Professional Documents
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Page 1 of 6
NIGHTWISH
Updated: 24/03/2004
1. SOUND IN GENERAL
After receiving this rider please ask your tech coordinator/production 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 ville.kauhanen@helsinkiproaudio.fi
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 area 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 use of Nightwish. For any possible support acts there must be provided separate mixing 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. 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 must incl. wheels RISER 2. Drum 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 before the arrival of the artists crew.
NIGHTWISH
Page 2 of 6
NIGHTWISH
Updated: 24/03/2004
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) channels (Drawmer, BSS, KT, XTA) (six) channels (DBX, BSS, KT,XTA) (one) digital delay (TC2290, D2, Roland SDE3000) (three) multieffects (YAMAHA, TC, LEXICON) (one) special effect (Eventide H3000)
NIGHTWISH
Page 3 of 6
NIGHTWISH
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 of 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.)
NIGHTWISH
Page 4 of 6
NIGHTWISH
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
Page 5 of 6
NIGHTWISH
Updated: 24/03/2004
MON ins./IP
Kick mic SR Kick mic SL Kick trigger Snare TOP Snare BOTTOM HH RT 1 RT 2 FT 1 FT 2 OH SR OH CENTER OH SL BASS D.I. BASS mic GTR mic 1. GTR mic 2. KEY mix left KEY mix right VOC TARJA VOC MARCO VOC spare MD left MD right
Delay ret. FX ret 1. L/R FX ret 2. L/R FX ret 3. L/R FX ret 4. L/R
* * * * * * * * * * * * * * * * * * * * * * * *
USC USC USC USC USC USC USC USC USC USC USC USC USC USR USR USL USL DSR DSR MON POS DSC/R MON POS USC USC
gate 1. gate 2.
comp.1. gate 3.
N/N N/N N/N N/N Tall tripod w/telesc boom Tall tripod w/telesc boom Tall tripod w/telesc boom
comp.3. comp.4.
comp. 1.
Straight w/roundbase Tall tripod w/telesc boom Straight w/roundbase N/N N/N
25.
26. / 27. Audience mics L/R 28. / 29. FX 1. ret. L/R 30. / 31. FX 2. ret L/R 32.
TB from F.O.H. to stage
Page 6 of 6
NIGHTWISH
Updated: 24/03/2004
NIGHTWISH