While this month's column is not theory, it is a whole lot of "practice" –the contractual technical description of your provided rig is an important part of winning bids. Yes, you can call contract terms part of the "biz," as most of the smaller gigs you take do not include riders and just want you to deliver the sound (and sometimes, stage lights) in a professional manner. But by describing your services in quantitative and generic ways, you connotatively express to your customer that you are all business and not over-promising a touring rig for an amateur event. So first, let's show–by example–a typical small soundco technical contract section for a typical small indoor or outdoor event. To the right is Exhibit A, the provided equipment list:
The Contractor agrees to furnish a COMPLETE PROFESSIONAL QUALITY sound reinforcement system for audience and stage. The Contractor will provide a venue appropriate system for live music reinforcement. The Contractor shall provide a minimum of:
– One ____ XLR input mixing console of professional quality.
– Speakers, amplifiers and crossovers as appropriate to venue and music style.
– ____ subwoofer cabinets
– ____ top box cabinets
– Signal processing and amplification appropriate to above cabinets
– Equalizers of professional quality (1/3-octave capable) for ____ monitor feeds.
– ____ insertable compressor/limiters for vocals and instruments as required.
– ____ digital reverb/effects units for vocals and instruments.
– ____ monitor mix feeds to the stage.
– ____ monitor wedges (12"+horn) for the performers.
– Up to ____ mic stands and booms, and ____ drum mic claws.
– Mics–assorted professional quality mics of good working condition.
– ____ direct insert (DI) box (passive) feeds of good working condition.
– Cabling as required for operation of above sound equipment.
Lighting requirements. The Contractor agrees to furnish a COMPLETE PROFESSIONAL QUALITY lighting system for the stage.
– ____ PAR56 300-watt MFL lighting fixtures with basic gel colors in frames.
– ____ stage lighting lifts with bars supporting the fixtures
– ____ digital dimmer channels for the fixtures.
– A digital control console for remote control of dimmers.
– Cabling as required for operation of above light equipment.
Generic Description
Note that in exhibit A, the brands of gear are not listed, but the kinds of gear are listed in way that indicates you are bringing a sizable amount to do a professional show. This leaves plenty of leeway so that you do not get caught up in haggling over a certain price or which brand of gear is professional enough.
For example, a regional sound company could use the above equipment list and bring the Midas console, VerTec mains and subs and a pile of Clair 12AM wedges. At the same time, the equipment list could be a vintage Soundcraft Delta console, JBL SR tops and subs and Yamaha Club Series wedges. Obviously, a big difference in size and capability, but the bottom line is that you promised a "venue-appropriate" system and you made the call on appropriateness.
In my generic contract, I also have an Exhibit B for power requirements. To me, solid electrical power has to be a given in order to pull off a successful show. Below is my example exhibit B:
The buyer shall provide at minimum, a 100 amp 120/240 VAC single phase or 100 amp 120 VAC three phase electrical service for show performance. The service point shall be within 100' of the performance area, be available during the time of load-in through load-out, and be up to current National Electrical Code (NEC) standards.
The service point shall be at least four-wire (hot, hot, neutral, ground) and disconnectable by means of either a plug-and-receptacle, or through a company (bull) switch. The safety ground shall be a single point bond at facility electrical service entrance, and shall not carry neutral current at the point of disconnect.
The preferred methods of service are a 100A or larger sub-panel or via 100 amp or larger company switch capable of accepting #2 gauge or larger feeder conductors.
Alternatively, portable generator service shall be not less than 48kVA rated and grounded by the generator rental provider. The generator shall be operational and fueled to be able to operate for the whole duration from load-in to load-out. The generator shall provide stable 120 VAC and 60 Hz currents to prevent equipment damage. Generator location should within 100' of the performance area and secure from unauthorized personnel tampering with generator or tripping on the Contractor's feeder cabling from the generator to the performance area. Whisper-quiet (show power) generators are recommended. No vehicle traffic permitted on feeder cabling.
The Buyer shall be responsible for all Damage to the Contractor's equipment should the electrical service fail on-site.
Now, I do not expect "perfect power" and shiny new connections, but the electric utility does promise the venue clean power, and I just want what they are giving. Bad power from in-venue noise sources and poor wiring can make the best touring rig sound like crap.
Note that I also talk about portable genny power. I have covered the ups and downs of good generator selection in a previous column, but putting the desires in words in a contract exhibit helps a lot. No sense in getting surprised by somebody's RV generator being left near the stage as the sole source of juice for the event.
Other Contract Items
While the technical items in the contract are the focus here, do not forget the basics of contract provisions. Things like the itinerary, payment terms, authorized production personnel, security, insurance, permits, parking, unions and inclement weather clauses. While I cannot fit the whole six-page example contract in this column, there will be a version placed up on our Web site (downloadable here as a six-page PDF document) for all to ponder its contents, and you can edit a version of your own.
Obviously, not all production buyers will go along with all the provisions of this contract; it should serve as a starting point and buyers and contractors can mutually agree to line-out and initial the changes. Note that I did not include the typical artist vanity requests like catering, fresh linens (towels) and break room. I will leave it to you the contract writer to have the cajones to include those provisions. Somehow, iced bottles of Evian water, M&M candies with the green ones missing and shower facilities are things of soundco crew fantasy.
