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Speedy J
2005/2006†technical rider v1.0
please copy this rider to the following personnel:
-sound technicians
-light technicians
-stage managers
-stage hands
it is important to understand that a speedy j's current set is a hybrid between traditional dj-ing and playing live. the set is an improvisation built from fragments of records, soundbites, loops and effects. it essentially a live set, and the only remaining element of traditional dj-ing is that some fragments may be taken from recordings produced by other people. the technical requirements for this set are therefore in some aspects different from those for traditional dj sets.†
technical notes:
as†this is not a traditional dj show, 6x turntables . the artist will use a system consisting of laptops,†controllers, drummachines, mixers and effects.
the artist will bring the entire backline , including†the mixer, and all cabling needed within the setup. all†cabling which carries the signal from the artist's mixer to both the pa system and monitoring system needs to be provided.
stage requirements:
all stage requirements below are intended for use by speedy j only. the setup, including the monitoring system and the†desktop space can not be used by other acts or dj's. once the equipment has been set up, it cannot be disconnected or moved.
location:
for shows in clubs: the setup incl backline, monitoring and room to†move takes up appox 250 cm x 200 cm. dj-booths will in most cases†be insufficient as a location to set up. a separate stage spot which†can accommodate the setup as described in this rider is preferred.†for shows at festivals: in case there will be other acts playing on†the same stage, the use of rolling risers or mobile stage elements is†advisable to ensure positioning and space as required.
space for equipment:
a riser or stage element with 200 cm x 100 cm of desktop space is sufficient.†preferred working height is 110 cm. actual risers are strongly†preferred over a setup with tables. the desktop surface should be†flat and without gaps or ditches. these risers should be sturdy, and†resonance free, and positioned in the centre of the front of the†stage. in case there are more bands / acts using this position, a†rolling riser should be provided.
it is important this space is available exclusively to the artist†from sound-check till the end of the night. speedy†j likes to play close to the audience, but it is essential that there†is enough room between the working space and the audience to make it†safe from people touching the equipment, or spilling drinks.
stage monitoring:
speedy j requires a top class, full range monitoring system, run in†stereo. it is important the monitors are capable of producing SPL of†up to 120db without distortion. side-fills or multi-way systems are†preferred; floor wedges are not acceptable. ideally the system on†stage is made up from elements that make up the front of house system†the artist essentially creates the front of house mix from the stage,†so it is important the monitoring system is capable of representing†the front of house sound as closely as possible. good sound on stage†will result in good sound in the venue. it would be helpful if the monitoring system is†easy to move around and/or re- directed. a system on wheels is†preferred. as noted before, it is important the system is available†exclusively to the artist from sound-check till the end of the night.
power requirements:
the artist will bring the backline equipment. this equipment†runs on 220/240 volts. if the voltage in your area is not 220/240,†voltage conversion is required. please be sure to provide a stable†professional step-up converter capable of running 1000 watts.†voltage convertors with built in regulators are preferred. the use of†a number of seperate inferior smaller convertors combined to meet the†1000 watts requirement is not acceptable. 4 european / german†compatible power sockets are required on the tables on stage,†preferably in the middle of the desktop.
set-up and sound-check:
the artist requires 90 minutes for set-up and sound-check. for shows†at festivals where sound-checks are not possible, a line- check is†sufficient, however a 90 minute slot for set-up is still required. it†is essential that during this time the following personnel is†present: -a sound technician (including the technician who will be†present during the actual show) -the monitoring technician -the light†technician who is responsible for stage light -stage hands
audio routing:
the artist will provide 2 stereo signals from the mixer on†stage. 1 x stereo signal for the front of house (mix out 1) 1 x†stereo signal for the monitoring system (mix out 2 or booth out)
it is advisable to have the cabling which carries the signal from the performance space to the pa already in place and tested before the artist arrives for soundcheck.
it is essential that the signals provided for the front of house are†routed to the PA system direct, or via a decent quality front of†house mixer. IN NO CIRCUMSTANCE can the audio signals be routed thru†equipment used for other acts / dj's such as dj mixers!
this mixer is an allen&heath xone:92, specifications below: MIX OUT 1†L,R (XLR) Servo Balanced XLR male 47 ohm 0dBu MIX OUT 2 L,R (jack)†Impedance balanced TRS jack 47 ohm† 2dBu (XLR male and female†connectors : Pin 2 = hot (+) Pin 3 = cold (-) Pin 1 = GND) BOOTH OUT††Impedance balanced TRS jack 47 ohm -2dBu (TRS input and output†connectors : Tip = hot (+) Ring = cold (-) Sleeve = GND)
sorry ako sam nekog smorio sa ovolikim postom,al ko zna zna
Re: Techno i trance muzika
Re: Techno i trance muzika