DESPINA VANDI
TECHNICAL RIDER
INPUT LIST
CH 1 2 3 4 5 6 7 ! " 1# 11 12 13 14 15 16 17 1! 1" 2# SOURCE KICK SNARE HI HAT TOM I TOM II FL TOM FL TOM I OVERHEAD L OVERHEAD R EL. BASS WIRELESS CONGAS BONGOS OVERHEAD ERCS DARBUK ! ! AD L AD R MIC/D.I. BETA 52 SM 57 C451 BETA 56 BETA 56 BETA 56 BETA 56 C451 C451 ACTIVE D.I. SM 57 SM 57 C451 SM 57
ON/OFF BUTTON
CH 21 22 23 24 25 26 27 2! 2" 3# 31 32 33 34 35 36 37 3! 3" 4#
SOURCE GTR 1 L WIRELESS GTR 1 R WIRELESS GTR 2 GTR 2 BOUZOUKI 1 BOUZOUKI 2 WIRELESS DES INA ELLI ANOS ELLISAVET
MIC/D.I ACTIVE D.I. ACTIVE D.I. ACTIVE D.I. ACTIVE D.I. ACTIVE D.I. ACTIVE D.I.
WIRELESS WIRELESS WIRELESS WIRELESS
S ARE MINI DISK L MINI DISK R TALKBACK 1 TO KE$S 1 TALKBACK 2 TO BOUZ 1
TALKBACK 3 TO STAGE DESK
WIRELESS
ACTIVE D.I. ACTIVE D.I. SM 5!
ON/OFF BUTTON STAGE ONL$ STAGE ONL$ STAGE ONL$
ACTIVE D.I. ACTIVE D.I. ACTIVE D.I. ACTIVE D.I. ACTIVE D.I. ACTIVE D.I.
SM 5!
ON/OFF BUTTON SM 5! ON/OFF BUTTON
KE$S 1 MI%ER L KE$S 1 MI%ER R KE$S 2 MI%ER L KE$S 2 MI%ER R
AUDIENCE MIC L AUDIENCE MIC R
SHOTGUN MIC SHOTGUN MIC
STAGE ONL$ STAGE ONL$
Despina Vandi
STAGE PLAN
Drums
Mini Disk
Keys 1
Percussions
Keys 2
Bass
Bouz 1 Gtr 2 Gtr 1
Bouz 2
Stage Desk
LEGENDS
A.C. POWER TALKBACK MICS ENTRY SIDE FIELDS
Despina Vandi
BACKLINE REQUIREMENTS: 1 X Drum Set Yamaha 9 Re!"r#$%& Cu't"m "r Ga(r$e) Wh$!h $%!)u#e': **++ K$!, 1-. / 010 S%are 1 ++ T"m 1 1*. T"m * 1-.1 F)""r T"m 1 12.1 F)""r T"m * 13++ 4$ 4at * / 15++ Cra'he' * / 16. Cra'he' * ++ R$#e 16++ Ch$%a Or$e%ta) 1/ D"u()e K$!, 7e#a) Ir"% C"(ra Drum 't"") a%# a)) the !8m(a) 'ta%#' 7)u' We 'u&&e't that a)) C8m(a)' 'h"u)# (e Zildjian K Series A piece of carpet for the Drumkit 1x Pair of Congas with stand 1x Pair of Bongos with stand 1xCrash 18with stand 1x China with stand 1xFloor Tom 16 1xBar Chimes 9 / Mu'$! Sta%#' 9$th L$&ht' */ K"r& Tr$t"% E/treme 1/ K"r& Tr$t"% Pr" "r Tr$t"% Stu#$" 1/ Kur:9e$) K*2 ;66,e8<E/7a%#e# "r R")a%# Fa%t"m X6=G6=S66 ;66 Ke8'< 1/ Yamaha M"t$> XS5 9$th RAM "r K"r& Tr$t"% e/treme A)) Ke8("ar#' 'h"u)# &" 9$th ?")ume a%# 'u'ta$% 7e#a)' */ #"u()e Ke8("ar# Sta%# */ '$%&)e Ke8("ar# Sta%# 2/ Se%%he$'er EK 3*0* $% ear '8'tem' 3/ Se%%he$'er 9$re)e'' ("#8 7a!, tra%'m$tter' >"r $%'trume%t' 1 /Shure E0 $% ear 7h"%e' &'()* )+, -+../, 01/)2+ 1('30 2/ Gu$tar Sta%#' */ M$! Sta%# 9$th R"u%# @ Ba'e * / W$re)e'' M$!r"7h"%e' 'h"u)# (e S4ARE 9$th BETA 06 Ca7'u)e' 1 / M$%$#$', 9$th auto pause >u%!t$"% * / 6!h Ke8("ar# M$/er' All Wireless Equipment should go with their Antennas and combiners plus brand new Alkaline Batteries
Despina Vandi
HOUSE .A. S$STEM
Front of house speaker system should be of the highest quality possible. It should be a stereo, high fidelity, three- or four- way system plus subs, capable of reproducing 30Hz - 0 kHz and sustaining !!0db" without distortion at the front of house mi# position, and should adequately and consistently co$er the audience area in a stacked and%or flying configuration 4) 5'/)3 /5 36+ 03(2+. W+ 0722+038 L.A. DV DOSK9 EAW 7619 NE%O GEO T9 ME$ER F.O.H. CONSOLE8 Midas 2000 or Digico SD8 or Digidesign V enue Profile Mix Rack &ch # 3! band graphic eq, ! # 'e$erb (nit ! # )elay )-*wo ! # pro +) player, In +ase of "nalog )esk we need, !-ch # +ompressors &ch # .oise /ates I)3+':/; 3/ < 5'/; 03(2+.
STAGE MONITOR S$STEM
)igital "udio desk, )I/I+0 )!, Digidesign Venue Profile - Mix Rack 4! I)17309 32 O731730 1ide field 1peakers like 2 ")"310. 12 !- or & 2 .420 51 !6 with 1ubs
6 = W4'+* I) E(' B/*- 1(:>0 SHURE 10; 4## 5lus spare 1# % SHURE E5 /' Ultimate Ears TripleFi 10vi ,436 )+, 5/(; 0.++?+0
OUTPUT LIST
INSTRUMENT 1 DRUMS L 2 DRUMS R # BASS L $%RELESS & BASS R $%RELESS ' PER"US L ) PER"US R * G+R 1 L $%RELESS / G+R 1 R $%RELESS 0 G+R 2 L 11 G+R 2 R 11 12 1# 1& 1' 1) 1* 1/ 10 21 INSTRUMENT KEY 1 L KEY 1 R KEY 2 L KEY 2 R B U( 1 L $%RELESS B U( 1 R $%RELESS B U( 2 L B U( 2 R EL%SA!E+ ! " L EL%SA!E+ ! " R 21 22 2# 2& 2' 2) 2* 2/ 20 #1 #1 #2 INSTRUMENT PAN S ! " L PAN S ! " R ELL% L ELL% R DESP%NA L DESP%NA R Re,er- ! . Re,er- DRUMS Re,er- B U( 1 Re,er- B U( 2 Re,er- PER" Re,er- B ! .
Despina Vandi
NOTES
3I2 501I*I0. 70+"*I0.1, F.0.H., 5lease consider the mi# location carefully and arrange seat-kills as necessary. 4#treme mi# positions, to either the side or rear of a $enue, are unacceptable, as is mi#ing from under a balcony. If the proposed location is clearly not ideal from a sound mi#er8s point of $iew, this must be discussed I. ")9".+4 between the sound company, the promoter, and tour8s production manager. 5lease make sure that all racks are well illuminated, and located to allow con$enient access to controls and easy $isual monitoring of displays 50:4' '4;(I'434.*1, *he 1ound 5ower 1er$ice must be on transformer isolated phases, separate from the lighting power ser$ice. "ll system components are e#pected to be !00< operational. *he sound system should be set and ready for use 5 hours before th e beginning of th e concert for soundcheck and rehearsal purpo ses. During soundch eck and rehearsal, at least 2 so und technicians and the backline technician should be on stage!
CONTACTS
SOUND ENGINEERS8 V(04.40 N4>/./1/7./0 F.O.H. ,mobile =0030>-?@3?-06 ! 4mail, &4..-)4>/./1/7./0@2;(4..:/; S3(?'/0 S->4()(>40 S3(2+ 2 mobile 311#145)0*22*###' 4mail, 03(?'/00->4()(>40@6/3;(4..:/;
