Clovis Nicolas 4Tet: Technical Rider - Stage Plot

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CLOVIS NICOLAS 4TET: TECHNICAL RIDER - STAGE PLOT - Saxophone: 1 microphone + microphone stand for saxophone - Trumpet: 1 microphone + microphone stand for trumpet - Acoustic bass : An appropriate microphone for bass if bass is to be amplified in the house system such as a RE20 or DPA 4099- no D.I. from bass or amplifier into the house please. Microphone only for house. 1 bass amplifier: preferred: Gallien-Krueger MB150 Fender Rumble TC Electronics - 1 jazz drum kit including : 18" bass drum, 14" floor tom,( preferably 14"x 14", with legs) 12" tom-tom (preferably 12"x8") 2 cymbal stands,(straight if possible) 1 Hi Hat stand, 1 bass drum pedal, 1 Snare drum with stand, 1 drum throne. A carpet roughly 6'x6' is necessary if the stage is slippery. Any brand drum set will do as long as it is the right size! if there is a choice, preferred brands are : Gretsch, Slingerland, Remo,Sonor, especially older models. No rock drum kits please! Also please no double layered, muffled, or rock drum heads ( "powerstroke", "pinstripe"- “Super Kick” “EMAD”) coated single layered heads should be on all drum tops ( bottoms clear or coated single layer) especially the bass drum ( Remo "ambassador" coated or similar), no holes in bass drum head ( for micing) please. No pillows, muffling or anything in the bassdrum please right handed set up 4 music stands Microphones: 2 overheads + 1 mic for bass drum - Three music stands STAGE PLOT Audience stage left stage right (1 microphone) (1 microphone) SAXOPHONE TRUMPET (3 microphones) (1 microphone) DRUMS BASS AMP BASS - as close together as possible. If we play in a large space with sound system, we need one monitor for each instrument, with separate mixes. Please have all instruments, amps, microphones, and speakers set up and plugged in at the time the band arrives for sound check, we travel a lot and like to avoid wasting time waiting for the equipment to be set up..

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Cover DRUMLAB.Ai
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FEEL THE SOUND. When we design drums, our intention is to con- shell came out as a clear winner in all test situations. tinuously improve the acoustic quality in any Then we went out to look for a birch variety that would given situation. We do not stop at wood selec- meet our CLTF and OSM shell making standards and tion or shell configuration. Many factors influence the found a unique European birch that stood up to these acoustic performance: shell material and construction, demands. drum head selection, tuning, mounting, room acoustics, individual perception and much more. For SQ1 we worked closely with Chris Coleman and other Sonor artists in the development of this new drum series. The input from a professional players point of view provided many important insights. As a first step we looked for a shell material that would meet the request for a very balanced sound. Our choice was birch because of its characteristic high end frequencies and clearly defined low-end. In blindfold tests we tried many different types of shell construc- tion, from pure birch to hybrid versions. The pure birch SQ1 shell made of pure European birch THE STORY BEHIND CLTF AND OSM Drum shells need to act as solid acoustic unities as the foundation Our OSM shell construction (Optimum Shell Measurement) for a great drum sound. We use cross-laminated plies of birch to utilizes slightly undersized shell diameters to give the drum form a perfectly round shell with great stability. head the space to float freely, allowing Each ply is laminated at a 90° angle unrestricted contact between to allow for a shell that is tension- the bearing edge and the drum free.
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