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Replay Promo Music 3:270:00/3:27
Replay Technical Rider
The Purchaser and Replay agree that the equipment and instruments of each artist performing at the event are not available for use by any other person, except with specific permission of Replay.
Load-in: Replay appreciates load-in time at least three hours before performance start time. A sound check may be performed between load-in and the performance start time. Ideally, the sound check will occur prior to guest arrival and may occur 30 minutes to one hour prior to performance.
Festivals/Multi-performers: If another performer precedes Replay, we are happy to work with the venue coordinator and performer to ensure the transition, so Replay starts on time. Stage plots, sound mixer channel maps, and other performance information may be found at https://replay.rocks/tech-rider
Parking: A secure and reserved parking space for at least one truck and trailer should be provided at the Load-in area through time of departure. Six additional parking spaces for the performers should be secure and near the load-in area.
Green Rooms: Please provide at least two private dedicated secure rooms with privacy barriers for costume changes and private access to male and female restrooms near the stage for the performers from time of Load-in until Departure.
Catering: Replay appreciates snacks, drinking water, diet cola soda, teas, and sandwiches, when possible, for the musicians to prepare for the performance.
Photos, recordings, or video: Photos and recording of the performance for Purchaser’s promotions are welcome. However, recordings shall not be made for the purposes of selling or for professional or commercial use without written consent by Replay. The Purchaser and its guests may take photos and video for personal use only. Replay welcomes and appreciates being provided complimentary copies of any and all digital media captured by Purchaser or its guests. In this event, Replay reserves the unrestricted right to use all digital media provided by Purchaser and its guests it in future Replay marketing, and without any form of compensation being made by Replay to any persons depicted in the digital media provided. Children’s faces in photos and videos shall be blurred by the photographer for their privacy and safety. Please send photos and videos to Contact@Replay.Rocks.
Power: The Purchaser shall ensure a safe and reliable supply of electricity. Please provide a minimum of three separate 15–20-amp circuits at the stage. Replay will take responsibility to distribute power from the 120V receptacles provided. Replay recommends an Eaton Temporary Power Panel or similar quality power distribution center if three separate circuits are not available at the stage. Please contact Rick Morrow of Replay at 847 989-3333 for answers to questions.
Stage: Replay provides a Stage Plot at www.Replay.Rocks/EPK and can send on request. The stage size to accommodate all instruments, light show, and sound system should be a minimum of 22’ wide (Stage Left to Right) by 14’ (Upstage to Downstage.) The stage should be level and braced sufficiently to avoid bouncing and shifting of instruments during a performance. Please contact Rick with the dimensions including height and to answer questions.
Sound system: If provided by a Production Company: Replay requires a high quality sound system and will assist in advance with the sound engineer to achieve the quality. If provided by Replay: Replay’s Sound Engineer typically mixes at a fixed protected station located approximately 80-100 feet in the Front of House (FOH) from the stage to optimize the quality heard by the guests.
Cord management is to be provided by the venue. Cables run from the stage to the mixing console ideally are run overhead by the venue or on the floor in cable jackets approximately eighty feet from downstage near the center of the floor. Cable jackets or other cable and foot traffic protection must meet the requirements for the venue. A barrier should be provided around the mixer and engineer to minimize the possibility of people or objects including rain and other liquids damaging the mixer and racks. A typical barrier is simply customer queue poles and ribbon.
Light show: Replay will utilize the venue’s light show, if provided, or provide Replay’s lights for the best quality show. The power requirements are covered above.
The Purchaser and Replay agree that the equipment and instruments of each artist performing at the event are not available for use by any other person, except with specific permission of Replay.
Thank you for contracting with Replay – Performing songs fans know by Artists they love.
Rick Morrow
Replay
Mobile: 847 989-3333
Stage Plot
Stage Plot Overview
| Artist | Michael | Mary | Rick | Greg | Gary | ||||||||||
| Group | Relay X32 Inputs | Instrument | Drop Snake | Snake Channel | X32 Rack | S16 | Mic/Line | Type | Stand/Mount | Stage Right/Left ( FOH Orientation) | Artist |
Phantom ? |
DCA ? | In Ear Monitor Mix |
Effects Gate, Compr, Reverb, Delay |
| Click | 1 | Click Track (iPad) | Drum 12X4 | 10 | 1 | Line | USB C to TRS 1/4" from iPad to DI Box using mono balanced TRS cable | iPad on cymbal stand | USC | Rick | DCA 6 | R, G | |||
Instruments |
2 | Bass Guitar Gary | Frntline Harness | 2 | 2 | Line | XLR LINE OUT | DSL | Gary | DCA 3 | All | ||||
| 3 | Guitar (Acoustic) Michael | Frntline Harness | 3 | 3 | Line + DI Box | XLR LINE OUT | DSR | Michael | DCA 3 | All | |||||
| 4 | Guitar E Michael | Frntline Harness | 4 | 4 | Line | XLR LINE OUT | DSR | Michael | DCA 3 | All | |||||
| 5 | Guitar Greg | Frntline Harness | 5 | 5 | Line | XLR LINE OUT | DSL | Greg | DCA 3 | All | |||||
| 6 | Guitar Greg | Frntline Harness | 6 | 6 | Line | XLR LINE OUT | DSL | Greg | DCA 3 | All | |||||
| 7 | Keyboard | Keys Harness | 7 | 7 | Line | 1/4"TRS Male to XLR Male | DSR | DCA 3 | All | ||||||
| 8 | Keyboard | Keys Harness | 8 | 8 | Line | 1/4"TRS Male to XLR Male | DSR | DCA 3 | All | ||||||
| 9 | Violin | Frntline Harness | 9 | 9 | Line + DI Box | XLR LINE OUT | DSC | Mary | DCA 3 | All | |||||
| 10 | Saxophone | Frntline Harness | 10 | 10 | Shure SM58 | XLR LINE OUT | Boom Mic Stand | DSC | Mary | DCS 3 | All | ||||
| 11 | spare | 11 | 11 | ||||||||||||
Vocals |
12 | VOX Michael | IN RACK | 12 | 12 | Shure SLDX Wireless 58 | Wireless | Boom Mic Stand | DSR | Michael | DCA 2 | All | G,C,R | ||
| 13 | VOX Mary | INRACK | 13 | 13 | Shure SLDX Wireless 58 | Wireless | Boom Mic Stand | DSC | Mary | DCA 2 | All | G,C,R | |||
| 14 | VOX Greg | IN RACK | 14 | 14 | Shure SLDX Wireless 58 | Wireless | Boom Mic Stand | DSL | Greg | DCA 2 | All | G,C,R | |||
| 15 | VOX Gary | Frntline Harness | 15 | 15 | Sennheiser | XLR LINE OUT | Boom Mic Stand | DSL | Gary | DCA 2 | All | G,C,R | |||
| 16 | VOX Rick | Drum 12X4 | 11 | 16 | Shure SM58 switched | XLR LINE OUT | Boom Mic Stand | USC | Rick | DCA 2 | All | G,C,R | |||
Drums |
17 | Kick (Single Kick) | Drum 12X4 | 1 | 1 | Shure Beta 52A | XLR LINE OUT | GFW-Mic-0821 | USC | Rick | DCA 1 | R | G,C | ||
| 18 | Kick 2 (IF USED) DBL | Drum 12X4 | 2 | 2 | Shure Beta 52A | XLR LINE OUT | GFW-Mic-0822 | USC | Rick | DCA 1 | R | G,C | |||
| 19 | Snare | Drum 12X4 | 3 | 3 | Shure SM57 | XLR LINE OUT | Shure A56D Rim Mount | USC | Rick | DCA 1 | R | G,C,R,D | |||
| 20 | Tom High | Drum 12X4 | 4 | 4 | Shure SM57 | XLR LINE OUT | Shure A56D Rim Mount | USC | Rick | DCA 1 | R | G,C | |||
| 21 | Tom Mid | Drum 12X4 | 5 | 5 | Shure SM57 | XLR LINE OUT | Shure A56D Rim Mount | USC | Rick | DCA 1 | R | G,C | |||
| 22 | Floor Tom Low | Drum 12X4 | 6 | 6 | Shure SM57 | XLR LINE OUT | Shure A56D Rim Mount | USC | Rick | DCA 1 | R | G,C | |||
| 23 | OH RIDE | Drum 12X4 | 7 | 7 | AKG P170 | XLR LINE OUT | Boom Mic Stand | USR | Rick | Yes | DCA 1 | R | G,C | ||
| 24 | OH HI HAT | Drum 12X4 | 8 | 8 | AKG P170 | XLR LINE OUT | Boom Mic Stand | USL | Rick | Yes | DCA 1 | R | G,C | ||
| 25 | Rototoms | Drum 12X4 | 9 | 9 | Shure SM57 | XLR LINE OUT | Boom Mic Stand | USC | Rick | DCA 1 | R | ||||
| 26 | |||||||||||||||
| 27 | |||||||||||||||
| 28 | |||||||||||||||
| 29 | Voice - Crowd | SM57 | XLR LINE OUT | Desk stand at X32 | All | ||||||||||
| 30 | EQ Room | Condenser mic | XLR LINE OUT | Crowd | Yes | ||||||||||
| 31 | Main L | ||||||||||||||
| 32 | Main R | ||||||||||||||
| X32 Output | Purpose | Device | Pan | ||||||||||||
| Out 1 | IEM L Mary | 1 | Shure PSM300 | Mary | |||||||||||
| Out 2 | IEM R Mary | 2 | Shure PSM300 | Mary | |||||||||||
| Out 3 | IEM L Michael | 3 | Shure PSM300 | Michael | |||||||||||
| Out 4 | IEM R Michael | 4 | Shure PSM300 | Michael | |||||||||||
| Out 5 | IEM L Greg | 5 | SHURE PSM300 |
Left | Greg | ||||||||||
| Out 6 | IEM R Greg | 6 | Right | Greg | |||||||||||
| Out 7 | IEM L Rick | 7 | Line with P1 amp | P1 on mic stand | Rick | ||||||||||
| Out 8 | IEM R Rick | 8 | Line with P1 amp | Rick | |||||||||||
| Out 9 | IEM Mono Gary | 9 | XVIVE U4 | Gary | |||||||||||
| Out 10 | |||||||||||||||
| Out 11 | |||||||||||||||
| Out 12 | Venue Mono Feed | ||||||||||||||
| Out 13 | Front Fill (Future) | ||||||||||||||
| Out 14 | FOH SUBS MONO | 6 | Center or R L | ||||||||||||
| Out 15 | FOH PA | 7 | Left (FOH) | ||||||||||||
| Out 16 | FOH PA | 8 | Right (FOH) | ||||||||||||
| Purpose | Note | Alternative | |||||||||||||
| Aux 5 | iPhone playback L | iPhone or similar | 1/8" pin jack to RCA Stereo cable or USB-C to RCA Stereo cable | ||||||||||||
| Aux 6 | iPhone playback R |