1. Tour or Technical Inquiry Contacts - The Guess Who · 2020. 1. 28. · PERFORMANCE RIDER – wPART A ww.theGuessWho.com TheGuessWho_Rider_PartA_2019-09-01 RELEASED.docx Page 1

PERFORMANCE RIDER – PART A www.theGuessWho.com

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1. Tour or Technical Inquiry Contacts

Tour Manager – Tour Scheduling and Logistics Leonard Shaw Home: (204) 339-6107 Cel: (336) 681-1881 Fax: (204) 339-8467 [email protected]

Production Manager - Technical Inquiries regarding the Rider Howard Klopak Canadian Mobile: (204) 293-0020 US Mobile: (336) 601-6447 [email protected]

Personal Manager and Booking Agent - Booking, Contracts, Business and Legal Matters Randy Erwin Tel: 303-727-1111 Cel: 612-810-9000 Fax: 303-936-0069 Email: [email protected] Entertainment Services International (ESI) 1819 S. Harlan Circle Lakewood, CO 80232 USA

Public Relations Manager - Publicity Materials, Advertising Approval, Social Media, Interview Requests and Ticket Counts

Jason Engstrom (ESI) Tel: 303-727-1111 Fax: 303-936-0069 Email: [email protected]

Read This First: The most resent version of this document may be obtained at: www.TheGuessWho.com/info.

Please check for a new version before signing or distributing this document. The document version may be identified

by the release date yyyy-mm-dd in the filename within footer of each page.

The Purchaser and the Purchaser’s sub-contractors shall not rely on one-way voicemail or email for

notification/communication of information. Two-way communication is required, with confirmations back to the

Artist’s Representatives, to ensure the information connects.

http://www.theguesswho.com/

mailto:[email protected]




http://www.theguesswho.com/info



Table of Contents

1. Tour or Technical Inquiry Contacts ........................................................................ 1 2. The Guess Who Performance Rider - Acceptance .............................................. 3 3. General Provisions .................................................................................................. 4

3.1. Billing ......................................................................................................... 4 3.2. Payment in the Occurrence of a Force Majeure Event ........................... 4 3.3. Postponement / Cancellation .................................................................... 4 3.4. Tickets – (in the case of contracts with gate commissions) .................... 4 3.5. Complementary Tickets and Passes........................................................ 4 3.6. Restrictions on Advertising Promotional Materials................................... 4 3.7. Production ................................................................................................. 5

3.7.1. Production Requirements ............................................................................... 5 3.7.2. Production - Backline Equipment ................................................................... 5 3.7.3. Compensation for Equipment Supplied by Artist or Representative ............. 5

3.8. Merchandise .............................................................................................. 5 3.9. Shipping, Handling & Secure Storage ...................................................... 5

4. Performance ............................................................................................................ 6 4.1. Artistic control of performance .................................................................. 6

4.1.1. Performer or Advertising Banners or Other Media......................................... 6 4.1.2. Speeches & Introductions .............................................................................. 6 4.1.3. Duration of Artist’s performance ..................................................................... 6 4.1.4. Ordinances or Restrictions of any type .......................................................... 6 4.1.5. No supporting act ............................................................................................ 6

4.2. Audio and Video Broadcasting and photography .................................... 6 4.3. Stage Access ............................................................................................ 7 4.4. Security Personnel .................................................................................... 7 4.5. Dressing Rooms........................................................................................ 7 4.6. Stage and Venue Climate Control ............................................................ 7

5. Catering ................................................................................................................... 8 5.1. General ...................................................................................................... 8

5.1.1. Crew Catering during Setup ........................................................................... 8 5.1.2. Meals .............................................................................................................. 8 5.1.3. Dressing room catering and Stage Items ....................................................... 9

6. Ground Transportation ......................................................................................... 10 6.1. Typical Transport schedule (Example) ................................................... 11

7. Hotel Accommodations – 2 Nights ....................................................................... 12 7.1. Hotel Requirements ................................................................................ 12 7.2. Room List ................................................................................................ 13




2. The Guess Who Performance Rider - Acceptance

ESI Contract #:

Purchaser:

Date:

This Rider (Parts A and B) are attached to and made part of the ESI Contract above between the Purchaser and

KALPET LP furnishing the services of (f/s/o) The Guess Who (hereinafter referred to as Artist).

All terms and provisions in this rider, and the contract to which it is attached, are part of one and the same contract,

and referred to herein as the “contract”

Any and all requirements expressed herein will be fulfilled by the Purchaser at no cost to the Artist. Nothing in this

contract or rider may be deleted or altered without expressed written consent from the Artist.

Contact the Agent representing the Artist (Randy Erwin) if you have any questions regarding this rider. Contact

information is on Page 1.

If all the terms and conditions as stated herein meet with your approval, please signify your acceptance by signing

in the appropriate space provided below:

Agreed and accepted by: Date

Purchaser:

Agreed and accepted by: Date

Artist:




3. General Provisions

3.1. Billing

Artist shall receive sole headlining billing and 100% size type, in all advertising and publicity, including, -

but not limited to – billboards, marquees, newspapers, trade ads, fliers, posters, radio and television spots.

Unless otherwise agreed to in writing by the Artist. The “Artist’s logo”, when used, must remain intact.

3.2. Payment in the Occurrence of a Force Majeure Event

Should a Force Majeure event render performance impossible or not feasible, ARTIST shall nevertheless

be paid full compensation as provided herein and artist shall have no further obligation; provided that

ARTIST is at the engagement, in a time frame relating to the engagement, and is ready and willing to

perform. In such an instance, Purchaser agrees that any and all monies held by any and all third parties,

in escrow or otherwise, as payment to Artist shall be released to Artist as if the engagement(s) were

completed and this paragraph shall be deemed as authorization to any such third party (such as Artist’s

booking Agent) to release such monies to Artist

Wherever the term “Force Majeure event” is used within this contract, it shall include, but not be limited to,

a venue accident, a venue interruption, or failure as related to the venue, inclement weather, act(s) of

God, riots, strikes, labor difficulties, epidemics, earthquakes, acts of terrorism, any act or order of any

public authority, and/or any other cause or event, similar or dissimilar, beyond the control of the ARTIST.

3.3. Postponement / Cancellation

Artist may postpone or cancel this contract and the services to be rendered there under, at the Artist’s sole

discretion, by giving forty-five days prior written notice to the Purchaser, in the event that said engagement

would conflict with the preparation for, or rehearsal of, a performance in a television series, television

special, video taping, motion picture, or stage production, or the production of a recording in which the

Artist may be contractually involved in the event Artist effects a postponement, said engagement shall be

played on a mutually agreeable date within one year, after completion of the conflicting engagement.

3.4. Tickets – (in the case of contracts with gate commissions)

Purchaser agrees to provide verification of all sales systems and procedure, upon request, as well as a

complete manifest of all reasonable costs pertaining to the engagement. Purchaser agrees to allow an

inspection of the box office procedure by the Artist’s representative, and display the house starting ticket

number, or a ticket service printout. Also, Purchaser will provide, the “deadwood” count, guest-lists, and/or

“giveaway” lists. Only pre-approved guest lists, backstage passes, or media “comps” will not be counted

into contract arrangements, all other tickets shall be considered sold. 72 hours notice by direct phone

conversation to Artists booking Agent is expected, when Purchaser has concern to change the ticket price

or show-time. Should the admission price on the day of performance not agree with the face of the

contract, (increase), Purchaser will forfeit the difference.

3.5. Complementary Tickets and Passes

a) 25 complimentary tickets, for seats in the center section within the first 10 rows, will be provided for

Artist’s use (guests) for each performance. Artist’s representative will release all unused tickets to the

box office, prior to opening of doors. The Artist may request backstage access for some of these

guests, which will be resolved in advance of the show.

b) All guest lists, backstage passes, or media “comps”, are subject to final approval by the Artist’s

representative.

3.6. Restrictions on Advertising Promotional Materials

a) Failure to comply with this section could result in legal jeopardy! It is imperative that only promotional

materials provided by the Artist’s Agent be used when advertising the Artist. No other biography,

photographs, music or video are authorized for any use whatsoever. Other approved publicity

materials may be downloaded from the Artist’s official web site at this link:

http://www.theguesswho.com/media


http://www.theguesswho.com/media



b) Purchaser shall be responsible to see that any and all advertising and publicity of Artist for this

engagement (whether in print, video, audio, or internet) shall be approved by Artist's Agent prior to

being released to the general public.

3.7. Production

3.7.1. Production Requirements

The Purchaser shall contract and coordinate all aspects of production to meet the Artist’s Technical

Rider, as outlined in Part B. The most current version of the Technical Requirements (Rider Part B)

may be obtained at: www.TheGuessWho.com/info

3.7.2. Production - Backline Equipment

The Purchaser will contact the Artist’s Production Manager in advance of contracting a backline

company to determine if the Artist has a preferred backline supplier for the particular show/region.

The Artist may request a specific backline provider for reasons such as quality, consistency,

preferred personnel, etc. . . over the typical backline provider that the purchaser normally uses. Also,

the Artist may elect to use the same backline company/equipment, when playing multiple shows in

the region, in order to improve consistency of the performance, reduce setup time. In these cases,

this would result in a backline buyout, that the Purchaser pays to the Artist.

3.7.3. Compensation for Equipment Supplied by Artist or Representative

In the case that the Artist, or a Representative of the Artist, supplies equipment used for the Artist’s

performance to meet requirements, the Purchaser shall reimburse the Artist for the costs.

3.8. Merchandise

a) The Purchaser shall not manufacture any product or artifacts, (t-shirts, buttons, pictures, posters,

hats, pins, jackets, etc.), using “The Guess Who” name, logo, or likeness of Artist for the

purpose of sale or promotional giveaway, without the written consent of the Artist. In the event

such sales are made, the Artist shall receive 100% of the proceeds from these sales, and

Purchaser may be subject to trademark infringement law.

b) The Artist shall have the sole and exclusive right to sell items that contain or bear material

copyrighted or licensed to the Artist or use “The Guess Who” name, logo, or likeness at or about

the venue on the day of the engagement, prior to, during, and after each performance by

Artist. Items may include, but are not limited to; wearing apparel, photographs, posters, buttons,

pins, hats, audio cassettes, CDs, DVDs, stickers, programs, or other items of merchandise.

c) The Purchaser shall provide a minimum of one competent seller for each point of sale, to vend

the Artist’s merchandise. There will be no cost to the Artist for the sellers, if a venue or vendor

commission fee is to be paid from the gross proceeds of the Artist’s merchandise hereunder.

d) Any commissions related to the sales of merchandise shall be stipulated in writing by the

Purchaser and agreed to well in advance by the Artist. Purchaser further agrees to use the best

efforts to obtain the lowest possible hall and vendor fees payable to the venue for the sale of

Artist’s merchandise.

e) Purchaser shall provide an adequate space for the Artists designee to vend such material,

allotting a suitable and lit area in line with the in/out customer traffic or adjacent to the stage.

3.9. Shipping, Handling & Secure Storage

The Artist has merchandise, equipment and supplies (items) that are shipped to/from events as

required. The Purchaser shall provide Secure Storage for these items upon arrival and/or prior to pick

up by carriers such as FedEx, UPS or others. The Purchaser will provide resources to manage the

timely/critical handoff to and from the carriers, as well as the Handling & Secure Storage of these

items within their premises, moving/providing this equipment to the stage and merchandise areas

and aid in any other related activities requested.





4. Performance

4.1. Artistic control of performance

Artistic control of Artist’s performance shall be solely vested with the Artist, with regard to material,

accompaniment, wardrobe, lighting, staging, sound system, background music, and duration of Artists

performance. Artist has the right to change any of the performance personnel of The Guess Who, at any time

and any such change shall have no effect upon this agreement whatsoever.

The Artistic control of the performance extends from 30 minutes prior to the Artist beginning the first song of the

concert, until 10 minutes after the Artist has left the stage on completion of the last song.

4.1.1. Performer or Advertising Banners or Other Media

a) If any other performers on the Engagement are utilizing a backdrop or banner, such items shall either

be removed, or covered and not visible to the audience, prior to and during the Artist’s performance.

The Artist will not perform until this has been satisfied.

b) Banners or signs of any kind shall not be located anywhere in the Artist’s performing area during the

performance.

c) There shall not be any Banners over speaker systems for outdoor shows. This greatly increases risk

of damage to structures and danger to personnel due to the effect of wind load as well as significantly

impedes the sound quality due to diffusing high frequencies. If over speaker banners are required,

the banner must be of a proper Wind Blow–Thru & Acoustically Transparent material, with approval

required from the Artist’s representative, in writing, in advance. The purchaser shall ensure that

safety requirements are met for banners as well as all other aspects.

d) No videos, audio segments, graphics signs, etc. . . will be played or operating within the defined time

of Artistic control unless there is prior written consent from the Artist’s representative.

4.1.2. Speeches & Introductions

a) Required event speeches, or any other address to the audience, shall be limited to less than 3

minutes within Artistic Control time frame, and must be completed at least 10 minutes before show

time.

b) The Artist shall be advised in advance if there is a Radio, TV or other event person that intends to

introduce the Artist, so the intended presentation content can be cleared by the Artist and in order to

ensure proper coordination.

4.1.3. Duration of Artist’s performance

The duration of the performance will be without intermission and approximately seventy-five minutes in length,

unless otherwise agreed to in writing, and indicated upon the face of Artist’s contract copy. Purchaser should

discuss the performance schedule and show length, when discussing the initial contract, with the Artist’s

booking Agent, and confirm this again with the Artist representative, during the advance seventy-two hours

notice by direct phone conversation to Artist’s booking Agent is expected, when Purchaser has

concern to change the show start time or length of performance. Under no condition will a situation, by

Purchaser or his representative be permitted that would cause the Artist to cut or alter show.

4.1.4. Ordinances or Restrictions of any type

Purchaser will provide written notice to the Artist or Artist’s representative of any building policy, curfew, local

ordinance, or any other restriction, before the initial contract is agreed to.

4.1.5. No supporting act

No supporting act, such as a performing Artist or group(s), master of ceremonies, disk jockey, announcer, or

any other type of entertainer or personality shall perform at the engagement without advance approval from

Artist or Artist’s representative.

4.2. Audio and Video Broadcasting and photography

Closed circuit live video display to the audience is acceptable, and when this occurs, the Purchaser will ensure

a master high quality digital recording of the video and audio is provided to the Artist, immediately after the

performance. The Purchaser will insure there is no other recording of audio or video recorded or copied, and




the replica of the performance will not be broadcast or displayed in any way without the prior written agreement

with the Artist. This also applies to photography. The purchaser will ensure the artist is provided the original

quality of all recordings or photography and the artist is granted the right to use the material without restriction.

4.3. Stage Access

Stage access is strictly limited to the Artist and Artist’s crew, sound and lighting company personnel, stage

hands, loaders or others as designated by the Artist.

4.4. Security Personnel

General

The Purchaser is expected to coordinate and adjust the security arrangements to suit the conditions of the

venue to ensure the safety and comfort of the Artist. As a minimum, the Purchaser will have security in place to

ensure only authorized appropriate individuals are granted access to areas such as the stage, backstage, crew

positions, dressing room, loading dock, parking area, or any other area occupied by the Artist or equipment.

Adequate Security is required during all aspects of the engagement including the setup as well as before,

during and after the performance.

Passing near/through crowd or autograph sessions - If situation should arise where the Artist should be

forced to pass near or through the audience, an adequate security force will provide escort. This is the case in

the event that the Artist is signing autographs after the performance. Security shall be provided to escort

the Artist to the location, and ensure an organized line is formed with stanchions prior to the Artist’s

arrival. Security shall be in immediately close attendance at all times during the signing session, and

escort the Artist back to the secure area/dressing room.

4.5. Dressing Rooms

Purchaser shall provide a minimum of 1 properly maintained, clean, adequately ventilated air-conditioned in

the summer, or heated in the winter, well lit dressing room, for the exclusive use of the Artist and crew. The

dressing room must be made available from load-in, until the departure of the last crew member.

a) This room must have a secure lock and key.

b) There will be comfortable seating provided for a minimum of 10 people with adequate

space for guitars, luggage/clothing, table space for catering and general access for the

Artist.

c) A clean private lavatory facility, not shared with the public.

d) Mirrors, towels, soap, hot and cold running water and power outlets within the dressing

room, or lavatory are required.

e) The dressing room must be accessible without passing through the general public, and

accessible to the stage and exits without passing through the audience area.

f) The dressing room door shall be labeled “The Guess Who”.

4.6. Stage and Venue Climate Control

The purchaser shall ensure all heating, ventilation and air-conditioning equipment is operating up to local

building codes to ensure the comfort of the audience and the Artist.

The Purchaser shall provide adequate direct cooling fans to keep the Artist cool under the heat of the

lights, or for outdoor shows in summer weather.

Outdoor shows in cold or hot weather require special considerations and planning to ensure instruments

stay in tune, or the performance will be ruined. Please review these details with the Production Manager in

advance of the show date.




5. Catering

5.1. General

The Purchaser will provide for beverages and meals for the Artist (crew and band) while the Artist is at the

venue. Specifics vary based on the schedule and facility. The Purchaser will discuss with the tour manager to

determine the most favorable scenario. Examples of typical catering arrangements are outlined below.

5.1.1. Crew Catering during Setup

The Purchaser will provide fresh fruit, water and coffee for the Artist’s crew during setup, as well as stage water

for soundcheck. A meal shall be provided for the crew when word extends through a meal time.

5.1.2. Meals

The Purchaser will provide a complete balanced meal for 9 people, with a vegetarian option preferred for 1.

The meal is typically required after sound check, 4 hours prior to show time.

Meal Buy-out - In the case that the Purchaser cannot make arrangements for the Artist’s dinner meal

requirements on site, the Artist’s representative is paid $225.00 as a meal buy-out.

< Continued next page >




5.1.3. Dressing room catering and Stage Items

The Purchaser will ensure the Artist is provided dressing room catering presented in an appealing manner.

Catering is to be cool and covered, to keep the food fresh and beverages cold. Perishable items are to be kept

refrigerated. Other items are to be put out no less than 1 hour before show time. Dressing room catering shall

be left out until the band and crew have left the premises.

Stage Items - Required

a) 10 new/clean hand towels, preferable black or another dark color.

b) 24 bottles of Spring Water delivered to stage (Fuji preferred, No reverse osmosis, ie.

No Dasani).

Dressing Room - Suggested Items

Miscellaneous

a) 2 bottles of Germ-X Hand Sanitizer (8 Ounce, Clear, unscented).

b) Plastic drinking cups.

c) Trident or Extra gum.

d) 6 clean regular towels (not bar or hand towels).

Beverages

a) 6 bottles - Yuengling Traditional Lager, or similar beer, chilled

b) 6 to 12 bottles - Stella Artois Beer, chilled

c) 1 bottle - Sterling Vineyard (Napa Valley) Cabernet Sauvignon 2016

d) 2 bottles - New Zealand Sauvignon Blanc (Nobilo or similar), chilled

e) 2 zero-alcohol beer (St Pauli Girl or Becks), chilled

f) 24 bottles - Spring water (Fuji preferred), ½ chilled. ½ room temp (No reverse

osmosis, ie. No Dasani).

g) 2 bottles of “Ice” brand Grapefruit or Black Cherry beverage

h) 6 cans of Red Bull.

i) 6 bottles of unflavored Perrier or cans of La Croix “Pure” sparkling water.

j) 6 cans of La Croix Pamplemousse sparkling water.

k) Coffee with real cream & sugar and insulated cups with lids.

l) 6 cans of Pepsi

m) 6 Diet Soft Drinks - Diet Pepsi or Diet Coke, Diet 7Up or Diet Ginger Ale.

n) Throat Coat Tea, Hot Water, Honey, Lemon.

Food

a) Organic assorted fresh fruit tray.

b) Organic assorted fresh vegetable tray.

c) Assorted cheese and cracker tray.

d) European Chocolate Truffles (i.e. Ferrero Rocher, Lindt).

e) Meat & bread tray (Dave’s Bread Preferred) or sandwiches, plus condiments, post-

performance.

f) Plain Yogurt – Greek style preferred

g) Raw Almonds




6. Ground Transportation

Purchaser shall provide ground transportation for Artist’s equipment and personnel, between airport, hotel, and

venue, as well as other needs the Artist designates. Vehicles shall be: a) clean; b) in fully operational

condition, including heat and air conditioning; c) fully insured; d) operated by licensed, professional drivers with

good knowledge of the areas of transport; e) with all safety equipment; and f) with comfortable seating.

Beverages in the vehicle, such as ice chilled water, are appreciated.

Transportation generally involves different arrival and departure times for a total of 7-9 people and 20-25

pieces of equipment and luggage. The equipment weights 1,000 lbs and requires an open cargo space of

about 8’ x 4’ . There are many different ways to achieve this. Purchaser shall discuss these details with the tour

manager in advance.

See the page that follows for a typical transportation schedule/outline. Purchaser shall discuss the requisite

transportation schedule with the tour manager in advance to ensure all aspects are covered.

Note: This is an example, showing about 80% of the total equipment/luggage.




6.1. Typical Transport schedule (Example)

Details will vary, but this is an example of typical transportation schedule requirements.

Arrival Day – Airport pickup – (Qty of People) typically

1 day in advance of show.

Pickup

To Destination

Person

Airport pickup Time

a) Band/Crew (2) with 6 pieces of luggage, if

equipment pre-shipped via FedEx. Otherwise 22

pieces of equipment, some large and heavy.

Airport

People & Luggage to Hotel.

Equip. to Venue, if possible.

Leonard Shaw

Howard Klopak

b) Band (1 person) with luggage.

Airport

to Hotel

Will Evankovich

c) Band (1 person) with luggage.

Airport

to Hotel

Garry Peterson

d) Band (1) with luggage.

Airport

to Hotel

Derek Sharp

e) Band (1) with luggage.

Airport

to Hotel

Rudy Sarzo

f) Crew/Tech (?) with luggage.

Airport

to Hotel

Crew – Qty/Name to be

determined

Show Day – runs to and from Hotel and Venue Pickup

to Destination

Person/ Airport pickup

Time

g) Crew (2-4) with equipment – 4 to 15 pieces

large and heavy.

Hotel

to Venue

Howard Klopak

h) Band (5) to sound check & dinner.

Hotel

to Venue

Leonard Shaw

i) Band (4) return to hotel after sound check

Venue

to Hotel

Derek Sharp

j) Tour Manager/Crew (1-4) return to hotel after

sound check merchandise count-in.

Venue

to Hotel

Leonard Shaw

k) Band (4-8) pick up for show & pre-show meet &

greet.

Venue

to Hotel

Derek Sharp

l) Venue - Band (4) return to hotel after show & post

show autographs.

Hotel

to Venue

Derek Sharp

m) Venue - Crew & tour manger (3-5) with

equipment (12-15 pieces large and heavy) return

to hotel. If possible, equip. to stay in vehicle

overnight (secure).

Hotel

to Venue

Howard Klopak

Departure Day – Hotel pickup Pickup

To Destination

Person

Airport pickup Time

n) Band/Crew (4-9 people) with 10-22 pieces of

luggage and equipment : some large and heavy.

Hotel

To Airport

Leonard Shaw

o) Band (1 person) with luggage.

Hotel

To Airport

Will Evankovich

p) Band (1 person) with luggage.

Hotel

To Airport

Garry Peterson

q) Band (1) with luggage.

Hotel

To Airport

Derek Sharp

r) Band (1) with luggage.

Hotel

To Airport

Rudy Sarzo

s) Crew (?) with luggage.

Hotel

To Airport

Crew – Qty/Name to be

determined




7. Hotel Accommodations – 2 Nights

The Artist requires 1 handicap accessible room with roll-in shower (preferably in suite), 3 suite, and 6 single rooms

for 2 nights; which the Purchaser shall provide and pay for in advance. The rooms should be reserved for the day

before the Artist's performance and the day of the Artist’s performance, with a late check out (1:00 pm) the day after

performance. Purchaser is expected to inform Artist’s representatives, at least 2 weeks prior, as to the location of

this hotel and provide directions if needed.

The Purchaser will ensure the rooms are ready for occupancy by Artist at the time of Artist’s arrival at Hotel. Copies

of a room list with personnel names and room numbers will be provided to each of the Artist Personnel, at the time

the Artist arrives.

7.1. Hotel Requirements

While the need to be economical is respected, the selection of hotel to be provided is of equal importance in

order to maintain a minimum standard of living while on the road. Therefore, it is requested that the recognized

hotel industry rating be not less than a three and one half star quality, and of higher quality whenever

practically possible, with the following amenities:

• In room Internet connections at no-additional-charge.

• Work out facility and pool.

• On premises restaurant and 24 hour room service.

• Elevator access or ground floor rooms.

Any of the following national hotel chain names are preferred, and close proximity to the venue is also of

importance:

• Hard Rock Café Hotel

• Courtyard by Marriott

• Double Tree

• Embassy Suites

• Fairfield

• Four Points

• Hampton Inns

• Hilton

• Hilton Garden Inn

• Homewood Suites

• Hyatt

• Marriott

• Ritz-Carlton

• Sheraton

• Westin

Consideration and concern for our comfort is very much appreciated. If there are any questions or concerns

relating to the foregoing, the Artist’s Tour manager should be contacted.




7.2. Room List

Artist Personnel Type Room Number

Garry Peterson – Non Smoking

Suite - King

Handicapped

Roll-in shower

Derek Sharp – Non Smoking

Suite - King

Rudy Sarzo – Non Smoking

Single - King

Will Evankovich – Non Smoking

Single - King

Leonard Shaw – Non Smoking (Tour Manager)

Single - King

Howard Klopak – Non Smoking (Production Manager)

Single - King

Scott Rottler – Non Smoking (Stage Manager)

Single - King

Crew/Tech Name TBD – Non Smoking

Single - King

Management – Non Smoking

Suite - King


PERFORMANCE RIDER www.theGuessWho.com

THEGUESSWHO_RIDER_PARTB_2020-01-01A RELEASED.DOCX

PAGE 1 OF 16

1. Tour or Technical Inquiry Contacts

Tour Manager – Tour Scheduling and Logistics Leonard Shaw Home: (204) 339-6107 Mobile: (336) 681-1881 Fax: (204) 339-8467 [email protected]

Production Manager - Technical Inquiries regarding the Rider Howard Klopak Canadian Mobile: (204) 293-0020 US Mobile: (336) 601-6447 [email protected]

Personal Manager and Booking Agent - Booking, Contracts, Business and Legal Matters Randy Erwin Tel: 303-727-1111 Mobile: 612-810-9000 Fax: 303-936-0069 Email: [email protected] Entertainment Services International (ESI) 1819 S. Harlan Circle Lakewood, CO 80232 USA

Public Relations Manager - Publicity Materials, Advertising Approval, Social Media, Interview Requests and Ticket Counts

Jason Engstrom (ESI) Tel: 303-727-1111 Fax: 303-936-0069 Email: [email protected]

READ THIS FIRST The most current version of this document is at: www.TheGuessWho.com/info. Please check for a new version and verify with the Artist’s Production Manager before distributing the information to event staff, otherwise critical information may be incorrect. The document version is identified by the year-month-day within the file name in the footer of each page.

The Purchaser and the Purchaser’s sub-contractors shall not rely on one-way voicemail or email for notification/communication of information. Two-way communication is required, with email confirmations back to the Artist’s Representatives, to ensure the information connects.









PAGE 2 OF 16

Table of Contents

1. TOUR OR TECHNICAL INQUIRY CONTACTS .......................................................... 1

2. PRODUCTION – TECHNICAL REQUIREMENTS ...................................................... 3

2.1 VENUE/EVENT TECHNICAL INFO PACKAGE ................................................................. 3 2.2 VENUE LOGISTICS AND SETUP SCHEDULE .................................................................... 3

2.2.1 Setup Schedule .......................................................................................... 3 2.3 PERSONNEL REQUIREMENTS: ................................................................................... 3

2.3.1 General ...................................................................................................... 3 2.3.2 Purchaser Supplied Crew .......................................................................... 4

2.4 STAGE AND RISER REQUIREMENTS ............................................................................ 4 2.5 ELECTRICAL POWER REQUIREMENTS .......................................................................... 4 2.6 OUTDOOR EVENTS .................................................................................................. 4 2.7 STAGE LIGHTING SYSTEM ......................................................................................... 5 2.8 COMMUNICATION SETS ........................................................................................... 5 2.9 HOUSE SOUND SYSTEM ........................................................................................... 6 2.10 FOH AUDIO CONSOLE ............................................................................................ 6

2.10.1 FOH Misc Items ......................................................................................... 6 2.11 MONITOR CONSOLE ............................................................................................... 7 2.12 IN EAR WIRELESS SYSTEM ........................................................................................ 7 2.13 WIRELESS MIC SYSTEM ........................................................................................... 7 2.14 MONITOR SPEAKER SYSTEMS ................................................................................... 7 2.15 MICROPHONE SPLITTER AND FAN OUTS ..................................................................... 7 2.16 OTHER ACTS – TECHNICAL REQUIREMENTS ................................................................ 7 2.17 CABLES, STANDS, CONNECTIONS AND OTHER REQUIREMENTS ....................................... 8

3. BACKLINE EQUIPMENT - GENERAL ...................................................................... 9

3.1 GENERAL ............................................................................................................... 9 3.2 DRUM EQUIPMENT - GENERAL ................................................................................. 9

3.2.1 Drum Kit Shells (DW): ............................................................................... 9 3.2.2 Drum Heads (New Batter heads for each show): ................................... 9 3.2.3 Hardware ................................................................................................ 10 3.2.4 Cymbals ................................................................................................... 10 3.2.5 Drum Riser and Drum Rug ..................................................................... 10

3.3 KEYBOARDS (X2) AND ACCESSORIES ........................................................................ 10 3.4 GUITARS ............................................................................................................. 10 3.5 GUITAR AND BASS AMPS ....................................................................................... 11 3.6 SPARE AMPS - CRITICAL ........................................................................................ 11 3.7 MISC ADDITIONAL ITEMS ....................................................................................... 12 3.8 CONSUMABLES .................................................................................................... 12

4. INPUT LIST – APPENDIX A .................................................................................. 13

5. STAGE PLOT - APPENDIX B ................................................................................ 14

6. SUITABLE PROFESSIONAL BACKLINE COMPANIES - APPENDIX C ...................... 15

7. LIGHTING DESIGN GUIDELINE - APPENDIX D ..................................................... 16




PAGE 3 OF 16

2. Production – Technical Requirements

The Purchaser will ensure production services and equipment meet the Artist’s requirements and will ensure requested information is provided to the Artist. Any discrepancies will be reported to the Artist’s Production Manager and remedied in advance of the show date.

2.1 Venue/Event Technical Info Package

The Purchaser shall provide the Artist’s Tour and Production Manager with an information package that contains information such as:

a) Overall site aerial map, such as a marked-up Google Maps aerial view or similar. b) Drawing of venue and performance areas, including audience area, technical areas,

stage, backstage, load-in, storage, designated dressing rooms, green room, private rest rooms, access & egress paths.

c) Dimensioned drawing of stage, and side stage tech areas. d) Photos of venue to get a sense of the space and typical setup for a show. e) Anything at all that may be useful to help the Artist get a better sense of things.

2.2 Venue Logistics and Setup Schedule

a) Access to the venue, stage, sound wings and loading dock, must be available at the load-in time determined by Artist’s representative.

b) Parking for Artist’s vehicle(s) provided at no cost to the Artist, and shall be as close as possible to stage entrance, from load-in, set-up, during show, pack-up and load-out.

c) Artist and accompanying personnel have their own band passes issued by the Artist representative. Purchaser may wish to issue his own passes, to meet the venue or security requirements, this is generally expected and understood. The Artist’s representative, however, expects to have sole authority in issuing backstage and guest passes.

d) Rehearsal and sound check shall be a minimum of one hour after all technical set-up has been completed, at the venue, and the Purchaser shall ensure that the audience shall not be allowed to enter the place of engagement, until technical set-ups and sound checks have been completed.

e) Artist shall have priority in set-up, rehearsal, and position of equipment. Equipment and accessories will not be moved, disconnected or used without the expressed consent of Artist’s representative.

f) The Artist requires that the stage be cleared of all equipment and debris prior to load-in, and a clear path access to the stage.

g) Artist and accompanying crew, shall have at least two hours following the engagement, to break down and pack up Artist’s equipment. Stage and hall lights will remain on until finished.

2.2.1 Setup Schedule

Day of show shall be scheduled such that stage is ready, lighting is all up, with backline equipment loaded onto the stage before the Artist’s crew arrives. All audio equipment shall be ready no later than 45 minutes after Artist’s crew arriving. Artist’s crew normally requires 4 hours to complete setup/testing from arrival until start of sound check. Sound check is normally 1 hour.

2.3 Personnel Requirements:

2.3.1 General

Purchaser shall provide at his sole expense the sound, stage, backline and lighting crews, for set-up, sound check, performance, and load out. The Purchaser’s production staff shall be in attendance, to aid in the load-in, setting-up, of systems, lighting and power etc. Purchaser’s staff including sound, backline and light company technicians/engineer/operators and any of their personnel directly involved with the presentation of Artist’s performances shall be at the venue as required to permit carrying out all the provisions of this rider.




PAGE 4 OF 16

2.3.2 Purchaser Supplied Crew

The Purchaser will provide production staff at no cost to the Artist. These include the following: a) Experienced stage-hands available at load-in time, during set-up, immediately after the

performance to assist with teardown, and to complete the load-out and load vehicles. b) Lighting Designer/Operator (LD) and Follow spot operators under the direction of the LD. c) Audio System Engineer, Monitor Engineer, Stage Patch Technician and Backline Technician

are to be available for setup as well as stay at their designated post during the entire Artist’s performance, in case there are technical issues.

d) Production contractors, as well as Purchaser’s production staff, shall be under the direction of the Artist.

e) A person with a full working knowledge of the electrical systems for the facility, must be available for the day of the Artist’s performance, or an Electrician available on an immediate emergency call basis.

f) Runner – A person with vehicle will be available to run immediate errands when requested by the Artist.

g) The Purchaser, or representative of the Purchaser, with full decision-making authority, must be at the venue, or immediately accessible, at all times during the day of the Artist’s performance.

2.4 Stage and Riser Requirements

a) The stage area shall be an elevated, flat, level, stable, surface typically 52 feet wide by 32 ft deep, with a playing area a minimum of 32 feet wide by 24 feet deep.

b) In addition to the playing area, there shall be left and right wings, at the same level as the stage, with adequate space for the monitor console & racks, guitar tuning workstations, guitars, rest area for the musicians, and other additional equipment and storage as required.

c) The side stage Wing areas should be secluded/private with pipe and drape, or other means of concealing the tech/players in these areas, if not a standard theater with concealed wings.

d) Stage must be completely clear prior to load-in and set-up, other than drum sizer and backline equipment.

e) Stage Safety – Stage shall meet all local safety or other ordinances, including railings, work lights, grounding, etc. . .

f) Drum Riser 8’ x 8’, 12” in height (Max Height 16”). Must be sturdy and capable of rolling if they need to be moved at any time.

2.5 Electrical Power requirements

Buyer must ensure that an approved, stable and properly grounded Electrical Power Distribution system is in place to meet the regional electrical authority’s codes and as required to reliably power all equipment.

2.6 Outdoor events

Purchaser agrees to ensure that the proper grounding of electrical equipment and instruments is provided for, so as not to constitute a hazard to Artist or Artist’s crew. Weather Watching and Plan – The Purchaser will ensure there is an experienced person responsible for watching the weather using resources such as weather service authorities and radar systems. The purchaser shall ensure plans are in place and followed as required for weather risks such as winds, rain, lightening, etc. . . The Purchaser shall have squeegees and blowers to dry the stage. The Artist will not perform if there are weather related risks, such as, but not limited to: rainfall, wet stage, lightening in the area, excessive winds. Shelter for protection from sun, rain and dust must be provided by the Purchaser so as to protect all the Artist’s equipment as well as supplied stage equipment, sound equipment, light instruments, consoles etc. . . Guitar world, Monitor world, FOH mix position and lighting consoles at outdoor venues must canopy tents as well as waterproof material to protect personnel and equipment. FOH mix position tent shall be struck for show. All structures shall be safe for weather/wind conditions and the Purchaser will ensure there are additional tarps, tie does, thick poly, etc. . . to ensure protection from wind/water for all the Artist’s Equipment, and that there are personnel responsible and experienced with a plan to weatherproof quickly if needed.




PAGE 5 OF 16

2.7 Stage Lighting System

See section “Lighting Design Guideline - Appendix ” for an overview of lighting requirements.

The purchaser shall advise the Artist well in advance if any aspect of section “Lighting Design Guideline - Appendix ” cannot be achieved.

Our experience has been that experienced lighting designers/operators (LD) know The Guess Who song catalogue and the results are most often very good. However, when companies lacking experienced people, and/or proper equipment, are hired, it will lead to problems that affect the show quality. Therefore, the Artist asks that the Purchaser hire a quality lighting company, with a very experienced LD to ensure quality results.

a) An appropriate stage lighting system, for an international classic rock act (See Appendix for more information – Lighting Design Guideline). Technicians shall be provided to set-up, focus, as well operate for the performance. The final determination is to be made in consultation with the Artist’s representative, the lighting company hired, and the Purchaser during the “advance”. Unusual front lighting shall be avoided as it detracts from artist’s ability to perform to the audience, with most stage lights as back lighting and side wash. No Hazing/fog.

b) 2 follow spots and experienced operators shall be provided for each spotlight and the spotlights elevated on towers or similar. The LD shall direct the Spot Ops via clearcom.

c) A black backdrop, shall be provided, spanning the width of the stage, floor to ceiling.

2.8 Communication sets

Clear com sets are required for the lighting system operator, spot operators, the stage monitor and Front of House console positions, as well as stage manager, in order to facilitate the operation, setup, show cues and any troubleshooting prior to, or during, the performance.




PAGE 6 OF 16

2.9 House Sound System

Purchaser shall provide a sound system meeting the Artist’s specified requirements, suitable for the venue, as well as experienced technicians to set-up, connect, test, fully capable of operating all equipment. The final determination of what is appropriate shall rest solely with the Artist’s representative, after consultation with the Purchaser or representative, and audio company hired. 1) Main Speaker System - shall be high quality, properly tuned, time aligned, fully maintained

and will cover the entire listening area of the performance, with an evenly distributed pattern (+/- 2db of mix position), capable of maintaining a sustained average sound pressure level of 110 dbA with a balanced frequency response from 30Hz-16kHz within the listening area.

2) Line array systems are preferred, ie: D&B (Q-Series, J Series); L-Acoustics (KUDO, dV-Dosc, K1, K2); Nexo (Geo T Series); EV (X-Line, XLC127DVX); JBL (Vertec VT4889, VT4888, VTX-V25, VTX-V20); Martin (MLA). EAW KF730 systems are NOT acceptable to the Artist due to excessive low-mid stage bleed.

3) Center-Fill stage lip speakers driven by separate drive line from FOH console are required in all circumstances (Vocal fill). The Lip fills to be located just off stage, if possible (on stands or cases), because the band likes to work the down stage area and the Lip fills create a hazard.

4) Wide-Fill speakers or 4 main clusters (R L R L) are required for wide seating venues. 5) Delay-Stacks are required for large outdoor shows. 6) Sub Woofers – Sub-woofers are driven by separate FOH drive line, NOT from L/R. Artist

desires a full sound, so please supply more-than-adequate sub-speakers and power. Using a proven method for cardioid sub array configuration, such as end fired, or reverse cabinet/cardioid is highly desirable. Location of sub-woofers across the front of the stage, without advance authorization from the Artist, may require sub-woofer relocation.

7) The front of house mix position shall be located out front (10% off-dead-center), within the prime listening area of the Artist’s performance, with a clear sight facing the stage of the Artist’s performance, elevated a maximum of 12 inches. FOH locations not properly covered by both the left and right speakers, or elevated too high, or that do not sound representative of the main seating area for any reason, will not be accepted. Final determination for the location and elevation of the house mix position will be determined by the Artist’s representative, up to and including the day of the performance. The front of house position and the lighting system console position will be located in close proximity to each other for cues/communication.

8) Drive Processing Speaker systems will be processed using Digital Speaker control systems such as Lake, or similar. All speaker system equalization and time alignment shall be made in accordance with the manufactures current specification. Additional processor settings shall be readily accessible to the Artist’s representative from the FOH mix position. System equalization will be readily available to the Artist’s representative for all speaker systems (Mains, Subs, Delays, Center, Wide Fills, etc.). Artist prefers to feed each speaker zone via Console Matrix outputs, and will EQ/Control from within the FOH console.

2.10 FOH Audio Console

Avid S6L32D w/Waves Integration and Waves Server (preferred console), if not available, then S6L48D, 24D or 24C (with full Waves integration). Last choice, legacy SC48/Profile with software v3.1.1, all factory plugins installed, Waves 9 preinstalled (Artist’s FOH has license key). Consoles to include all possible accessories, such as Monitor/Keyboard/Mouse/Lights/shelves, etc. . .

2.10.1 FOH Misc Items

a) 2 x open 115 VAC courtesy outlets b) Stereo 1/8” (suitable for iPhone w/case) w/ ¼” phono connected to 2 Track returns. c) SM-58s Mic w/switch, and 2 x 25ft XLR cables. d) Fem to Fem XLR to drive Aux back into snake (line level talkback to stage)

Important Note: Check with FOH to determine if he wishes to mix seated or standing. Set FOH console accordingly and provide suitable chair if required. All FOH equipment must be setup at a comfortable position to enable Artist’s FOH engineer to access during the performance, without bending or crouching, to allow ease of adjustment while operating and to avoid aggravating a back injury.

The Artist’s FOH and MON Engineers require time with consoles and speaker systems, well in advance of soundchecks, for activities such as loading show files and installing additional plugin packages, testing/equalizing speakers, etc. . .




PAGE 7 OF 16

2.11 Monitor Console

a) M32 or X32 full size console or x32 Rack Digital Mixer and S16 i/o expander (must have Aux inputs)

b) Macbook Pro computer for wired control of above c) 2 x 10” Tablets with Mixing Station Installed d) 2 x WiFi APs e) 6 x XLR-F to TRS-M adapters (enables use of X32 Aux inputs).

2.12 In Ear Wireless System

a) 5 x Sennheiser G4 stereo wireless IEM monitor transmitter system with Antenna combiner b) 2 x Paddle Antennas with 20ft cables. c) 8 x Sennheiser belt packs for above, programmed w/ Engineers Mode for Profile Switching. d) Portable Frequency Scanner for RFI Troubleshooting. e) Shure Stereo IEM wired pack.

2.13 Wireless Mic System

a) 2 Channels Shure UHF-R for Lead Vocal and Sax: b) Lead Vocal - UR2/SM58 Mic Cartridge c) Sax UR1 body-pack d) Applied Microphone Technology model AMT LS Condenser Microphone System for Sax.

2.14 Monitor Speaker Systems

There are 15 mixes in total (6 stereo in-ears) + L&R Side Fills, Drum Sub, which require: a) Side Fills - elevated 3’ (3 way active such as EV X-Array Xn or similar) b) Drum Sub (2 x 18” 2-4kW, such as EV xSub, JBL SRX728, Martin WS218x).

2.15 Microphone Splitter and Fan Outs

A 48 Channel Microphone Input Splitter with Transformer Isolation is required (isolated side to monitor console). Fan-out patch shown on input list.

2.16 Other Acts – Technical Requirements

If there are any other performers, of any type, that information must be disclosed by the Purchaser, with all details provided to the Agent in advance of contract, and subject to acceptance by the Artist.

This technical rider assumes there are no other acts performing on the same stage as the Guess Who. If there are other acts, additional advancing information is required because it will have an effect of the technical requirements, dependent on the event schedule, space constraints, and other factors. This may require additional personal and equipment, for example, a dedicated Stage manager to advance/plan/coordinate the extra details/activities and ensure there is adequate space for all required, extra hands to aid in change-over, an extra input splitter, additional mass connectors w/Fan-out to help ensure a flawless reconnect for show, additional sub-snakes/cabling/stands/equipment, a longer day for setup and checks, etc. . .

Important Note: Monitor Console Position is on Stage Right (the same side as the guitar tech who performs both roles) Purchaser shall ensure at least 120 square feet of flat uncluttered stage space is allocated adjacent to the stage and monitor mix position, at the same level as the stage. The Artist’s monitor/stage/instrument tech requires this space free and clear to perform critical activities.




PAGE 8 OF 16

2.17 Cables, Stands, Connections and other Requirements

The sound company hired must provide all patch cable, microphone cable, microphone stands, clips adapters, power cables, direct boxes, and other such items, related to their sound system with extras ready, to repair or replace all requirements. Purchaser or Purchaser’s representative also needs to be aware, that the sound company hired is expected to meet the monitor needs and requirements of any and all other concurrent performance(s), beyond and in addition to, the requirements of the Artist’s band and crew, appearing upon the same stage and occurring before or after the Artist’s performance, on the same day. (re: opening act)

Summary list - see Artist’s current Stage Plot and Input List for related information. a) Mic stands - dedicated to Artist - see input list and

Mics & Stands Info: http:/www.theguesswho.com/info/TGW_MS.pdf b) 50+ XLR cables c) Stage Sub-Snakes - See input list for sub-snakes required, and preferred patch plan. d) 6 x grounded AC Quad boxes, for stage equipment, each connected to a dedicated 115 VAC

circuit breaker, connected into the same power distribution system supplying AC and grounding for the Monitor and Sound System (stage plot indicated locations).

e) 1 x grounded AC Quad box for Monitor/Guitar World, as above. f) Direct boxes – See Input List g) Microphones – See Input List

All required microphones, stands and cabling, shall be dedicated to the Guess Who for

the show day (sound company must carry extras for opening/other acts to aid in smooth set changes)


http://www.theguesswho.com/info/TGW_MS.pdf



PAGE 9 OF 16

3. Backline Equipment - General

3.1 General

The Purchaser shall ensure Backline Equipment meets the Artist’s requirements. Any discrepancies shall be reported to the Artist’s Production Manager by the Purchaser in advance of the show date and remedied. See for a listing of professional backline equipment companies the Artist has had positive experiences working with.

The Purchaser shall ensure the Backline Company provides the Artist with their Pull-List, well in advance of the concert date, listing all the details of the Artist’s backline requirements to help ensure the backline company has properly reviewed the requirements. See: Backline Example Pull-List <http://www.theguesswho.com/info/TGW_BLPL.pdf> The Backline Company shall provide an experienced Technician for the whole day including load-in, setup, side stage during the show to assist the Artist’s Tech as required, and for teardown. The backline company will schedule their load in such that the backline equipment is on stage, uncased and loosely placed before the time the Artist’s crew is scheduled to arrive.

3.2 Drum Equipment - General

Garry Peterson is a DW (Drum Workshop) and Sabian contract endorser. Therefore, equipment from these manufacturers is required.

3.2.1 Drum Kit Shells (DW):

DW Collector’s Series shells only. Lacquer or Oil finishes are much preferred over Finishply wrap for sound/resonance. Shells specified as Depth x Width. Sizes required are: Drum Preferred Sizes Alternate Sizes Shell if available

Rack tom 1: 7 x 10 8 x 10 VLT

Rack tom 2: 8 x 12 9 x 12 X-Shell

Floor tom w/legs: 13 x 16 14 x 16 X- Shell

Kick drum: 16 x 22 18 x 22 X-Shell

Snare drum (backup) 6 1/2 x 14 Black Beauty or similar

3.2.2 Drum Heads (New Batter heads for each show):

a) Snare: Batter - Coated Remo Ambassador CS Dot or Aquarian Texture Coated Reverse Dot. Reso - Hazy Clear Remo Diplomat.

b) Toms: Batter - Coated Remo Ambassador or if Remo NA, then Aquarian Texture Coated. Resonant - Clear Remo Ambassador.

c) Kick: Aquarian Super-Kick III (Three) d) Kick Front Head: to be BLACK, with single 6” hole off-to-the-side for microphone entry. e) Kick Drum Dampening: Provide several options – including Evans EQ Pad dampening

system with 2 x EQ pads Velcro attached, 2 x Medium Towels, small flannel blanket, soft/small pillows, so we can adjust to achieve suitable minimal dampening (foam, large pillows or large blankets are NOT Acceptable).

The Aquarian SuperKick III 22" Bass drumhead is extremely important to Garry Peterson. Note the III is NOT a II. A direct quote from Garry, "without this head, I just can't play". Even non-drummers can feel the difference when you hit the kik drum pedal, so let's make this happen for him. Call Chris Brady at Aquarian and he will sell/ship one direct (even easier than taking a trip to the local music store). You may reach Chris at (714) 632-0230 or (800) 473-0231 ext.15 or email Chris at [email protected] He will be happy to help out. Make this happen!

Setup notes – Install new heads in advance. DO NOT setup kit in advance of the artist’s crew arriving. Put drum rug down on riser, pull shells and place on riser. Pull hardware/stands/throne, spread legs on stands, place hardware on deck (not riser) 3 ft downstage of riser, do not tighten or adjust any hardware.


http://www.theguesswho.com/info/TGW_BLPL.pdf




PAGE 10 OF 16

3.2.3 Hardware

All DW hardware to be 9000 only (5000/7000 NOT acceptable), details as follows: a) 6 tri-pod boom cymbal stands (DW 9000) w/ Cymbal bushings intact. b) Tom stands - 2 x Separate Rack Tom Stands (Please, NO Bass Drum Tom Mounting) +

Floor tom legs. c) Snare drum stand d) 2 Legged Hi-Hat stand (w/ short Rod/Stem) & spare stand (must be DW9000. DW5000

NOT acceptable) e) Double bass drum pedal with chain drives (DW 9000) (this is a backup) f) Drum Throne - Gas Lift Adjustable – Motorcycle style seat: Rock-n-Sock Gas Lift Nitro

Model preferred.

3.2.4 Cymbals

Although Artist carries cymbals, please provide Sabian Cymbals listed below as backups: a) Hi-Hats -14 inches top thin, bottom heavy b) China -18 inches China boy c) Ride – 22 inch rock ride d) 4 x Crashes - 15, 16, 18, 19 Thin - such as HH, HHX, Vault (provide choices).

3.2.5 Drum Riser and Drum Rug

a) Ensure drum riser is provided (see section Stage and Riser Requirements). b) Provide Black or Gray drum rug that works well with DW Pedal Velcro.

3.3 Keyboards (x2) and Accessories

a) Organ (Top) Nord 73 Key Electro 3 or Electro 4 preferred (w/ waterfall keyboard)

b) Piano (Bottom) Nord Stage 2 HA88 or Nord Stage2 EX88

(Stage EX or Stage 3 not acceptable not compatible with our presets)

c) Backup Keys

Backline company shall provide backups for both above keyboards to ensure

the show-may-go-on, unencumbered, in case of a problem.

d) Keyboard Stand Apex, Two tier, keyboard stand. Ensure long arms for bottom keyboard arms.

(Stand height: Deck to Top of Arms: Bottom Arms = 31”, Top Arms = 37.5”)

e) Pedals/Controls i. 1 x Expression Pedal (Roland EV-5),

ii. 2 x Sustain Pedals,

iii. 1 x On/Off Pedal (latching).

f) Cables All signal, and AC cables as required. Include extras for all cables.

3.4 Guitars

a) 1 x Gibson Les Paul Custom or Goldtop (New LTHB strings 0.010 - 0.052) b) 2 x Acoustic Guitars – 1st) with w/pickup preferably Gibson or Taylor - dreadnaught shape

with cutaway (fresh strings 0.012-0.054, fresh batteries); 2nd) no pickup required – dressing room warm up guitar.

c) 1 x Bass Guitar – Fender US Made 4 string Jazz (Round wound medium gauge strings 0.045 - 0.105, strings with lots of life/fresh)




PAGE 11 OF 16

3.5 Guitar and Bass Amps

Footswitches to be supplied with equipment below and ensure tubes are good.

Item Purpose Requirement Acceptable Substitute

a) Bass Amp Ampeg SVT Classic SVT-CL Fender Super Bassman 300T

b) Bass Cabinet Ampeg SVT-810E Cabinet Fender Bassman 810, or 610 Neo Cabinet

c) Guitar Amp 1 Fender ’65 Super Reverb Reissue (cabinet below is required)

(Spare, Fender ’65 Twin Reverb Reissue)

d) Guitar Amp 2 Fender ‘65 Deluxe Reverb Reissue

e) Speaker Cabinet 1 Artist carries Radial Headbone Amp/Head switcher.

Marshall 1960BX - 4 x 12” Marshall bottom cabinet CRITICAL - Celestion 25W G12M

Greenbacks

Marshall 1960AX, 1960BC, 1960AC (with Greenbacks) or a quality 4x12 cabinet loaded with Celestion 25W G12M Greenbacks.

f) Guitar Amp 3 Fender ‘65 Deluxe Reverb Reissue (cabinet below is required)

g) Speaker Cabinet 2

Marshall 1960BX - 4 x 12” Marshall Bottom Cabinet CRITICAL - Celestion 25W G12M

Greenbacks

Marshall 1960AX, 1960BC, 1960AC (with Greenbacks) or a quality 4x12 cabinet loaded with Celestion 25W G12M Greenbacks.

3.6 Spare Amps - Critical

Spare/backups for each amplifier above, of same Make & Model type, to ensure the show can go on in case of a problem and also to provide alternates in the case the player rejects the amp, that is first put up, due to performance/tone issues. Please notice that. . . for Amp 3.5 c), while it is a Fender ’65 Super Reverb, best the spare be a Fender ’65 Twin Reissue. This will allow him to pick which amp works best for his clean sound, and unused amp can be the backup. Please note the exact spares being provided on the Backline Pull-list.

Substitute Note for both Guitar Cabinets NO substitute for G12M (Celestion 25W G12M Greenbacks) speakers is acceptable. In addition to the Marshall 1960BX cabinet, which is still a current Marshall model, and has been available since the late 1960s, the Marshall 1960AX, 1960BC and 1960AC cabinets have G12M Greenback speakers as well and are all current models. While bottom/straight cabinets are much preferred, such as the 1960BX or 1960BC, the top/angled model 1960AX or 1960AC cabinets are also acceptable. Any mixture of these cabinets is acceptable, but if there is a choice, the 1960BX is preferred. If you have a quality & standard sized 4 x 12 Cabinet by another manufacturer, as long as it is verified to have G12M Greenbacks wired at 16 ohms, please present that option, as it will likely be accepted. There are no exceptions to this requirement.




PAGE 12 OF 16

3.7 Misc Additional Items

a) Guitar boat – 8 Position preferred, or 2 x 6 position boats. b) 6 x Single guitar stands, suitable for on stage use. c) 8 x 25 foot ¼ inch patch cables. d) 4 x 5’ or 10’ ¼ inch patch cables. e) 6 x speaker cables for amps to speaker cabinets. f) Percussion Table – for Computer Table 24” x 16” x 28” (w x d x h) g) Extra Thrones x 2 - Standard Drum Stool for keyboard player and back stage. h) Rubber Cable Run Covers - as required. i) Sand Bags x 3 - to hold down stands etc. . . j) 4 x Black furniture moving padded blankets (like new condition). We “T” a couple short mic

stands with Booms and drape over to block 4 x 12 cabinets. Plexi-glass barriers are NOT acceptable.

k) Spares for all.

3.8 Consumables

a) 36 pcs AA Alkaline Batteries b) 4 pcs AAA Alkaline Batteries c) 3 pcs 9V Alkaline Batteries d) 2 pcs CR2032 Lithium Batteries e) 1 Roll Professional Black Gaffer Tape f) 1 Roll Professional Bright Colored Gaffer Tape, used for hazard marking (ie.

yellow/green/pink/orange/white)

Note - we rarely need all these batteries, but will if all our spare packs are run down, so these must ALL be on-hand per show, just in case.

<See Appendices that follow>




PAGE 13 OF 16

4. Input List – Appendix A

Input List Subject to Change. Verify with Production Manager Day of Show.

Link to more Mics & Stands Info





THEGUESSWHO_RIDER_PARTB_2020-01-01A RELEASED.DOCX PAGE 14 OF 16

5. Stage Plot - Appendix B


PERFORMANCE RIDER www.theGuessWho,com


PAGE 15 OF 16

6. Suitable Professional Backline Companies - Appendix C

Company: Contact Info: Office Location(s):

RAM Production Backline Roger Miller www.ramproduction.com Mobile: 260-413-3414 [email protected]

Indiana (will travel anywhere)

Traver Concert Services Bob Traver Mobile: 702-521-6514 [email protected]

Las Vegas, NV

NV Rentals

Neil Villarreal Tel: 313.562.3592 www.nvrentals.net

Taylor, MI.

Total Music Services Billie Kahle www.totalmusic.com Phone: 651-644-7102 [email protected]

Minnesota

Unisound Michael Apodaca http://www.unisound2.net Phone: 760-233-0006 [email protected]

Escondido, CA

Backline Bob Rentals Robert Joyce Office: 480-962-7463 Mobile: 480-390-1336 [email protected]

Phoenix, AZ

Mosteller Music Productions

Michael Mosteller Mobile: 405-640-7709 [email protected] www.mostellermusic.com

Oklahoma City, OK

In Tune Rentals LLC

Andrew Klingensmith Office: 248-735-0000 Mobile: 248-974-3900 http://www.facebook.com/pages/In-Tune-Rentals-LLC/7529662381

Livonia, MI

BLS Backline Services Mike Barman Mobile: 920-217-6451 [email protected]

Green Bay, WI

Note: Please inquire with Artist before selecting a backline company because there are cases when the Artist wishes to use a single backline company for multiple dates, which streamlines many aspects. These companies have been a positive experience to work with in the past and can provide backline equipment and services in their local area. Some will also do so nationwide, dependent on the season and where their inventory is located at the time of your requirement.

http://www.theguesswho,com/

http://www.ramproduction.com/



http://www.nvrentals.net/

http://www.totalmusic.com/


http://www.unisound2.net/




http://www.mostellermusic.com/

http://www.facebook.com/pages/In-Tune-Rentals-LLC/7529662381

http://www.facebook.com/pages/In-Tune-Rentals-LLC/7529662381


PERFORMANCE RIDER www.theGuessWho,com


PAGE 16 OF 16

7. Lighting Design Guideline - Appendix D

Lighting Guideline Please follow this lighting guideline. Also, read section 2.7 See the stage plot for details on the physical layout of the Artist. The Guess Who band members work the whole stage, including the area in front of the front mic line (see Stage Plot). The main lead vocal position is Derek (just slightly off center), but he also has a wireless and can be found anywhere up front in certain songs, and often wanders around while addressing the crowd, even into the audience. All members sing backup vocals in most songs. Most guitar solos are by Will (stage right), with some guitar solos/intros by Derek. There are also some dual guitar solos. There are a number of keyboard features, some very short, and a flute solo at key position (Stage Left). Most of the between song talking is by Derek (Lead Vocals), with a couple song intros by Garry (drums), and Leonard (Keys). There are also a number of opportunities for crowd participation and frequent use of crowd blinder lights is encouraged. There is a top of show intro track that lasts for about 30 seconds and the band kicks in. Derek usually sits down at the piano to sing/play one song (Haunted). The band likes to do a bow to the crowd after the encore so lights are to stay up 100% after the final encore, until the band leaves the stage. Talk to the FOH engineer if you require more information on the Artist’s performance tendencies. The Artist requires a bright/lively lighting design, NOT dark/moody. Typical indoor light shows are 60-120kWs of conventional lighting on 2 cross stage trusses plus a handful of movers and crowd lights. Outdoor shows are similar but vary with the stage size, time of day, production budget, but in most cases will require more lighting than indoors. Although there are opportunities in the show for lighting FX, the main focus must be to light the players and catch their actions as an overall group. To achieve this, the Artist requires:

a) 2 or more follow spots (Rosco 33) b) Molephay floods to light audience when addressed or in participation segments. c) Significant conventional lighting and strong back lights. d) Specials to front light each players vocal position. e) Keep a special/front light on the drummer while is he playing. It does not have to be at 100%,

but enough that he not in the shadows of backlights, and is front lite, not in the shadows. f) Front wash with flesh tone color (Rosco 33), light colors, to front light/wash players all over

stage. g) Rear Movers for special FX on drums and behind players.

Things to be wary of:

a) Follow spots need to be up as high as possible, to minimize light in the Artist’s eyes. b) Even in the tiniest of venues with ceilings below 16 ft and improper stage areas: a) front

lighting needs to be up high, not in the Artist’s eyes. Remove tiles and temp install clamped bars to clamp individual lights above grid if need be. b) same with rear lights, do not take the easy way out. Install something above the grid to clamp the lights high to move the light source out of the audiences eyes.

c) NO haze/fog during the show. d) NO strong primary colors from the front on the players. e) Avoid stage lights into the player’s and the audience’s eyes (except for special audience

floods at the top of the truss). f) Be sure to have lighting to catch all the down stage area ahead of front mic line.

This guideline is only a start. The Artist encourages the light designer to use their own creative ideas and judgment to take the light show as far as possible, as long as the main consideration is to light the players as they perform.

http://www.theguesswho,com/

Documents

1. Tour or Technical Inquiry Contacts - The Guess Who · 2020. 1. 28. · PERFORMANCE RIDER – wPART A ww.theGuessWho.com TheGuessWho_Rider_PartA_2019-09-01 RELEASED.docx Page 1