The adapted rider: by formation and venue type

Piano tuning: the critical point. Always specify: tuning 2 hours before the concert (not the day before), model preference (Steinway D concert grand, or Yamaha CFIII as alternative), room temperature between 18 and 22°C and relative humidity between 45 and 60%. An out-of-tune piano at a chamber concert is a disaster that has no solution once you’re on stage.

Minimal or no amplification. In venues up to 300 people, explicitly state whether you play without PA. In larger venues where you need reinforcement, specify: very subtle and natural reinforcement, zero compression on strings, symphonic-quality sound system. Monitors can be disorienting for musicians used to hearing themselves directly — indicate whether you want them or not.

Stage layout for acoustic balance. A string quartet in semicircle with violins to the audience’s left isn’t a whim — it’s acoustics. Always include a clear stage plot with the exact arrangement. Indicate whether specific chairs are needed (no armrests, adjustable height for the cellist).

Acoustic piano preferred, never digital without prior agreement. Specify: grand piano preferred, upright acceptable for bar or small venue gigs, electronic keyboard ONLY if agreed in advance and the model is professional (Nord Stage, Yamaha CP). A home keyboard is not acceptable.

Monitors for improvisation. Unlike classical, jazz requires all musicians to hear each other in real time. One wedge per musician minimum, with independent mixes if the venue allows. The bassist needs to hear the drummer; the saxophonist needs to hear themselves.

Double bass: DI or microphone. Specify your preferred system. If you bring your own pickup (Realist, K&K), say so. If not, ask for a quality microphone (AKG C414, Neumann U87) aimed at the f-holes, not the bridge.

Vocal chain above all else. Specify the microphone (Shure SM58 minimum, Sennheiser e945 or Neumann KMS 105 if possible), the preamp, and that you don’t want excessive compression. A human voice with aggressive compression loses all its dynamics.

Loop station or pedals: power and DI. If you use a loop station (Boss RC, Ableton Live, Boomerang), specify: stable 9V power supply (not batteries), active DI, zero acceptable latency, separate channel for effects return. A loop station with latency makes synchronisation impossible.

One monitor in front, not to the side. A single wedge directly in front, 1.5 metres away. No side monitors that generate feedback. Mix: vocals + guitar at 50/50, nothing else.

Backline with alternatives. For each amplifier, specify first choice and two acceptable alternatives. Format: “Guitar: Fender Twin Reverb / Marshall JCM800 / any valve combo minimum 40W.” If you bring your own amp, mark it [OWN — NON-SUBSTITUTABLE].

Complete and clear input list. A table: channel number, instrument/source, connector (XLR/Jack/DI), notes. Typically 16–32 channels. Include all drum channels separately (kick, snare, hihat, rack tom, floor tom, overheads ×2, room if possible).

Individual monitor mixes. One monitor aux per musician minimum. Specify who wants what: the vocalist wants vocals + guitar; the drummer wants everything with the kick loud; the bassist wants bass + kick. In larger venues, ask whether there’s a dedicated monitor engineer.

Digital console mandatory. Specify: digital console (Yamaha QL5, Allen & Heath dLive, Digico SD). NO analogue consoles if you use internal processing. The latency of an analogue chain can desynchronise audio from your internal system.

Clean, dedicated power. Specify: dedicated 16A circuit (not shared with lighting systems), preferably with UPS or power conditioner. Electrical noise in an electronics system is audible and can damage equipment.

Active DIs and your own cables. Always bring your own active DIs (Radial J48, BSS AR133). Specify the cable type for each output. Don’t assume the venue has the right cables. One hour of soundcheck is the minimum acceptable — ask for two.

Monitor: full-range, no subwoofers in the return. The monitor system for electronics must reproduce all frequencies linearly. A conventional wedge cut at the low end is unacceptable if you work with low frequencies as a central musical element. Always ask for the monitor system specs.

Cue list and communication system. If there’s live music + playback tracks + effects, specify who calls the cues and how (timecode, MIDI, verbal communication with technician). The rider must include the show’s technical script, not just the equipment list.

Two independent monitor systems. If there are live musicians and dancers/acrobats, each group needs its own return system. Dancers need to hear the tempo; musicians need to hear each other. Shared systems create confusion.

Clearly defined stage space. The stage plot must show the musicians’ zone AND the movement zone. An acrobat and a double bass sharing the stage without planning is an accident waiting to happen.