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ALAN PARSONS LIVE PROJECT - CONTRACT RIDER

UPDATE - March 4, 2013


THIS RIDER IS PART AND PARCEL TO THE CONTRACT FACE TO WHICH IT IS ATTACHED FOR THE ENGAGEMENT BETWEEN:

(HEREINAFTER REFERRED TO AS THE “PURCHASER” OF THE ONE


PART) AND APPERTAINING LLC. PROVIDING THE SERVICES OF ALAN PARSONS (HEREINAFTER REFERRED TO AS “ARTIST”) AND PRESENTING THE
ALAN PARSONS LIVE PROJECT UNDER THE ADDITIONAL TERMS AND CONDITIONS OUTLINED IN THIS RIDER AS FOLLOWS:

This rider is a tool that provides the complete and total information as required to fulfill the Purchaser’s obligations as outlined in the face contract to which it is
attached. This rider is also intended to ensure that each engagement runs as smoothly as possible for the mutual benefit of the Purchaser and Artist. It sets out the
terms and conditions that are additional and binding to the face page(s) of the contract. This rider must be followed exactly. No terms and conditions are permitted
to be altered or changed without the prior written approval of Artist’s representative. Any alterations and deletions will not be considered in effect unless initialed by
both parties. In the event of any material breach by the Purchaser of any of the conditions contained herein, Artist may cancel performance without further liability
and Purchaser shall be obligated to pay the contract fee in it’s entirely without any deductions whatsoever. Said payment must be made within 72 hours of the
notice by Artist to Purchaser of cancellation due to breach of contract.

VERY IMPORTANT
ADVERTISING AND BILLING REQUIREMENT
Artist shall be billed as Alan Parsons Live Project using
the same letter size and type throughout the entire phrase.

Artist shall NOT be billed or advertised as “The Alan Parsons Project” or “Alan Parsons Project Live”

NOTE: If any of the clauses in this rider conflict with the national, state or local laws, the Purchaser shall be obligated to IMMEDIATELY inform the Tour
Manager/Production Manager in writing PRIOR to the contract being signed by Artist.

EACH PAGE OF THIS RIDER REQUIRES AN INITIAL BY THE PURCHASER. ON PAGE 18 OF THIS RIDER, THE FULL SIGNATURE OF THE PURCHASER,
ALONG WITH ADDITIONAL INITIAL, DATE AND LOCATION WHEN SIGNED SHALL BE COMPLETED BY PURCHSER.

THE FOLLOWING ARE ALL OF THE DEPARTMENTS FOR APPERTAINING LLC. PROVIDING THE SERVICES OF ALAN PARSONS

THE BAND

ALAN PARSONS – Keyboards, Guitar, Vocals

PJ OLSSON – Vocals ALASTAIR GREENE – Guitar, Vocals DANIEL THOMPSON – Drums, Vocals

GUY EREZ – Bass, Vocals MANNY FOCARAZZO – Keyboards, Vocals TODD COOPER – Second Vocals / Sax

Band Members other than Alan Parsons are subject to change

TOUR MANAGER: Lisa Marie Parsons


Office Telephone: (805) 562-1201 • Fax: (805) 562-1204 • Cellular Telephone: (805) 455-4856 • Direct Email: Lisa@Parsonics.com

PRODUCTION MANAGER (Subject to change):


Ross Pallone – Primary Contact Brent Jeffers
Cellular Telephone: (805) 660-0776 Cellular Telephone: (615) 337-7378
Direct Email: RossPallone@me.com Direct Email: dvbrent@aol.com

ARTIST MANAGEMENT: John Regna


Mailing address: 8815 Conroy Windermere Road, Suite 407 • Orlando, FL 32835
Telephone: (407) 993-4000 • Fax: (407) 993-4444 • Cellular Telephone: (201) 394-5944 • Direct Email: JPR@JohnRegna.com
Mr. Regna’s executive assistant is Danielle Carter who is reachable at above and by email at Assistant@JohnRegna.com

BOOKING AGENCY: Joyce Makinajian


World Entertainment Associates of America, Inc.
Telephone: (407) 993-4000 • Fax: (407) 993-4444 • Cellular Telephone: (201) 394-8229 • Direct Email: Joyce.Makinajian@WorldEntertainment.net

Traveling Party is 14 people. 7 Band + 7 Crew - LIVING IN VARIOUS DEPARTURE CITIES. For additional
crew members’ information, please contact Brent Jeffers or Lisa Marie Parsons
Crew Includes: Tour Manager, Assistant Tour Manager, Production Manager, Stage Manager/Tech, FOH
Sound Engineer, Monitor Engineer, and Lighting Director. See attached Personnel List.

Page 1 of 17 Confirmed by PURCHASER_____ ____


ALAN PARSONS - GENERAL RIDER REQUIREMENTS
1. PURCHASER’S REPRESENTATIVES:
a) The Purchaser will ensure that there is an English-speaking representative of the Purchaser present at the venue from the start of the Load in until the
end of Load Out. This representative shall be experienced in stage management and production and shall have the necessary authority and
responsibility to make all decisions relating to the complete fulfillment of this contract and rider.
b) In countries where English is not the main language, an English-speaking representative must be present to meet band and crew arriving at airports/train
stations and to assist with airline/train check-ins.

2. TICKETS:
a) Where tickets are being sold at one price in advance and another at the door, the Purchaser must agree and substantiate advance sales with the Tour
Manager prior to selling any tickets at the door.
b) All tickets must have one price printed on them and “NO FLASH PHOTOGRAPHY OR AUDIO-VISUAL RECORDING PERMITTED”. All tickets printed
under the manifest shall be of the one stub, one price variety. There shall be no multiple tickets printed. If more than one price is printed on the tickets,
then the Purchaser shall be liable for the amount of tickets sold at the highest price on the ticket.
c) There must be a system whereby admissions can be checked at the end of the engagement. All tickets must be collected upon entry of the audience
and sorted so that the stub and tickets can be counted at the end of the show. Artist reserves the right to run an independent check on the attendance.
The Purchaser shall be responsible for paying their percentage for every seat occupied in the house.
d) All prices for tickets, the scaling of the house, and any and all discounting of tickets must be approved by the Tour Manager/Production Manager. This
includes discounts for record companies, youth or charity groups regardless of whether this is standard practice or not. This approval will not be
unreasonably withheld.
e) With respect to counterfeit tickets, the Purchaser is liable for all and any counterfeit tickets and under no circumstances will Artist assume any loss for
these tickets. Consequently, there should be at least one anti-fraud system in operation in conjunction with the tickets, i.e. Bar Codes, U.V. Stamp.

3. ARTIST FEE AND EXPENSES:


a) The full balance of any fee/guarantee due to Artist shall be paid in cash to Artist’s Tour Manager in American Dollars not less than 1 hour before the
performance commences. This payment shall be free of all taxes or any other deductions.
b) Where the contract provides for the payment to Artist of a percentage of box office receipts, when returning this contract the Purchaser shall append a
signed written statement of maximum production costs. Within 1 (one) hour following the commencement of the performance, the Purchaser will furnish
the Tour Manager with certified receipts and invoices for these production costs. In the event that any payment to Artist shall take into account the
production costs, Artist reserves the right to disregard any costs for which adequate or appropriate receipts cannot be produced. All costs, including
advertising must be substantiated.

All percentage/door payments and other additional payments due shall be paid to the Tour Manager or designated Artist representative within one hour after the
commencement of Artist’s performance on the day of the engagement and shall be accompanied by a written box office statement and a statement of expenses certified and
signed by the Purchaser. The Purchaser further agrees to give the Tour Manager/Production Manager the right to be present at the door and to enter the box office at any
time before, during and after the performance and to examine and make extracts for the box office records of the Purchaser and venue pertaining to the gross and net
receipts of the engagements.

4. CANCELLATION OF CONTRACT:
The following circumstances shall be deemed reason for cancellation of the show and in this instance Artist shall be in no way liable for any loss, financial or
otherwise, suffered by the Purchaser due to cancellation).
a) If the Purchaser commits an act of bankruptcy, has a receivership order against him/her or passes a resolution for voluntary winding up of his/her
company.
b) If illness of any of Artists due to appear make it impossible for him or her to perform. If this occurs, Artist must furnish the Purchaser with an appropriate
medical certificate.
c) Any labor or union dispute which prevents any of the necessary staff from performing their duties to the satisfaction of the Tour Manager/Production
Manager. Artist reserves the right not to cross picket lines.
d) The breakdown or failure of the transportation of Artist, road crew, Artist’s employees or the Tour Manager/Production Manager preventing Artist to
satisfactorily present the show.
e) Any order of the Police, Judiciary, local or national government, byelaw or venue regulation which renders it impossible, in the opinion of the Tour /
Production Manager to satisfactorily present the show.
f) Any event beyond the control of Artist, including but not limited to: fire, flood, epidemic, riot, war or public disorder which in the opinion of the Tour
Manager and/or Production Manager, determine it impossible to satisfactorily and safely present the show.
g) If in the opinion of the Tour/Production Manager, any equipment, including but not limited to the staging, barriers, seating, etc. shall be considered unsafe.
If the performance is shortened or canceled due to any of the above reasons, this will no way affect the fee paid to Artist. Therefore, the Purchaser should
have cancellation insurance.

5. INDEMNITY AND INSURANCE:


The Purchaser will provide the following insurance for the duration of each show and for a period not less 48 hours before the engagement and not less than
48 hours after the engagement. Proof of insurance cover must be available for inspection NOT LESS THAN 14 DAYS BEFORE THE ENGAGEMENT.
a) Unlimited employer’s liability insurance, covering claims by the Purchaser’s staff, technical crew, stagehands, employees of the venue, temporary
employees and/or independent contractors, such coverage to include damage to personal property and equipment belonging to or supplied by Artist,
Band and Crew.
b) Public liability insurance of $3,000.000.00, naming APPERTAINING LLC. in the event of personal injury being sustained and general damage to the
venue or property belonging to or supplied by Purchaser, Artist, Band, Crew, Bus Driver(s), Manager(s) and Agent(s)
c) Cancellation insurance for all expenses.
d) The Purchaser agrees and accepts that he or she will indemnify Artist, their management, agent(s), crew, employees and independent contractors against
all claims, financial or otherwise, relating to damage and personal injury, unless said injury or damage was directly caused by the actions of Artist, their
management, crew, employees or independent contractors.
Page 2 of 17 Confirmed by PURCHASER_____ ____
6. MERCHANDISING:
a) Artist shall have the right to sell DVDs, CDs, T-shirts and other merchandise directly pertaining to and bearing the likeness and name of Artist at the venue
and retain 100% (one hundred percent) of the receipts from such sales, less a pre-agreed reasonable house fee or commission.
b) Terms for any fee or split are to be stated on main contract.
c) The absence of such information on the main contract will mean that no house fee or commission will be payable.
d) Purchaser to provide an experienced and trusted Local Merchandiser and a suitable merchandise stall in a prominent area at the venue to sell Artist’s
merchandise for a fee (agreed in advance) to be paid by Artist out of the proceeds.
e) Local Merchandiser shall keep an accurate and legible record of items sold.
f) The Purchaser shall make every attempt to prevent the sale of unauthorized merchandising in the vicinity of the venue.

7. LICENSES, VISAS AND PERMITS:


a) The Purchaser shall arrange, provide and pay for all necessary visas, licenses, permits, tolls and authorizations pertaining to Artist, their management,
road crews, employees, equipment and vehicles traveling to and from, and working in, the country of the engagement.
b) Purchaser also to pay for any necessary clerical fees, courier/messenger charges for sending passports to visa agents and/or embassies and
visa/immigration agency fees (if any). (Estimated visa costs range from $500.00 to $4000.00 per country. Short notice applications cost more.)
c) Purchaser will provide at his/her sole cost any and all necessary immigration clearances if engagements are to be performed outside of the United States
of America.

8. ADVERTISING AND BILLING:


The Purchaser agrees and confirms that:
a) All forms of advertising relating to the show shall clearly advertise Artist in 100% STAR billing as ALAN PARSONS LIVE PROJECT.
b) SEE ALSO VERY IMPORTANT ADVERTISING AND BILLING REQUIREMENT ON PAGE ( 1 ) OF THIS CONTRACT
c) If Artist provides artwork, the Purchaser shall use this exclusively and without alterations.
d) In relation to Endorsement and Promotion, the Purchaser will not permit or use the names Alan Parsons, Alan Parsons Project or Alan Parsons Live
Project directly or indirectly to endorse, advertise or support any commercial product, service, individual, charity, political party or ideology. The Purchaser
shall not commit Artist to any personal appearance, interview or any other type of promotion without prior written agreement from Artists’ representative.

9. PRODUCTION AND CONTENT:


a) Artist shall have soleand exclusive control over all elements of the performance, including staging, lighting, sound, creative and theatrical material.
b) Throughout the performance Artist’s Production / Tour Manager is to have full control over all house lighting other than statutory safety and exit lights.
c) Artist will close the show and will be permitted to perform their full stage show without interruptions.

10. PROGRAM MUSIC:


a) This shall be at the sole discretion of Artist and his representatives.

11. SOUND RESTRICTIONS:


a) There shall be no sound limit imposed during any part of the show.
b) If 11(a) above conflicts with national or local laws, the Purchaser must inform Artist in writing before contracts are exchanged.

12. SEATING:
a) The first ten rows in the venue must be sold to the general public.
b) Any tickets sold to record companies or the music industry must not be located in the first ten rows in the venue
c) Any tickets held for approved Guest List(s) industry must not be located in the first ten rows in the venue

13. NO RECORDING OF THE SHOW:


a) The Purchaser shall be responsible for preventing the admittance of all audio and visual recorders within the venue.
b) A large sign must be displayed at all entrances in English and the local language reading “NO CAMERAS OR AUDIO-VISUAL RECORDING
PERMITTED”.
c) All devices found in the auditorium will be removed or confiscated without any liability to Artist whatsoever.

14. GUEST TICKETS:


a) Artist requires THIRTY (30) of the top-priced tickets to be reserved for his exclusive use as Artists Guest Tickets.
b) Artists Guest Tickets must be situated in the center stalls area in front of the mixer position and not within ten rows of the stage.
c) Any unused Artists Guest Tickets shall be returned to the Purchaser on day of engagement not less than 1 ½ hours before show time.

PASSES AND SECURITY:


The Purchaser is to supply an adequate number of passes with the following instructions:
a) Three designations as follows: “All Access”, “VIP After Show” and “Press/Photo”.
b) Artist’s Tour Manager or Production Manager will be solely responsible for the approval and issue of backstage and other passes.
c) The direct members of Artist’s band and crew may also carry laminated passes issued by Artist’s Production Manager.
d) The use of any other passes must be approved by Artist’s Tour/Production Manager.
e) Press/Photo passes will allow bearers access to the audience area in front of stage for the first 3 (three) songs of the performance, after which they must
be instructed by security staff to leave the area.

15. NO SUPPORT ACT / ANNOUNCER:


a) There will be No Support Act unless specifically agreed otherwise in advance with Artists’ representative.
b) Artist plays a complete “Evening With” performance with or without interval as agreed with Artist’s Tour/Production Manager.
c) There will be No Master of Ceremonies or Announcer of any kind on stage at any time on the day of the performance without prior agreement from
Artist’s representative. Artist enters stage unannounced – this is very important.
Page 3 of 17 Confirmed by PURCHASER_____ ____
16. DOCTOR:
a) The Purchaser shall arrange for a reputable English-speaking Professional Medical Doctor to be on call at the venue.
b) The Purchaser shall arrange that a reputable English-speaking Professional Medical Doctor be present at venue during the performance.

17. INTENTIONALLY DELETED

18. INTENTIONALLY DELETED

19. BARRIERS:
a) To be erected where appropriate and available located between the stage and the audience and for the Front of House mixing position.
b) Barrier requirements and/ or necessity of said precautions should be discussed with Artist’s Tour / Production Manager no later than three weeks prior to
the scheduled performance.

20. SECURITY:
All security personnel must be clearly identifiable and responsible.
a) The positioning and number of security personnel relating to Artist, Artist personnel, Artist equipment and backstage area will be at the sole discretion of
Artist or Artist’s representative.
b) Purchaser shall be responsible and liable for any and all of Artist’s equipment from time of load in until completion of load out.
c) No one will be allowed on stage, backstage or in the dressing room(s) either prior to, during or after the performance without approval from the Tour
Manager and/or Production Manager.
d) Purchaser agrees to provide the following security personnel at the time and places listed:
e) One ( 1 ) security guard at rear stage door from time of load in until load out is completed.
f) One ( 1 ) security guard to be placed at dressing room area from time Artist arrives at venue until Artist departs from venue.
g) One ( 1 ) security guard to be placed at mixing consoles from time doors open until public exits from venue.
h) Two ( 2 ) security guards to accompany Alan Parsons during autograph session with general public after show.
i) Two ( 2 ) security guards to be available, one each side of stage, to be positioned by Production Manager, from time of show to close of show.
j) At close of show, all security personnel not involved in directing the public from the auditorium must report to backstage area and assist in securing that
area.
k) Purchaser agrees to provide one ( 1 ) security guard for Artist’s trucks and buses (where necessary)
l) Four ( 4 ) security guards to be placed at front of stage 15 minutes prior to beginning of performance.

21. MEDICAL ATTENDANTS:


a) Adequate paramedic and first aid cover for the number of people attending the concert shall be present.
b) Artist retains the right to cancel a performance if, in the opinion of Artist’s representative(s), there is insufficient coverage in attendance.
c) Wherever and whenever possible it is requested that a cylinder of oxygen be located at stage right prior to the performance. This is particularly important
when a performance is to be given at high altitude or in a condition of high heat and or high humidity.

22. DRESSING ROOMS:


a) Artist requires a minimum of two ( 2 ) separate dressing rooms with private bathrooms and toilets. Each room must be large enough to accommodate
eight ( 8 ) people with adequate seating and table space.
b) These dressing rooms must be clean, dry, well heated/air conditioned to 20 degrees Celsius (70 degrees Fahrenheit), lockable; keys to be given directly
to Artist’s Tour Manager/Production Manager upon Artists arrival at the venue, for the duration of use.
c) Dressing rooms should be clearly marked as non-smoking areas, and should preferably not have been used for smoking in the past.
d) Dressing room catering rider must be adhered to.

PLEASE TAKE SPECIAL NOTE: The Dressing Room rider requirements include the following as well as the specified food and drinks:
 Convenient toilet facilities in dressing rooms or adjacent to them
 ( 1 0 ) clean towels in band room, ( 5 ) in Alan’s room
 Large full length mirrors
 Hanging rails with clothes hangers
 Hair dryer
 Iron and Ironing Board
 Adequate tables/counters for food and drinks
 TRASH CANS
 There must be adequate lighting, sufficient AC power outlets, a refrigerator or acceptable alternative cooling facilities for drinks;
 Bathrooms/toilets must be for the sole use of Artist/band and supplied with all necessary sundries (i.e. soap, toilet paper and towels.).

23. PRODUCTION OFFICE AND STAFF:


a) Artist requires one ( 1 ) room with a working telephone for the sole use of the Tour / Production Manager and Artists’ staff.
b) The Purchaser shall also provide a free internet connection for use within this office.
c) The office should be lockable – the key to be given to the Production Manager on his arrival at the venue and should be located near the load in area but
should be separate from the Purchaser’s office.
d) The Purchaser undertakes to take messages from any call received at the venue concerning the production and convey it to Artist’s Tour / Production
Manager immediately upon receipt.

IMPORTANT: This production will require the following numbers of experienced crew at the Purchaser’s sole expense. The times listed are subject to
change and should be confirmed with Artist’s Production Manager no less then one week prior to the scheduled performance:

Page 4 of 17 Confirmed by PURCHASER_____ ____


Lighting / Rigging / Production Load-in 7 hands – including 2 spot operators, 1 local rigger and 4 truck unloaders
Load-in to completion of Load-out 1 runner
End of Show to Load-out 7 hands – including 2 spot operators, 1 local rigger and 4 truck unloaders

 The runner should have a large car or SUV/Station Wagon in a smoke-free clean and tidy condition externally and internally. Runner should be familiar
with local music stores, repair facilities and restaurants. He should also have a mobile phone or pager and his/her contact details should be given in
advance to the Tour/Production Manager. He may be required to transport Artist and/or band/crew members to and from hotel and venue. He should
carry an adequate cash float in local currency supplied by Purchaser.
 Purchaser will supply at his own expense two experienced English-speaking Spot Operators to be available from 1 hour before the performance until
the audience has left the venue.
 The House Electrician must be available from the scheduled load in time until the completion of the load out. He/she must be professionally qualified
and totally familiar with the venue’s power distribution system.
 At least one Audio Engineer fully conversant with the operation of the sound equipment / consoles / PA system provided at the show should be present
from load–in to the end of the performance.
 At least one Lighting Technician fully conversant with the operation of the lighting equipment / dimmer console/lighting board provided at the show
should be present from load-in to the end of load-out.
 One Wardrobe Assistant for steaming / pressing / ironing in a separate room (with ironing and steaming appliances and hanging space for clothes) in
the backstage area is required to help prepare Artist’s and Band’s stage clothes from one hour before the performance until showtime.

PLEASE NOTE: Special conditions such as minimum calls, dark stage periods, curfews, fire regulations, labor which is subject to any rate other than the
normal hourly charges etc. should be made apparent to Artist’s Tour / Production Manager either prior to or when the above calls are discussed, along with
any other local differences as and where they apply.

24. SHOWERS:
a) Purchaser should ensure that there are sufficient showers either in or adjacent to the venue and that the hot water system will provide hot showers for all
touring personnel from the beginning of the load in until the point at which the last production vehicle leaves the venue.
b) Showers are to be clean and fully operational with soap and clean towels supplied.

25. TOWELS:
a) This production requires a total of twenty-five ( 2 5 ) clean, freshly laundered towels to be made available from the beginning of the load-in.
 ( 1 0 ) for band dressing room, ( 5 ) for Alan’s dressing room and ( 1 0 ) Black for stage during performance)

26. SOUND CHECK:


a) Artist shall have a minimum of one and a half hours sound check prior to the doors opening for the performance.
b) Artist’s Tour / Production Manager shall have final say as to when doors open.

27. PARKING:
a) Purchaser agrees to provide parking for one equipment truck, a full-length tour bus, two minibuses (provided by Purchaser) and four VIP car spaces.
Crew tour bus should be near load in and an AC power landline hook-up point should be available.
b) Band vehicles should have direct access to stage door.

28. AFTER SHOW AREA:


Purchaser will provide an After Show Hospitality/Meet and Greet area for up to thirty ( 3 0 ) approved guests who will be ushered there upon presentation of a
valid “After Show” pass. It should be away from the loading area and not in the immediate vicinity of the dressing rooms.

29. HOTELS:
Purchaser agrees to provide at his/her sole expense a deluxe hotel suite for Alan Parsons and Deluxe rooms for the band and crew – Intercontinental 5-star
standard or better, with 24-hour room service. Hotel name, address, telephone number, fax number, email address and website address must be provided in
advance to Tour Manager for approval before confirming the booking. Complimentary Internet in each of the rooms must be provided and if not supplied by the
hotel will be at the sole expense of the purchaser.
a) Number of rooms/nights required is as per main contract, unless modified by mutual agreement between the parties in advance.
b) Rooms to suite upgrades from Deluxe are much appreciated.
c) Hotel should be as close to venue as possible. Hotel addresses and phone / fax details are to be provided to Tour / Production Manager when show is
advanced.
d) Full breakfast should be included for all rooms at Purchaser’s expense – vouchers for breakfast if required should be provided at check-in. Late check-
outs will be permitted at no expense to Artist if any departure from hotel for flights / trains is after the hotel’s regular check-out time.
e) On non-performance days between two or more engagements on the same contract, all meals must be provided by the Purchaser. Alternatively, a Per
Diem payment of $75.00 per day should be provided in cash in local currency by the Purchaser for each member of the traveling party.

Page 5 of 17 Confirmed by PURCHASER_____ ____


30. TRANSPORTATION:
a) Where contract allows for air transportation to/from a city of a performance and/or where contract allows for more than one show with air transportation
between shows, Purchaser shall consult with Tour Manager before confirming or ticketing any flights or trains. Early flights are to be avoided for Artist,
Tour Manager and band. All excess baggage charges will be paid for by Purchaser. Charges incurred on outbound journey to be settled with
Tour Manager before the engagement. On departure, Purchaser’s representative shall be present to pay all excess baggage charges for all
personnel at all check-ins. In addition to air transportation allowed for in main agreement, Purchaser agrees to provide at his/her sole expense all local
transportation and baggage handling for Artist, band, crew and their luggage between airports or train stations, hotels and venues as required. This
requires ( 3 ) vehicles with drivers/baggage handlers: one 10-passenger van for Artist and band, one 10-passenger van for crew and one cargo van or
closed truck for the transfer of luggage and equipment. Additional limos, cars or taxis may be required at Purchaser’s expense depending on arrival times
and needs. Where contract allows for more than one show with ground transportation between shows, Purchaser shall provide at its own expense an
industry standard luxury air-conditioned 12-berth sleeper tour bus with toilet, fridge, coffee maker, DVD Player, Video screens, Internet access and power
points for computers etc.
b) Artist and Tour Manager will not agree to overnight drives or day drives over 6 hours. Where the distance is greater than 6 hours by road, Artist and Tour
Manager will fly to next destination at Purchaser’s expense. If distance is greater than 8 hours by road, all personnel will fly to next destination at
Purchaser’s expense. All transport arrangements to be coordinated between Purchaser and Tour Manager.
c) All Parking for Artist’s truck(s) tour buses and vans (supplied by Purchaser) where appropriate should be provided in the vicinity of the hotel and venue at
no cost to Artist. Specific details of requirements and transportation schedules should be discussed between Purchaser and Artists’ Tour Manager.
d) Any train travel must be approved in advance by Tour Manager. All train travel must be FIRST CLASS for all personnel. On overnight sleeper trains,
compartments should include proper bathroom facilities inside each compartment if available.

Page 6 of 17 Confirmed by PURCHASER_____ ____


 POWER REQUIREMENTS:
a) Lights 3-phase 600amps per leg
b) Sound 3-phase 150 amps per leg
c) Spotlights 2 services of 30 amps single phase (c form 32 amp socket preferred)
d) All power distribution must be within 65 feet of upstage center, except spotlight power which should be located at agreed positions in the house.

 BACKLINE POWER:
The Tour will equire a power conditioner / transformers to supply regulated 120v AC power for the portion of backline gear that Artist travels with.
Please see appendix “power drops” for details.

 LIGHTING POWER:
The audio powe service and the lighting power service must be separate.
Please consult with our production Manager and lighting designer for power requirements.

 AUDIO POWER:
The audio power service and the lighting power service must be separate.

 SPOTLIGHTS:
Requirements are specified in “Lighting Rider” that is part of this rider package. Positioning of spots will be at the discretion of Artist’s Lighting Designer. If
there are any restrictions regarding the positioning of spotlights then these should be conveyed to Artist’s production Manager or lighting designer in a timely
fashion prior to the scheduled performance. If the public should have access to follow spot position then appropriate security measures should be taken. A
minimum of 2 English–speaking spot light operators are required – see 24a Crew Calls above.

BACKLINE REQUIREMENTS

Backline Technician:
The Vendor must provide one ( 1 ) expert, qualified / skilled backline technician who can set-up, service and trouble-shoot all aspects of the back line equipment
including, but not limited to: drums, keyboards, bass/guitar amplifiers, instruments and all related hardware / software. The backline technician must remain on-site and
at the disposal of Alan Parsons band and crew for the entire duration of the event.

GUITAR AMPS: for Alastair Greene:


 1x – Guitar AMP:
 1st choice: Hughes & Kettner Tubemeister 18 or 36 with channel switcher and Marshall 4x12 slanted closed back cabinet.
 2nd choice: Marshall 50 watt JCM 2000 DSL (Dual Super Lead) w Footswitch A similar Marshall 1/2 Stacks would work as well with a 4X12 speaker
cabinet
 3rd choice: Marshall 100watt JCM 2000 DSL or TSL are also fine
(Please consult with production manager).

BASS AMPS for Guy Erez:


 1x – Bass Amp: Ashdown AMB 900 EVO III or GK 800 RB
 1x - Bass Cabinet: Ampeg 8X10 or 4X10 with 15” speaker cabinet.

GUITAR for Alan Parsons:


 Gibson 6-string Jumbo Electric-Acoustic Guitar. IMPORTANT: No nylon strings on acoustic guitars will be accepted.
 Black guitar strap and new light gauge (012/.054) strings on the guitar and a spare set.

GUITAR for PJ Olsson:


 1x – Martin, Takamine or Taylor electric-acoustic guitar w/on-board EQ.
 Black Guitar Strap and new light gauge (.012/.054) strings on guitar and a spare set.

GUITAR for Alastair Greene:


 1x - Gibson Les Paul
 1st Choice: Standard
 2nd Choice: Classic or Custom
 Black Guitar Strap and new light gauge (009/.042) strings on guitar and a spare set.
 1x – Martin or Gibson electro-acoustic guitar.
 Black Guitar Strap and new light gauge (.012/.054) strings on acoustic guitars and a spare set.

BASS GUITAR for Guy Erez:


 1x – Fender Jazz or P Bass
 Black guitar strap and new GHS Bass Boomers medium (.045-.105) strings on guitar and a spare set.

GUITAR HARDWARE:
 9x - Guitar Stands- 4 for acoustic guitars ( 2 ) for bass, ( 2 ) for electric guitar and 1 spare.
 6x - 1⁄4” long guitar cables.
 4x - 1⁄4” speaker cables for guitar and bass amps.
 5x - Solid type music stands - ( 2 ) with clip-on light.

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KEYBOARDS for Alan Parsons:
(No substitutions for this keyboard.)
 1x Yamaha Motif 7ES or ES8 with 512 kB total, (2 x 256 kB) or 1gB total, (2x 512kB) sample memory DIMM cards must be installed.
 Sustain pedal (NO PLASTIC)
 Spare sustain pedal.
 NOTE: Must be “Motif ES” not just Motif. NO Motif XS or XF

MANNY FOCARAZZO:
(No substitutions for these keyboards.)
 1x Korg Triton Studio or Classic
 Sustain Pedal (NO PLASTIC)
 1x - Roland XP-80 or XP-60
 Sustain Pedal (NO PLASTIC)
NOTE: both keyboards above must load data with 3.5 inch disk (Not CD)
 1x – Yamaha Motif 8 or Es8 or XS8
 Sustain Pedal (NO PLASTIC)

KEYBOARD HARDWARE

ALAN PARSONS:
 1x - Single X type keyboard stand. Strong enough to hold Motif ES8

MANNY FOCARAZZO:
 1x - 2-Tier type keyboard Stand.
 2x - Single X type keyboard stand.

SPARES: Please bring spare sustain pedals for all keyboards. Bring ( 2 0 ) professional quality of 1/4” connector cables with a minimum length of 10'. All the
keyboards are used in stereo.

SAXOPHONE

TODD COOPER:
 One saxophone stand to hold ( 1 ) Tenor Saxophone and ( 1 ) Alto Saxophone

DRUMS

DANNY THOMPSON:
DRUM KIT – OCD, DW or Pearl
 22” kick drum
 10” rack tom (mounted on tom stand)
 12” rack tom (mounted on tom stand)
 14” rack tom (mounted on tom stand)
 16” floor tom (needs tom legs, no tom stands)
 18” floor tom (needs tom legs, no tom stands)
 5” x 14” wood snare
 5” x 14” wood snare ( spare)

DRUM HARDWARE – DW or Pearl


 2x - tom stand
NOTE: Rack toms must be mounted on stands. They should not be mounted to kick drum.
 Bring several clamps and adapters
 6x - boom cymbal stands
 2x - hi-hat stands (IMPORTANT: 3 LEGS ONLY, NO 2 LEG STANDS)
 2x - snare stands
 1x - saddle type drum throne
 2x - DW 9000 single kick pedals
 2x- pair Pro-Marks drumsticks 7-A wood tip
 2x- pair Pro-Marks drumsticks 5-A wood tip
 1x- pair medium felt tip drum mallets
 1x- pair brushes
 1X 8X8 drum carpet

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CYMBALS – Zildjian “A Custom” or “K Dark”
 20" ride
 19” crash
 18” china
 18” crash
 16” crash
 14” high hats
 8” splash
 6” splash

DRUM HEADS – Remo


 Snare - Coated Controlled Sound
 Kick - Coated Powerstroke 3
 Rack Toms (top) - Coated Emperor
 Rack Toms (bottom) - Clear Ambassador
NOTE: Drum heads must be new and installed. A spare set of drum heads is required.

FRONT OF HOUSE SOUND REQUIREMENTS

Preferred FOH Console:


 AVID D-Show Venue or Profile with Venue Pack Plug-Ins Bundle
 Midas Pro6 or Pro2
 Yamaha PM5D-RH or CL5 48.
Note: All Yamaha digital consoles must come equipped with an external word clock such as Apogee Big Ben, Lucid or Black Lion Audio, capable
of operating at both 48 and/or 96K!
 1 x Stereo CD Recorder (Must Have!) with Balanced analogue and/or digital I/O capability.
 Intercom System between the FOH and Monitor Consoles with Beacons

PA SYSTEM REQUIREMENTS

 The vendor must provide one ( 1 ) expert, qualified / skilled PA systems technician/operator able to assist with all aspects of the FOH PA speaker system;
amplification, drive, programming, alignment / tuning, console / outboard equipment, patching, trouble-shooting and related FOH duties who must remain at
the disposal of our FOH mix engineer for the entire duration of the event, as required.

Preferred PA Speaker Systems:


 Red Certified EAW KF740 Line Array w/SB2001/SB1000 sub speakers or
 EAW KF760/KF730 Line Array with adequate front / out fills
 Meyer Sound Leo, Milo, Mica or Mina w/700HP sub speakers/ adequate front / out-fills
 D&B J-Series Line array, C4/7 with matching subs and adequate front / out-fills
 L’Acoustics Vdosc, Kudo,

IMPORTANT: All PA speaker systems must be properly processed and amplified as per manufacturer’s specifications. No exceptions. Alan Parsons’ FOH Engineer
will at all times have complete access to all PA system / loud speaker management / processor functions. The PA system must adequately cover all seated and
standing areas where ticketed patrons may see and hear the show, whether indoors or outdoors. The FOH Mix Position must be reasonably located within the
Audience listening area, preferably close to house center wherever possible. Where the venue is an outdoor venue, such as a festival, the FOH mix position must be
adequately protected from both direct sunlight and any forms of moisture and/or wind. All FOH cover systems must be removable for show time, weather permitting.

MONITOR SYSTEM REQUIREMENTS

 The vendor must provide one ( 1 ) expert, qualified / skilled MONITOR systems technician / operator able to assist with all aspects of the monitor system;
speakers, amplification, drive, programming, console/outboard equipment, RF (wireless equipment), I/O patching, trouble-shooting and related monitor duties
who must remain at the disposal of our monitor mix engineer for the entire duration of the event, as required.
 We require ten ( 1 0 ) channels of wireless in-ear monitors split across two frequency bands (Sennheiser EW300IEM G3 Preferred), and proper frequency-
matched antenna distribution system with external antennas and all necessary cabling & batteries for SC and show.
NOTE: All wireless provided must comply with ALL FCC and local guidelines and/or restrictions, both concerning frequency and otherwise.
 We require four ( 4 ) monitor wedges. Two ( 1 ) down stage center for our lead singer, and two ( 2 ) on either side of stage with proper amplification.
 We require a dual 18” drum sub with proper amplification.

Monitor Console:
 Yamaha PM5D-RH, Midas Pro6, or Soundcraft Vi6 w/dual(2) power supplies (to be positioned off stage left wherever possible) Minimum configuration must
include ( 4 8 ) mono + ( 8 ) stereo inputs (or 64 input channels) x 32 outputs with at least 24 aux mixes and 8 matrix mixes. The stereo or mono buss out
should not be considered as one of these sends.

Power Distribution:
 Proper power distribution to power the entire audio system, including FOH and Monitor packages, PA, and Backline.
 Stage AC: 8 - Quad Box Drops Minimum 2 x 20 amp Circuits.
Page 10 of 17 Confirmed by PURCHASER_____ ____
Direct Boxes and Microphones:
 Please supply the microphones and direct boxes listed on the “input list” Including:
 19x Channels of active DI’s. BSS, Klark-Teknik, Countryman, and Radial will be accepted. (Please bring spares)
 2x Condenser audience mic’s (SM 81)

Wireless (RF) Microphones:


 2-channels of Shure programmable UHF diversity receivers (1 main, 1 spare) w/antennas, cabling, handheld transmitters w/SM58 capsules preferred (Input
channel 36)
 2-channels of Shure programmable UHF diversity receivers (Input channels 27 & 28) w/antennas, cabling
 2-belt packs w/Beta 98HC clip-on capsules for saxophones
NOTE: Must have clip-on hardware accessory for horns, NO DRUM CLIPS)

IMPORTANT: All necessary batteries for above for sound check and show (30 AA & 6 9v)

Stands, Cables, Splitter:


 Minimum 48 Channel 2-Way Splitter. (3-Way if we are recording multitrack)
 All Required XLR and 1⁄4” cables, sub snakes, FOH multicores, and mic stands including:
 19x 1⁄4” cables, 6' minimum. (Please bring spares of all)
 5x Short boom stands
 10x all boom stands
 1x Straight round base stands
 4x all mic stands for antenna paddles
NOTE: Microphone stands must have proper clips and adjustment hardware.

IMPORTANT: Our production may carry some of the microphones. Please consult with our FOH Engineer or Production Manager for exact microphone requirements.

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INPUT LIST

FOH MON Instrument Mic / D.I. Stand Type Location FOH PROCESSING
1 1 KICK Beta 52 SHORT BOOM USR GATE 1 into COMP 9
2 2 SNARE SM 57 SHORT BOOM USR GATE 2 into COMP 10
3 3 HAT SM 81 SHORT BOOM USR
4 4 RACK 1 ATM 35 (We Carry) CLIP USR GATE 3
5 5 RACK 2 ATM 35 (We Carry) CLIP USR GATE 4
6 6 RACK 3 ATM 35 (We Carry) CLIP USR GATE 5
7 7 FLOOR 1 ATM 35 (We Carry) CLIP USR GATE 6
8 8 FLOOR 2 ATM 35 (We Carry) CLIP USR GATE 7
9 9 O.H. SR AKG 414 TALL BOOM USR
10 10 O.H. SL AKG 414 TALL BOOM USR
11 11 BASS DI USR COMP 11
12 12 GTR DI L DI USL
13 13 GTR DI R DI USL
14 14 GTR MIC L AT 4033 (We Carry) SHORT BOOM USL
15 15 GTR MIC R AT 4033 (We Carry) SHORT BOOM USL
16 16 ALAN ACOUSTIC DI USC COMP 12
17 17 ALAN KEYS L DI USC
18 18 ALAN KEYS R DI USC
19 19 TRITON L DI USL
20 20 TRITON R DI USL
21 21 XP - 80 L DI USL
22 22 XP - 80 R DI USL
23 23 MOTU L DI USL
24 24 MOTU R DI USL
25 25 MOTIF L DI USL
26 26 MOTIF R DI USL
27 27 ALTO SAX WIRELESS Beta 98 CLIP-ON MSL COMP 13
28 28 TENOR SAX WIRELESS Beta 98 CLIP-ON MSL COMP 14
29 29 GUY VOCAL SM 58 TALL BOOM DSR COMP 1
30 30 PJ VOCAL SM 58 TALL BOOM DSC COMP 2
31 31 ALASTAIR VOCAL SM 58 TALL BOOM DSL COMP 3
32 32 DAN VOCAL SM 58 TALL BOOM USR COMP 4
33 33 ALAN VOCAL SM 58 TALL BOOM USC COMP 5
34 34 MANNY VOCAL SM 58 TALL BOOM USL COMP 6
35 35 VOCODER SM58 + DI TALL BOOM USC COMP 7
36 36 TODD VOCAL WIRELESS SM 58 TALL BOOM MSL COMP 8
37 37 SPARE VOCAL SM 58 TALL BOOM DSC COMP 17
38 38 PJ ACCOUSTIC DI USC COMP 15
39 39 ALASTAIR ACCOUSTIC DI USL COMP 16
40 ALAN KEY CLICK DI USC
41 MOTU CLICK DI USL
42 AUDIENCE SL SM 81 DSL
43 AUDIENCE SR SM 81 DSR
44 PJ VOC 2 “Y” Cable
45 (FX 1 RETURN)
46 (FX 2 RETURN)
47 FOH TB FROM FOH
48 MON TB
40 (DDL RETURN (MONO)) DDL
41 (FX 1 L) Reverb 1-L
42 (FX 1 R) Reverb 1-R
43 (FX 2 L) Reverb 2-L
44 (FX 2 R) Reverb 2-R
45 (FX 3 L) Reverb 3-L
46 (FX 3 L) Reverb 3-R
47 (CD PLAYBACK L)
48 (CD PLAYBACK R)

** Please Note: Effects and CD playback will return on Stereo Channels wherever possible.

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LIGHTING

Page 13 of 17 Confirmed by PURCHASER_____ ____


LIGHTING EQUIPMENT RIDER

PLEASE CONTACT MARTIN THOMAS – Lighting Designer


RELENTLESS LIGHTING DESIGN
Email: mthomasld@gmail.com
United States Telephone: +1 - 5 2 0 - 9 4 0 - 2 0 9 8
WITH ANY QUESTIONS OR BEFORE FIXTURE OR CONSOLE SUBSTITUTIONS ARE MADE

 10pcs. 10’x20” BOX TRUSS


 8pcs. 10’x12” TRIANGLE TRUSS
 15x 1 TON MOTOR POINTS (WITH ALL RIGGING- SPANSETS, STEEL, SHACKLES, BURLAP, CABLE, CONTROL FOR ENTIRE SYSTEM)

IF A HOUSE BLACK BACKDROP IS NOT AVAILABLE, VENDOR SHALL PROVIDE:


 1x Black Backdrop, minimum 20’ tall x 50’ wide
 50' 12” Triangle Truss for above soft goods
 3x ¼ Ton Motorpoints or Rope Hoist units for above Soft Goods truss
 8x Sandbags, to dress Soft Goods
 4 Active ½ Ton Motorpoints (used as cable picks)

MA Lighting Grand MA 2 full sized console w/ 1 external FLATSCREEN color monitor, desk lamps and current software with personalities of all fixtures specified
installed before the desk is packed out of the shop.

NOTE: ALL Lighting to be controlled from ONE console. NO OTHER LIGHTING CONSOLES MAY BE SUBSTITUTED WITHOUT PRIOR APPROVAL OF
LIGHTING DIRECTOR.

 12x MARTIN MAC III Moving Head Spot Lights yoke style- professional concert quality, high intensity lamp (w/ spare bulb) with removable hanging
apparatus- 4 for ground use
 14x Vari*Lite VLX LED Moving Head Wash Lights yoke style- professional concert quality with removable hanging apparatus.

 16x CLAY PAKY Sharpy Moving Head Spot Lights yoke style- professional concert quality, high intensity lamp (w/ spare bulb) with removable hanging
apparatus.
 8x Martin ATOMIC DMX Strobe Lights 2 for ground use
 4x PAR 36 4 Light MoleFAY Audience Light w/ Hanging Clamps
 23x Source Four 26 Degree Ellipsoidals w/ hanging clamps
 10x PAR 64 Sixbars in EXCELLENT condition, Polished Silver finish, w/ 1K NARROW Lamps (60 cans Upstage). All cans to have gel frames. See hookup
sheet and plot for color specifications and contact LD for patch/ channel assignments.

GELS FOR RIG:


 Rosco 83 (= LEE 716 MIKKEL BLUE)
 Rosco 90 (= LEE 090 DARK YELLOW GREEN)
 Rosco 23 (= LEE 778 MILLENNIUM GOLD)
 Rosco 312 (= LEE 101 YELLOW)
 Rosco 27 (= LEE 029 PLASA RED)
 Rosco 59 (No Substitutions)
Please make sure ALL gel color matches- no burnouts

All lighting fixtures to have safety cable, spare lamp and be in CLEAN working condition at time of focus/ programming.

IMPORTANT: Fixtures shall be wrenched down snug and able to hold a focus PRIOR to the rig going to trim height. THIS IS IMPORTANT

IMPORTANT: Damaged T-bolts or clutches are NOT acceptable.

 2x DF 50 Atmospheric Hazer w/ fans (Artist requests that no other type of atmosphere be used for primary atmosphere)
 1x Antari SW-250 Snow Machine (with SL-5A Snow Fluid) (http://www.antari.com.tw/products/get_attachment.php?product_ID=116)
PLEASE NOTE: This machine mounts in the Downstage Truss (Used as a Special Effect). Control is either DMX or Wireless remote.

 4 line minimum Control Snake (4 Active DMX Universes) OR MA Net Digital control network. Minimum 3 DMX Signal Splitters/ Boosters

POWER DISTRIBUTION FOR ALL INTELLIGENT LIGHTING FIXTURES:


 Minimum 72x 2.4K Professional quality Dimmers (ETC, Avo, Celco, etc.). Dimming curves shall be smooth and equal, and in EXCELLENT working
condition, with spare replacement modules available on site for repairs.

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ARENA / FLAT FLOOR VENUE:
 8’deep x 12’wide x 18” high FOH riser platform, located behind and higher than FOH sound mixing position.
 1x 8’ STURDY table for consoles
 1x 6’ fabric sofa and 2x rolling office chairs.
NOTE: NO ROAD CASE TABLES / SEATING PLEASE.
 3x Wire ladders for trusses, cable package, gel as requested on plot, expendables, tape, assembly tools, spare lamps for ALL fixtures, repair parts, etc. to
have system at 100% functional at focus/ programming.
 4x High Intensity Followspots, placed as close to center as possible, with unobscured sight lines to Upstage Center, based on venue. Operators should
understand standard spotlight commands in English.

o Spots to be colored as follows:

 Frame 1- Rosco 33 Flesh Pink


 Frame 2- Lee 170 Light Lavender
 Frame 3- Rosco 26 Red
 Frame 4- Rosco 49 Magenta
 Frame 5- Rosco 58 Lavender
 Frame 6- Rosco 83 Blue

 8x Stations Headset Communications (2x FOH- single muff, 4x FOH Spotlights, 1x Dimmers, 1x Houselights)

Hang Positions:
 Downstage Truss- +6’ downstage from 0’, 28’ Trim;
 Midstage Truss- +14’ upstage from 0’, 24’ Trim;
 Upstage Center Truss & Upstage angle points- + 30’ from 0’, 19’ Trim (Angled trusses trim asymmetrically from 19’ to 24’)

Contact Lighting Director Martin Thomas @ United States Phone # +1-5 20-9 40-2 098 (worldwide access number- SMS / MMS capable), or email to
mthomasld@gmail.com with ANY questions.

This rider applies to Lighting Plots titled “Alan Parsons Live Project World Tour 2013 (Lighting Plot One Off Concerts 2013)”, and supersedes any previously issued
riders (Revised Dec. 2012)

VERY IMPORTANT: PRODUCTION SCHEDULE MUST BE ADHERED TO… PLEASE STAFF ACCORDINGLY TO HAVE LIGHTING ASSEMBLED AND FLOWN IN
TIME FOR SET CONSTRUCTION, FOCUS, AND A MINIMUM OF 4 HOURS OF LIGHTING PROGRAMMING TIME LEADING UP TO VENUE DOORS / SHOWTIME.

PLEASE MAKE SURE THERE ARE RESPONSIBLE, TECHNICALLY PROFICENT, INTELLIGENT PEOPLE ON YOUR CREW. THANK YOU!

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CATERING RIDER

Crew lunch:
 During the set up day, the crew will select lunch. It will be paid for by Purchaser, and picked up by Purchaser’s runner. Sandwiches or the parts to make them,
burgers, pizza, and/or chicken will work. Allow for $15.00 USD per crew member for buyout.
 A catered lunch is also acceptable. If this is case, arrangements should be made in advance with the Tour Manager or Production Manager.

Dinner catering: (Allow for 13 including Artist’s crew)


 We welcome all local specialties. It is essential that a healthy, well balanced diet will be provided for this production. Your help in this area is greatly
appreciated. Please provide fresh fruit and vegetables.
 If show time is 7:00 pm or earlier, dinner should be provided AFTER SHOW.
 Vegetarian meals should be prepared from proper vegetarian recipes. All meals must be served with proper dishes and silverware. Please provide salt,
pepper, bread and butter, ketchup, mustard, mayonnaise, salad dressings etc. plus a varied selection of soft drinks and bottled water.

The meal should comprise of:


 a hot soup
 salad
 choice of 3 entrees plus fresh vegetables
 Two dishes of beef, chicken, seafood, fish, lamb, pasta, stir fries, noodle dishes, Indian or Thai.
 One all vegetarian dish –STRICTLY NO MEAT OR FISH – and - NO MEAT OR FISH PRODUCTS USED IN COOKING.
 Any arrangements for Purchaser / local crew are to be in addition to the above.

**NOTE: Purchaser may buy out dinner. If buyout to be done, it must be confirmed with the Tour Manager when the show is advanced. The price for a buy-
out is $25.00 USD per person and must be paid to the Tour / Production Manager in USD bills or local currency upon arrival at venue.

Alan Parsons Dressing Room: (Earlier in the day in addition to any catered dinner - Allow for four people –ready at Sound Check)
 Small deli tray with cheese/meats/shrimp
 Wheat bread
 Bananas
 1 bottle of Belvedere or Russian Standard Vodka
 1 bottle of French Champagne on ice
 2 bottles of premium dry white wine - Cakebread, Louis Latour or similar quality Chardonnay or Viognier on ice
 2 bottles of premium red wine (Pinot Noir or Syrah – not Cabernet Sauvignon)
 1 six-pack of Stella Artois or local beer.
 Cranberry Juice
 Fresh Limes or Lemons
 A selection of Coke/Diet Coke//Root Beer (6-12 cans)
 12 1⁄2 liter bottles water
 Ice
 Corkscrew, bottle opener, napkins, plates, cups, glasses and silverware
 Salt, pepper, ketchup, mustard
 Clothes Hanging Space or Clothes Line, Hair Dryer, Full Length Mirror, Iron and Ironing Board, Trash Can, 5 clean towels.

Band Dressing Room: (In addition to any catered dinner - allow for 11 people – ready at sound check)
 Fresh seasonal fruit bowl or tray
 Bunch of bananas
 Deli tray with cheese/meats/shrimp
 White and wheat bread
 Veggie tray with raw vegetables and dip + Pickles
 Tortilla chips w/ salsa
 Fresh brewed hot coffee with sugar/sweet & low/milk/cream
 Hot PEPPERMINT tea and regular tea w/ fresh lemon, sugar and cold milk.
 1 bottle of Belvedere or Russian Standard Vodka
 3 bottles of premium red wine (Pinot Noir, Cabernet Sauvignon or Syrah)
 A selection of Coke/Diet Coke/Ginger Ale/, Coconut Water (18-24 cans)
 24 bottles of cold Stella Artois, Heineken or favorite local beer
 Ample supply of bottled water (at least 48 )
 3 large bottles of sparkling water
 Lots of Ice (before and after the show)
 Corkscrew, bottle opener, napkins, plates, cups, glasses and silverware
 Salt, pepper, ketchup, mustard
 Simple First Aid Kit. Tylenol, Advil etc.
 Clothes hanging space or clothes line, full length mirror, TRASH CAN, 10 clean towels
 The dressing rooms must be refreshed of all requested supplies between sound check and the show.

**ON STAGE: ( 2 4 ) cold bottles of water and ( 1 0 ) clean towels

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I hereby agree to all the terms and conditions of this rider. If I should request a change, substitution or alternative brand of product or equipment, I will
submit said request in writing and shall only consider that request answered when answered by Artist’s Manager JOHN REGNA or Artist’s Tour Manager
LISA MARIE PARSONS.

….PLEASE FILL IN ALL EIGHT (8) LINES BELOW….

PURCHASER SIGNATURE

By: Telephone:

Print Name: Cellular:

Date Signed: Email:

Place Signed: Alternate Email:

Please also initial this page in addition to fully signing this rider above. Thank you. ………………............................................ ↓

Page 17 of 17 Confirmed by PURCHASER_____ ____

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