HomeMy WebLinkAbout2008 Music & Movie Madness - ContractsREQUEST:
DATE:
CITY OF PALM DESERT
COMMUNITY SERVICES DEPARTMENT
STAFF REPORT
APPROVAL OF 2008 MUSIC AND MOVIE MADNESS PERFORMING
ARTS CONTRACT
March 27, 2008
CONTENTS: Standard Performing Arts Contract
RECOMMENDATION:
LLk
By Minute Motion, 1) Approve attached proposed lineup for the 2008 "Music and Movie
Madness" concert; and 2) authorize the Mayor to sign the following contracts as presented:
Contract No. C 27500A
Contract No. C 27500B
Contract No. C 27500C
Contract No. C 27500D
Contract No. C 27500E
, Vince Verdi (Side Street Strutters)
, The Redlands Symphony Orchestra
, Chris Compton (Chris Compton Live)
, Kevin Kolb (Carter Collins Show)
, Steve Madaio (Steve Madaio and Friends)
$ 8,000
$20,000
$ 2,300
$ 6,000
$ 7,500
Funds in the amount of $43,800 are available in Account #110-4416-414-3061 to produce these
activities, and no appropriation is needed or requested.
EXECUTIVE SUMMARY:
Each year the City of Palm Desert produces a concert and movies series, which are free to the
community. Approval of the proposed contracts will allow this project to move forward in a timely
manner.
BACKGROUND:
Attached is the a sample of the Performing Arts Contract, which will be presented to previously
approved artists in connection with the 2008 "Music and Movie Madness" scheduled to begin on
May 8, 2008; with a movie. In 2008, the series is starting earlier and has been shortened to
accommodate more participation earlier in the season. The "Music and Movie Madness" series
begins on May 8 and will conclude with the Fourth of July celebration. Funds have been
budgeted in Account #110-4416-414-3061 to cover fees associated with the production of these
performances and staff recommends that the City Council approve these Contracts and
author a and approve the Mayor to sign the subject Contracts.
PATRICIA SCULL, CFEE
SENIOR MAN A - . MENT ANALYST
t/
SHEILA R. GIL
ACM/COMMUNITY SE ES
PAUL GIBSON
DIRECTOR OF FINANCE/
CITY TREASURER
CARLOS L. O'I GA
CITY MANAGER
CONSENT CALENDAR:
X-U
Request for Approval of the 2008 "Music and Movie Madness" Performing
Arts Contracts.
CITY COUNCIL ACTION:
;APPROVED V DENIED
ECEIVED OTHER
IMRETING DATE 3 -a'/-0
AYES : Fergus°' rii)t � f'P/y� J/i��� / .60450n
NOES: itejn�
ABSENT: ADe.
ABSTAIN: None.
VERIFIED BY: RDKIo
Original on File withJCity Clerk's Office
.1 die
Contract No. C 27500A-E
PERFORMING ARTS AGREEMENT
This Agreement is entered into this day of , , by
and between the CITY OF PALM DESERT, a California municipal corporation,
hereinafter referred to as "CITY," and ,
hereinafter referred to as "ARTIST."
RECITALS:
1. The CITY owns and operates the Palm Desert Hahn Amphitheater, an
outdoor amphitheater located in the Palm Desert Civic Center (hereinafter
"THEATER").
2. The CITY desires to engage the ARTIST to render a live performance at
the THEATER of the nature set forth in Exhibit A attached hereto and incorporated
herein by this reference (hereinafter "PERFORMANCE").
3. The CITY desires the ARTIST to render PERFORMANCE on the dates
and times described in Exhibit B attached hereto and incorporated herein by this
reference.
4. The ARTIST is willing and able to render the PERFORMANCE on the
desired dates and times in exchange for compensation by the CITY in the amount
and on the payment schedule set forth in Exhibit C attached hereto and incorporated
herein by this reference.
TERMS AND CONDITIONS:
In consideration of the foregoing recitals, the parties hereto agree as follows:
1. Performance
The ARTIST agrees to render the PERFORMANCE to the best of its abilities on
the dates and times prescribed by Exhibit B. The ARTIST shall not perform under
Contract No. C27500A-E
the influence of alcohol or any unlawful narcotic, nor shall the ARTIST engage in
behavior during the PERFORMANCE that would be considered racist, sexist,
obscene, or otherwise offensive by reasonable audience members attending the
PERFORMANCE. ARTIST�s failure to perform in accordance with this Section shall
be deemed material breach of this Agreement.
2. Liqhtinq, Sound Amplification and Other Equipment
The THEATER�s physical dimensions, built-in lighting and sound equipment,
electrical system, and other technical specifications are described on Exhibit D,
attached hereto and incorporated herein by this reference. ARTIST shall be
responsible for providing, erecting, operating and dismantling, at its own expense,
any additional equipment not described in Exhibit D that is necessary to properly
effectuate the PERFORMANCE, including any props and stage sets.
3. Make-Up and Costumes
The ARTIST shall be responsible for providing, at its own expense, any
costumes and make-up necessary to the PERFORMANCE.
4. Dressinq and Storaqe Rooms
The ARTIST understands and acknowledges that no private dressing rooms or
other storage rooms will be available or provided by the CITY in connection with the
PERFORMANCE. However, the CITY shall provide ARTIST with non-exclusive
access or a public rest room at or in the vicinity of the THEATER.
5. Technical Personnel and Set-Up
In addition to any artistic personnel necessary to the PERFORMANCE, the
ARTIST shall provide, at its own expense, all backstage and technical personnel
2
Contract No. C27500A-E
necessary to effectuate the PERFORMANCE, including but not limited to stage
hands, operators of sound and lighting equipment, and such personnel as may be
necessary to set up and test any equipment that will be used during the
PERFORMANCE. ARTIST�s personnel shall use their best efforts to ensure that any
such advance set-up and testing is completed at least one hour prior to the time
scheduled for the PERFORMANCE.
6. Compensation -
In exchange for the ARTIST�s PERFORMANCE in accordance with this
Agreement, CITY agrees to compensate the ARTIST in the manner described in
Exhibit C attached hereto and incorporated herein by this reference.
7. Promotion
CITY is authorized to engage in any and all reasonable activities related to
promotion of the PERFORMANCE without payment of additional fee, royalty or
commission to ARTIST. Said promotional activities may include, but are not limited
to, use of newspaper, radio and television advertisements featuring the ARTIST�s
photograph or likeness and brief examples of the ARTIST�s work taken from video
or audio recordings. CITY shall refer all inquiries regarding personal appearances
and interviews of the ARTIST to the ARTIST�s appointed agent.
8. Illness, Iniury or Death of ARTIST
In the event the ARTIST's PERFORMANCE is rendered impractical or
infeasible due to serious injury, illness or death of the ARTIST, actual threats of
imminent bodily harm to ARTIST if PERFORMANCE is rendered, or unexpected
family emergency, then the ARTIST may cancel the PERFORMANCE without
3
Contract No. C27500A-E
breaching this Agreement. However, no compensation shall be owing to the
ARTIST. The ARTIST shall make every effort to notify the CITY by telephone,
facsimile or telegram of such pending cancellation as soon as reasonably possible.
An injury or illness shall be considered serious if, in the opinion of a qualified
physician, the condition is immobilizing or in any way poses a significant threat to
the life and health of the ARTIST. A family emergency shall consist of a sudden and
unexpected hospitalization or death of any immediate family member or any
unanticipated occurrence beyond the ARTIST�s control threatening the health or life
of an immediate family member that requires the ARTIST�s personal presence on
the date and time of the PERFORMANCE.
9. Assiqnment bv ARTIST
The parties hereto stipulate that the ARTIST�s services are personal in nature
and/or unique, thus the ARTIST may not assign or substitute its PERFORMANCE of
this Agreement with any other artist or party absent the CITY�s express consent in
writing. The CITY shall be under no obligation to consent to any proposed
assignment or other substitution by the ARTIST. However if the CITY does consent,
then the ARTIST�s failure to personally perform the services required by the
Agreement shall not constitute a breach thereof.
10. Independent Contractor
All of the services required hereunder shall be performed by ARTIST
personally and/or by ARTIST�s agent and employees, who shall remain at all times
under ARTIST�s direct control and supervision. It is the parties intent that the
4
Contract No. C 27500A-E
ARTIST shall remain at all times an independent contractor of the CITY and not its
employee or agent.
11. Termination
The CITY reserves the right to terminate this Agreement for any reason,
provided it gives ARTIST at least fourteen (14) days written notice of such
termination prior to the scheduled date of the PERFORMANCE. Said notices shall be
deemed to be given as of the date it is postmarked. The CITY shall also use its best
efforts to notify the ARTIST by telephone of any pending termination as soon as
reasonably possible. In the event of termination pursuant to this Section, the CITY
shall not be in breach and no compensation shall be owing to the ARTIST.
12. Leqal Compliance
The ARTIST and its agents, officers, and employees shall comply with all
federal, state and local laws and regulations applicable to the services being
provided pursuant to this Agreement. Including, but not limited to,any requirements
under the American Society of Composers, Authors, and Publishers or under any
other copyright law and/or licensing agreements.
13. Indemnification; Hold Harmless
The ARTIST shall indemnify and hold the CITY, its officers and employees,free
and harmless from any liability, loss, cost or expense resulting from any injury or
damage to any persona caused by ARTIST, its agents or employees, while engaged
in the PERFORMANCE of this Agreement as described in Exhibit D.
14. Insurance
ARTIST fully assumes all of the following risks:
5
Contract No. Q7500A-E
A. Injury to itself and to its agents or employees arising out of their
performance of this Agreement.
B. Damage to or theft of any personal property or equipment owned
by or under the control of ARTIST, its agents, volunteers and
employees.
15. Liquidated Damaqes
The parties hereto state that it would be difficult, if not impossible,to calculate
with precision the amount of damages that the CITY would suffer in the event the
ARTIST were to breach this Agreement by nonperformance or late performance.
Thus, the parties hereto stipulate that in the event the ARTIST is not ready, willing
and able to perForm on the date and time specified by Exhibit B, and the
PERFORMANCE has not otherwise been canceled pursuant to this Agreement,then
the CITY's damages shall be fixed as follows:
A. Late Performance: The CITY=s estimated damages for late
performance shall be $300 for every 15 minute delay in commencement
of the PERFORMANCE caused by the ARTIST. Such damages may be
deducted by the CITY from any compensation owing to the ARTIST.
Any delay in commencement of the PERFORMANCE caused by the
ARTIST exceeding one hour shall be deemed a nonperFormance and
material breach of this Agreement, unless expressly waived by the
CITY.
B. Nonperformance: No compensation shall be due in the event of
any nonperformance by the ARTIST constituting a material breach of
6
Contract No. C 27500A-E
this Agreement. In addition, the CITY�s estimated damages for a
nonperformance shall be $5,000.
7
Contract No. C27500A-E
This Section shall not prevent either party from recovering compensatory
damages for breaches of this Agreement due to causes other than the ARTIST�s late
performance or nonperformance.
16. Attornev�s Fees
Should any action or proceeding be brought to enforce the terms of this
Agreement, the prevailing party shall be entitled to reasonable attorney=s fees and
costs.
17. Modification
No modification of this Agreement shall be valid unless agreed to in writing by
both the CITY and ARTIST.
18. Prohibited Interests
The ARTIST represents that neither it nor any of its agents or employees is
currently an officer or employee of the CITY.
8
Contract No. C 27500A-E
EXECUTION:
The undersigned represent that they are authorized to execute this Agreement
on behalf of the parties hereto on whose behalf they purport to sign. This
Agreement shall be deemed executed on the date first above written.
CITY OF PALM DESERT [ARTIST]
JEAN M. BENSON, MAYOR (Signature; must be notarized)
ATTEST:
(Printed Name)
RACHELLE KLASSEN, CITY CLERK
APPROVED AS TO FORM:
DAVID J. ERWIN
CITY ATTORNEY
9
Contract No. C 27500A-E
PERFORMING ARTS AGREEMENT
EXHiBIT A
NAME OF ARTIST: [ARTIST�S NAME]
DESCRIPTION: [DESCRIPTION OF ARTIST) -
10
Contract No. C27500A-E
PERFORMING ARTS AGREEMENT
EXHIBIT B
DATE: [DATE OF PERFORMANCE]
TIME: 7:30 P.M.
ARTIST must arrive one hour prior to PERFORMANCE for sound check and
coordination with sound technicians and be set up ready to perform no later than
7:30 p.m. The PERFORMANCE must conclude promptly at 9:00 p.m.
11
Contract No. C2�500A-E
PERFORMING ARTS AGREEMENT
EXHIBIT C
Compensation of$ to be paid at conclusion of PERFORMANCE.
12
Contract No. C 27500A—E
EXHIBIT D
13
EXHIBIT D
Main PA System
8 JBL Array 4892 Bi Amped upper Cabs on Stands
8 JBL Amay 4893 Dual�ub Cabs
1 �rown 16500 watt tri amp F.O.H amp rack
1 32ch Sovnd Craft Venue II Consol 32x8x2 4 band semi pazametric EQ
with 6 Aux sends 4 pre�ader 2 post fader -
] F.O.H. Compression Rack with 8ch of Compression/Gating
I F.D.H . Reverb Rack with up to 4 Yamaha SPX series reverb units
1 F.O.H. Drive Rack with stereo 3lband graphic eq's, 2ch€eedback
eliminator, sonic maxin�izer,tascam CD/Ca.ssette player
Microphanes/lnputs
1 Drum Mic gackage consisting of (Audiotechnica Mics, Kick,Snare,
Hi-Ha.t,Rack Toms,Floor Toms,Overhead Mics)
1 Other Mics{Shure SM58's, SM57's, Beta 58's,)
4 �Vhirlwind Direetor direct input boxes
4 Whi�lwind Hot Box direct input boxes
Monitor System
I Yamaha MC2410 24x10 Monitor Console 4 band semi parametric EQ
2 Auac Sends
1 Crown 4ch Bi A.mp Rack 2850 watts per channel 1140U total
6 JBL SR470G Bi Amped Monitors
1 Klark Tekruk DN Series 4ch EQ Rack
1 Yamaha SPX Series Reverb
Lighting System
2 Thomas Par 64 1000w medium flood 6-lamp lighting bars 12000w Total
(Lighting system to give an even wash of Gght on a 70�0 stage)
2 Works LVV255R Lifts 17' height
1 6ch d'unmer pack
6 Leprecon 6ch lighting console
Musicians Outlet Rental Equipment 44-850 San Pabio Ave Palm Desert Ca, 92260
(760) 340-4864 Fax(76Q) 340-4684 Email: Morerentals@aol.com
Musicians Outlet Rental Equipment w�l need provided:
A detailed stage plot with inptt# iist a muvmum or 2 weeks prior to your event.
Stage Plots should include monitor and microphone placements.
Input Iist should have the type of mic pref�ened,type of mic stand(straight or boom)and
what the mic is for( ie. Vocal lead,keyboazd left) 24ch of input max.
If assistance is needed in developing a stage plot or input list please contact Musicians
�utlet Rental Equipment.
Monitor Nlixes should also be labeled 1-4. A total of 4 mixes and 6 speakers aze available
Musicians Dutlet Rental EcZuipmerrt will have futi control of each instrument and will not
permit ariy submi�ng vf the band to the front af house mix.
Sound Check Time: Sound checks will be between S:OOpm and 6:OOpm
Downbeat Time: 7:30pm
Show end Tim�: 9:OOpm Sharp!►! City ordinance
Musicians Outlet Rental Equipment 44-850 San Pablo Ave Palm Desert Ca, 92260
(76Q) 340-4864 F�(760) 340-4684 Email: Morerentals�ol.com
� PERFORMING ARTS AGREEMENT
- F�HIBIT nDn . � '
The following YA aod lighting system package hes bcea �eciued for the eleven
summa eoncert per�ormances.
It is your respon�'bilitY to co�ct and coordinate with Musicians Oudet prior to
your perfom�ancx to be crrtain that the sound company has the correct number of.
milces, and so forth. •
� �
�
�
sA�ES• REN1Tlll �REAIlIRS�SaIEET MI�S1C
PA Syst�m & Lightzng
. . 8500 watl JBL Tci-Amped Systeu�2 Dud 18"Subs,2 Mid-Hi dual 12" w/Horns
4 Mici-Hi r�ingle 12" w/Horns
5000 watt JBL Monitor sydtem 6- 15' w/HocR monitor wedeges 2 Mixes Erom
[cont uE huuse ,
32 Channel Soundccaft Venue Conaok
Full Microphone loc{cer SM5$'s Audioiechnics 61e'e Misc. Cvndenaers Drum
Mic pack�gc all 5tands Qnd c�blea
2 Hand He[d wireleas Min.
Lighting l6Par 64 2 trees w/ controller 4 scene
Any Queslions caU: '
MUSICIANS OUTLET
Randr Hewitso�► or Tect 'Walker
(619) 341�171
(6I9) 340-0178 FAX
44-85Q SAN PABLO AVENUE/PAIM DESERT, CA 92260/ 16791 341-3771
CONTRACTOR WII,L PROVIDE
PA System and Lighting
8500 watt JBL Tri-Amped System 2 Dual 18" Subs, 2 Mid-Hi dual 12" w/Homs 4 Mid-Hi single
12" w/Horns
5000 watt JBL Monitor system 6-15' w/Horn monitor wedges
2 Mixes from front of house
32 Channel Soundcraft Venue Console
Full Microphone locker SM58's Audiotechnica 61e's Misc. Condensers Drum
Mic package all Stands and Cables
2 Hand-held wireless Mics.
Lighting 16 Par 64 2 trees w/controller 4 scene
1
Palm Desert Hahn Amuhitheater �
Instructions and Specifications
(As of 1993) � �
The Amphitheater is essentially a basic but ample venue, providing .
� grass seating for over 1500 persons, with a larg�elevated,stepped and ramped
� stage; two tech control and four spot locations, significant electrical power and
basic sound and communication lines. Users of the facilities should make -
sure well in adaance that their equipment can be connected to the light,
sound, control, and communications lines of the amphitheater.
Problems that occur will almost always be related to the type of
�' x�� connectors required to properly�-mate outside equipment to the facility, not to
the spe�rations of the power or wiring at the amphitheater_ There are few
standards in sound and light connections and using a professiunal or other
qualified technician familiar with the facility is recommended for all but the
simplest set-ups.
The fQllowinm i tructions are desigp,ed to heln facilitate usage of the
�,�hitheater'Q �p��.�res by�,ioth amateurs and F,��s�ionals. Ex�erienced
personnel m�y wish to ski�Eu Ehe snecifications on the back�ages of these
instructions however. the following naee� do have s�ecific suggestions and
meEhods that will ease the use of this facilitv
Note: AI[ oj the cable run access boxes are protected by covers_ Be sure you
have all of the necessary tovls to remove the coners. These inc[ude a hex
wrench set (or the proper single key or hex driver) for the sound run covers, a
socket wrench vf the proper size for tunnel coaers, keys for porve� panel
doors, .and keys for the aarious padtocics. The tunnel covers are heavy and
recessed, arid require a hook or ctaw inserted into recessed slots in order to
p�cll them up. Place the hex screzvs inside the sound 6oxes rvhen the cover is
open. Ditto the pad[ocks. Make one person responsible for keys and tools. It
is vital that aIl of these coaers, doors, hex screws and padtocks are secure
before [eaving the faci[ify_
Sound Capabilities
IVote here that we use the cornmon designations "stage" right and left, which
means the actor's right or left. "Down" stage is towards the audience and
"Up" stage is towards the rear of the faci[ity. "Back" stage is behind the
faci[ity. Therefore, "Dowrrstage right" would be (as you look at the stage) both
towards you and to our le t.
. 2
1. B asi[ — An "all in one" sound lectern with built in amp and speakers can
be used downstage center, plugged into any one of the AC oudets downstage
right or left. For a single speaker this can be an economical way to reinforce
voice.
2 Simple — An all in one sound console(with built in speaker amps) can be -
used at the rear tech pad (the pad in the cenber). Fmm the rear tech pad sound
box rnnnect as many as desired of the mike lines inside to the console. �It will
be useful to take all of the cables and stretch them out from the box.) �
Plug the sound console into the AC power box at the pad. Connect the
speaker lines from the sound box (male phono plugs on 4 foot lines) to the
console's amps. At the downstage right and left positions connect mikes as
necessary to the appropriate numbered mike inputs. Connect the stage
speakers left and right to the apprapriate phono jacks in these same boxes.
(Note thaf these Jacks are tocking and the red button must 6e pushed to
release the plug.)
3. Advanced — Plug speaker amps into downstage right and left AC outlets.
Use return jacks at the downstage sound boxes to accept feeds from the
console to the amps. Mike circuits are used the same as no. 2 above. Console
located at the rear tech pad as before. (Stage has 24 a►ike circuits, three returns
and four speaker lines available at each of two locations, downstage right and
left.)
Note: If the middle of the audience position (rr�id tech pad) is desired for
number 2 and num6er 3 setups described above, the rear tech pad sound
connections should be extended lzvith extension mike ca6les) into the tunnel
at the rear tech yad and 6rought ouf at the center tuntte[ position for
connection to the console there. An AC power boz is tocated at this center
position for the console. Im�nrtant- the tunne! access 6oxes are over four feet
deep -- afzuaus slip cvvers 6ack over the.hole as far as vnssibfe when tunne[ is
in use to avoid accidents.
4. Professional — Power the amps at the backstage AC panel. OE the two
panels this i5 the one ("P") on your left as you Eace them. (Five isolated 20
amp circuits, 25 -33, are avaitable for a total of 100 amps) Run your own snake
Erom that location through the tunnel to the rrtid location or back to rear tech
pad location Eor connection to your console. (Since all speaker and mike runs
on stage will be surface runs under this scheme they inust be dressed properly
in the common manner.)
- 3
Lighting Capabilities
ote: Therc are ample AC circuits atl ova the stag� and at the nciddle
tunnel position and at eacfc of thc �ive raar pads. ach dupler (trvo places to
plug in) outlet is a �varRte 20 amp circuit, controlled with breakers at Panel
"P" for on stage locations and Pane! "P2" for all others. If a circuit breaker
trips, separare the load to another duplex nutlet. For safety, avoid multiple
taps. .. .-
1. Simpie — Instruments on poles can be set up downstage left and right.
Connect to the downstage AC outlets. Turn on and off hom Panel "P"
backstage using the breakers. (Note that the designations on these breakers
refer to the stage as you look at it from the audience.) Also it is possible to
have simple dimmers or a basic dimmer console �ronnected to oudets on
Panel "P" and cables hom these dimm�s run to downstage right and left
instruments on poles. Cables should be dressed (taped or tied) as necessary. A
similar set-up can be done at the back of the audience using the four spot pad
locations for the instruments on poles and plugging simple dimmers into the
AC outlets at each pad. These oudets are controlled with breakers in Panel
"P1". �
And/Or. A basic follow spot or two can be run�from the two interior spot
positions at the back of the audience area. (AC I10 power is available at all
five pads.)
2. Advanced — Various dimmer racks can be connected backstage at the two
"cam lock" connection boxes. Each of the carn Iock connections is rated at 400
amps. If both are utilized, a maximum of 96-24KW dimmers can be powered.
Two low voltage control iines ("A" and "B") are provided for connection to a
lighting control console. These are XLR 5 pin female connectors. They run to
the rear tech pad sound box at th2 back of the audience. Multi-connector AC
cables are run from the dimmer bank throngh the tunnel, emerging at the
rear tech pad location and then run left and right on the ground to "Genie"
(or other) lighting towers on the outside spot pads. (Obviously the house
sound runs would be used under these conditions as it is inadvisable to run
both sound and light in the tunriel at the same time because of possible
inductive dimmer noise transmitted into the sound system.)
Please Note: There is no standard for dimmer rack cottnections. Be sure �
ahead of time that you have the proper cables/adapters. The arrrphitheater
uses the "Posi-lok" pane[ system_ A[I five female plugs in a Panel nrust be
connected and disconnected in sequence. Instructions for this are on each
panel. Each five wire panet (there are two) is rated at 400 amps, three phase.
Also make sure that you haae tfte ��oper adapters/plugs for the (ighting
4
consvte control lines! fThere are two empty Z" conduits with pult Iine for
other contsol ca6les as required.)
Warning_ Only a quali�ied technician should connect dimmer racks to the
power outlets. .
Also Note: Tunnel is I4" in diameter. Single 20 amp [ighting cables can 6e
run but u�ill be lirr�ited to a relatively small number of circuits. Multicables
are recommended. -• =
3. Professional — In addition to various dimmer rack combinations,
Professional "Trouper" spots can be used at all four spot pad positions with
connection to a single twist-lock receptacle (208 V, single phase, 30 amp)
located at each of the four pads. The receptacle is a Hubbell #2620A (NEMA
L6-30R). �
Communications
Each pad has one headphone connection (2 conductor shielded, XLR female �
connectors on 4' cables), plus two�each side of the upstage area and two at the
backstage left dimmer location. All terminate at the rear tech pad location
and can be distributed there as required. Note that for fuIl usage of all
tocations a simpte distribution box or cable is required to connect these lines
in the configuration desired.
Other
HOIST': There are two "hoist" power boxes with switches available backstage
stage right. These are rated at 60 amps, three phase. Please note that direct
connections must be made here since these boxes do not have receptacles_ Do
not attempt to make connections to these boxes unless you are a qualiEied
electrician.
TIE DOWNS: There are special tie downs (halyards) built into the walls and
risers of the stage. These can be used for securing scenery and the like. The
six avaitable downstage right and downstage left on the ptatforms are
especially convenient for lashing down speaker stacks and Iight towers. In a
desert environment it is always wise to provide for wind loading by securing
any tall object, whether speaker stack or light tree. Limit the load to I000 lbs
per halyard. If the lines are thick, it may be more convenient to use hooks at �
the ends of the ropes in order to quickly and easily attach them to the
hatyards. DO NOT TIE TO THE RAILINGS —THEY ARE NOT DESIGNED
FOR THESE TYPES OF LOADS.
' � 5
FLAGS At�TD BANNERS: On the top of the bacic wall of the stage are a �
number (14) of 21/2" pipe sleeves which are designed to hold 2" poles, either
wood. or metal. These poles can provide a simple and inexpensive way to
decorate the stage quickly and easily. Flags, banners,kites,signs, and cloth
"walls" can all be utilized with various length poles. (These of course can be
changed during the performances as well.)
� Prepared by Richard Doetkott, Frofessor of Communications at Chapman
ilniversity in Orange, Catifornia. C1993) .. � ;
HAHN AMPHTIHEATER SPECII-TCATIONS
110 AC rec�ptacle�: -
At each of the four spot pads — Four outlets, with two 20 � circuits.
At the single rear tech control pad — Eight outlets with four 20 A. circuits.
At the mid tech sound location — Eight outlets with four 20 A. cir�uits.
At each upstage position, right and left — Twelve outlets with six 20 A.
circuits_
At each downstage position, right and left — Twelve outlets with six 20 A.
circuits.
At backstage left power position at Panel "P" — Ten outlets with five 20 A.
circuits_
OTHER POWER
At backstage right power panel pos'ition — two dreuits with switches (no
receptacles) available at 208V 3P 60 A. (Power cables connected here must be
hard wired.) ,
At backstage left power panel position — Two cam-lock (posi-lock) panels each
available to feed 40Q amps three phase five wire (Ground, Neutral and three
hots) 208V.
At each of the four spot pads — a single twist-lock receptacle giving 208V,
single phase, 30 amps — Hubbell #2620A (NEMA L6-30R)
SOUND 6
At each of two downstage(right and left) locations — 24 XLR mike inputs, 3
XLR returns and 4 speaker jacks,
At the rear tech pad — terminations of the above, both left and right.
. COMMUNICATIONS
At backstage left power position — two five-pin shi�lded female XLR �
connectors for light control, also 2" empry conduit with pull line_ ('r(lese also
teraunate at the rear tech pad location.) Two headphone cables (XLR two
conductor shielded females on four foot lines) are in this same location, and
also terminated at the rear tech pad.
At upstage right and left positions — two XRL cables as above for headphones.
CThese also terminate for a totai of four at the rear tech pad location.)
At each spot pad — single XRL headphone cable as above, terminating at the
rear tech pad location for a total of Eour such lines.
OTHER
Fourteen 2 1/2" sockets at top of rear stage wali for Z" flag and scenery poles.
Twenty halyard tiedowns aFI over the stage walls and stair risers. Good for
tieing down scenery units, light towers and speaker stacks. Rated at 1000 lbs
per unit_
Light or sound tunnel — I4" in diameter, with 3 x 5 foot pull baxes l�cated
backstage at stage left power dimmer position, center ("mid" location) of the
audience, and at the rear tech pad. Tunnei is empty, with a pull tine.
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