GRAND FUNK RAILROAD

www.grandfunkrailroad.com

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“Exhibit A”

GRAND FUNK RAILROAD

CONTRACT RIDER As of: 11.12.13

The following provisions shall be deemed incorporated in and as part of the Agreement. In case of any

conflict between the contract and this Rider, this Rider shall prevail. Furthermore, no changes shall be allowed

without the prior written consent of the ARTIST.

1. PROMOTION & ADVERTISING:

A. ONLY the recorded CD music provided by ARTIST is to be used in any and all radio and

television advertising and promotion of Grand Funk Railroad shows - NO EXCEPTIONS.

B. ONLY the recorded DVD is to be used for any and all television advertising and promotion of

Grand Funk Railroad shows - NO EXCEPTIONS.

C. ALL Grand Funk Railroad radio and TV spots must be approved by ARTIST representative prior

to being aired.

D. The band must NOT be advertised as "All Original Members" or anything similar as to

imply the band has all original players.

E. Any references to individual band members in print or radio and television advertising for Grand

Funk Railroad shows should be as follows:

Example #l: "Grand Funk Railroad features founding members Don Brewer and Mel

Schacher."

Example #2: "Grand Funk Railroad features Don Brewer, Mel Schacher, Max Carl, Bruce

Kulick and Tim Cashion."

Example #3: "Grand Funk Railroad features founding members Don Brewer and Mel Schacher

joined by veterans Max Carl (38 Special), Bruce Kulick (KISS) and

Tim Cashion (Bob Seger)."

F. Only the names Don Brewer, Mel Schacher, Max Carl, Bruce Kulick, Tim Cashion are to be used in

ARTIST print, radio, television, etc. advertising/promotion of Grand Funk Railroad shows.

NO OTHER MEMBERS OR PLAYERS NAMES WILL BE MENTIONED!

G. All advertising copy points must be taken from Grand Funk Railroad's bio provided by ARTIST

to the PURCHASER.

http://www.grandfunkrailroad.com/


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2. HOTEL: If Promoter is providing Hotel rooms: Hotel should be within 15 minutes drive of

arriving/departing Airport if possible and should have a Restaurant attached to or be part of Hotel complex.

Should be quality of a Hilton Garden Inn or Better.

PER ADVANCE

3. TICKET SALES: The PURCHASER shall provide a ticket manifest upon the signing of this Contract.

The manifest must be produced by a bonded printer and must be confirmed as being correct by a notary public.

This manifest should show the number, price and color of all tickets that will be produced for the

performance(s). All tickets must be consecutively numbered and in the event of more than one performance in

one Venue be printed in a different range of color for each performance. If a different price scale is to be used

for advance and day of performance sales, then two types of tickets must be used. Each should clearly show the

relevant price and furthermore the two types of tickets to be used must be easily distinguishable by use of

different colored stock.

Each ticket must have the following wording clearly displayed on its face: "No audio or video recorders are

allowed."

If the ARTIST is sponsored by his own sponsor, then the sponsor's name must be inserted as presenter on all

ticket stock.

On the date of the performance the PURCHASER must furnish the ARTIST'S Production or Tour Manager

with a seating chart of the Venue. This chart must show all the positions of unsaleable/obstructed vision

tickets that have been withdrawn from sales and the positions of any complimentary tickets issued. These

unsaleable tickets are to be physically shown to the ARTIST'S Tour Manager/Accountant at the time of the

performance financial settlements(s). Furthermore, the PURCHASER will present to the ARTIST'S Tour

Manager/Accountant at the time of the performance financial settlements(s), all unsold tickets for counting and

verification against the Venue box office report(s). Gross ticket sales shall be determined by the difference

between the number of tickets printed less any tickets sold. Any tickets issued by the PURCHASER on a

complimentary basis must be collated onto a separate report which must be justified to the ARTIST'S Tour

Manager/Accountant at the performance financial settlement(s).

In the event of tickets being sold at a discount for any reason whatsoever, the gross tickets' sales will be based

on the full-face value of the tickets and not the reduced price unless prior written agreement of the ARTIST has

been obtained.

A Venue box office statement shall be furnished to the ARTIST'S Tour Manager/Accountant not later than one

(1) hour after the commencement of the performance(s). The ARTIST'S Tour Manager/Accountant shall have

the right to enter the box office at any time on the date of the performance(s) to inspect the records that related

to the gross receipts of each performance. Where the gross ticket sales exceed the gross potential ticket sales as

stated in the attached contract, the ARTIST shall be entitled to one hundred percent (100%) of this excess.



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4. TICKET HOLDS: The PURCHASER shall withdraw from sale a minimum of forty (40) top price

tickets per performance for the use of the ARTIST. These tickets are to be handled directly by the

ARTIST'S Tour Manager. ARTIST reserves the right to return any unused tickets to the box office

for sale one week prior to performance. The PURCHASER shall hold an additional fifteen (15)

complimentary tickets in the top twenty-five percent (25%) of house for ARTIST. These tickets to

be distributed by ARTIST Tour Manager. No other tickets to be held before the twentieth (20th)

row.

5. TAXATION: If local or state sales taxes are included within the ticket price or if they are to be

deducted as a percentage of gross ticket sales, the PURCHASER will advise the ARTIST at the

time of the amount or percentage applicable. If Local, State or Federal withholding taxes are to be

by law deducted from the net ARTIST'S fee, the PURCHASER will advise the ARTIST

IMMEDIATELY UPON CONFIRMATION OF THE BOOKING OF THE SHOW the percentage

or amount applicable. If this percentage or amount is negotiable, then the PURCHASER shall

inform the ARTIST at this time of the authority to be contacted with regard to an appeal against

taxation rates. All taxation withholding certificates/receipts shall be furnished to the ARTIST'S

Tour Manager/Accountant at the time of performance settlement(s).

If the ARTIST'S fee is based upon a percentage share of the gross ticket sales less performance

expenses, these expenses should be net of any PURCHASER reclaimable value added or sales taxes.

6. METHOD OF PAYMENT: The ARTIST'S fee shall be divided into three (3) parts:

A. An advance deposit against the guaranteed fee. The amount to be as detailed in the

attached contract shall be paid to not less than thirty (30) days prior to the date of the

performance(s) (pro-rata).

B. The balance of the guaranteed fee shall be calculated and paid to the ARTIST'S

Tour Manager/Accountant at the time of the financial settlement on the date of the

performance(s).

Any percentage overage/override or sound and light or bonus payment over and above that

of the agreed guaranteed fee and as per the terms of the Agreement, shall be calculated and

paid to the ARTIST'S Tour Manager/Accountant at the time of the financial settlement on the

date of the performance(s).

These final payments on the date of the performance(s) shall be made in the form of business

check either certified check, banker's draft, wire transfer or cash. The ARTIST'S Tour Manager

will advise the PURCHASER prior to the date of the performance(s) of the required method(s) of

payment(s).

7 . SETTLEMENT: The financial settlement of the performance(s) shall take place on the

date of the performance(s) and shall begin no later than one (1) hour after the commencement

of the performance. At this time, the PURCHASER will be available together with a

representative of the venue. A full review of ticket sales and the final box office accounting

will be undertaken under the supervision of the ARTIST'S Tour Manager/Accountant.



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The PURCHASER will also furnish the ARTIST'S Tour Manager with a full set of

duplicates of these items for his records. All expense amounts presented must have backup

documentation. If not, the expense cannot be included in the ARTIST'S fee calculations.

At this time, the performance expenses will be compared with those submitted to the

ARTIST'S agent in advance of the performance. Any increase between the estimated and

actual figures must be justified to the satisfaction of the ARTIST'S Tour

Manager/Accountant at this time.

Any expense item submitted should be net of any commissions due to the PURCHASER. The

PURCHASER and the ARTIST'S Tour Manager/Accountant have the right to call upon their own

representatives in specialized fields such as production, advertising and catering should further

justification or explanation be required. All expenses should be costed and itemized in as much detail

as possible.

Any long-term Venue rental agreement, related rates and cut-off conditions must be revealed at this

time.

No approval will be given for the withholding of any sums in respect of damages to Venue fixtures or

fittings. PURCHASER must invoice for any and all damages and provide adequate Venue or other

documentation attesting to the value claimed. Invoices must be sent to the address below within one

month of the date of performance. A copy of the damage-insurance policy should be submitted with the

invoice together with the result of the claim first filed with the insurance company for amounts of

damage exceeding any deductible or excess.

8. BILLING: The ARTIST shall receive One Hundred Percent (100%) sole exclusive headline billing

as "GRAND FUNK RAILROAD" in all forms of advertising and publicity. The ARTIST shall have full

right of approval and control over all supporting attractions (if applicable) and their billing and length(s)

of performance(s). FESTIVAL BILLING

9. SPONSORSHIP: The PURCHASER shall not enter into any contract with a third party under

which a financial contribution towards the cost of the performance(s) in return for use of the ARTIST'S

name(s) or logo is gained without the prior written consent of the ARTIST. Furthermore, no third party

advertising banners, placard or other such display shall be erected on or near the facade of the stage area

during the performance other than material authorized by the ARTIST from the ARTIST'S own

sponsor.

10. No professional cameras will be allowed without ARTIST’s consent.

11. AUDIO/VISUAL RECORDING: No portion of the performance(s) may be recorded, filmed or

embodied in any form by the PURCHASER for the purpose of the reproduction of such

performance(s) without ARTIST'S consent. The PURCHASER agrees that he will prevent any such

recording being made without the express written authorization of the ARTIST. A violation of this

clause shall furnish absolute grounds for the ARTIST'S refusal to perform thereafter and in this event

all costs including, but not limited to, the overage/override payments due, shall be borne by the

PURCHASER.

The ARTIST reserves the right to film or record the performance for any purpose. Should such an

act require the consent of the Venue or its associated labor unions, then the ARTIST'S film or recording

production contractor will liaise and negotiate with the Venue direct. Extra costs or conditions incurred

as a result of such a situation will be dealt with between the venue and the production contractor out of



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the context of the performance contract and subsequent financial settlement.

ALL REASONABLE EFFORTS WILL BE MADE TO RESTRICT UNAUTHORIZED RECORDING.

12. MERCHANDISING: The PURCHASER shall not without the prior written permission of the

ARTIST produce or sell souvenir programs, posters, badges, clothing or any other items that bear the

ARTIST'S name(s) or logo.

The ARTIST'S licensee will liaise direct with the Venue as to the conditions. The PURCHASER

agrees that he will make the Venue aware of this clause and furthermore assist the ARTIST, the

ARTIST'S licensee and the venue in prohibiting unauthorized vendors of merchandise bearing the

ARTIST'S name and/or logo from operating on and around the property of the Venue.

13. TIMES: The PURCHASER shall advise the ARTIST'S agent upon or before the issuance of the

Rider of the advertised time of the performance and of the time at which the audience will be permitted

to enter the Venue. These times must be confirmed to the ARTIST'S Tour Manager before the date of

the performance(s), together with any applicable curfew requirement and subsequent overrun fines or

penalties.

14. TECHNICAL REPRESENTATION: The PURCHASER shall ensure that his technical

representative is present at the Venue from the start of the set-up of the ARTIST'S equipment until the

end of the teardown. The PURCHASER'S representative shall be available to assist in liaison between

the ARTIST'S production staff and the technical staff of the Venue. This representative must have a

good command of the English language.

15. MEDICAL SERVICES: The PURCHASER shall have available at short notice if required a

medical doctor, chiropractor and dentist. These professionals do not have to be present at the

performance(s), however, the ARTIST or any staff may require the services of such professional in an

emergency. Fire Rescue will be on scene and will render the required professional standard of care owed to anyone injured we are asked to respond to.

16. INSURANCE: The PURCHASER shall as a condition of the attached Contract take out adequate

public liability and property damage insurance coverage for the performance(s). The ARTIST must be

added as a named insured party on such a policy. This insurance shall cover any claims, liabilities or

losses directly or indirectly resulting from injuries to any person (including bodily and personal injury)

and from any property damage and/or loss in connection with the performance. Such insurance shall be

in the amount required by the Venue, but shall not be less than Two Million U.S. Dollars

($2,000,000.00) aggregate per occurrence and Two Million U.S. Dollars ($2,000,000.00) per event,

placed with an insurance carrier acceptable to ARTIST. Said insurance

shall be in full force and effect at all times ARTIST or any of their respective employees, agents or

contractors (or any of their respective equipment) is or are at the Venue. ARTIST and each of their

respective agents and employees shall be listed as additional insured in connection with the foregoing

insurance policies. PURCHASER shall also provide, at its sole cost, a policy of Worker’s Compensation

insurance covering all of ARTIST'S employees, subject to the requirements of the applicable state or

foreign law.

PURCHASER shall provide certificates of insurance evidencing the above policies to ARTIST at least

fourteen (14) days prior to the start of the performance. ARTIST'S failure to request, review or

comment on such certificates shall not affect ARTIST'S right authorizations or ARTIST'S obligations

hereunder. CITY IS SELF-INSURED



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17. INDEMNIFICATION: PURCHASER agrees to indemnify and hold harmless ARTIST and each

of their employees, agents and contractors from and against any claims, costs (including without

limitation, reasonable attorney's fees and court costs), expenses, damages, liabilities, losses and/or

judgements arising out of or in connection with any claim, demand or action made by any party if such

are (or alleged to be) a direct or indirect consequence of: (i) the Engagement or (ii) any breach or

alleged breach of any warranty, representation, agreement or covenant made by PURCHASER

herein.

18. CANCELLATIONS: In the event of illness, labor union restrictions, strikes or any and all other

events beyond the control of ARTIST, including but not limited to, failure of transportation, the

ARTIST shall not be responsible for any costs incurred in the set-up and promotion of the

performance(s). In the event the PURCHASER claims the ARTIST has breached this Contract, the

limit of any liability for damages chargeable to the ARTIST shall be the minimum guaranteed payment

if any provided for in respect of any performance(s) actually rendered hereunder.

A. ARTIST reserves the right to cancel this engagement by written notification to the

PURCHASER no later than thirty (30) days prior to the engagement without

recourse.

B. Force Majeure: ARTIST'S obligation to furnish the entertainment unit referred to herein

is subject to the detention or prevention by sickness, inability to perform, accident, riot,

strike, or any events of any kind of character whatsoever, whether, similar or dissimilar to

the foregoing events which would prevent or interfere with the presentation of the show.

19. LICENSES/PERMITS: PURCHASER shall secure, at its sole cost, all licenses, permits,

certificates, leases, authorizations and the like required or requested by any union, guild, governmental

authority, performing rights society, Venue owner or any other third party in connection with (i) the

performance and (ii) ARTIST'S exercise of any rights granted herein. PRODUCER agrees to fulfill or

cause to be fulfilled all terms, conditions, covenants, rules and/or regulations of such parties in

connection therewith as well as pay all levies, dues and fees applicable thereto. Upon request,

PURCHASER shall provide ARTIST with evidence of the foregoing; provided that ARTIST'S failure to

request or review them shall not be deemed a waiver of PURCHASER'S obligations or ARTIST'S

rights hereunder.

20. GENERAL REQUIREMENTS/TECHNICAL RIDER: Except as otherwise agreed to by the

parties in writing or as otherwise stated in the attached ARTIST'S Technical Rider, PURCHASER

shall provide at its sole cost all elements of the production as required by ARTIST including without

limitation; catering, dressing rooms, internal ground transportation, sound, lights and back line

equipment.

ARTIST'S Technical Rider shall be made a part hereof and PURCHASER agrees to fulfill or cause to be

fulfilled at its' sole cost all terms and conditions contained therein. PER ADVANCE

21. CREATIVE CONTROL: ARTIST shall have exclusive control over all elements of the

performance including, without limitation, the creative elements of the following: sound, lights, choice

of performers (including support acts, master of ceremonies and welcoming speakers) and their length

of performance, stage sets, curtains, backdrops, song selection, manner of performance and any music,

film or videotape played to patrons at any time during the performance including prior to

performance ad during intermission (if any). PER ADVANCE



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22. ADDITIONAL REPRESENTATIONS AND WARRANTIES: PURCHASER represents and

warrants that (i) it has the right and authority to enter into this Rider and Contract and to fully perform

its obligations contained herein; (ii) it has the right to grant the rights granted herein and that ARTIST'S

exercise of any such rights does not and will not infringe upon or impair the rights or interests of any

third party; (iii) all goods, equipment and other materials provided by PURCHASER (or at its request or

direction) shall be safe, fully operational and will not cause injury or damage to any person or property;

and (iv) that all persons provided by PURCHASER (including its agents, employees and contractors)

shall be adequately trained and capable of performing their required duties and that such persons shall at

all times act in a safe manner without causing injury or damage to any person or property. The

undersigned warrant and represent that are authorized to execute this Rider on behalf of respective

parties.

23. RETURN OF CONTRACT: PURCHASER agrees to sign and return this Rider to ARTIST'S

agent within ten (10) days from the date of the execution of the Contract; otherwise ARTIST shall

have the right to cancel the performance upon notice thereof without liability. ARTIST'S failure to

exercise its right to cancel the performance upon the completion of said ten (10) days period shall not

be deemed a waiver of PRODUCER'S right to cancel the performance at any time thereafter.

24. MODIFICATION/ASSIGNMENT/MISC.: This Rider is the sole and complete agreement

between the parties with respect to the performance and supersedes all prior and contemporaneous

agreements regarding the subject matter hereof. This Rider (or any part hereof) may not be changed,

modified or waived except by a signed, written agreement of the parties. Nothing in this Rider or

Contract shall require the performance of any act contrary to the law or to the rules or regulations of

any union, guild or similar body having jurisdiction over the services of ARTIST or the performance.

Whenever there is any conflict between any provisions of this Rider and the Agreement and any law,

rule or regulation, this Rider and the Agreement shall be modified to the extent necessary to eliminate

such conflict. This Rider and the Agreement may not be assigned without the written agreement of the

parties; otherwise, any such attempted assignment shall be deemed null and void.

25. NOTICES/CONSENTS: All notices, consents, approvals and the like given in connection

with this Rider shall not be effective unless contained in writing, signed by the party giving same.

TECHNICAL RIDER on following pages: Again, please note we are performing at many

different types of venues, so please go over specifics with Road and/or Production Manager as

they relate to your venue. Please contact “DJ” at 231-642-6678, or email

[email protected] , with any questions regarding the technical rider.


mailto:[email protected]


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GRAND FUNK RAILROAD

TECHNICAL RIDER PER ADVANCE

PURCHASER shall timely and completely provide to ARTIST all of the services, facilities and

materials required by ARTIST.

ARTIST'S PRODUCTION MANAGER SHALL HAVE AUTHORITY over ALL aspects of event

production equipment and provided technicians, including ALL house and monitor system audio

components and signal processing, distributed sound systems, lighting system, back line, load-in

and sound check schedule, load-in and local crew during set-up and performance times. THIS

AUTHORITY WILL NOT BE ABUSED, but is necessary to insure a quality performance and an

efficient load-in. No exceptions. (NOTE: This section should go to PURCHASER'S representative

for discussion with ARTIST'S Production Manager and Road Manager.)

A. PURCHASER'S REPRESENTATIVE:

1. PURCHASER agrees to furnish his personal representative, at Purchaser's expense. Purchaser's

Representative must be capable of making any decision (pertaining to ARTIST'S Engagement) from the time of

the arrival of the production equipment through the time of its' departure.

2. PURCHASER'S Representative will remain in the immediate backstage area and must be in constant contact

with the ARTIST'S Production Manager.

3. PURCHASER'S Representative shall provide ARTIST with twenty-four (24) hour telephone numbers, both

business and residence, fourteen (14) days prior to engagement.

B. STAGE CREW (If not a Fly Date): 1. Eight (8) sober stagehands for load-in and strike of band equipment, stage set-up and strike and lighting focus.

2. Two (2) stage hands for show call.

3. Four (4) spot operators for show call.

4. One (1) English-speaking runner with a valid driver's license, a car, a good knowledge of the area and Yellow

Pages.

PLEASE NOTE: IF GFR STAFF MUST LOAD AND UNLOAD TRUCK THEY MUST BE

PAID $200.00 PER MAN IN CASH.

FOLLOWING MUST BE ADVANCED WITH PRODUCTION MANAGER:

C. RULES AND REGULATIONS: It is the PURCHASER'S obligation to inform the ARTIST'S Production

Manager of any mandatory union breaks, curfew, fire regulations, minimum light level requirements, maximum sound level

limits or any other unique regulations or peculiarities at least fourteen (14) days prior to the Engagement(s), as subsequent

evaluation thereof may place performance in jeopardy.



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GRAND FUNK RAILROAD - TECHNICAL RIDER PAGE 9

D. BILINGUAL TRANSLATORS (in non-U.S. venues): The PURCHASER shall provide ARTIST with

bilingual personnel. If there is any problem in securing such personnel, the Purchaser should contact the

ARTIST'S Production Manager at least three (3) weeks prior to performance.

E. ACTIVITIES IN PLACE OF ENGAGEMENT(S): There shall be no scheduled or unscheduled

activities in facility from load-in through load-out. This includes, but is not limited to, any type of sporting

event, etc. There are to be no announcements or speeches from stage. All announcements are to be cleared

by the Tour and/or Stage Manager.

F. SECURITY:

1. PURCHASER shall provide at PURCHASER'S sole cost and expense, an experienced and properly

trained security staff. Areas to be secured include; dressing rooms, stage stairs, loading ramps, entrance gates,

barricades and fence lines. It is the intention of the ARTIST that the staff dealing with the audience be

unarmed and non-uniformed. NO UNIFORMED GUARDS OR SECURITY PERSONNEL MAY PATROL

THE FRONT OF THE STAGE DURING A PERFORMANCE. If for any reason a uniformed security is

used, PURCHASER should advise ARTIST security coordinator two (2) weeks prior to the performance. A

deployment sheet consisting of venue map, detailing numbers, positions and check-in times of security

personnel shall be made available to ARTIST upon request.

2. Perimeter Security: Gate Staffing should be compatible with crowd flow and expectation to ensure

safe entry for the audience. PA system when available should be used for instructive announcement.

One (1) megaphone or bullhorn per gate should be made available for such purposes. Sufficient

staffing for the outer perimeter is essential for controlled crowd entrance to venue.

3. Three (3) security men should be made available from show load-in until the end of the show load-

out. Assignments will be the dressing room area, loading gate and the stage area. The staff will increase

as the need arises.

4. Overnight: PURCHASER further agrees to provide all security personnel and equipment

necessary to protect all of the ARTIST'S sound, lights, musical equipment and personnel during the

entire time said equipment and personnel occupies place of performance.

5. In the event of sound check, security will be provided to keep the venue completely clear of

anyone except working personnel.

6. Administrative, technical and security personnel shall be provided with badges or passes which

must be worn enabling them to gain access to where the public will not be admitted. No other

badges, passes or artistic and technical personnel will be admitted to the backstage area.

7. The dressing room areas shall be under the direct and exclusive control of ARTIST. Access

thereto shall not be permitted to anyone by PURCHASER except as required by applicable statute of

municipal fire or safety regulation.



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G. TRANSPORTATION (Must be advanced with Road Manager): For budget purposes, vehicles

should be figured as: airport to hotel; hotel to venue; venue to hotel; hotel to airport.

If necessary to accommodate this request, please remove the rear seat.

2. One (1) 15-passenger van with driver (Please no ride alongs) to transport Crew and Band

Members to and from hotel and venue (late model).

3. All drivers should be able to communicate in English.

H. ACCESS:

1. Access to the place of performance for unloading and loading equipment at time specified by

Tour and/or Production Manager.

2. Access to the stage area of fourteen feet (14') clearance for trucks, if required.

3. Complete floor covering for all necessary areas required by the facility.

4. Snow and ice removal equipment and supplies.

5. Access/Entrance to Backstage must not be through Crowd. If this is the case, a suitable Escort for

Band and Crew vehicles must be provided so this can be completed in a timely and Safe manner.

I. STORAGE SPACE: Storage space is required for the storage of crates and dollies after load-in. This

space should be secured, away from audience traffic, and as close to the backstage area as possible.

J. PARKING: Sufficient space for one 20’ foot box truck and two (2) Minivans, for a period commencing

twelve (12) hours prior to the load-in and four (4) hours after the performance is concluded. It is imperative

that these vehicles are not blocked in any manner and have free access in and out of the parking area at all

times.

K. TRAFFIC DEPARTMENT: If it is necessary to obtain permits or clearance in order to load-in and

load-out around the Venue, PURCHASER should make all necessary arrangements well in advance of

Engagement.

L. STAGE: A stage 36'feet wide by 28'feet deep by 4'feet high is the minimum dimension required.

ARTIST requires one (1) carpeted drum riser (12'feet width by 8'feet depth by l' foot height (24” max) and

one (1) backstage tech area (8'feet by 8'feet upstage Left completely clear). Stage must be clear of cable runs

from front of drum riser to down stage monitor positions.

M. HOUSE SYSTEM:

1. Minimum 48 channel Console (PM5D SC48, CL5, M7CL)

2. 31-band EQ and Compression on each main output, located at house mix position.

3. 8 insertable gates, 8 insertable compressors, 2-31 band insertable EQ’s

4. 5 Stereo digital FX units 2 reverb based, 3 delayed based

5. 1-CD player

6. Speaker System able to cover entire audience attending with 112 Db Rock & Roll SPL (JBL

Vertec, Meyer Nexo, Adamson, EAW)

7. System MUST have +3db headroom in amplifiers and frequency response of 36Hz-16Khz

(Crown, Crest, QSC)

8. ARTIST’S house engineer will tune entire house system

9. 2-channel communication system (House to stage/monitor, House to Lights) (see O#7)

10. One qualified house system technician for trouble shooting and mixing opening acts,

if necessary.



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FOLLOWING MUST BE ADVANCED WITH PRODUCTION

MANAGER:

Contact “DJ” at 231-642-6678, , or email [email protected]

N. MONITOR SYSTEM:

1. Minimum 48 Channel console (Midas H3000, PM5D.M7CL)

2. Eight 31 band EQ’s insertable on 8 different mixes 3. 11 bi-amped or processed wedges with at least a single 12” low and 2’ horn per wedge – 1-15” &

2” wedge for bass mix. Minimum 500 watts (Crest, Crown, QSC)

4. 1 matching Cue Wedge

5. 6- Direct boxes as on attached plot

6. Artist’s engineer will tune system

7. One qualified monitor system technician for troubleshooting, He will be responsible for

watching monitors for Grand Funk and mixing local acts.

8. 8 stage quad AC boxes as attached plot

9. Channels will NOT be shared!

O. LIGHTING SYSTEM:

1. Whatever console your LD is comfortable with.

2. 2-40’ foot trusses with 120-1K par cans (60 front/60 rear gel as per plot) with black curtain and/or

cyc upstage. Please Note: We travel with a freestanding backdrop with 15’ trim height. Upstage

truss must be no more than 40’ feet from downstage edge of stage.

3. 2- Audience blinders on downstage truss.

4. 16 additional 1K NC acl’s on upstage truss. All color and lights as on attached lighting plot.

5. 6- Lekos on downstage truss per plot.

6. 4- Long throw follow spots with the following color position: 1- #105 2- #119 3- #180 4- #126

7. Communication system as follows LD, 4 spot ops, FOH audio, 2 upstage and to house lights

if necessary

P. BARRICADE: There will be no barricade for reserved seat shows.

Q. POWER REQUIREMENTS: The following are USA power requirements. In cases of shows in other

countries, the power equivalents of the below will be required. The production requires two (2) completely

separate power services. Two (2) services off the same transformer is not acceptable. Production Manager

should be made aware of all venue transformer load times (i.e. air-conditioning, concession stands, parking

lot lights, etc.)

1. LIGHTING: One (1) 400-amp three phase (3), 120/208 volt five wire, plus cold water pipe ground.

Power should be located within 100'feet (one hundred feet) of upstage Right. A non-grounded neutral

is preferred.

2. SOUND: One (1) 400 -amp three phase (3), 120/208 volt five wire, plus cold water pipe

ground. Power connect should be within 50'feet (fifty feet) of upstage Center. If connection is

further, please discuss cable needs with Production Manager.

3. VIDEO: As per Production Manager advance.

4. BACKSTAGE AREA: As per Productions Manager advance. 6. DISCONNECTION LOCATION: Adequate fusing, spare fuses, disconnect switches and

terminals suitable for attachment of 4/0 cables with lugs will be required at this source.

7. VOLTAGE: The voltage shall not vary or fluctuate more than 5% (five per cent) from 120

volts with balanced electrical loads.


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8. GENERATORS: Check with ARTIST'S Production Manager if a generator is required for

specifications. If needed, a 1,000 KVA generator will be for lighting with a 500 KVA for sound

with 400-amp 3/0, 220/415-volt backup.

9. ELECTRICIAN: Facility electrician should be present at stage call and throughout

the remainder of the performance and until the end of load-out.

R. DRESSING ROOMS: ONE RV WILL BE PROVIDED FOR SOLE USE OF ARTISTS

1. 2 Dressing Rooms (Don, Mel, Max, Bruce, Tim) with furniture, toilets and showers.

2. 1 Crew/Production office with 110v power outlets and wireless internet if possible

3. 1 VIP room (capable of holding up to 25 people).

4. If RV’s are used for Dressing Rooms, a CLASS A motor home 30’ or larger is the only

thing acceptable. If smaller 2 motorhomes must be provided.

Must be large enough to COMFORTABLY fit 7 people. If mobile office trailers are used, it

must have a working restroom and have a minimum of 2 large rooms. Tents are no longer acceptable.

CATERING: PER ADVANCE

LUNCH: DELI lunch for 5 People Lunch Buy Out-$20 per person (Max #8).

DINNER: 1 Hot full Course meal for 15 people (1Vegetarian) with plates and silverware (Must include Salad

and Fruit) The Band prefers to eat after the show. As with all Rock & Roll shows this is subject to change so

please advance with Production Manager. If a Buy-Out is available, it is $25 per person to be determined day

of show as the number of people may change Max. #15 people. Dressing Rooms: Please do not confuse this with dinner or catering!

1. Assorted Teas, Hot water, Honey

2. one- 6 pack of Caffeine Free Diet Coke

3. one- 6 pack no-caffeine soft drink (i.e. Sprite ,7up)

4. one-6 pack Coke Classic

5. one- 12 pack Bud Light beer ( if there is a sponsor theirs is ok) CITY IS UNABLE TO 6. one- 12 pack Coors Light PROVIDE ALCOHOL

7. one- 12 pack LIPTON Iced tea w/Lemon

8. one- 6 pack A&W Cream soda

9. one- 12oz. package Starbucks coffee with full coffee service and condiments

10. SMALL fruit and cheese tray

11. Chips, Dip and Candy

The following is for Soundcheck if no soundcheck for band arrival 12. Deli Tray for 6 people consisting of Ham, Turkey and 2

cheeses. 1 loaf Wheat and 1 White

13. 2- small cartons of Skim 2- small cartons 2% milk

14. 1- 4 pack of Starbucks Frappuccino- (Mocha)

15. small assortment of crackers

16. Small assortment bagels and cream cheese.

17. 2- small bottles Club soda or sparkling water.

18- 2- small Muscle Milk” Light” vanilla or chocolate

We don’t ask for much. If any of the above is a

Problem.

PLEASE Call DJ@ 231-642-6678 We will work it out.

STAGE NEEDS

1. 15 Full size towels 2. one- case bottled water for stage (not on ice)

3. 1- 32oz. bottles "Gatorade" GREEN Lemon-Lime (if no coconut water increase to 3)

4. 2- Vita COCO pineapple flavor coconut water


GRAND FUNK RAILROAD

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