STAGE PLOT / INPUT LIST
STEPHANIE EASON-CENTER STAGE:
(2) DI Boxes: Fiddle, Acoustic
Vocal Mic: Wireless preferred, but SM58 or similar mic will work as well
Monitor: Wireless in-ears preferred. Performer will provide in-ear headphones. Floor wedge may be substituted
LEAD GUITAR PLAYER: STAGE RIGHT
Amplifier: Fender Hot Rod Deluxe, or Blues Deluxe or similar tube combo amplifier
Vocal Mic: Beta 58 or similar microphone preferred
Monitor: Wireless in-ears preferred. Performer will provide in-ear headphones. Floor wedge may be substituted
GUITAR/STEEL PLAYER- STAGE LEFT
DI Box: Mandolin
Amplifier: Fender Twin Reverb or other similar dual input tube combo amplifier
Vocal Mic: Beta 58 or similar microphone preferred
Monitor: Wireless in-ears preferred. Performer will provide in-ear headphones. Floor wedge may be substituted
BASS PLAYER: MID STAGE LEFT
Amplifier: 4x10 Cabinet (Fender or SWR preferred)
300 watt minimum tube head (Fender TB600 or SWR head preferred)
Alternate: SWR Redhead Combo or similar tube 2x10 combo amp
Vocal Mic: Same as guitar player
Monitor: Wireless in-ears preferred. Performer will provide in-ear headphones. Floor wedge may be substituted
DRUMMER-REAR CENTER STAGE (DRUM RISER)
Kit: DW, Gretsch, Yamaha Preferred
Bass Drum, 16x20”(22”), Toms: 12”, 14” 16”
13" or 14” Snare
Basic cymbal package with Hi Hat, 2 Crashes, and Ride, and all associated hardware.
Vocal Mic: Microphone for Talk-Back Purposes with other performers
(in monitor mix only)
Monitor: Performer will provide in-ear headphones.
MISC EQUIP: At least six guitar stands.
A . STAGING:
1. Stage should be of comfortable size and height in relation to the size of venue, the
number of acts, etc.
2. Stage should include one (1) riser, placed upstage center, (see plot). Riser should be
carpeted and 8ft x 8ft x 24". Riser should be of solid level construction (preferably) one piece.
3. Consideration should be given for placement of P.A. stacks, (sound) on downstage right and left areas. Sound wings or separate scaffolding is required in the event that the P.A. is not "flown". Production sound and lights should be flown, if at all possible.
4. Artist requests an elevated stage or barricade in front of stage prior to, during, and after performance.
5. With respect to performances being held outdoors, Purchaser must provide a suitable roof for the stage. To protect against inclement weather, performance area must be covered and should also have side curtains. Purchaser must further provide for adequate grounds of all instruments and electrical equipment to prevent electric hazards. In the event this show is not presented because of inclement weather, the act must still be paid in full, provided the Artist is present and ready to perform at the designated time as specified in this contract. Any outdoor show must always provide a suitable roof, rain, or shine. In case of rain or too much moisture on stage area, artist has the right to cancel and be paid in full, within reason.
B. ELECTRICAL:
1. Purchaser agrees to provide ample and safe electrical. Recommendations: Minimum of two (2) twenty (20) amp circuits, with five (5) quad type outlet boxes easily
accessible from amp line (see plot).
C. SOUND:
1. HOUSE SYSTEM should be capable of covering entire venue with adequate clean, distortion free sound.
a. Mixing console with a minimum of 24 inputs and 6 auxiliary (monitor) mixes to accommodate all performers.
D. LIGHTING:
1. An adequate number of instruments should be provided to full wash the stage in several colors including but not limited to red, blue, and amber.
2. Separate lighting power should be provided. Lighting should not be on same power source as sound.
E. PERSONNEL STAGE CALL, SET-UP, SOUNDCHECK, AND MISCELLANEOUS NOTES:
1. Competent and professional technicians should be on hand at call time, through sound check and show to assist in set up and operation of sound and lights.
2. When possible, purchaser agrees to a closed sound check to be completed prior to the opening of venue doors and admission of ticket holders. For festival style shows, this is not always possible and artist understands that sound check may be cut short due to time constraints.
3. Purchaser agrees to make all attempts keep place of performance clear of all people not directly involved in the show’s production.
4. All equipment and instruments to be supplied must be at stage area at stage call.
