The performance is fully self-contained. Four RCF ART 910-A speakers stand at the corners of the room, the instruments and the looping rig sit at a low central position, and a crew of three builds it in 45 to 60 minutes.
The venue provides the room, the sockets, and an hour before doors. Everything else arrives with him and leaves the same night.
He comes back within the week with a plan and a fee.
What arrives with him
- Four RCF ART 910-A active speakers, one at each corner of the room, so the sound surrounds the audience instead of facing it from one end. The four-point layout holds at every size of booking.
- A table of instruments at the performance position, holding flute, saxophone, guitar, kalimba, glockenspiel, synth, recorder, wooden whistle, melodica and rainstick.
- A laptop, a PreSonus audio interface, two foot controllers and two controller keyboards carry the live looping.
- Soft uplighting and low staging, set to the room rather than to a stage.
- All cabling, matting and tape.
- A crew of three, covering systems, staging and lighting, and speakers and power. A reduced configuration runs with one crew and keeps the four-speaker layout.
What the room provides
- The room, with seating or floor space for the audience.
- Wall sockets. The rig runs off ordinary 230V power.
- Access about an hour before doors, and a route to carry the equipment in.
That is the whole list.
Setting up and packing down
Load-in to systems check takes 45 to 60 minutes, with the crew working in parallel. He runs the sound himself from the central position, so there is nothing for venue staff to operate.
The crew clears the room the same night and takes everything with them.
Cables and safety
Four corner speakers mean cable runs around the room, and those runs are managed as a safety item, not an afterthought.
- All cabling is supplied and run around the perimeter of the room, away from walkways.
- Every point where a cable crosses a walkway is matted or taped down.
- A clear route stays open through the room for the whole performance, including the breaks.
- The crew walks the room with the venue before doors and again at pack-down.
The performance
Ninety minutes, in three sections of about twenty-seven minutes, with a five-minute break between each. Ninety minutes is the time in the room, breaks included.
He performs solo. Every layer is played in the room and looped live, and the loops run at different lengths, so they shift out of step as they repeat.
The music sits low and moves slowly, sized to the room. A conversation at the desk carries over it. The audience is free to sit, lie down, read, or come and go, and the breaks give people a point to move.
Shorter and longer bookings are agreed at the time, from a one-hour daytime session on a library reading floor to a durational piece running across a day. You can hear a full performance before you decide.
Insurance and permissions
He carries public liability insurance, and every paid performance runs under it. A copy of the certificate goes to the venue with the booking paperwork, for its own file.
Filming is agreed with the venue before the date. The crew records the performance for his own archive, and any photography of the audience follows the venue’s own policy.
For the venue’s technical staff
The rider carries the stage plan, the instrument and input list, speaker positions, power, crew roles, timings and the safety notes in full.
Download the technical rider (PDF)
Bringing it to your space
Speaker positions, the length of the performance and the cable routes are all set to the room. Describe the room and name a date, and the plan and the fee come back within the week.