Nightwish Rider 2004

SOUND TECH RIDER for

Page 1 of 6

Updated: 24/03/2004

1. SOUND IN GENERAL After receiving this rider please ask your tech coordinator/production manager-type manager-type of person to send the local sound production info (tech contact info, sound equipment list + venue specs) by e-mail to: mr. Ville Kauhanen [email protected] [email protected] Staff The band is travelling with at least two sound engineers; one F.O.H. and one monitor engineer. There is always needed at least two soundengineers with the locally provided or house sound system: 1. One competent system engineer with knowledge of the PA system and venue in question. 2. One competent sound engineer to be in charge of onstage mic patching. This person should also have knowledge of the provided monitor system and stage cabling. 2 (two) stagehands are needed to assist Nightwish’ crew for the load in / load out. All the local crew must be able to communicate in English language.

Electricity All equipment that Nightwish is carrying with them is working on 220-240Volts, 50Hz power. Outlets must be “Schuko”-type. These power outlets are needed at F.O.H., Mon mix position and on the places shown in the stage plot (page 6/6 of sound tech rider). On festivals 220-240V, 50Hz Schuko outlets are needed also in the offstage backline set up a rea 2 hours prior to the changeover. Stage Minimum performance area approx. 12m wide and 9m deep. These dimensions are excluding any PA wings/towers, mon mix position etc. Stage must be well lit during the set up and directly after the show. Support acts All the consoles and outboards mentioned in this rider are for the sole sol e use of Nightwish. For any possible support acts there must be provided separate mixing consoles+INS/FX consoles+INS/FX and microphones etc. Risers We need in total 3 (three) risers. All risers are to be carpeted in black and to have a black scrim in front and sides. s ides. On festivals we need the riser to be equipped with lockable wheels. On festivals the risers are needed 2 hours before the change over. RISER 1. Bass riser 2m x 1m x 40cm (w/d/h). Height Height must incl. wheels RISER 2. Drum riser riser 3m x 2m x 60cm (w/d/h). Height must incl. wheels RISER 3. Guitar riser 2m x 1m x 40cm (w/d/h). Heigth must incl. wheels

The whole soundsystem should be in place, tested and be ready to use u se before the arrival of the artists’ crew.

SOUND TECH CONTACT INFO:

mr. Ville Kauhanen

[email protected] mobile fax +358-430-87847 +358-430-87847

mobile ph. +358-400-878475


Page 2 of 6

Updated: 24/03/2004

2. HOUSE SPEAKER SYSTEM System specs & design A stereo 4-way system capable of providing undistorted 118 dBC at F.O.H. mix position. The idea is not play this loud but all sound systems just sound much better with alot of headroom. When designing a sound system please have these things in mind: - A majority of the MID/HI cabinets should be flown. - The sound system coverage should be as even as possible starting from the first row (sound spectrum AND sound pressure). - Wether stacking or flying, always try to avoid aiming the speakers towards any reflective surfaces. Try to have as much as possible direct sound from the PA to the audience. Preferred manufacturers/systems are: Turbosound Flashlight/Floodlight , d&b C/B- series, NEXO Alpha and GeoT, L’Acoustics V-Dosc, EV X-line series, Martin Audio W8L, EAW

System optimizing All system equalization should be done prioir to arrival of the artists’ crew. This should be done with prosessors like BSS Soundweb or Omnidrives, Yamaha DME-series, XTA DP-series and systems alike. If system prosessors are located onstage a remote control possibility with PC at F.O.H. mix position must be provided. The whole soundsystem should be optimized for the venue and all possible separate sends in addition to the main left and right (front fills, under balcony fills, delay systems, etc.) are to be time aligned and equalized by a competent system engineer using a professional measurement system like SMAART PRO or LIVE. Artists F.O.H. engineer needs 1 (one) stereo 31-band graphic EQ on the main outputs of the console to fine tune the system during the soundcheck and show (XTA, KT, BSS, TC)

3. F.O.H. Mix position - F.O.H. mix position should be located in center about 2/3 of the distance from downstage to rear of the hall, but not under any conditions under a balcony, on a balcony or at the back wall of the venue. - F.O.H. console must be located on the floor, the same level as the audience is standing, NOT on a riser. F.O.H. Console A dedicated F.O.H. console with a minimum of 32 mono and 4 stereo input channels and 8 VCA groups. Each input channel needs to have sweepable HF and LF-filters and fully parametric mid filters. All professional consoles equipped with previously mentioned features are OK, but preferred consoles are: MIDAS XL- and Heritage-series, Soundcraft Series5, Yamaha PM 3500, 4000 F.O.H. Outboard Gates: Compressors: FX:

7 6 1 3 1

(seven) (six) (one) (three) (one)

channels (Drawmer, BSS, KT, XTA) channels (DBX, BSS, KT,XTA) digital delay (TC2290, D2, Roland SDE3000) multieffects (YAMAHA, TC, LEXICON) special effect (Eventide H3000)


mr. Ville Kauhanen

[email protected] mobile fax +358-430-87847

mobile ph. +358-400-878475


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Updated: 24/03/2004 Others - CD player connected for playback - MD recorder/player connected for recording (Matrix output) and playback - Intercom system between F.O.H and MON mix positions. MUST HAVE A BLAZON-TYPE VISIBLE BEACON CALL LIGHT AT BOTH ENDS. - All F.O.H. mix position equipment racks and console has to have proper working lights.

4. MONITOR SYSTEM Monitor mix position Preferred monitor position is on the same side as the easiest access to the artists’ backstage. If stage access from backstage is possible/easy from both sides of the stage preferred position is STAGE LEFT. Monitor console A dedicated monitor console with minimum of 32 input channels and 13 group outputs. Each input channel needs to have sweepable HPF and a 4-band EQ with sweepable HF and LF and fully parametric mid filters. Console needs to be capable o f handling multiple stereo mixes. All professional monitor consoles equipped with previously mentioned features are OK, but preferred consoles are Midas XL3/ 250/ H3000, Crest Audio X-Monitor/LM20/LMX, Soundcraft SM20/Series5 MON/MH4. Monitor outboard 31-band graphic EQ: (4-band parametric EQ: Gates: Compressors: FX:

7 (seven)channels inserted on mon speaker groups (XTA, BSS, KT) 1 (one) channel; this can substitute one GEQ ch on drum sub grp ins) 4 (four) channels (XTA, BSS, KT, Drawmer) 2 (two) channels (XTA, BSS, KT) 2 (two) FX units (YAMAHA SPX990, REV500, TC M1, Lexicon MPX-1)

Monitor speakers - 8 (eight) HI POWER OUTPUT 2-way bi-amp wedges. Preferred models are: d&b audiotechnik M2, EAW SM400iH, SM 64/84, and ANY professional good sounding hi power output 2-way bi-amp floor monitor equipped with approx. 2x12” and 1x1,4” components. - Sidefills are needed when stage width exceeds 12 meters. Sidefills need to be a 3-way tri-amp fullrange system including subs. Preferred systems are d&b audiotechnik C/B-series, NEXO Alpha and all professional system alike. - 1 (one) 2*15” OR 2*18” drum sub. In ear monitors Band provides all necessary IEMs. Cabling is needed for the wired IEMs from the monitor mixer to the drum riser USC (2 XLR-XLR lines clearly marked as “1.” and “2.”)


mr. Ville Kauhanen


mobile ph. +358-400-878475


Page 4 of 6

Updated: 24/03/2004 Others - 2 (two) tall mic stands with tripod legs are needed at the monitor position for the remote antennas of the IEMs and wireless mics. - Intercom system between MON and F.O.H. mix positions. MUST HAVE A BLAZON-TYPE VISIBLE BEACON CALL LIGHT AT BOTH ENDS. All MON mix position equipment racks and console has to have proper working lights.

NIGHTWISH MONITOR MIXES ARE: MIX NRO.

DESCRIPTION:

GRP INS:

POS ON STAGE

MIX 1.

KEY wedge LEFT

GEQ 1 .

DSR

MIX 2.

KEY wedge RIGHT

GEQ 2.

DSR

MIX 3.

BASS wedges (2pcs.)

GEQ 3.

DSC/R

MIX 4.

GTR wedges (2pcs.)

GEQ 4.

DSL

MIX 5.

FX 1. send

MIX 6.

FX 2. send

MIX 7.

SIDEFILL stage right

GEQ 5.

DSR

MIX 8.

SIDEFILL stage left

GEQ 6.

DSL

MIX 9.

DRUM SUB

GEQ 7.

USC

ST MIX 1.

LEAD VOC wireless IEM L/R

MONITOR POS

ST MIX 2.

DRS wired IEM L/R

USC


mr. Ville Kauhanen


mobile ph. +358-400-878475


Page 5 of 6

Updated: 24/03/2004

INPUT LIST (for F.O.H. & MONITOR) CH. +48V Description

Source Position F.O.H. ins.

MON ins./IP

Mic stand (all black)

1.

Kick mic SR

*

USC

gate 1.

Not needed (N/N)

2.

Kick mic SL

*

USC

gate 2.

N/N

3.

Kick trigger

*

USC

4.

Snare TOP

*

USC

comp.1.

N/N

5.

Snare BOTTOM

*

USC

gate 3.

N/N

N/N

6.

X

HH

*

USC

7.

X

RT 1

*

USC

gate 4.

gate 1.

N/N

8.

X

RT 2

*

USC

gate 5.

gate 2.

N/N

9.

X

FT 1

*

USC

gate 6.

gate 3.

N/N

10.

X

FT 2

*

USC

gate 7.

gate 4.

N/N

11.

X

OH SR

*

USC

Tall tripod w/telesc boom

12.

X

OH CENTER

*

USC


13.

X

OH SL

*

USC


14.

X

BASS D.I.

*

USR

comp.3.

15.

BASS mic

*

USR

comp.4.

16.

GTR mic 1.

*

USL

N/N

17.

GTR mic 2.

*

USL

N/N

N/N

comp. 1.

N/N N/N

18.

X

KEY mix left

*

DSR

N/N

19.

X

KEY mix right

*

DSR

N/N

20.

VOC TARJA

*

MON POS

comp.2.

21.

VOC MARCO

*

DSC/R

comp.5.

22.

VOC spare

*

MON POS

comp.6.

23.

MD left

*

USC

N/N

24.

MD right

*

USC

N/N

25.

Delay ret.

25.

ST 1.

FX ret 1. L/R

26. / 27. Audience mics L/R

ST 2.

FX ret 2. L/R

28. / 29. FX 1. ret. L/R

ST 3.

FX ret 3. L/R

30. / 31. FX 2. ret L/R

ST 4.

FX ret 4. L/R

32.

Straight w/roundbase comp. 2.

Tall tripod w/telesc boom Straight w/roundbase

TB from mon pos to stage

TB from F.O.H. to stage

* Band provides ALL microphones and D.I. boxes. SOUND TECH CONTACT INFO:

mr. Ville Kauhanen


mobile ph. +358-400-878475


Page 6 of 6

Updated: 24/03/2004


mr. Ville Kauhanen


mobile ph. +358-400-878475

Nightwish Rider 2004

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