This task specifies all the equipment needed for two acts to perform a concert, in the form of a technical rider detailing the equipment necessary for each act and justification for those pieces of equipment being used over other viable options. Tech riders are crucial for the smooth running of a gig and achieving the best sound for the acts, so is a vital thing to issue to venues.
PA System/Monitoring:
For front of house speakers I will use 2 Yamaha DXR15 active speakers suspended from a rig facing down upon the audience at 45 degree angle, suspended using specific UB-DXR15 brackets for hanging these speakers in this way. I'm using these as they're two way bi- amplified with an FIR-X Tuning crossover meaning they split signals into appropriate signal bands to be passed through either the loudspeaker horn or cone so they can be amplified more efficiently. Also combined they provide 1400W of continous power peaking at a combined 2200W, which when paired with the bass bins will be ample power for the 500 capacity venue. They have a frequency response up to 20KHz which means no frequencies will be lost in amplification. These are well reviewed by Sound on sound magazine who are a reliable source for information when choosing industry standard equipment. I will pair these with DXS15 active subwoofers which provide bass response as low as 45Hz, and the bass can output high SPL levels due to a band pass style of casing, which allows waves to escape through the cone and also an enclosure on the side with space behind it for the waves to bounce around and gain energy before emmiting. These too are highly regarded and recommended to be paired with the DXR15's so I will use them. Combined they provide 1200W of continous power and 1800W at peak power which when combined with the DXR15s will make 2.6kW of continuous power, and 4.1kW of peak power which will be adequate for the 500 capacity venue. I will need kettle leads also for the mains power these require. For band monitoring I will need 6 Yamaha DXR12 monitors, which both acts will use. These have a very similar specification to the DXR15s being used as front of house monitors, and will therefore provide the same quality and clarity, only they're smaller cabinets than the DXR15s so are more practical to be dotted around stage, and are discreet so won't spoil the visual of the band from audience perspective. All these speakers are active meaning they generate their own amplification so there's no need for pre- amplification. The configuration of the monitors is shown in the stage diagrams at the bottom of the page in which they're numbered 1 to 6 and correspond to numbers on the channel sheets for sending certain channels to certain monitors for what the performer needs to hear.
Outboard:
Graphic EQ - 1 x DBX 1231 - It has two sets of 31 EQ band faders, covering a frequency range of 20Hz to 20KHz, which mirrors the range of human hearing so will eliminate all necessary frequencies that visibly feedback through the vocal mics on stage. Having two sets means a lead vocal mic and backing vocal mic used on stage at once can have their own levels set as each may respond to the environment differently. Also having more bands to control means that what's removed can be more specific, as with less bands you may have no choice but to remove frequencies that are fine because they're in the same band as a frequency that's feeding back, which could compromise the clarity of the final front of house sound.
Crossover -1 x DBX 223xs - My crossover only needs to split sound into two bands as my Yamaha DXR15 speakers have a built in crossover for high and mid signals, so I just need enough to split the signals into lows and mids/highs and output them via XLR to L and R speakers. This crossover is capable of doing this, and has 40Hz high pass filter for the mids to accentuate the sound, and the controls for which frequencies are being split to each channel are good as you can control the input and output level, invert the phase if necessary for a fuller sound and define which frequencies should be classed as low or mid/high. This will be good enough for my speakers to perform at their best.
Compressor - 6 x Drawmer DL241 XLR - I need six compressors as they're useful for shaping instruments sound regardless of their dynamic range, so these will be in use on my snare and kick, but also the lead and backing vocals, acoustic guitar and bass DI signals. The DL241 has balanced jack inputs and outputs so will connected to the desk with patch cables. It has controls for the threshold of sound and ratio which is how the signals above the threshold are acted upon, so they can be set to suit instruments with different properties to their sound. The output level and gain controls allow you to put signals back to the volume they were before this process but now with a fuller amount of sound in a smaller frequency band to be sent to the speakers.
Noise Gate - 2 x Drawmer DS201 - I need two noise gates for my kick and snare on both kits as they only play at a constant volume, so can avoid have no sound sent to the mix unless they're played, and this will clear up the mix of drums preventing spill. The DS201 has controls for the attack and release of the gate, which help to shape the sound which gets through, and mean that the full impact and resonance of the drum can be allowed through before the gate closes again, and there's also useful filters to take unwanted high frequency that could be present from cymbals out of the signal also.
Reverb Unit - 2 x Lexicon PCM92 - These will be used for lead vocalists and backing vocalists and the snare drums of both kits to give them a more natural character. They will have signals sent to them via 2 stereo channels on my desk, and signals will be sent to those by auxiliaries pots on individual channels so we will end up with dry and wet signals to blend. This digital effects units has many presets to suit the instrument they're used on, for example there will be plate reverb suited for a snare drum to use on these, and the sound of natural vocal reverb in settings like large halls or outside spaces to play around with and give the singers a nice sound. This will also be used to give singers a comfort reverb in their monitors, and these mixes are sent by auxiliaries in the master to the monitors. This effects unit has high sample rates and bit rates so the effects added to the signals will sound pure and natural, and there's also a useful tap tempo button if a delay is required to be paired with a specific type of reverb, but the multi-effects unit can also cover this.
Multiple Effects Unit - 1 x Lexicon MX200 - This has many features of reverb unit but also more outlandish effects presets like phasers, delays, tremolo etc. It wouldn't be used as regularly though as not many instruments or effects would need them all the time, but an example could be delay on the snare drum after the hit in a slower song to add character to the track. It has many presets, and a useful tap delay button so the delay can be set in time to the beat of the kick drum avoiding any problems with the effect. It has balanced jack inputs and outputs so would need XLR to jack cables to connect to a stereo channel, otherwise inputs of channels on jack to jack.
Mixing Desk:
For this gig I will be using an Allen & Heath GL3800-832C analogue mixing desk with 32 channels and 10 Auxiliary sends. The reason I have specifically chosen the C configuration is because that gives me 4 stereo return channels right of the master section which I'd need for my effects units, and the 32 channels are for my 26 instrument channels and 6 monitors which each need their own channel. A channel list for both acts at the bottom of the page will justify the necessity for this many channels. The auxiliaries are to send monitor mixes to each act (aux 1 to 4 for rappers delight, 5-8 for dead flowers) and then the final two are for outboard like the reverb unit. I chose this desk as any house engineer will be familiar with analogue controls and can provide the band with a nice sound, but also as it has channels with mono and stereo functionality which are really useful for the stereo outputs of mixers which the decks mixer and keyboard mixer use, as each side can be controlled and processed down one channel and controlled with one fader making blending all instruments together easier. Other important features include pre/post aux on each channel meaning a channel can be used for monitors where signals have to be pre fader so they're not removed from a monitor when balancing, and post fader when controlling reverb applied to a channels output so when the signal is removed the reverb effect isn't left behind in the mix. Also each channel has a 100Hz low pass filter meaning channels with instruments not in the lower frequency band can have this removed leading to a cleaner more spacious mix. Also channels have individual phantom power meaning any mic's requiring phantom power which in this case is 5 channels (5,6,16,17 and 21) they can be sent to just those microphones and not restrict the grouping of channels and instruments on the mixer, as if it worked in band, each acts microphones may have to be mixed up to provide them all with phantom power which would create confusion for the engineer and send unnecessary phantom power to some dynamic microphones. Finally each channel has assignable talkback which is very helpful during the sound check pre-gig as the engineer can easily route the SM58 to each monitor to talk to performers through their monitor to check their levels are ok, helping to speed along the sound checking process.
Alternative Desk:
The Yamaha LS9 digital mixing desk would be a viable digital alternative to the Allen & Heath GL3800 I have chosen to use. It has the same amount of mic/line channels available and each of those has built in processing in it to apply to the signals on that channel, which would remove the need for outboard, however you're stuck with those options, so having the lexicon reverb unit would give far more diversity and options than channel presets. It's lightweight, supposaidly enough for one person to carry and setup which is a benefit over the GL3800, but could this be as a result of compromising rugged and strong materials to build both the exterior and the interior components? It also has multiple fader functions, meaning as well as faders controlling volume they can control EQ bands in the mix, but this could lead to mistakes from the sound guy and make troubleshooting more difficult if a problems occured on a channel or in a certain frequency band that a fader was also in charge of. There's an effects interface which allows all effects to be controlled from one place on one screen, which could be very convenient when organizing what effect to apply to what channel, but could again be a problem when trying to make changes as you'd have to flick through settings to find the problem. All in all, this is a good alternative to use with it's pros and cons, but I feel the analogue desk and outboard gear makes more sense as the physical connections can be easily accessed and troubleshooted, and they also give specific controls which allow you to shape the sound with more detail.
Multicore:
I will use 2 proel EBN2408 multicore's as I need 26 multicore inputs so will have to go across two boxes, and I need 10 outputs so will use 4 on one for the 4 FOH speakers and the other six to send signals to my on stage monitors. This is a multicore made by a reputable company with rigid and durable materials, and it also has coloured cables to quickly identify sends and returns which speeds up set up. It is a slight inconvenience having to use two seperate multicore's, but the extra channels will be helpful for any technical problems before or during the gig, so ammendments can be made if sockets are faulty.
Microphones:
2 x AKG D112 Dynamics for kick drums on both kits. Good low frequency response and can withstand high SPLs so is the perfect candidate for a kick drum microphone.
6 x Sennheiser E604 Dynamic microphones ideal for toms, snare and percussion which come with stands that clip to the rim of a drum, meaning they're discreet and securely attached to the instrument they're recording. These will be for the two toms and snare of each drummers kit.
4 x Audix ADX51 These condensers are suitable as overheads to pick up cymbals and toms including the floor tom, and can withstand SPLs of up to 142dB with the pad over the caging, meaning they shouldn't be damaged by loud cymbals and can be placed more flexibly and discreetly for the drummer and audience sake.
2 x Shure SM57 For Dead Flowers' electric guitar amps as they can be placed up against the skin of the cabinet and pick up all the neccessary frequencies to give a good recreation of the amp sound.
4 x Shure SM58 Ideal vocal microphones for both bands backing vocalists and lead vocalist/MC as they're durable and well performing stage mic's specifically designed for the voice.
1 x Sennheiser E906 A dynamic instrument mic with good frequency response and an optional high boost on to excentuate the brass sound of the trumpet and bring it out in the mix of instruments. also it shape and clip allow it to be positioned at a comfortable angle for the player, which many other dynamic instrument mic's don't do.
1 x DPA 4099 This is a small clip on condenser mic for the acoustic guitar in Dead Flowers set. It clips to the body of the guitar like a vice mechanism, with padding so not to damage the imstrument, and the the head moves freely to get different tones and not restrict the performers playing.
2 x Radial Pro-DI Passive DI Box This DI box will be used to take the line output of the DJ mixer and turn the signal from line level to instrument level, and output it via an XLR which is compatible with inputs in the multicore. So it amplifies the signal and gives suitable means to send it the multicore. It's made of durable materials, and has a shielded transformer which means the component is isolated from other internal electrical components so cannot be susceptible to interference, and is less likely to distort signals due to its high impedance level.
4 x Radial Stage Direct Muting DI Box These DI boxes will be used for each bass player in each band, and the keyboard player in Dead Flowers. They're good for stage use as they have a filter to effect the peaks of output signals and a -10dB pad for the high outputs of instruments like keyboards or basses. It has an output to XLR and amplifier so a DI signal and amplified bass amp could be used together for a richer sound with a phase allign switch to allow the signals to work together, and also there's a mute button which allows a bassist to quietly re- tune their instrument when a tuner is connected to a tuner input in the side of the DI box. As they're active they require phantom power which will be sent down the instruments individual channels in the desk to the boxes.
Other:
Tall Stand (Boom Mic Stand) - 9 x K&M 27105 - Reinforced material and adjustable height making them suitable for all vocalists, trumpet player and drum overheads. 9 in total for both groups equipment to members to be mic'ed where required as detailed on the channel list.
Small Stand - 4 x K&M 25935 - These shorter stands are made from the same durable materials but are far shorter to mic up instruments or amplifier cabinets placed on or close to the ground, which will be 2 kick drums and 2 guitar amps.
2 x Intellistage Mobile 2x2m riser - These risers will hold each drum kit, allowing the first acts kit to be placed in front of the headliners and then wheeled of stage allowing the other to be wheeled forward for the next performance. They have a wide enough bass for a 5 piece kit and drummer, and they have brakes to hold the riser still during performance. They will make the change over much quicker and have health and safety benefits preventing unnecessary heavy lifting.
Channels 1 to 12 for Rapper's Delight
These diagrams below show a layout for the two bands, the top one for Rapper's Delight and below that for Dead Flowers. This explains the "Send to Monitor (Via Aux)" column on my channel list as I have only 8 auxiliary sends available on my mixer to use for monitor mixes, but each band has six monitors, so for each act there are 4 aux sending 4 different mixes to 6 monitors, so some of the mixes are the same on different monitors. Hopefully this column shows which monitors need to play which instruments to the performers enabling them to play in time with the rest of the group and comfortably hear their playing and singing in the case of the lead and backing vocals. Both groups will have their equipment set up on stage at once, meaning the first group will perform using the front half of the stage, then have their equipment removed for the second acts performance. The diagrams below show how the first group will be set up allowing the headline acts equipment to be positioned behind it, and then the headline act can utilize the whole stage on the second diagram.
Here's a diagram showing the layout of my 300 capacity venue. It shows key sections like the stage, standing area and sound engineer box.
Please add in a venue layout showing stage/FOH Desk and FOH PA. This will then be a Distinction overall.
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