least 2 weeks before the performance. When dinner is provided a representative from the house must remain with the artists till dinner is complete. Any changes must be discussed in advance with the Preservation Hall Tour Manager. Daily Provisions: To be set up backstage before sound check. Two (2) Cases of Spring Water Assorted DIET ONLY soft drinks to include (Coke Zero, Sprite Zero and other diet drinks only) Cranberry @ Diet Ice Tea. Three (3) Regular Cokes Six (6) V-8 Juices Herbal Tea and HONEY and Hot Water Coffee, cream (Half and Half) and sugar, Splenda, and Equal 2-3 Rotisserie Chickens Wheat bread and condiments (mayo and mustard & pickles) Fresh fruit to include bananas, apples, grapes, and oranges or seasonal fruits Tuna and or chicken or egg salad. One (1) Package Smoked Salmon One (1) Goat Cheese (flavored ok) Assorted Healthy Chips and crackers (Wasa crackers, Blue Corn Chips, etc) Wheat/Corn free snacks. Must be 100% Wheat and Corn Free. Rice Crackers etc. Salsa and Guacamole (small) Two (2) containers Hummous Four (4) Yogurts One (1) 8-16 oz Can of Raw Almonds (not roasted or salted) One (1) 8-16 oz Can of Raw Cashews (not roasted or salted) One (1) Box Kashi Granola Bars For after show: Twelve (12) Premium beers, preferably (6 Heineken and 6 Corona) Two (2) Bottles of Wine (Merlot or Cabernet) (Napa Valley or French or Chile) One (1) Litre Gordon s Gin One (1) Bottle Of Olives stuffed with Pimentos in Jar Hospitality should be available from sound check and remain available until 45 minutes following the end of the performance. The hospitality can be combined for both groups in one area if space is available
PURCHASER agrees to provide a hot meal to include meat, vegetables, and dessert should be prepared for a crew of sixteen (16) people to be ready following soundcheck. Meal vouchers for a restaurant within walking distance may be substituted with advance notice to Tour Manager Michael Paz (504-382-0343). Dinner should be served following soundcheck and with adequate time prior to showtime. When dinner is provided a representative should remain with the artists till dinner is complete. If a meal buy out is easier, it is often preferable to the bands and it can be discussed with Michael Paz, Tour Manager. (NOTE: This is meant as a guideline to help us have quality and variety while on long tours. ALL menus need to be approved by Tour Manager one week before performance date. Please make to go plates available for the band as some prefer to eat after performance. The band appreciates tasting local flavors and cuisine. Please make sure all necessary condiments are provided (such as salt, pepper, hot sauce, catsup, Lite Mayo, mustard, etc.) We do have dietary restrictions for some of the members and this should be advanced with Michael Paz Tour Manager. 7. AUDIENCE CONTROL A. PURCHASER shall not allow the audience to enter the place of performance until such time as the technical set-up has been completed. ARTIST shall complete said set-up at least one (1) hour prior to time of performance, provided that PURCHASER makes place of performance available for said set-up at least four (4) hours prior to the time of performance. A minimum number of authorized personnel shall be present at the soundcheck. B. PURCHASER will make a reasonable effort during the performance to maintain an orderly listening audience. *ADDITIONAL USEFUL CONTACT INFORMATION: OVERALL TOUR AND PRODUCTION ADVANCE FOR TOUR: Michael Paz, Michael@preservationhall.com, 504-382-0343 TOUR ADVANCE FOR DEL McCOURY BAND: Rob McCoury, playinchief@aol.com, 615-554-7152 MEDIA REQUESTS (Del McCoury Band): Emily Long, emily@mccourymusic.com, 615-224-8083 MEDIA REQUESTS (Preservation Hall Jazz Band): Ron Rona, ron@preservationhall.com, 504-251-1730 REQUESTS OF BAND (WORKSHOPS/MEET AND GREETS/ETC.): (DMB) Chris Harris, chris@mccourymusic.com, 615-224-8083 (PHJB) Michael Paz, Michael@preservationhall.com, 504-382-0343 QUESTIONS ON ADVERTISING/PROMOTION: Chris Harris, chris@mccourymusic.com, 615-224-8083 Ron Rona, ron@preservationhall.com, 504-251-1730 ARTIST WEBSITES: www.preservationhall.com www.delmccouryband.com PRESS ELEMENTS AVAILABLE AT: www.delmccouryband.com/press http://www.preservationhall.com/band/press_kit/index.aspx
E T B F D O TH R O E C WN KU O L N OA R 61 L TR D 7. AN A E 25 D C D 4. A TU RI 00 G R D 07 EN AL ER C U Y SE N O W INPUT LIST: Used only in larger halls (in smaller halls no mics for horns or drums are needed) INPUT INSTRUMENT MICROPHONE 1 Kick D-112 or equivalent 2 Snare Drum or equivalent 3 Drum Overhead (Left) Neumann 184 or equivalent 4 Drum Overhead (Right) Neumann 184 or equivalent 5 Piano High AKG 414 or equivalent 6 Piano Low AKG 414 or equivalent 7 Bass Mic Clip On Mic Provided by Artist 8 Bass DI Countryman DI or equivalent 9 Tuba Shure SM-98 (taped in Bell of Horn) 10 Trombone 11 Trumpet 12 Clarinet 13 Tenor Sax 14 CSR Vocal Mic Shure 55SH Mic (provided by PHJB) 15 CSL Vocal Mic Shure 55SH Mic (provided by PHJB) 16 17 18 19 20 Primary Mic (Del McCoury Band) Fiddle Mandolin Guitar Banjo Neumann (provided by DMB)