The contractual relationship

We must start with the tedious part and acknowledge that a technical rider is part of a contractual relationship. What does that mean? It means that what is presented during the negotiation phase will be binding for both parties. At first it sounds fantastic, but it must be taken into account that the technical rider will be decisive during the pre-contract phase. In other words: if the rider does not fit my expectations, I will not even consider the booking. And that’s where the story ends.

At the same time, it is a document that defines the minimum requirements for a show or event to be technically delivered at its full potential. Without what is specified in the rider, the artist (or band) states that they will not be able to deliver the show, at least not as it was conceived and, often, not as the promoter expects.

Once both sides are understood, the goal is not to seek balance, but to be coherent with what is being requested, which is very different. Moreover, we must avoid inflating riders under the assumption that the promoter will systematically reduce them later on, a practice that ultimately harms the sector (because it has become, unfortunately, normalized).

A rider to resolve doubts

A technical rider should be able to practically answer all questions that may arise during the booking process, without generating doubts for the reader (usually a technical producer or technical manager), and should provide the promoter with a clear understanding of the (potential) additional costs involved. When achieved, not only does the booking process speed up, but it also creates a healthy atmosphere of trust for both parties.

Information quality matters, never quantity. The same message can be conveyed in a 2-page document as in a 20-page one. In fact, riders with excessive text often repeat concepts that add no value or, worse, introduce major inconsistencies (due to lack of revision or, even worse, lack of experience). They don’t resolve doubts — they create them.

The first doubt to resolve, however, is what type of band you are, which market you are targeting, and which limitations (if any) must be clearly taken into account.

Basic sections of a rider

At a basic level, regarding audio, the rider must cover PA and control requirements, microphones and stage plot. These are the most complex sections because music is, ultimately, audio. Later we will address lighting, A/V content, backline and hospitality.

The vast majority of bands — almost all of them — will never be able to choose the PA model or brand they will use. In venues, the system is already installed, and it will be up to the band’s technical manager, the promoter or the venue’s technical manager to assess whether the technical conditions are adequate or not — period. Therefore, it is not worth spending time collecting PA models and brands. What can be useful is clearly defining what is expected from the sound system to be used: for example, the desired “extra” level of sub energy, the target dynamic range, etc. Everyone would love a system that faithfully reproduces from 20 to 20,000 Hz without distortion and with a perfectly flat response — and the rest of humanity would love to hear clearly above 15 kHz or feel their body shake with 20 Hz frequencies at the same level as 20,000 Hz.

Audio consoles are the physical interfaces that allow the technician to control the sounds coming from the stage, process them and send them back to the PA system. It is perfectly normal for a band’s technician to want the best possible console models. However, precisely because they are a band technician, they must be skilled enough to deliver their service regardless of the console available. Especially in today’s market, where globalization has ceased to be a differentiating factor: in most places you will find the same well-known models. Unless it is truly impossible to reach the desired technical-artistic level with a given console, it is better to specify the overall technical requirements. We are not talking about input channels — already defined in the patch — nor outputs, which must appear both in the patch and the stage plot. Rather, specify which extras are required (and sometimes justify them), whether a personal console is brought (and which additional requirements are mandatory), etc.

The stage plot should be a basic, uncomplicated graphic that clearly resolves everything required: placement of musical elements (scaled, oriented, etc.), monitor layout (if any), power outlets, and so on. They do not need to be beautiful drawings, but they must be explanatory and, above all, efficient. One page only, always in black and white.

Companies and production teams will end up printing the rider in black and white (cost saving): the more colors — grayscale included — the more you complicate the work for your stage colleagues.

The patch is one of the most important elements of the technical rider: input channel, description (kick, snare top, etc.), desired microphone list, stand type, notes, etc. Everything on a single page, in black and white. Organized and following the global standard order (trying to be clever here is not recommended). If a specific and uncommon microphone is requested, it is best to bring it yourself (and clearly state that you will), as it can be extremely frustrating to rent equipment to comply with a contractual rider and later realize it was unnecessary.

Include both input channels (the more options the better, always with standardized alternatives) and outputs: monitors, IEMs, etc. Always make clear what additional equipment will be provided and, above all, what will not be provided and is being requested. In all cases. Examples we often forget: placing a computer at FOH to play back audio, space required for a backliner provided by the band, etc.

Other considerations

If succeeding in audio is already complex, lighting is even more so — although less tedious. A good lighting stage plot is often a good starting point. In return, one should expect either the corresponding layout and patch or the necessary alternatives. Regarding audiovisual content (video), it must be clear how the output is delivered (and that it is standard-compatible), the desired location of the video source (stage, FOH, etc.), and who will trigger it (band staff, venue staff, timecode, etc.). As with backline (instruments), precision and clarity are required, while still allowing reasonable flexibility for the promoter. Clearly stating what equipment the band provides and what is requested is a must.

Although the hospitality section has no technical implications, it is commonly found in technical riders (the separation between technical and hospitality riders is gradually becoming standard). Once again, the same principle applies: request what is needed and be responsible for it. A concert is still a job (a dignified one, and often enjoyable), but it should not be an excuse for constant partying.