live events management assingment
TRANSCRIPT
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Marianna Muszynska
21267624
Live Events Management
HyrusInsane Tour 2015
Tour Book + Report.
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INDEX:
3. Report14. Bibliography
16. Appendix A and B
17. Appendix C
18. Appendix D
20. Tour Book Start22. Technical Rider
23. Stage Plan
24. Lighting Plan
25. Hospitality Rider
27. Costumes
28. Itinerary
57. Carnet
58. Maps
67. Budget
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Report
Word Count: 4392Introduction
The aim of this report is to describe and highlight any issues regarding the
planning of the tour and to describe the decisions which have been made. Planning
the tour itself is a long process that requires vast amount of research and
considerations for the elements that construct the final plan. The report will also
analyse all ideas that were taken into consideration during the production of the tour
book, therefore all the decisions will be described in detail with the decisive factors
and all the other possible options listed out, wherever possible. The software used to
prepare the itinerary part and the maps section is Master Tour by Eventric, which is
one of the main parts of the process of production this tourbook. As the whole
endeavour was based on this software, a big part of the report shall reflect on how it
was to work with it, especially that Eventric (the producer of the software) advertises
it as a tool used by the professionals, as named on their website, people of the
caliber of Alan Floyd, Beyonce’s tour manager, or Mettalica’s production coordinator
Misty Roberts .1
Stage Show
From the beginning the plans were to set up multimedia shows a set of venues
which would make up the tour plan. However, some circumstances caused the idea
to be abandoned. The planned budget did not extend to the possibility of setting up a
multimedia electronic element. The primary reason for this being extra crew
members and equipment, all of which could not be funded. The crew required would
include visualisation directors and designers. Therefore, the tour is focused around
the musical element with a basic set of band equipment.
The capacity of each individual venue is not very large and thus the multimedia
stage show (consisting of lighting and a backdrop screen) would prove to be limited.
On the contrary, there is a substantial risk that the performances will not captivate
the audiences due to the simplicity of the live production. In today’s world of modern
music, audiences have become accustomed to the ‘wall-to-wall’ screens, visual
effects and lighting supported by acts with higher budgets. The plans were also to
host a small DJ set in Scandinavian countries because of the comfort of using
different means of transport- for example by plane (This is to be decided later).
However, because of the genre of the band the normal concert has been chosen,
1 http://www.eventric.com/products/master-tour/
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after a discussion with the band. From the marketing point of view, it would be
desirable to have electronic- based productions in the future due to their popularity
and the possibilities that they provide, especially of artistic nature.
While the costs of travelling could be far less than the band production, the revenuefrom the tickets for a live rock show can be absolutely huge, especially seeing that
the tour can be extended to include also a collection of small clubs. After
consideration with the budget analysis, it is evident that the three- piece band
members is achievable. Moreover, after contacting the venues in Copenhagen ,2
Sweden , Finland and Norway it has been explained that they can all provide a3 4 5
complete backline of equipment which is required to run the show hosted at each
venue.
Equipment to be taken
As a three members band Hyrus does not use many equipment items, the essential
items which are reasonable to be taken, personal enough to be needed and of
highest priority are listed below. This decision is followed by the consideration of
decreasing the weight of the items that are to be taken, as it decreases the fuel
consumption and improves load-in and load-off time. The band requires the
amplifiers to be provided by the venues, and it is of high priority for the tour manager
to be sure that they are present and of sufficient quality before each show.
Gibson Les Paul 1958 VOS Electric Guitar.
Manson J-Star Electric Guitar.
Ibanez SR505-BM Bass Guitar.
Custom Pedal board for the lead guitarist.
Balanced/unbalanced jack and XLR cables.
Laptop, Mac Book Pro.
Set of 4 wireless Sennheiser EW135 G3 CH38
microphones.
2 http://www.rust.dk 3
http://www.gronalund.com/tyrol 4 http://www.tavastiaklubi.fi/ 5 http://www.rockefeller.no/
http://www.rockefeller.no/http://www.tavastiaklubi.fi/http://www.gronalund.com/tyrolhttp://www.rust.dk/
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Costumes
The stage costumes are not outrageous. The plan was to create minimalistic stage
outfits which are memorable and can catch the interest of the media. So, every band
member will wear a Criminal Damage jacket (no. NT-3445) , Vans shoes6
(watermelon line, WT-758) and ‘Lizard’ sunglasses. The sunglasses have been7
chosen because of the band’s interest in conspiracy theories. They are also a
memorable item which is out of the ordinary. It is of course obvious that each
member of the band has three ensembles of the whole stage outfit. It is worth
pointing out that the outfit is not very expensive, so having three ensembles per
person is not a large purchase and can help avoid unexpected problems such as
unrepairable damage or break of the tour bus washing machine (the washing
machine is provided in the sleeper bus, the details will be depicted later). There is a
sponsorship deal by the Vans company, as the target customer of both Hyrus musicand Vans apparel clothing is in the same age span, and of the same interests, as it
would be proven by marketing company that has been hired to finish the deal. The
deal has been struck due to the connection between the management company that
Hyrus is managed by and their affiliated marketing company. The core idea behind
that deal is to build up relationship between Hyrus and people connected with Vans,
because Vans is sponsoring ‘The Warped Tour’, the largest travelling music festival
in the United States, what could in future benefit with a loophole when trying to break
into the American market. The more connections are to be created even within such
insignificant (at first sight) deals, the better.
Routing Plan - list of cities to be visited.
● Glasgow
● Newcastle
● Leeds
● Manchester
● Birmingham● London
● Brighton
● Plymouth
● Paris
● Zurich
● Frankfurt
● Helsinki
● Oslo
6 www.criminaldamage.co.uk 7 www.vans.com
http://www.vans.com/http://www.criminaldamage.co.uk/
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● Stockholm
● Copenhagen
● Brussels
● Amsterdam
Notes on the route planning:
The first gig is to take place in Glasgow, most remote location in the United
Kingdom. It has been chosen as a tour starting location due to the easiness of
further planning. The band arrives there a day before the gig to socialize and rest
well. It is crucial for morale. Next day, after the gig there are two roads to be taken,
and as the time/distance difference is not significant, there is no need for a deep
discussion, and the choice is left to the driver. The same thinking method is used
when travelling in between all of the route destinations, with few exceptions. Themost interesting part, that might be changed during the tour is oversea travel, using a
ship. In two points of the journey there is a need to use the tour van to travel
between two oversea locations, at first it is from Plymouth to Paris, and the second
instance is at the very end of the tour - when travelling from Amsterdam to London.
The reasoning behind the decisions on the mean of transport is William Spencer’s
sea sickness, and he highly prefers not to travel using any floating means of
transport. The final decision is to be made with the touring party mid-tour, but William
has agreed on the fact that in case he refuses to travel oversea when it would be
necessary, he agrees to fly to the destination on his cost.
Another note on the itinerary should be analysed from the point of view of the tour
planner. To start the analysis, Helsinki, as the part of the tour, is quite problematic
not just in regards to the distance between neighbouring Scandinavian cities, but
also because of the huge distance between the previous city in the itinerary. A good
suggestion here would be, for instance, to exchange Helsinki with another city in
Sweden, like Goteborg, a big and popular city in Sweden, which would be also a
logistical advantag. It would be easier to relocate from Stockholm to Goteborg and
then to Copenhagen. Thinking forward, Helsinki can be included in another band’stour in the future if the budget is higher and the majority of the tour components can
be travelled by plane. T According to provided suggestions, the way the trip was
selected from Frankfurt to Helsinki is by air. The journey from Frankfurt to Helsinki is
by plane (with the band and the Tour Manager) and there is a bus with the drivers
which goes to Brussels, Belgium. In the meantime, the band and the Tour Manager
travel by plane in the following order: Oslo, Stockholm, Copenhagen and Belgium.
After the band finishes the Scandinavian leg of the tour (to be described) The
journey resumes from Belgium where they are to travel by their bus to Amsterdam,
and then from Amsterdam to London, where the crew and band are based.
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A very peculiar part of the tour is the part when there are gigs to be played in the
Scandinavian countries. The band and the tour manager are the only ones that take
up the air travel that is needed in case to get to the gigs. The equipment to be taken
on the plane in that situation is limited, and more of it is being hired from the venues.
Nevertheless, that saves up a major amount of problems of logistic nature, and alsois a money-saving decision. Not having the necessity to travel to Scandinavia by car
has got many upsides - it would take a great amount of driving time, also would be
costly to transport the car over the Baltic sea. As mentioned before, the drivers and
crew members (except the Tour Manager) are traveling from Frankfurt to Brussels by
bus and will wait for the band and the Tour Manager to get back from the
‘Scandinavian Tour’. Therefore, the hotel for the other crew members is provided,
and all the crew members are spending their intermission time in Brussels. It can be
said that the details about the hotel and intermission days (breaks between gigs)
should be stated in the tour book, but the other solution could be chosen in thatcase. To clarify, the band can travel and complete the tour without some crew
members, meaning that the details of the band’s days are more important and
actually essential in the tour book.
Notes on the air travel on the Scandinavian part of the tour.
According to the airlines which have been considered, namely SAS to travel from
Frankfurt to Helsinki, these airlines are the most comfortable lines in accordance to
travelling between earlier mentioned cities, and if the tickets are booked in advancethey can cost £85 and the luggage is included. Furthermore, if the Tour Manager
travels with the band members he can take luggage with the private items on his
card and band members can carry their instruments as registered luggage. What is
more, in SAS the hand luggage is also available, so there will be no a problem with
carrying the items. There can also be another solution: every band member and the
Tour Manager can carry their own hand luggage (up to 10kg) and have the
instruments and required equipment like pedal board as registered luggage.
Therefore there are no added costs in accordance to luggage. The airlines which8
have also been considered are Ryanair airlines (but after quick analysis andresearch which have shown that SAS lines are much more convenient to travel and
especially for musicians on tour). The whole air route is planned with SAS airlines.
To explain, Ryanair does not have the connection between Frankfurt and Helsinki,
furthermore, there is an added cost for musical instruments which is £50 per item,
even if the band has registered luggage. Moreover, registered luggage is not
included in the ticket price and ticket prices are very similar to the SAS prices. 9
Comments on the Master Tour software
8 http://www.flysas.com/en/uk/travel-info/baggage/special-baggage/ 9 https://www.ryanair.com/en/need-to-know/
https://www.ryanair.com/en/need-to-know/http://www.flysas.com/en/uk/travel-info/baggage/special-baggage/
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There is a need for a short commentary on the usage of the software during the
preparation of the itinerary. As mentioned before, the software that was used to work
with the bespoke tour was Eventric’s Master Tour. As stated in the introduction, the
software developers claim that their software is being used by professionals workingwith great acts with huge production and very large teams. As it was extremely
promising, it has been used to produce the itinerary. The software at first seemed
extremely useful and clearly designed, as the interface was really user-friendly and it
was easy to use. Nevertheless, the end product of the endeavour with the Master
Tour was disappointing. As the software was used on a Windows 8 system, on a
computer which specification meets the requirements that the developer states in the
software description, the workflow was getting worse as the database of the tour
slowly increased. This was highly disappointing, taking into account, as it is to be
assumed - the tours planned for bands like Metallica must use a great database thatwould be extremely unfunctional in that situation. The outcome of this is that
probably there is a need for a top-notch computer to run the software and have no
problems operating it. But the workflow was not the only issue with Master Tour.
After all the database files were completed it came out that the exporting of the files
itself is of limited usability. The files were corrupted and/or software refused to export
them. After following all the steps possible to fix the problem software-wise (i.e.
installing all the plugins and supporting programs that Eventric suggests on the
website in the Troubleshooting section) the exported files were still not satisfying.10
It should not be assumed that the previous paragraph is to describe Master Tour as
not a useful tool for the Windows 8 environment, but the biggest learning outcome of
this endeavour is that one has got to be prepared to tackle this problems when
organising the tour. A software failure (or incompatibility with the hardware) is just
one simple, yet not easily predicted problem that can occur in the process of Tour
Management. As this is an act that is to be done during the initial stage of planning
the tour that might not cause many trouble, as in theory that process would take
place first, before taking any other actions. Taking into account a real life
hypothetical situation when there is a need for a change of a computer to anunpredictably incompatible machine mid-tour is a more terrifying scenario.
Detailed problems that occurred within the software are as follow: The biggest issue
was with Glasgow, because from the beginning it was impossible to edit any
information about the venue. The software did not put the city on the route map,
which is still unclarified. It was a problem with the exported file, that there was no
information about the venue at all. Furthermore, the software also had an issue with
putting two different British cities onto the map: Bristol and Brighton. An email with
10 www.eventric.com
http://www.eventric.com/
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the issue description has been sent to the Eventric support team, but there was no
response up to date of the submission of this document (which is six working days).
This is another learning outcome on the time management, as having that issue
during a real tour-planning situation would be highly problematic, as instead of
providing the information through the software to the touring party it would have to bedone in a mundane and complex manner, via phone or emails. Taking into account
the possibility of having about one hundred touring party members is a
self-explanatory outcome. In conclusion, it is highly important to use both software
and hardware that is reliable, as when the tour is on the road, this kind of problems
may cause an avalanche of other organizational problems.
Various important information
One, very crucial fact, which is related to the tour routing, is health and safety. It isextremely important to provide the highest level of health and safety as possible,
therefore, every member of the touring party must have an EHIC- European Health
Insurance Card and in case of any type of medical condition or a need to transport
any medicine over the borders, there is a need for the proper documentation to be
included, preferably in more than one language. As the customs might be easy to get
through in majority of the countries included in the itinerary, it is an action of high risk
to transport drugs without the documentation. Up to best of the knowledge of the tour
manager, in every visiting country the emergency number is 112. Having said that,11
and taking into account the lifespan of nowadays mobile phones it is a good idea tohave a slightly outdated telephone at hand, to be used at emergency situations. For
example, having an old phone or a long-lasting battery phone like NOKIA 105 ,
released in 2013 might be literally life-saving.12
Sleeping cycle
Having the proper bus is not the most important, as the research has shown that it is
very important to check if all drivers have a valid CRB check and also that vehicle
insurance is valid. It is not to be underestimated to have the possibility to check13
anything possible with the drivers before the tour even starts, as having the drivers
experienced in music touring and/or having gone through the route or parts of it in
the past might be a great asset. Experience is never to be underestimated, as it is
not unpopular on the roads that many random accidents happen, from mundane
situations as traffic to extreme and grim events as accidents of any sort. Having
experienced and focused drivers can save time, money and guarantee more safety
which is important when it comes to touring party morale.
11
https://www.gov.uk/foreign-travel-advice 12 http://www.tomshardware.com/news/Nokia-105-Cell-Phone-Battery,21256.html 13 http://onestage.co.uk/wp/wp-content/uploads/2013/04/Safety-Management-System-SMS.pdf
http://onestage.co.uk/wp/wp-content/uploads/2013/04/Safety-Management-System-SMS.pdfhttp://www.tomshardware.com/news/Nokia-105-Cell-Phone-Battery,21256.htmlhttps://www.gov.uk/foreign-travel-advice
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According to Andy Reynolds , sleeper coaches are the standard travel method for14
modern tours. He speaks of the obvious benefits from travelling by sleeper coach: no
hotel rooms are needed. Buses can travel overnight to avoid traffic, so the travel time
can be decreased. Moreover, the backline equipment can travel in the bays of thebus. However, Reynolds claims also that bus life can be quite hard. To clarify, most
people find it very difficult to sleep in a moving bus. What is more, often the bus will
carry crew members and the band (also this is the case in the Insane Tour). This can
have problems where claustrophobia is considered. But he claims also that this is
the best choice if the budget is poor because it saves a lot of money. Furthermore,
according to the information provided by Reynolds the drivers sleep in the bus and
they are paid a small amount of money because of this. Although that approach
seems to be not too caring from the perspective of the relations between the tour
manager and his crew, but when an upcoming act like Hyrus is to be considered,one has got to look for money-saving decisions and try to cut the costs whenever
possible. The reason being is that within the music industry many things circulate
around passion for music, and having to sacrifice some of the comfort might be not a
problem for the band. Other options for sleeping for the drivers are also to be
considered. For example, there is an opportunity when the band has a day off to put
drivers in hotel rooms with crew members to give them more comfort.
Sleeper buses cost from £270 to £400 per day (information provided by the
company) plus fuel costs. But it is still cheaper than traveling by air the whole tour.Because if the whole crew travels by air it means, there are extra costs to pay and
extra paperwork to do. For instance, regarding SAS lines there is a required
registration where there is a large group of travelers. Furthermore. they can be an
issue where there are not enough tickets for the required day . What is more, the air15
insurance would be more expensive and after getting to the airport, there is need to
hire a van to transport everyone and everything to the venue or a hotel, so this is
another extra cost. Therefore, hiring a sleeper bus is the best idea in regards to
finance, even if there is an extra situation when the part of the band is travelling via
air, as it is in the Scandinavian part of the tour. But, of course there is a risk that theband will not be at the place on time because the sleeper bus can break down. For
this reason the insurance is imperative. The company from where the bus is hired
must have a clear statement about the insurance, and there has to be a clause that
can cover any breakdown stating that another bus will be provided as soon as
possible in this event. The contract has got to state also that the term “as soon as
possible” is to be clearly defined, meaning that let’s say it will not be more that six
14
A. Reynolds, The Tour Book , How to get Music on the Road, Second Edition, Course Technology,Boston,MA 2013. p. 299-301.15 http://www.flysas.com/en/uk/travel-info/baggage/special-baggage/
http://www.flysas.com/en/uk/travel-info/baggage/special-baggage/
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hours, as any longer breakdown might cause cancellations of gigs which is
catastrophical in its after causes.
Songwriting income - balancing the ticket prices
Having the knowledge on the percentage of the money that is deducted from the
ticket sales (per each ticket) is key when planning the tour. Having the knowledge in
this matter provides the possibility of balancing the costs of production versus the
amount of people that is required to provide significant income. The example
calculations are provided in the appendix C.
Merchandise
The merchandise items which have been chosen are generic :T-shirts, hoodies and
hats, everything partitioned in two: mens and ladies. Merchandise is the most
important factor in increasing the income of the tour. The choice of merchandise
products is limited due to the fact that during the first tour there is still no recognition
on the fans taste and Hyrus has got nothing that peculiar to be clearly positive on
what might be the best selling product. The merchandise stand should be located
next to the front door of the venue and near to the food and drinks counters. All the
sizes of the stall and distances that govern the placement of it must be agreed with
the venue before attending the venue. As the deal with the venue is a legally bindingcontract there is a need to place the stand in the most profitable position. Having a
guaranteed fee for every gig is obviously a great deal of guaranteed income, but
merchandise if sold and managed properly might be sometimes a surprisingly big
source of income. In the future, it is a good idea to even increase the focus on the
merchandise section and include professional help from people that are
marketing/merchandise professionals. The most important thing to do before the
planning performance is to prepare the marketing activities and tell the audiences
that the merchandise will be available at the venue in the day of the performance.
This can be done through social media marketing and can be stated on thepromotional posters. A very important thing is also having a variety of prices, for
instance:
● Band T-shirt: £10-15
● Hoodies/Jumpers: £30-40
● Headwear: £1016
16 http://www.gigiti.com/blog/2014/10/7-ways-to-sell-more-merchandise-at-gigs
http://www.gigiti.com/blog/2014/10/7-ways-to-sell-more-merchandise-at-gigs
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On the other hand, prices such as £4.89 and £4.99 can be quite wise because where
people carrying notes to the concert they probably will give the merchandiser the
whole amount of £5 and they will not want change. This is worth consideration,
however, card payment should be available, it can increase an income because
people do not carry a lot of money for gigs, this gives them an opportunity to buysomething which is more expensive than an ordinary t-shirt. Even if there is a
payment to the bank for using the card payment option it is still likely to increase the
overall revenue rather than being at a loss. Therefore, having the portable
contactless card terminal, for instance from Barclays, can be very beneficial and17
comfortable, especially because of the availability of contactless payment. 18
Carnet
Applying for ATA Carnet, the permit to temporary export and import of goods up toone year is absolutely vital when travelling with musical equipment. . The ATA19
Carnet is a Customs document used to facilitate the international temporary
movement of goods and equipment from the UK to participating member countries of
the ATA Carnet system. ATA Carnets are in effect a guarantee document which
when used correctly will allow the duty free and tax free movement of goods in and
out of visited countries. The ATA Carnet is a document of very high importance, so20
it must be copied and copies shall be available in a few places in the sleeper
bus. Losing it would be very costly on the customs for the tour to create income. The
prepared Carnet in the Insane Tour is not detailed like the true/ real Carnet shouldbe. The real Carnet is a more complex document which is valid only for one year.
The official template is to be downloaded from the London Chamber of Commerce
Website .21
Risk assessment
When considering possible risks during the tour in question, it is easy to come to a
conclusion that risk factor might be anything. What is of highest risk is obviously road
travel. Possible remedy is to be have the vehicle travel fit and be sure that the buscompany provides assistance wherever the tour takes place.
17 http://www.barclaycard.co.uk/business/accepting-payments/card-terminals/portable-card-terminal 18 Unfortunately the information about the fees for the Portable Contactless Card Terminal are not
available for individuals, so I could not provide the information about the fees of having the terminal.19
https://www.gov.uk/ata-and-cpd-carnets-export-procedures#introduction 20 http://www.ata-carnet.uk/faqs/ 21 http://www.londonchamber.co.uk/lcc_public/article.asp?aid=100
http://www.londonchamber.co.uk/lcc_public/article.asp?aid=100http://www.ata-carnet.uk/faqs/https://www.gov.uk/ata-and-cpd-carnets-export-procedures#introductionhttp://www.barclaycard.co.uk/business/accepting-payments/card-terminals/portable-card-terminal
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Conclusion
The tour planned throughout the process of the creation of this report has got a
potential of a success, both financially and promotion-wise. As stated before, the
biggest threat of the tour not being as lucrative as it is supposed to be, if it goesalong the plan is the fact that on the road there is a great amount of things that can
happen unexpectedly. Simple situations like having a need to change a tyre in the
car or having not to play a gig due to an electricity failure, or even a food poisoning
might stop the tour from being successful. The most important conclusion of that
planning is to be expected for the unexpected. Keeping rational amount of baggage
to be taken, extra equipment (for example : tyre patches or carbon tablets) can save
thousands of pounds of income.
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Bibliography:
Internet Resources
http://www.ata-carnet.uk/faqs/
http://www.barclaycard.co.uk/business/accepting-payments/card-terminals/portable-card-terminal
www.criminaldamage.co.uk
www.eventric.com
http://lefsetz.com/wordpress/index.php
http://www.gigiti.com/blog/2014/10/7-ways-to-sell-more-merchandise-at-gigs
https://www.gov.uk/ata-and-cpd-carnets-export-procedures#introduction
https://www.gov.uk/foreign-travel-advice
http://www.flysas.com/en/uk/travel-info/baggage/special-baggage/
http://www.securitynation.co.uk/festival.htm
www.vans.com
Books
Barnett R (2007). This Business of Concert Promotion and Touring, New York : BillboardBooks
Conway, D,G (2009). The Event Manager's Bible, The Complete Guide to Planning andOrganising a Voluntary or Public Event
Kelly, T (1991). Backstage Guide To Stage Management. New York: Backstage Press
Maccoy, P (2004). Essentials of Stage Management. London : Backstage
Owsinski,B. (2011). The. Touring Musician's Handbook . USA: Hal Leonard Books.
Reynolds, A. (2013). The Tour Book, How to Get Your Music on the Road . USA: CourseTechnology.
Palmer, S (2000). Essential Guide to Stage Management, Lighting and Sound . London:Hodder & Stoughton.
Walters, R (2008). Events Management. London, London: Sage Publications
Workman, M (2012). One for the Road, How to be a Music Tour Manager Freehold NJ :Adrenaline
Vasey, J. (1998). Concert Tour Production Management How to take Your Show on theRoad . USA: Focal Press.
http://www.vans.com/http://www.securitynation.co.uk/festival.htmhttp://www.flysas.com/en/uk/travel-info/baggage/special-baggage/https://www.gov.uk/foreign-travel-advicehttps://www.gov.uk/ata-and-cpd-carnets-export-procedures#introductionhttp://www.gigiti.com/blog/2014/10/7-ways-to-sell-more-merchandise-at-gigshttp://www.eventric.com/http://www.criminaldamage.co.uk/http://www.barclaycard.co.uk/business/accepting-payments/card-terminals/portable-card-terminalhttp://www.ata-carnet.uk/faqs/
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Appendix A : Hyrus Overview/Bio
‘Perhaps one of the youngest bands to emerge on the scene with a setlist of two albums,
Hyrus have been performing and surprising audiences across London throughout the last 6
months blending genres of rock, funk and jazz delicately.
The band formed in 2014 where lead singer Will Spencer met bassist Adam Norwood at
university. They understood each other musically, before even meeting Nick Baker. Will had
been compiling demos of their songs in his bedroom studio. The band knew that they were
on together after connecting with an energy they had not felt with other musicians in the
past.
Funk is an important part of the band's sound, but each member brings a specific edge to
the group. Nick brings a strong, rhythmically tight style of drumming while Will pushes his
blend of rhythm and lead guitar alongside his diverse vocal range. Meanwhile Adam plays
the bass with inventive melodies suspected of a lead guitarist. What you get is a sound of
urgency, power and flexibility.
The Insane Tour 2015 is the first Hyrus European Tour in support of their first album, ‘Silver
Lining’.’
Appendix B - Sleeper bus details
● Interior Features
● – Fully Equipped Kitchen
● – Bathroom with fresh water toilet
● – Luxurious Lounge areas & seating
● – Latest TV & Surround Sound entertainment
● – Quality Bedding
● – Ample Storage space
● – Wi-Fi Available on request.
● Technical Specification
● – Van Hool TX Astromega Coaches
● – Euro 5 DAF 510PS low emission engines
● – Air Suspension
● – 1000ltr Fresh Water tanks
● – AS Tronic 12 speed gearbox for smoothness
● – Land line air conditioning (32 amp power required)
● Dimensions
● – Length 14.10m (18.65m with trailer)
● – Height 4.0 m
● – Width 2.55m
● – Headroom 1.8m
● – Locker space is approx. 7 cubic metres.
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Appendix C: Songwriting income - illusions and threats, tour budget commentary
Having the knowledge on the percentage of ticket income being transferred to songwriters is
crucial when planning playing gigs at certain venues of a certain size. The rule of thumb is
obviously the more tickets sold on a bigger venue, the better. That, in regards of big stadium
gigs might be obviously a good reasoning, but when planning the tour of a size described in
this work it might be useful to calculate this.
Having said that, let's assume that in country A the percentage of songwriting income from
tickets is 10%. The ticket price is capped at £15, therefore each ticket sold gives £1,5 to the
songwriters. In this case, all Hyrus members are songwriters. So, lets say Hyrus plays a gig
in the country A, where songwriting income is ten percent. The venue capacity is 800
people, assuming all tickets sell, songwriting income is £1200. It is not a bad deal, but let’s
continue with the other examples. In country B, the songwriting income is 15%, but only for
the gigs in the venues of a capacity below 1000 people. In venues over 1000 cap, the
income falls down to 8%. Continuing assumptions, Hyrus plays a gig with 1000 people
attending, but the venue capacity is 1100. So, songwriting income is at 8%, which gives us
an income of £1200, the same amount as we have gained in country A when playing for 800
people. That means that the extra 200 persons are, speaking business-wise a wasted
financial opportunity. What is a good remedy here is knowing that the percentage decreases
with capacity, book smaller club (below 1000 cap). Income from a club when it would be full
with 1000 people would be in this case £1500. To gain this amount of money in a venue of a
higher capacity we would need to have an attendance of 1250 people. It is estimated that
the tour might reach 21480 people. Assuming that the average percentage of songwriters
income would be 10% , it gives an extra £32200. Which, comparing to the total guaranteed
fees which is £62900 is a 50% extra income. What has seemed not so significant within
previous calculations, starts to be a major factor when scaled to the whole tour.
Following that trail of thought it is possible to include many other examples, but the key here
is to decide using all the data possible. For example, the bigger venue might provide less
songwriting income, but might provide way higher income from merchandise. What is more
is that creates a problem within the team - songwriting income is obviously only for the
songwriters, and merchandise income, for example might be shared equally for the whole
touring crew. This is an important learning outcome, as it clearly shows what kind of focus is
placed on what when organising the tour. Is the tour more songwriter - friendly and seeks to
exploit copyrights in full, or maybe is the tour focused on selling merchandise? Overall, the
tour in the most optimistic scenario might gross £61158,41 , including all the expenses. The
very optimistic number might mean two things - one being a very low expenses (which is not
that impossible, yet hard to manage mid-tour), second being a high potential income. There
is no guarantee that that certain amount of people would come to the gigs, nor there is a
guarantee that all the gigs will take place and there will be no need to re-do them, which
would be a huge cost, as the travel, bookings and potential ticket returns would hurt the
budget bad.
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Appendix D: Master Tour and its usage on the English and European Market
Master Tour is the software made by Eventric Chicago based provider of software and online
services for the professional live entertainment industry. According to Eventric, Master Tour
is the premier software solution for tour management and logistics. They claim that their
software is ‘ battle-tested’ by professionals who make their living on the road. This is true
and Master Tour’s popularity is not to be challenged. Nevertheless, what is highly visible is
the lack of global data on many things used within the process of tour planning. The first
major disadvantage of Master Tour being a US industry - focused tool was trouble with
finding all the venues that were needed to be found. In many situations there was no trace of
big venues I.E. Stodola Club in Poland, whereas sometimes there were easier possibilities of
finding more obscure locations in the database. Many significant european locations were
not detailed enough and having to organise the tour through them would mean an additional
hours of mundane tasks to check the venue specifications manually, by calling up the
venues or trying to find the information anywhere else. Second major reason was some
minor problems with the software functioning less stable on Windows computer environment,
whereas Master Tour works perfectly on Apple Mac computers with IOS operating system.
Reflecting on this situation it is easy to conclude that these are minor and manageable flaws,
and remedies to them are easy to implement, for example - change of an operational system
or manual data entry are easy tasks. But what is more important, both of them are disturbing
the workflow and stopping the natural progress of the tour organisation, therefore providing
experience contradictory to what it is supposed to provide.
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TOUR BOOK
Technical and personal Rider: HyrusExpires in December 2015
Please take note that all the touring party members hold valid UK passports,
therefore they are able to work anywhere within the tour without obtaining any
additional work permits and/or other supporting documents
Personal Rider
Crew and Band members contact details:
Name Function Mobile Skype Email
Richard
Banner
Driver +4467857568 rbunny silvergray@sil
vergray.com
Adam Abrams FOHEngineer,
Tour Manager
+4448947467 adamozo135 [email protected]
Anna Barret Tour Manager
Assistant,Merchandiser
+4484569438
56
Annaba barret@music
matters.com
James Cole Backline +4493475983
4
n/a james@exaltic
.com
Kauthar Jama Backline +4413581358 n/a
KsiazkiewiczKacper
Driver +4483648936 n/a [email protected]
Abigail
Linwood
Lighting
Engineer
+4484568935
6
n/a abigail@lightin
gstar.com
William Jack
Spencer
Band Member +44994994 williebillehop wjack@gmail.
com
Adam
Norwood
Band Member +4419348138
431
ad.13 adam@wood.
com
mailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]
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Nicholas
Baker
Band Member +4410349831
04
bakednot n/a
Access and equipment needs
All members, crew, band and drivers will travel in one double decker sleeper bus. It
is required that the parking for the vehicle must be provided by the promoter and it
would be not further than one hundred meters away from the venue.
Bus size: Height - 4,4m Width - 3,8m Length - 7,5m
If it would be impossible promoter must provide appropriate means of transport to
carry the equipment , as there is no need to strain anyone’s muscles throughout the
process. There has got to be a power source and water source for the sleeper bus
provided (please check bus specifications for the reference of what kind of
power/water sources would be needed).
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Technical Rider:
It is assumed that all the equipment that we request is functioning and in good
looking state. Any major dysfunctions or visual flaws are considered a breach of
contract. It is paramount that we will be looking professional onstage and any kind offaulty or not good looking equipment is not to be considered useful. Here is a
specified list of what we need:
Monitors: Total of three (3) monitors is to be placed at the stage. One for guitarist,
one for the bassist and one for the drummer. If possible please also provide a
thumper seat for the drummer.
Vocal microphones : two normal microphone stands, plus one for the drummer (has
got to be long enough and has got to have at least two joints to fully comfortably
place it).
One complete Birch Drum Kit - 6pc Complete or Mapex Saturn IV MH SNM525X
Shell pack.
Cables: All cables that should be provided to make the set funcional. It is crucial.
Amplifiers: Guitar: VOX AC30 combo guitar amp or high quality Marshall
replacement. Please provide a replacement in case of a breakdown. Bass: Ampeg
BA-112 or an Orange Crush CR50BXT as the bass amp plus speakers.
Stage power: 12x220V electric sockets, same phase. All possibly moveable and
extension leads shall be provided. We will need a safety certificate from the local
authorities to finalise the deal, please provide necessary documents.
FOH Console specific requirements: The FOH console has go to be functional on
at least 24 channels, 36 would be perfect. We require a good quality, it is ok if it
would be a digital system unless it’s reliable. Please consult our audio technician if in
doubt about the quality. We require a talk-to-stage feature, a easy way to play mp3
files for intro music.
PA system: We require that in-house the PA system will be capable of producing
clear and undistorted sound at at least 120dB.
Risers: We require a drum riser, suitable for the size of the drumkit with additional
one hundred centimeters in the back for the drum stool. We require no raisers for the
guitarist and bassist.
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Stage Plan
The power source is not included in the stage plan, as we prefer to have the extension leads
placed as we like before every gig. If it is needed, we would like to see the preferred version
of the electrical setup provided by the venue at least three days before the gig takes place to
consult the details beforehand.
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This is a scheme of our lighting rig that we take with us, it is a crucial element of our lighting
system. We will use additional lighting provided by the venue and our lighting technician is
responsible for the liase with in-house crew on the lighting matters.
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Dressing Room and Hospitality Rider 2015
Please be sure that all the facilities are clean and the temperature in rooms is between 19
and 25 Celsius. Also, the air condition is preferred. Please read carefully the things included
on the list.Please keep cleanliness at a high standard, we want to feel as comfortable as
possible.
Band Dressing Room:
10 x 500ml Mineral Still Water
1 x Kettle (for boiling water)
1 x Box of black tea (20 sachets).
25 x Walkers 25g packs. Assorted
1 x Full mirror for dressing. (5'6).
3 x Black Large towels.
10 x Healthy snacks like Eat Natural bars or any other low-sugar choice.
1 x Iron and an ironing board.
1 x Mixed sandwiches platter. About twelve sandwiches. No need for vegetarian option.
1 x 1 kg of bananas.
1 x Comfortable large sofa for at least five people.
1 x Large table.
4 x Chairs.
2 x Small tables.
3 x Liquid soaps in the toilets.
Wi-Fi.
Toilet and Shower room, both clean to a high standard.
The dressing room should have hanging clothes rails and can be locked. Please make sure
that the keys are presented to the tour manager upon arrival.
Crew Room : Same as Artist's but mirrors are not required.
Hot food
As the team consists of ten people, we would like to have ten hot dishes, twice a day:
Please provide hot food two times a day - once during the lunchtime, once in the load-out
time.
Lunchtime is to be considered as between 1PM and 2PM (13:00 to 14:00)
Load-out time is to be considered about 30 minutes after the end of the git. We clean up the
stage and the crew wants to eat before we put everything back in the truck.
Choice of dishes:
The hot dishes should generally consist of a portion of meat, or any highly nutritious food
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item and a freshly prepared salad. Please keep the food as low fat as possible. It is very
important that the load-out time dish should be different to the lunchtime dish.
Guest List
The Artist reserves the right to admit up to 25 (twenty-five) guests free of charge and this will
not prejudice the Artist's fee. The guest list has got to be available to every person of the
venue staff as we want to take good care of our guests and eliminate unnecessary stress
with a failed identification of the guest. Please ensure that the venue will provide a neat,
laminated guest cards with guests names on them.
Security
The Purchaser agrees to provide and pay for adequate numbers of reliable security
personnel. Purchaser agrees to coordinate with security manager and Artist's Tour Manager
regarding particular security arrangements, in particular pit crew etiquette and instruction.
The tour manager restricts the rights to cancel the show if the security standards are not met
and event safety is at stake. In case of that kind of situation, the guaranteed fee shall be paid
out anyway and all the costs of rescheduling the concert are to be transferred to the
promoter’s account.
Parking
Purchaser agrees to ensure parking space for:
- Sleeper Bus. We will require a source of power and fresh water to be presented upon thearrival in the parking area. It is possible that we can agree for a lack of fresh water source for
the bus. In case this shall not be possible the hygiene facilities of a good standard shall be
available for the Hyrus touring party. There is no option of not having a power supply for the
sleeper bus. Please see appendix with the sleeper bus specification to ensure that
everything is clear.
Merchandising:
The Purchaser agrees to allow the Artiste sole right to prepare stands for the sale of
merchandise. The dimensions of the merchandise stand are :Height : 2m Width: 1,8m Length: 3,5m
The merchandise to be taken for each gig is as follows:
100 T-Shirts per venue (mens and ladies) .
50 Hats per venue.
20 Hoodies (mens and ladies).
That list includes all the sizes of the merchandise products and in case merchandise shall be
replenished, it is to be ordered as we have a deal with a worldwide distributor. We will need
a storage for the merchandise set (clothes in boxes plus the merchandise stand elements) tobe provided before the show. The storage place shall be in a safe place, not humid and
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lockable. Total net worth of the merchandise to be taken into the venue is between £1000
and £2000.
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Costumes :22
All members of Hyrus are wearing the same costume during the performances,
except trousers, they can be of the artist’s choice.
22 Commentary on the style and decisions behind the costumes is included in the raport.
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ITINERARY:
My dearest touring party,
please keep a copy of the itinerary in your hand luggage
at all times and be able to check any data or information
included at any moment. Any corrections or changes to
the itinerary have to be confirmed with the whole team at
all times, and any mistakes that might be found in it
have to be reported to the tour manager immediately.
Yours sincerely, Adam Abrams, Hyrus Insane Tour Tour
Manager.
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Route
MON, OCT 26, 2015 Venue: ABC City: GLASGOW
SCHEDULE
LOAD IN 12:45 PM
LUNCH 2:00 PM - 2:30 PM
HEADLINER SOUNDCHECK 3:15 PM - 3:45 PM
DOORS OPEN 4:30 PM
OPENING SET TIME 5:30 PM - 6:00 PM
SET CHANGE 6:30 PM
HEADLINE SET TIME 7:30 PM - 8:45 PM
DEPART 10:15 PM
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TUE, OCT 27, 2015 Venue: O2 ACADEMY (cap 1362)
City: NEWCASTLE UPON TYNE
Adress:
Westgate Road
Newcastle Upon Tyne NE1 1SW
MAIN NUMBER
GM 44-191-260-2020
PROMOTER
John Alright +4484578457 [email protected]
SCHEDULE
BREAKFAST 10:15 AM - 11:15 AM
LUNCH 12:30 PM - 1:30 PM
BAND CALL 2:15 PM - 3:15 PM
HEADLINER SOUNDCHECK 3:45 PM - 5:15 PM
DINNER 4:15 PM - 5:45 PM
DOORS OPEN 4:45 PM - 5:45 PM
OPENING SET TIME 6:00 PM - 7:00 PM
SET CHANGE 7:15 PM - 7:45 PM
HEADLINE SET TIME 8:30 PM - 10:10 PM
DEPART 11:00 PM - 1:00 AM
mailto:[email protected]
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WED, OCT 28, 2015
DAY OFF
LEEDS LS14
HOTEL
Britania Hotel Leeds
Millgreen View Ring Rd.
Leeds LS14 5QF
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THU, OCT 29, 2015 Venue: LEEDS UNIVERSITY
City :LEEDS
Venue Specs:
Leeds University (cap 1800)
University Road
Leeds LS1 1UH
MAIN NUMBER 0113 231 4253
PROMOTER
Marcelina Zawadzka, +448578698
SCHEDULE
LOAD IN 5:00 PM
LUNCH 5:30 PM - 6:00 PM
HEADLINER SOUNDCHECK 6:30 PM - 7:00 PM
DOORS OPEN 7:30 PM
OPENING SET TIME 8:30 PM
SET CHANGE 9:30 PM - 10:15 PM
HEADLINE SET TIME 10:30 PM - 11:30 PM
DEPART 12:00 AM
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FRI, OCT 30, 2015 Venue: MANCHESTER PALACE
THEATER City: MANCHESTER
VENUE
Manchester Palace Theater (capacity 1750)
Oxford Street
Manchester M1 6FT
MR +44837543574
PROMOTER
James Potter +4485769679
SCHEDULE
LOAD IN 10:30 AM
LUNCH 1:15 PM - 2:15 PM
HEADLINER SOUNDCHECK 3:45 PM - 4:45 PM
DINNER 4:45 PM - 6:15 PM
SUPPORT SOUNDCHECK 5:00 PM
DOORS OPEN 5:30 PM
OPENING SET TIME 6:45 PM - 7:45 PM
SET CHANGE 7:45 PM - 8:25 PM
HEADLINE SET TIME 8:30 PM - 10:00 PM
DEPART 11:30 PM - 12:30 AM
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SAT, OCT 31, 2015 Venue: GLEE CLUB
City: BIRMINGHAM
Glee Club (capacity 1140)
The Arcadian
Hurst Street
Birmingham B5 4TD
MAIN NUMBER 0870 241 5093
PROMOTER
Harry Barsley +4448574387
SCHEDULE
LOAD IN 2:45 PM
LUNCH 3:45 PM - 4:15 PM
HEADLINER SOUNDCHECK 5:00 PM - 6:00 PM
DOORS OPEN 6:45 PM
OPENING SET TIME 7:45 PM
SET CHANGE 8:45 PM
HEADLINE SET TIME 9:30 PM - 10:30 PM
DEPART 11:30 PM
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SUN, NOV 1, 2015 Venue: KOKO City: LONDON
KOKO (Capacity 1410)
1A Camden High Street
London NW1 7JE
MAIN NUMBER +44-20-7388-3222
VENUE CONTACT +44-20-7388-32227
PROMOTER
Gerard Way +448745847
SCHEDULE
LOAD IN 5:00 PM
LUNCH 5:30 PM - 6:00 PM
HEADLINER SOUNDCHECK 6:30 PM - 7:00 PM
DOORS OPEN 7:30 PM - 8:30 PM
OPENING SET TIME 9:00 PM
SET CHANGE 9:45 PM - 10:10 PM
HEADLINE SET TIME 10:15 PM - 11:30 AM
DEPART 12:15 AM - 2:30 AM
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MON, NOV 2, 2015
TRAVEL DAY
SCHEDULE
BUS CALL 11:15 AM - 12:30 PM
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TUE, NOV 3, 2015 Venue: CONCORDE 2 City:
BRIGHTON
Concorde 2 (capacity 540)
Shelter Hall
Madeira Drive
Brighton BN2 1P2
MAIN NUMBER
VENUE CONTACT 07810 562970
PROMOTER
Angelina Johnson +448373927
SCHEDULE
LOAD IN 1:30 PM
LUNCH 2:45 PM - 3:15 PM
HEADLINER SOUNDCHECK 3:45 PM - 4:15 PM
DOORS OPEN 5:30 PM
OPENING SET TIME 7:00 PM
SET CHANGE 8:00 PM
HEADLINE SET TIME 8:45 PM - 9:45 PM
DEPART 10:30 PM
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WED, NOV 4, 2015 Venue:O2 ACADEMY City:
BRISTOL
O2 Academy Bristol (capacity 1600)
O2 Academy Bristol,Frogmore Street,BS1 5NA
MAIN
BOX OFFICE 0844 477 2000
PROMOTER
Martin Dag +448475875
SCHEDULE
LOAD IN 10:45 AM - 12:00 PM
LUNCH 12:45 PM - 1:45 PM
HEADLINER SOUNDCHECK 2:45 PM
SUPPORT SOUNDCHECK 3:45 PM - 4:45 PM
DINNER 5:00 PM - 7:00 PM
DOORS OPEN 5:30 PM
OPENING SET TIME 7:00 PM - 8:00 PM
SET CHANGE 8:30 PM - 9:15 PM
HEADLINE SET TIME 9:30 PM - 11:00 PM
DEPART 12:00 AM
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THU, NOV 5, 2015 Venue: PLYMOUTH PAVILIONS
City: PLYMOUTH
HOTEL
Travelodge Plymouth
Derrys Cross
Plymouth Pl1 2SW
MAIN +44027484738
VENUE
Plymouth Pavilions (capacity 700)
The Civic Centre
Millbay Road
Plymouth PL1 2EW
VENUE CONTACT -7433
BOX OFFICE -5322
PROMOTER
Arthur Booklet +448575849
PLEASE SEE SCHEDULE FOR PLYMOUTH ON THE NEXT PAGE
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SCHEDULE
LOAD IN 11:00 AM - 12:30 PM
LUNCH 12:30 PM - 1:30 PM
HEADLINER SOUNDCHECK 2:30 PM
DINNER 4:45 PM - 7:45 PM
SUPPORT SOUNDCHECK 4:45 PM
DOORS OPEN 5:30 PM
OPENING SET TIME 6:45 PM - 7:45 PM
SET CHANGE 7:45 PM - 8:25 PM
HEADLINE SET TIME 8:35 PM - 9:35 PM
DEPART TO THE HOTEL 10:45 PM - 11:45 PM
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FRI, NOV 6, 2015
TRAVEL DAY
SCHEDULE
BUS CALL 9:15 AM
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SAT, NOV 7, 2015
DAY OFF
PARIS UTC +0 (French Time on schedule)
HOTEL
St. Christpher's Inns
159 rue de Crimée
Paris
Paris 75 019
MAIN +33 (0)140 343 440
SCHEDULE
INTERVIEWS 11:00 AM - 2:00 PM
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SUN, NOV 8, 2015 Venue: LA FLECHE D'OR
City: PARIS
HOTEL
St. Christpher's Inns
159 rue de Crimée
Paris
Paris 75 019
MAIN +33 (0)140 343 440
VENUE
La Fleche D'Or (capacity 500)
102 Bis, Rue Bagnolet
Paris 75020
MAIN NUMBER 01 44 64 01 02
PROMOTER
Marjorie Hodiesne +3357586748
SCHEDULE
LOAD IN 3:00 PM
LUNCH 4:00 PM - 4:30 PM
HEADLINER SOUNDCHECK 5:15 PM - 5:45 PM
DOORS OPEN 6:30 PM - 7:30 PM
OPENING SET TIME 8:15 PM - 9:15 PM
SET CHANGE 9:45 PM - 10:15 PM
HEADLINE SET TIME 10:45 PM - 12:00 AM
DEPART TO THE HOTEL 12:45 AM
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MON, NOV 9, 2015
TRAVEL DAY
SCHEDULE
BUS CALL 9:15 AM
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TUE, NOV 10, 2015 Venue: ABART MUSIC CLUB
City :ZURICH UTC +1
Abart Music Club (capacity 500)
Manessestrasse 170
Zurich ch-8045
MAIN NUMBER -3930
PROMOTER
Gerard Gluckwunche +418455667
SCHEDULE
LOAD IN 10:45 AM
SUPPORT SOUNDCHECK 11:45 AM - 12:15 PM
HEADLINER SOUNDCHECK 12:45 PM - 1:15 PM
DINNER 1:45 PM - 2:45 PM
DOORS OPEN 4:45 PM
OPENING SET TIME 5:45 PM
SET CHANGE 6:45 PM
HEADLINE SET TIME 7:45 PM - 8:45 PM
DEPART 9:45 PM
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WED, NOV 11, 2015 Venue: NAXOS EVENTHALLE
City: FRANKFURT UTC +1
VENUE
Naxos Eventhalle (capacity 1000)
Wachtersbacher Strasse 83
Frankfurt 60386
PROMOTER
Georg Gerstmann +49458475297
SCHEDULE
LOAD IN 1:15 PM
LUNCH 3:00 PM - 3:30 PM
HEADLINER SOUNDCHECK 4:00 PM - 4:30 PM
DOORS OPEN 6:00 PM - 7:15 PM
OPENING SET TIME 7:45 PM
SET CHANGE 8:45 PM
HEADLINE SET TIME 9:20 PM - 10:20 PM
DEPART 11:30 PM
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THU, NOV 12, 2015 Venue: TAVASTIA
City: HELSINKI UTC +2
HOTEL
Best Western Airport Hotel
Veromaentie 1,
Vantaa 01510 FL
MAIN +358 9 3294800
VENUE
Tavastia (capacity 800)
Urho Kekkosenkatu katu 6
Helsinki 100
MAIN NUMBER +358 0 40-77 88 730
PROMOTER
Johanna Herrstedt +3587584938
SCHEDULE
LOAD IN 1:00 PM
LUNCH 2:15 PM - 2:45 PM
HEADLINER SOUNDCHECK 3:30 PM - 4:00 PM
DOORS OPEN 5:15 PM
OPENING SET TIME 6:30 PM - 7:30 PM
SET CHANGE 8:15 PM
HEADLINE SET TIME 9:15 PM - 10:15 PM
DEPART 11:30 PM - 2:15 AM
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FRI, NOV 13, 2015
DAY OFF
HELSINKI
HOTEL
Best Western Airport Hotel
Veromaentie 1,
Vantaa 01510 FL
MAIN +358 9 3294800
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SAT, NOV 14, 2015 Venue: SENTRUM SCENE
City: OSLO UTC +1
Sentrum Scene (capacity 1750)
Arbeidersamfunnets plass 1
Oslo 0181
MAIN NUMBER +47-2220-3232
VENUE CONTACT +47-2203-4817
PRODUCTION MANAGER +47-2316-3260
CATERING +47-9930-4662
PRODUCTION OFFICE +47-2298-2422
PROMOTER
Martin Blomkvist +4795749308
SCHEDULE
INTERVIEW 10:45 AM - 12:30 PM
LOAD IN 1:15 PM - 2:30 PM
LUNCH 3:00 PM - 3:30 PM
HEADLINER SOUNDCHECK 4:00 PM - 4:30 PM
DOORS OPEN 5:15 PM - 7:15 PM
OPENING SET TIME 7:30 PM
SET CHANGE 8:00 PM
HEADLINE SET TIME 8:30 PM - 9:30 PM
CURFEW 12:00 AM
LOAD OUT 12:00 AM
DEPART 12:00 AM
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SUN, NOV 15, 2015 Venue: TYROL City: STOCKHOLM
UTC +1
Tyrol (capacity 1200)
Lilla Allmanna Grand 2
Stockholm 115 21
VENUE CONTACT +46 (0)858 750 119
PRODUCTION OFFICE
PROMOTER
Mikael Steil +469483928
LOAD IN 5:00 PM
DINNER 5:30 PM - 6:00 PM
HEADLINER SOUNDCHECK 6:30 PM - 7:00 PM
DOORS OPEN 9:00 PM
OPENING SET TIME 10:00 PM
SET CHANGE 10:45 PM
HEADLINE SET TIME 11:30 PM - 12:30 AM
CURFEW 12:00 AM
LOAD OUT 12:00 AM
DEPART 12:00 AM
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MON, NOV 16, 2015
DAY OFF
COPENHAGEN UTC +1
HOTEL
Radisson SAS Scandinavia
Amager Blvd. 70
Copenhagen 2300
MAIN -8351
SALES
TOLL FREE
Restaurant: Till 11:30 PM, Room Service: 24 Hrs., Facilities: Fitness
Center, Pool, Internet: High Speed
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MON, NOV 16, 2015 Venue: RUST
City: COPENHAGEN
Rust (670)
Guldbergsgade 8
Copenhagen 2200
PROMOTER
Ceslaw Mozil +4545657746
LOAD IN 12:30 PM
LUNCH 1:30 PM - 2:00 PM
HEADLINER SOUNDCHECK 3:00 PM - 3:30 PM
DOORS OPEN 5:00 PM - 6:00 PM
OPENING SET TIME 6:30 PM
SET CHANGE 7:45 PM
HEADLINE SET TIME 8:20 PM - 9:20 PM
DEPART 10:45 PM
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TUE, NOV 17, 2015 Venue: ANCIENNE BELGIQUE
City: BRUSSELS UTC +0
Ancienne Belgique (capacity 2000)
Boulevard Anspach 110
1000 City of Brussels
Brussels 02 548 24 00
VENUE 32 02 548 24 84
PRODUCTION MANAGER +32-2-2548-2470
PRODUCTION OFFICE +32-2-548 24 90
PROMOTER
Donald van Buyten +3275758689
SCHEDULE
LOAD IN 12:15 PM
LUNCH 1:15 PM - 1:45 PM
HEADLINER SOUNDCHECK 2:15 PM - 2:45 PM
LUNCH 3:15 PM - 4:15 PM
DOORS OPEN 5:00 PM
OPENING SET TIME 6:15 PM
SET CHANGE 7:15 PM
HEADLINE SET TIME 8:00 PM - 9:00 PM
DEPART 9:30 PM - 10:45 PM
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WED, NOV 18, 2015 Venue: MELKWEG MAX
City: AMSTERDAM UTC +0
Best Western Airport Hotel
Veromaentie 1,
Vantaa 01510 FL
MAIN +358 9 3294800
Melkweg MAX (capacity 1000)
Lijnbaansgracht 234a
Amsterdam 1017 PH
MAIN NUMBER +31 (0)20 5318181
PROMOTER
Albert von Egdom +317586769
SCHEDULE
LOAD IN 2:00 PM
LUNCH 3:15 PM - 3:45 PM
HEADLINER SOUNDCHECK 4:30 PM - 5:00 PM
DOORS OPEN 6:00 PM
OPENING SET TIME 7:15 PM
SET CHANGE 8:15 PM
HEADLINE SET TIME 9:15 PM - 10:15 PM
DEPART TO THE HOTEL. 11:00 PM
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THU, NOV 19, 2015
TRAVEL DAY
HOTEL
SCHEDULE
BUS CALL 10:15 AM - 11:15 AM
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Carnet :23
Item no. Trade description of
goods
Brand Seria
l no.
Value
GPB
Dimension
s (cm)
Total
weight
with cases(kg)
Country
of origin
1 Gibson Les Paul
1958 VOS Electric
Guitar
Gibson 7586
79
3500 121x40x2
1
3,8 USA
2 Manson J-Star
Electric Guitar
Manson 5465
78
3200 120x39x2
0
3,2 UK
3 Ibanez SR505-BM
Bass Guitar
Ibanez 5677
88
500 139x40x2
0
4,5 Japan
4 Custom Pedalboard Electric
Guitar
Digi tech,
Behringer,
VOX
7834
67
500 110x40x1
9
10 Japan
5 Leads Various n/a 200 55x23x17 12 UK
6 Laptop AppleMacBook
Pro
4667
78
2300 32x27 2 Japan
7 Set of 4 wirelessmicrophones
Shure
PA8748
4857
8
4857
8439
75
8576
9
2500 n/a 12 Germany
Total Twelve thousandseven hundred
pounds
12,700 47,5 kg
23 For the sake of convenience, an official template has not been used. Although it had many more
details, it would be uncomfortable and unpresentable to include this within that document. This version ofthe carnet provides all the necessary details and the official template has been researched, as it is
proven within the report.
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MAPS
The maps for the land travel are included.
1. Glasgow - Newcastle
2. Newcastle - Leeds
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.
3. Leeds - Manchester
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4. Manchester - Birmingham
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5. Birmingham - London
6. London - Brighton
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7. Brighton - Plymouth
8. Plymouth to Paris
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9. Paris to Zurich
10. Zurich to Frankfurt
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11. Frankfurt to Brussels
12. Brussels to Amsterdam
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13. Amsterdam to London