Though there are many similarities in the way that a band sets up for a show, it cannot be taken for granted that each group has the same requirements. Input lists and stage plots differ according to individual need, and the requisite audio equipment fluctuates depending upon the show and the engineer. Carting around a sound system is an expensive proposition, but in the end it pays for itself by affording a certain level of familiarity to the band as well as to the engineers in a notoriously capricious environment. While touring, the audio equipment and the engineers become an integral part of any show by providing a similitude of sound quality at each new locale despite the many differences between venues.

Unfortunately, many acts, due to budget constraints or the lack of a real touring schedule, cannot carry a sound system with them to every show and must rely upon the resident promoter to hire an audio provider for the event. It is standard procedure for a band to include in their contract an equipment rider that states a detailed list of everything they need for a successful show. This rider is a wish list of gear that has been assembled by the band’s engineer and denotes, in order of preference, the speakers, consoles and outboard equipment required to make for a successful show. Since it is a wish list, most riders are strikingly alike in their needs and requests, as no self-respecting engineer is going to ask for less than a Midas Heritage 3000 and a V-DOSC system for the FOH position, with Clair Bros. 12AM wedges and a Paragon console for monitor world. Tube compressors and a variety of high-end effects processors are a prerequisite for most riders, as are a variety of microphones.

As previously stated, these riders are wish lists, and in most cases are negotiated before each show. Depending upon the promoter’s budget, ticket pre-sale, cost of band and the like, the Heritage 3000 might become a Soundcraft Europa, the Paragon a Crest LM40 and the vertical array a stacked Community system. SPX90s and Alesis Midiverbs replace the Lexicon effects, and instead of the requested rack of Avalon 737s, there is a rack of dbx 1046 comp/limiters. The list of exotic mics is replaced by the standard Shure SM57s and SM58s, and to top it off, all the monitor wedges are proprietary.

As an audio provider, I totally understand the need to negotiate a rider while trying to fill the needs of the venue and promoter as well as the band. When I assume the role of visiting engineer it is comforting to see familiar equipment with which I can attain the required results while mixing my show. Doing my job as an audio provider, I try to accommodate each request and fill as much of the rider possible. In my mode of visiting engineer doing one-offs, I am pleased to report that the quality and professionalism of most regional sound companies in the United States and outside the continental U.S. is quite high, and while the lesser gear is never as sexy to use as the first choice equipment, it is usually well maintained and suitable for each room. I tend to be very forgiving in regard to the equipment I use, as are most of the engineers with whom I have traveled. I don’t take it as a personal affront if my rider is totally misread and figure that I can make the show work with any equipment that is provided.

The truth is that from my experience, the equipment always takes a back seat to food, and if anything on the rider should be properly provided, it should be the food and dressing room requests. That’s right, food! After all, we travel great distances and work long and arduous days, and the least a promoter should do is to make sure we are well fed. Most promoters like to save money, but food is not the place to start skimping on the budget and while most crew members will overlook a promoter saving a dollar or two on the gear, they will definitely be more likely to park a truck on top of him if the food is lacking.

Anyone who has done any bit of traveling knows that the opportunities for a good meal while on the road are slimmer than the people who actually eat them, and other than fast food, the crew relies upon the catering at any given venue for their source of nourishment. My advice for anyone wanting to promote a one-off show is that an early morning load-in (anything before noon) requires, at the least, coffee, juice and doughnuts. Bagels and cream cheese is a nice touch, but for a good hot meal we all tend to look the other way when the equipment is not quite up to spec. Lunch can be the standard cold cuts or pizza as long as there is plenty of water and Gatorade sloshing around. Dinner should be a hot meal with a smattering from all the food groups and prepared by a professional cook. Of course, if the show is taking place in the center of a large city, a 15- or 20-dollar buy-out will suffice, but forget the buy-out when the show is in the middle of an Indianapolis racetrack. First of all, we’ll never find a restaurant, and if we do, we won’t be back in time for the show.

Try not to serve a dinner made up of the leftover deli sandwiches we had for lunch. We know you are on a budget and we sympathize, but that just won’t fly. Keep the coffee flowing all day, but make sure that there is some beer for the crew. While this is not a party, we crew members always like to make it a festive occasion, especially after each show as we sit around a hotel whose bar has closed early. Try to keep the menu simple, as most crew guys will shy away from the Portobello and red onion sandwich with pesto mayonnaise on sourdough bread. You’ll always be safe with a well-prepared chicken or fish entrée with a little pasta or potato and vegetable. Make sure there is a sufficient supply of chocolate brownies for desert and maybe a pie or two, as we all like a good sugar rush before a show. By the way, cheese sandwiches any time of the day are out except for those that don’t eat meat, but wait for the request and don’t assume that we want to see them on the platter. Little hors d’ oeuvres and finger foods are a nice touch for a chic dinner party, but keep in mind that we are big burly ruffians in need of large shanks of beef to satiate our hunger.