SOUND REQUIREMENTS Sample Clauses

SOUND REQUIREMENTS. 1. Promoter must provide front of house speaker system that is capable of reproducing 40hz-18khz at 105db clearly and consistently to all sections of the venue. Venue to provide 4 (four) professional handheld wireless microphones w/ tunable frequencies. System needs to include: • Digital crossovers (XTA, BSS, Xxxxxx) • Full range cabinets (Xxxxx, JBL VerTec, Xxxxxx, EAW, L Acoustics, Nexo, EV XLC) • Aux/Matrix fed Subwoofers (Xxxxx, JBL Vertec, Xxxxxx, EAW, L Acoustics, Nexo, EV) • Aux/Matrix fed Balcony, under balcony, and lip fills. • Balanced XLR loom to connect to our console. 2. Tow (2) independently controlled speakers for side fill purposes may be needed. 3. The Venue should block the appropriate seats directly in front of the sound mixing console table from sale in this area. As soon as the mixing console is set, the Company Manager will alert the Promoter of any seats which can be released for sale. 4. There needs to be a backstage paging and monitoring, able to handle a paging mic and program feed.
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SOUND REQUIREMENTS. A. Sound system should be ready to go when trio arrives, with all lines plugged in and already tested according to the latest stageplot, attached, sent or faxed to you by the ARTISTS ROAD MANAGER. B. A sound check is mandatory prior to any performance and requested on the day of performance. C. Stage Size: 12' X 24' minimum. D. HOUSE SOUND - Professional quality sound equipment is mandatory for all shows. 1. Mixing board - twenty-four (24) input channels. 2. Five (5) direct boxes (with ground switches). 3. Five (5) microphone tri pod boom stands. 4. Three (3) SM 58's, two (2) amp mic, five (5) condenser mic, three (3) tommies, one (1) kick mic. Cables and spares included. 5. One hundred (100) foot snake and splitter. 6. Three (3) Quality Reverbs, one (1) delay. 7. CD player. E. MONITOR SOUND 1. Twenty-four (24) channel input, five (5) mixes per channel. 2. Three band E.Q. per channel. 3. An experienced monitor engineer must be provided. 4. ALL SOUND REQUIREMENTS MUST BE APPROVED BY road manager.
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SOUND REQUIREMENTS. Minimum 40-input, 4 submaster console with channel inserts: 4 band parametric EQ, 8 aux sends. Preference: Yamaha CL 5, M7CL.
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SOUND REQUIREMENTS. 1. Promoter must provide front of house speaker system that is capable of reproducing 40hz-18khz at 105db clearly and consistently to all sections of the venue. Venue to provide 4 (two) professional handheld wireless microphones w/ tunable frequencies. System needs to include: • Digital crossovers (XTA, BSS, Xxxxxx) • Full range cabinets (Xxxxx, JBL VerTec, Xxxxxx, EAW, L Acoustics, Nexo, EV XLC) • Aux/Matrix fed Subwoofers (Xxxxx, JBL Vertec, Xxxxxx, EAW, L Acoustics, Nexo, EV) • Aux/Matrix fed Balcony, under balcony, and lip fills. • 4 wireless Microphone 2. Two (2) independently controlled speakers for side fill purposes may be needed. 3. The Venue should block the appropriate seats directly in front of the sound mixing console table from sale in this area. As soon as the mixing console is set, the Company Manager will alert the Promoter of any seats which can be released for sale. 4. There needs to be a backstage paging and monitoring, able to handle a paging mic and program feed. 5. Clear Com: Nine (9) Clear-Com stations will be needed as follows • 2- Spotlight operators • 1-Down Stage Left (Wireless if available) • 1-Down Stage Right (Wireless if available) • 1-Sound Op (FOH mixing position) • 1-Light board Op (FOH mixing position) • 1-Stage Manager (FOH mixing position) • 1-House light controls – TBD • Fly Rail • ALL Clear Com on SAME channel
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SOUND REQUIREMENTS. PURCHASER shall provide at his sole expense, a high quality, state-of-the-art sound system. System shall be capable of producing an even 100 spl at 20hz to 20Khz frequency responses without distortion in ALL audience areas in the performance venue. Sound company to provide adequate microphone cords, splitter, sub-snakes, and patch cables to outfit systems requirements and input needs as per attached input list. All microphone and DI requirements are indicated on the input list. You must consult with ARTIST’s production manager as it regards microphones—and any other desired modifications to tech rider. 56 Mic In 16 Out On Stage Box Top high quality stereo line array + sub {flown if possible} PA system to cover all audience seats and to produce 115 db Mini Line Array - D&B Q1\EAW KF 730\Xxxxx Spektrix Sub System - D&B B2\ EAW SB 1000\Xxxxx Spektrix Sub Front Fill - 3x2 Way Per Side -D&B Q7\EAW JF 260\Apoogi E5 Xxxxx UPA 1 All Outs will run from XTA 226 with WLS system tone control with Pc Leptop Amps, as per speaker requirements (LAB GRUPEN, CREST, CROWN) Three (3) Shure PSM 600 Wired In Ear Two (2) Shure e2 ear plug Eight (8) monitor wedges, Bi-Amped single 15" with 2" drivers (CLAIR 12AM, XXXXX, EAW) Eight (8) Crossovers/processors maximum (per monitor speaker requirements) Eight (8) Amp sets – should be minimum 500 xxxxx per wedge (LAB GRUPEN, CREST, CROWN) Splitter snake / 56 channels. (Transformer isolated with ground lifts preferred) Monitors are never mixed from the house console.
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SOUND REQUIREMENTS. A. Sound system should be ready to go when band arrives, with all lines plugged in and already tested according to the latest stageplot, sent or faxed to you by the ARTISTS ROAD MANAGER Xxxx Xxxxxx; cell phone 000-000-0000. B. A sound check is mandatory prior to any performance and requested on the day of performance. C. Stage Size: 32' X 24' minimum. D. HOUSE SOUND - Professional quality sound equipment is mandatory for all shows. 1. Mixing board - twenty-four (24) input channels, four (4) auxiliary sends, four (4) sub-masters, Yamaha, Soundcraft, Mackie, Crest Midas, or Xxxxx & Xxxxx, recommended. 2. Three (3) bands E.Q. per channel. Thirty-one (31) band graphic E.Q. per side if stereo or per matrix. 3. Three (3) way powered system (lows - 18" or 15"; mids - 12" or 10"; highs - 2" horn loaded). 4. At eight (8) ohms - 500 xxxxx low, 400 xxxxx mid, 150 xxxxx high. 5. Two (2) low bins, two (2) mid arrays, two (2) high clusters per five hundred (500) people. 6. Five (5) direct boxes (with ground switches). 7. Fifteen (15) microphone tri pod boom stands. 8. Three (3) SM 58's, two (2) amp mic, five (5) condenser mic, three (3) tommies, one (1) kick mic, one (1) snare mic. Cables and spares included. 9. One hundred (100) foot snake and splitter. 10. Six (6) dbx compressors / gates. 11. Three (3) Quality Reverbs, one (1) delay. 12. CD player. E. MONITOR SOUND 1. Twenty-four (24) channel input, seven (7) mixes per channel. 2. Three band E.Q. per channel. 3. Eight (8) xx-xxx xxxxx xxxxxx, 0" - 0" xxxx high; 15" low. 4. Thirty-one (31) band E.Q. and active crossover per mix. 5. An experienced monitor engineer must be provided. 6. Recommended sound companies: Performance Audio, Salt Lake City, UT; QuickBeam, Albuquerque, NM.; Atlantis Audio, Phoenix, AZ; AVW Systems Dallas, Austin, San Antonio, Dallas Backup, Dallas, TX; Tumbleweed, Amarillo, TX; Xxxxxxxx Audio, Oklahoma City; Xxxxxx Sound, Denver; CO; Audio Analysts, Colorado Springs, CO; Xxxxxx Audio, Boulder, CO; Star Sound Audio, Reno; Wolfco Productions, Taos, NM. ALL SOUND REQUIREMENTS MUST BE APPROVED BY Xxxxxxx Xxxx: cell 214-725- 2115.
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SOUND REQUIREMENTS. Please note that the sound is of primary importance to the performance. As a result every effort must be made to provide suitable equipment and staff to achieve the best results. Purchaser to provide established brand­name professional quality sound equipment and FOH and Monitor engineers. *See stage plot for further notes.
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SOUND REQUIREMENTS. PURCHASER understands and agrees that to maintain the high standards of ARTIST’S sound reproductions, it is necessary that “state of the art” equipment be used for every Xxxxx Xxxxxx PERFORMANCE. PURCHASER agrees to provide at PURCHASER’S sole expense said “state of the art” equipment for PERFORMANCE. PURCHASER may obtain a list of preferred sound contractors and acceptable equipment from ARTIST’S management. PURCHASER will ensure that the sound system is set up and operable a minimum of six (6) hours prior to the start of the performance. It is also understood and agreed that Artist may check sound during said period of six (6) hours prior to start of Performance. Load-in and sound check times are to be set by Artist’s production manager. PURCHASER will provide two (2) technicians familiar with the sound system from load-in until the end of the performance. These technicians will have the sound system in working order by Artist’s load-in time and will maintain system in working order throughout the performance. PURCHASER will ensure that the following are provided for ARTIST for the PERFORMANCE.
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SOUND REQUIREMENTS. PURCHASER agrees to provide ARTIST, at PURCHASER'S sole expense, with a first class, high quality, low distortion stereo sound system from a major sound company as directed and approved by ARTIST or his engineer. This will be a 4-way actively crossed-over system, with a frequency response of 40HZ to 20KHZ. The sound system shall have a dynamic range (at the rear of venue) 110-DBA average. The sound system should have the minimum sound requirements. 1. Master Output Stereo System: a) Appropriate processing to control speaker system3. Main Speaker system: (Note: no less than 4-way active system) b) Line array plus subs: V-Dosc, D&B Audiotechnik, Xxxxx M3D, XxXxxxxx MLA5, Xxxxxxx Y18, EAW KF760, JBL Vertec c) Main speaker placement will be determined by ARTIST'S engineer or production manager d) Mixing console and lighting console are to be placed (50' to 75') out from apron, center stage. ARTIST’S engineer will determine exact placement.
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Related to SOUND REQUIREMENTS

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