Corporate Production Rider

Artist: MICHAEL AND AMY

1. PIANOS
GRAND PIANOS
a. Two acoustic grand pianos only: Michael and Amy are in the Steinway Artist Program. Their indisputable piano of choice is the Steinway D, or the Steinway B.
b. The same model: The pianos should be of the same size, manufacturer and model.
c. Just tuned: The pianos should both be tuned AFTER being delivered to the stage.
d. Tuned to each other: The piano tuner must be informed that the pianos are to be tuned, not only to themselves, but one to the other.
NOTE - We must perform with the piano lids down, to isolate the sound of each piano and so as not to obstruct the sight lines between Artists and Audience.

2. SOUND SYSTEM
Monitors
a. ARTIST owns two wireless in ear monitor systems and will use these for the performance. ARTIST REQUIRES the mixing console provide minimum two separate aux sends dedicated to Artist in-ear wireless monitor system.
b. MINIMUM - Two separate monitor (sends) from the board.
c. MINIMUM - Two EQ channels dedicated to the monitor mixes.
ARTIST’S monitor transmitters will be placed upstage of each piano near ARTIST’s boom stand. Power must be available at each piano as well as sufficient xlr cable to connect transmitters to snake or other device to patch into house sound.

Microphones for Artist:
a. Two professional high quality handheld wireless microphones for ARTIST. These microphones are for Artist use only and must be sanitized prior to ARTIST use.
b. Minimum of two Perimeter microphones to feed audience sound to Michael and Amy’s in-ear monitor mix.
c. Two Microphone stands w/booms for vocal microphones.
d. Center Mic -One microphone - wireless preferred - on a stand centered directly in front of and next to the meeting ends of the grand pianos. (See diagram above)

Microphones for Pianos:
NOTE - We perform with the piano lids down so as not to obstruct the sight lines between Artists and Audience.
Volumes have been written on this subject. Hopefully, you've read a few, and perhaps, you've developed your own techniques with respect to microphone selection and placement.
Under no circumstances is using a 57, 58 or any other substandard, non-grand piano designed microphone acceptable.

Our research and experience has found the following options to be workable:
a. Condenser Mics - Condenser-type microphones (2 per piano), placed on foam in the metal holes of the harp, pointing at the strings. Optimum placement and EQ is an art.
b. PZMs - Such as Crown Model PZM-6D microphones (2 per piano), taped with gaffing tape under the lids in two locations. With this method, a substantial cut at around 250 Hz is usually needed to remove the inherent boominess the closed lid causes.
c. Piano Pick-ups - Such as Barcus-Berry Model 4000x1 (brand) piano pick-ups (1 per piano), placed according to manufacturer's instructions.

d. Contact Mics (Recommended) - C-Tape C-Ducer (brand) contact microphones affixed to the underneath side of the sounding board of each piano. 2 contact strips are included in each system, and each system is appropriate for one piano. This device gives the greatest gain before feedback and is the recommended method for our act.
e. Combination - A combination of any of the methods above. For example, good results can be achieved by using a contact mic beneath the sounding board and a single PZM under the lid. The contact mic gives "punch", while the PZM provides more even coverage and a sense of "openness"

Soundboard, EQ, FX
a. NOTE - ARTIST REQUIRES the mixing console provide minimum two separate aux sends dedicated to Artist in-ear wireless monitor system.
b. MINIMUM - Two separate monitor (sends) from the board.
c. MINIMUM - Two EQ channels dedicated to the monitor mixes.
d. Appropriate soundboard, EQ, FX and Aux Sends to facilitate the aesthetic and technical requirements of our show, venue, and size of audience.
e. Effects units to provide reverb, delay for vocal and piano channels.
f. Power amplifiers suitable for speaker types and venue Main speakers suitable for venue.

House
a. House speakers and compatible amplifiers, crossovers and EQs sufficient to produce clear, undistorted, full and even sound for the venue and size of audience.
b. Depending on the size of the venue and the audience, a two- or three-way configuration including subwoofer(s) is usually necessary.

3. STAGE
Stage Width: The length of pianos used for the performance will dictate the minimum stage width required as follows:
5’2 - 6’ grand pianos - 20’ minimum stage width
6’5”-7’ grand pianos - 24’ minimum stage width
7’2-9’ grand pianos - 32’ minimum stage width
b. Stage Depth: 12 feet minimum to accommodate grand pianos and show staging.
c. Steps: The stage must be safely accessible from the house, as we bring audience-members up on stage during the performance.

4. LIGHTING
a. Concert lighting adequate and appropriate for the performance venue. Our lighting goal is to capture and enhance the mood and energy of each song as it's being performed.
b. In addition to a colorful stage wash, a cyc or similar backdrop on to which static gobos, images, motion effects, and/or video can be projected is desirable.
c. Two specials, one focused on Amy and one on Michael, used to highlight solo or special performance sections.

5. VIDEO PROJECTION *Optional
NOTE - A video projection system is optional but highly recommended for events with an audience in excess of 100 people, affording everyone a “front row view” of the show.
a. Minimum two camera shoot. The number of cameras may be increased to provide more coverage of the show and to capture the audience.
b. Minimum two large screen projection system combined with live switching and video recording capabilities. More screens may be added depending upon audience size and event scope.
Artist to receive minimum of one copy of the video to be delivered no later than two weeks following the event performance.

6. PERSONNEL
a. Sound: Qualified personnel to operate the sound equipment.
b. Lighting: Qualified personnel to operate the lighting equipment.
c. Video: Qualified personnel to set up and operate the video equipment.

7. POWER
a. Adequate power supplies for all sound, lighting, and stage equipment.

8. DRESSING AREA
a. Secure room with adequate lighting, mirrors, seating, sink, showers, toilet, area for hanging clothes, for Michael and Amy.
b. If Artist’s performance is being held at a venue, which provides on site lodging such as a hotel, resort, etc.,then Artist’s lodging arrangements, per Artist agreement, will act as Artist dressing area.
b. If Artist’s performance is not being held at a non-lodging venue, such as a theatre, convention center, stadium, etc., Purchaser will provide an onsite secure room for Artist.

9. CHANGES Any changes made to the above list may not be modified without written approval from ARTIST. ARTIST IS NOT RESPONSIBLE FOR CANCELLATION DUE TO UNAUTHORIZED CHANGES OF THE TERMS OF THIS RIDER.