A1

Technical Event Production

Marie Poslední
1149227
29 November 2022
EVM603
Word count: 1809

A1 Technical Event Production 1

 Technical Rider

Section 1

Artist: Olivia Dean

Venue: Jazz Café Camden
(5 Parkway, London NW1 7PG)
Date: 27th October 2023

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 Stage plan

All band members except of the brass section are using in ear monitors.
More information in the channel list.

Channel list

Ch. Description Preferred Mic/DI Stand Position Power (48V)

1 Kick Shure Beta 52A Small boom US

2 Snare Shure SM57 Small boom US

3 Snare 2 Shure SM57 Small boom US

4 Hi-hats Shure SM81 Small boom US X

5 Toms Sennheiser 421 Small boom US

6 Overhead drum mic KSM32 Tall boom US X

7 Backing vox drums Shure SM58 Tall boom US

8 Nord stage 3 DI DSR X

9 Backing vox keys Shure SM58 Small boom DSR

10 Bass DI SR X

11 Backing vox bass Shure SM58 Tall boom SR

12 Vocals Main Shure SM58 Tall boom DSC

13 Vocals piano Shure SM58 Small boom DSC

14 Piano DI DSC X

15 Trumpet Sennheiser E608 Tall boom DSL

16 Saxophone Sennheiser E608 Small boom DSL

17 Trombone Sennheiser E608 Tall boom DSL

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 Lighting

The lights needed for this gig will be two beams which will both shine on Olivia. Then there will
also be a section of lumipars which will change colours throughout the gig, light moving slowly
around. No fog or haze needed for this event.

Song Colour of lumi pars

Echo Red & Purple

Be My Own Boyfriend Blue & Pink

Baby Come Home Pink

Slowly Beam only on piano

What Am I Gonna Do On Sundays? Red & Pink

Cross My Mind Start off blue, change to pink with choruses

The Hardest Part Purple

Reason To Stay Red

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 Stage times

Doors 18:30

Rosie Alena 20:15

Break 20:30

Olivia Dean 21:15

Other Information

We will need at least two dressing rooms with own bathrooms, one for each band. No showers
needed. Please prepare some bottles of water for each band member, other drinks and snacks for
the bands would be great but not essential.

We will all be coming in separate cars, so at least five parking spots are needed for us, is there a
place to stand in front of the venue so we can easily bring our equipment inside?

Tickets will be sold through Ticketmaster for the price of 16£ for one. We will need people at the
doors to scan them, give people stamps on their wrist and to do security checks as well.

We will also need a table and some space to sell merch at the venue. No people needed for this
section, we have our own.

If you have any questions, please contact me by e-mail management@oliviadean.com or my

phone 07709 242675.

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 Section 2
Industry standard equipment

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 Audio

Jazz café Camden is a small venue with a capacity of 450 people. There is a ground floor as well
as a balcony which means we will need to make sure the sound is loud and clear in both sections.

When it comes to speakers, I would consider having passive speakers powered by power
amplifiers and active subwoofers because if they are connected in a chain, the volume increases
without loosing any clarity. (Andertons Music Co., n.d.) Because there are two floors at the venue,
I would place one set of speakers on each side in the front of the stage and then would hang two
other speakers on the ceiling as well. The reason why we need to have speakers hung on the
ceiling is for the people standing at on the balcony to hear everything properly. I would probably
go for Yamaha BR12 as its sound quality works well for small to medium venues that require a
more upfront sound especially for voices. (www.gearank.com, n.d.) To stick with the Yamaha
brand I would use the DXS15 MKII active 15" subwoofer and the PX3 power amplifier. To tune
the PA system I would use an NS-1 software because it works with the Yamaha brand. (Xchange,
2022)

When choosing a mixing desk I would choose an analogue one because they are easier to use and
less expensive. (PreSonus, n.d.) Yamaha MGP32X Premium 32 Channel Mixer seemed like a
good option because it has enough channels for me to use. Yamaha TIO1608D Dante Rack I/O is a
compatible stage box because they both use Dante as the audio network. (www.dv247.com, n.d.)

Monitor system would be a mixture of in ear and regular stage monitors. All members of the band
would use in ear ones except of the horns section. This section will be on the left side of the stage
and each of the members will have their own monitor, because they usually get really loud and I
want to secure that other members of the band will be able to hear themselves as well. That is also
one of the reasons others will be using in ear monitors. Another reason is that because the venue is
quite small and stage monitors tend to be quite loud. This way I would be able to send the signal
right into the performer's ears and they will be able to hear themselves properly. (Reed, 2016) I
think Shure PSM 900 as in ear monitoring system is a good choice, it comes with a receiver and a
transmitter which is much easier option for me as I know it all will work together. Yamaha
CHR12M as floor monitors seem like a good choice as well.

Lighting

When thinking about lighting I was looking for an easier option as well, because the venue is quite
small. I found a mixing desk ADJ Link DMX Controller which can be connected to an iPad and
has just a few buttons which is ideal for the number of lights I would be using. As you can see on
the lighting plan, there are two beams and eight lumipars being used only. The lights will be
positioned and hung on the bottom of the balcony with the beams on the sides.

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 Backline

When looking into the amplifier for bass I searched for a good quality sound and chose Fender
Rumble 200 with the BASSBREAKER™ 15 head. A five piece drum kit would probably be
provided by the venue but if I could choose I would go for Yamaha Stage Custom Birch. Industry
standard microphones would be Shure Beta 52A for the Kick, Shure SM57 for the snares, Shure
SM81 for the Hi-hats, Sennheisr 421 for the Toms and KSM32 as an overhead drum mic. (Snyder,
2011) There will be five pieces of Shure SM58 for vocals and backing vocals as Shure
microphones are popular because of the price, reliability and durability. (Corfield, 2022) Three
pieces of Sennheiser E608 will be needed for each member of the horns section. (en-
uk.sennheiser.com, n.d.) I would use Nord stage 3 as a digital keyboard and Yamaha P-45 B as a
piano. There is no need for playback systems, all music will be performed live as the event is
small and the music is jazzy, people will enjoy it much more.

Health and safety

If I was a sound engineer for an event, one of the first things I would do would be to check all the
equipment such as speakers and lighting section to make sure its all safe and stable or is hanging
correctly. A good thing about this gig is that the venue would already have most of the equipment
ready and there would be no need to build a whole stage. I would probably follow a risk
assessment document from the altra sound website. (AstralSound, 2019)

For electrical safety I would use 30mA Residual Current Detectors (RCDs) at every 230V 13A
mains outlet, I would check all the equipment and do the PAT test. I would check the most
common visible faults such as damaged cases, wires or plugs, connections and cable clamps, fuses
and fuse ratings.

When positioning the equipment I would make sure it is safe from trip hazards, so I would not run
the cables on the floors where people walk or stand. If there would be no other choice, I would
tape them to the floor with a visible tape and made sure none of them are loose.

To make sure everything is under control and to do this correctly I would have to have a team of
people to help with moving things around and all of them would have to sign they have been
taught and informed about risk assessment- e. g. lifting heavy items correctly and working with
them in general, working with electrical equipment and other important things.

Security

Because there would be alcohol sold at this event, we would need guards at doors to check
people's IDs and bags for dangerous items. Security will also be needed inside the venue, I would
consider hiring one person per 100 guests. (https://www.westminstersecurity.co.uk/, n.d.)

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 Section 3
Evaluation, challenges and further study

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 Personal experience with technical event production

When writing this assessment the biggest challenge for me was to choose the right equipment to
make sure everything is compatible and will work great together as well as researching the
equipment in general, because there are so many options on what to choose from because I do not
have enough experience to have a preference. If I would actually run this event, another challenge
would definitely be to make sure the brass section is miked correctly and is not too loud and
everyone can hear themselves perfectly. Also the fact there are two floors because of the balcony
is quite challenging.

In the beginning of this semester I had no experience in the area of live sound technology and I
knew I would find this module quite challenging as I am not a producer or a sound technician and
most of the terms we talked about in the lectures were new to me. For this reason I have chosen a
small artist and a venue with low capacity so it would not be as difficult for me to write this
document.

Even though I have gained a lot of knowledge and experience studying this module I feel like I
would not be able to run an event like this. I would rather pursue a role of an assistant to improve
my skills in the field, learn how to control the desks and watch experienced people do the job and
let me help them. Another step for me would be for example to learn how to work in the lighting
programs and how to programme a whole lighting show for a gig, learn how to work with the
control desks, patch and other important skills.

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 References

Andertons Music Co. (n.d.). The Best PA System Guide. [online] Available at: https://
www.andertons.co.uk/best-pa-system-guide.

AstralSound (2019). Safety in live event production. [online] Astralsound.com. Available at:
https://www.astralsound.com/safety.htm.

Corfield, C. (2022). Best vocal mics 2020: 8 recommended vocal microphones for stage and
studio use. [online] MusicRadar. Available at: https://www.musicradar.com/news/best-vocal-mics
[Accessed 15 Jan. 2023].

en-uk.sennheiser.com. (n.d.). Sennheiser e 608 - Instrument Microphone - Clip Miking of

Woodwind Brass and Drums. [online] Available at: https://en-uk.sennheiser.com/instrument-
microphone-saxophones-trumpets-drums-wind-instruments-e-608 [Accessed 15 Jan. 2023].

https://www.westminstersecurity.co.uk/. (n.d.). How much security is needed for an event?

[online] Available at: https://www.westminstersecurity.co.uk/event-security/how-much-security-is-
needed-for-an-event/.

PreSonus. (n.d.). How to Pick the Best Mixer for You. [online] Available at: https://
www.presonus.com/learn/technical-articles/How-To-Pick-the-Best-Mixer-for-You.

Reed, R. (2016). In Ear Monitors Part 1. [online] www.youtube.com. Available at: https://
youtu.be/E_rfSX34ZR8 [Accessed 15 Dec. 2022].

Snyder, M. (2011). Choosing Drum Mikes For Live Performance. [online] DRUM! Magazine.
Available at: https://drummagazine.com/choosing-drum-mikes-for-live-performance/.

www.dv247.com. (n.d.). Yamaha TIO1608D Dante Rack I/O. [online] Available at: https://
www.dv247.com/en_GB/GBP/Yamaha-TIO1608D-Dante-Rack-I-O/art-PAH0017806-000.

www.gearank.com. (n.d.). The Best Passive PA Speakers Under $1000 - Nov 2020 | Gearank.
[online] Available at: https://www.gearank.com/guides/passive-pa-speakers.

Xchange, A. (2022). NEXO Updates NS-1 System Software to Integrate Yamaha Speaker Systems
and AFC Design Assistant. [online] AVIXA Xchange. Available at: https://xchange.avixa.org/
posts/nexo-updates-ns-1-system-software-to-integrate-yamaha-speaker-systems-and-afc-design-
assistant.

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