Chuck Negron Contract Rider

CURRENT: 2012

Contract rider dated _________________ between Charles Negron (Federal ID # 95-

4817659) (hereinafter referred to as “Artist”) and __________________________
(hereinafter referred to as “Purchaser”) and incorporated by this reference to be included
in, and as part of the agreement for the Artist’s performance on ________________ at
___________________________________________________________________________ in
____________________________________________________.

BILLING

1. Artist will receive 100 percent headline billing in any and all print advertising and publicity,
including marquee.

2. Artist’s use of the “Three Dog Night” name has been restricted1. As such, the only use of
the Three Dog Night name by Purchaser, it’s agents and representatives shall be the
following phrase, in capital letters:

CHUCK NEGRON FORMERLY OF THREE DOG NIGHT

Additionally, you must strictly adhere to the following:

You may use the phrase “formerly of Three Dog Night” in any market, media or context
whatsoever only in conjunction with Chuck Negron’s name, and if in print advertising, in a
uniform font size which is no larger than 50 percent of the size of his name. You may also
make reference to Chuck Negron as “lead singer on Joy to the World,” lead singer on
One,” “lead singer on Easy to be Hard,” “lead singer on Old Fashioned Love Song,” “lead

1
Negron and all persons acting on behalf of, or participating with Negron, may not use or exploit
the Three Dog Night name or master recordings in any manner whatsoever in connection with the
advertising, promoting or marketing of any musical performance by Chuck Negron, EXCEPT AS
FOLLOWS: You may use the phrase “formerly of Three Dog Night” in any market, media or
context whatsoever only in conjunction with Chuck Negron’s name, and if in print advertising, in a
size no larger than 50 percent of the size of his name. You may also make reference to Chuck
Negron as “lead singer on Joy to the World,” “lead singer of Easy to be Hard,” “lead singer of
One,” etc.

1
singer on Pieces of April,” “lead singer on One Man Band,” and “lead singer on The Show
Must Go On.”

3. Under no circumstances can you bill or promote Chuck Negron as “Three Dog Night,”
“The Original Three Dog Night,” “Three Dog Night’s Chuck Negron,” “Chuck Negron of
Three Dog Night.” Any variance of the foregoing in the billing, promotion, advertising or
marketing of Chuck Negron shall constitute a material breach of this contract2 and will
result in the cancellation of this Agreement without any liability to the Artist and the
forfeiture of any and all deposits by the Purchaser in addition to any other remedies,
including but not limited to, the full contact price for this engagement.

4. As soon as they become available, Purchaser shall provide Artist with a copy/transcript of
all promotional material used to promote Artist under this Agreement.

5. Artist will supply Purchase with approved audio material for any and all radio
advertisements and spots. Artist will supply, at no cost to Purchaser, one audio CD
containing 30 and 60 second pre-recorded audio material for use in radio promotions.
The audio CD will feature Chuck Negron performing his newly re-recorded versions of
“Joy to the World,” “One,” “Easy to be Hard,” and other songs. The CD will be designed
for local promotion voice overs. All voice overs must follow the terms of this agreement,
specifically including, but not limited to, the restrictions on the use of the “Three Dog
Night” name.

6. Artist shall receive no less than 100 percent headline billing on all engagements where
Artist is the headliner and no less than 75 percent special guest star billing when Artist is
the support attraction in all forms of advertising and publicity listed above.

2
“Three Dog Night is an express third party beneficiary to this Agreement and may independently
enforce its rights hereunder.”

2
 PAYMENT

1. Provided Artist is ready, willing, and able to perform, Purchaser guarantees to

compensate Artist in accordance with the terms hereof regardless of inclement weather,
Act of God, fire, accident, riot, strike, or any other event similar or dissimilar to the
foregoing events which would prevent or interfere with the presentation of the
performance hereunder.

2. A Deposit in the amount of 50 percent (50%) of the Artist’s guaranteed engagement fee
(exclusive of any percentage of box office receipts) shall be paid by the Purchaser to the
booking agent concurrent with the execution and/or delivery of the contract by the
Purchaser. Said deposit shall be held in trust by the booking agent and paid to the Artist
or Artist’s representative upon completion of the engagement or upon forfeiture by the
Purchaser because of any material failure or consideration and/or material breach of
contract by the Purchaser.

3. The Balance of Artist’s engagement fee, as well as any and all percentages of box office
receipts due Artist under this contract, shall be paid to the Artist or Artist’s representative
at the time of the engagement prior to Artist’s performance.

4. The Method of Payment shall be in the form of a bank cashier’s check or in cash if
requested except in the event the Purchaser is a Fair or an accredited school, in which
case a check will be accepted. NO PERSONAL OR BUSINESS CHECKS WILL BE
ACCEPTED WITHOUT PRIOR WRITTEN APPROVAL OF MANAGEMENT. All checks
to be made payable to Charles Negron, Federal ID No. 95-4817659.

5. Artist’s representative will have the right to be present in the Box Office at all times.

6. In states where a taxing authority intends to deduct any portion of Artist’s guarantee, it
shall be the Purchaser’s responsibility to pay the amount due in addition to Artist’s
contracted fee. This additional cost should be treated as show expense.

7. It is expressly understood that it should be Purchaser’s total responsibility to provide any

and all necessary liability insurance pertaining to the above-described performance.

3
 PAYMENT FOR UNAUTHORIZED CHANGES

1. Purchaser shall pay to Artist’s representative, Artist’s percentage of box office receipts based
on the ticket price and percentage clause stated on the attached contract even if tickets have
been sold at less than the stated contract price.

2. Similarly if Purchaser sells tickets to Artist’s performance at a price greater than the stated
contractual ticket price, Purchaser will pay to Artist’s representative 100 percent (100%) of
the increased amount on each and every ticket sold.

3. In the event that Purchaser sells a number of tickets greater than the seating capacity stated
on the attached contract, Purchaser shall pay to the Artist’s representative 100 percent
(100%) of the ticket price for every ticket sold beyond the stated seating capacity.

4. In the event the capacity of the venue is reduced for any reason without Artist’s prior written
consent and all available tickets are sold, Artist shall be paid based on the stated capacity on
the face of the attached contract.

PAYMENT FOR UNAUTHORIZED CHANGES

1. Purchaser shall pay to Artist’s representative Artist’s percentage of box office receipts based
on the ticket price and percentage clause stated on the attached contract even if tickets have
been sold at less than the stated contract price.

2. Similarly if Purchaser sells tickets to Artist’s performance at a price greater than the stated
contractual ticket price, Purchaser will pay to Artist’s representative 100 percent (100%) of
the increased amount on each and every ticket sold.

3. In the event that Purchaser sells a number of tickets greater than the seating capacity stated
on the attached contract, Purchaser shall pay to Artist’s representative 100 percent (100%) of
the ticket price for every ticket sold beyond the stated seating capacity.

4. In the event the capacity of the venue is reduced for any reason without Artist’s prior written
consent and all available tickets are sold, Artist shall be paid based on the stated capacity on
the face of the attached contract.

4
 PRESS AND PUBLICITY

1. Name of Artist may not be used or associated directly or otherwise with any production or
service, political party of cause, nor organization, social club, or association without Artist’s
consent in writing.

2. Artist shall not be committed individually or collectively to public appearances, interviews, or

any other promotional exercise without prior written consent by Artist’s representative, nor
may Artist’s appearance be sponsored by or in any manner tied in with any product or service,
political party or cause, nor any organization, social club or association.

MERCHANDISE

1. Artist has sole right to merchandise any and all products pertaining to the Chuck Negron show
at no expense to the Artist.

2. No product or artifacts (T-Shirts, Buttons, etc.) using name logo or likeness or Artist shall be
manufactured by Purchaser for the purpose of sale or promotional give away, without the
written consent of Artist. Artist shall receive 100 percent of proceeds from any unauthorized
manufacture of said products.

3. Depending on the type of venue, Purchaser will provide at no cost to Artist, two (2) or more
tables at least 3 ft by 6 ft in size. Said tables must be made available to Artist’s merchandise
representative from one (1) hour prior to door opening time to closing time and must be
located in lobby or near main entrance and exit of place of engagement. Unless specific
arrangements are made in advance between Artist’s representative and Purchaser,
Purchaser is not required to provide sales personnel, nor is Artist required to pay any
percentage or fee to Purchaser or building.

COMPLIMENTARY TICKETS AND PASSES

Purchaser must provide Artist with twenty (20) prime complimentary tickets per show. Any
unused complimentary tickets must not be placed on sale without Artist’s representative
permission.

5
 PERFORMANCE

1. Artistic control of Artist’s performance shall be solely vested in Artist with regard to
material, accompaniment, wardrobe, lighting, sound, staging, etc.

2. Purchaser agrees to post NO SMOKING DURING PERFORMANCE signs at Artist’s

shows in indoor venues. Purchaser further agrees to require the MC and announcer of
the Artist’s performance to inform the audience that there will be no smoking during
Artist’s performance.

3. The duration of Artist’s performance will be approximately 75 minutes unless otherwise

agreed in writing and Artist shall be permitted to perform for a greater or lesser duration
(not less than 60 minutes or more than 90 minutes at the Artist’s option without
interference of any kind from Purchaser or anyone representing Purchaser. Under no
condition(s) will a situation be permitted by the Purchaser whereby a supporting act’s
length or performance, local curfew, building policy, etc. would cause the Artist to have to
cut or alter Artist’s show.

4. No supporting act, announcer, master of ceremonies, compeer, performing artist or

group(s) of artists shall appear or perform as part of the engagement without prior
approval of Artist.

5. Artist shall have the right to record any and/or all of Artist’s performance at no cost to
Artist.

6. No recording by others of the engagement, including but not limited to the performance of
Artist, shall be recorded on film or tape or reproduced by sight or sound devices without
the express prior written consent of Artist, and Artist expressly reserves unto himself all
rights with respect thereto. No one not specifically authorized in writing by Artist shall be
permitted by Purchaser to enter the place of engagement with any sound or film
recording device or mechanism.

6
7. Artist reserves the right upon thirty (30) day’s notice to cancel the engagement or any
part thereof by giving notice in writing to Purchaser at the address set forth in the
contract, in which event Artist and Purchaser shall be discharged from any further liability
to other hereunder whatsoever with respect to canceled performances. It is further
understood and agreed that in the event of any failure by Purchaser to fulfill any of the
terms and conditions provided herein. Artist shall be the election to cancel the
engagement hereunder, in which event, Artist shall be discharged from any further
liability hereunder and shall be entitled to retain any deposits or other monies theretofore
paid to artist by Purchaser in addition to Artist’s other legal and equitable remedies.

TRANSPORTATION

Purchaser will provide at his sole cost and expense local round trip ground transportation
between airport, hotel, and venue on day of arrival and day of departure. Minimum
requirements: 15 passenger van with rear seat removed for luggage and musical
equipment.

HOTEL ACCOMMODATIONS

One (1) Suite with refrigerator and microwave and nine (9) king hotel rooms including all taxes to
be provided by Purchaser at no cost to Artist. Hotel must be approved by Artist’s Manager.

PRODUCTION

1. It is possible to change and/or adapt or interface other equipment in such a manner as to

moot the stage and technical requirements, please contact Joan Zeledon at home/office
603-228-0931 / cell 603-715-0038 / email Joanie1001@aol.com. PLEASE NO
SURPRISES! If you are not sure, please call.

2. Purchaser shall provide at his sole cost one (1) two-way communications system (clear
com.) for communications between the main mix and monitor mix stations.

3. Purchaser must complete the attached information sheet and fax it to Joan Zeledon at
603-228-0931 ……. At least 30 days prior to performance.

7
4. The venue, stage, sound wings, and truck loading dock must be available at load-in time
set by Artist’s representative.

5. Parking will be furnished at no cost to Artist. Said parking shall be available at the stage
entrance for two (2) sedans, one (1) equipment truck, and one (1) 45-foot tour bus. The
spaces shall be blocked off in the afternoon and actually saved until the time of the
Artist’s and Artist’s Staff departure, following the conclusion of Artist’s performance.
Please advance parking with Joan Zeledon home/office 603-228-0931 / cell 603-715-
0038 / email Joanie1001@aol.com.

6. Artist and accompanying personnel shall be able to pass freely to and from backstage
area and all other areas of the hall. Purchaser shall provide passes, unless Artist
chooses to issue and use his own passes.

7. Artist shall be entitled to at least one hour rehearsal and/or sound check time at the
venue on the date of the performance and the Purchaser shall ensure access to the
venue for this purpose no less than five hours prior to public admittance to the venue.
The Audience shall not be allowed to enter the place of engagement until such time that
the technical set up and sound checks are completed. Artist shall receive no less than
one (1) hour sound check after all technical set up has been completed.

8. Artist shall have priority in set up, rehearsal, and position of equipment. Equipment and
accessories shall not be moved, disconnected or used without the express consent of
Artist’s representative.

9. Artist’s representative shall have full, sole and final control of all aspects of concert
lighting, staging, backline and sound equipment and placement.

10. Artist and accompanying crew shall have at least four (2) hours following the engagement
to break down and pack equipment. Stage and all lights shall remain on until finished.

8
 PERSONNELL TO BE PROVIDED BY PURCHASER

Purchaser shall provide at his expense, sound, stage and lighting crew for set up, rehearsal and
performance(s).

1. Purchaser’s production staff shall be in attendance to aid in the setting up of sound

system, lighting, etc. Purchaser’s staff, including sound engineer/operator and any of
their persons directly concerned with the presentation of performance(s) shall be at the
venue no less than five (5) hours prior to public admittance to the venue to permit the
carrying out of the provision of this paragraph.

2. Purchaser’s production staff shall include a minimum of six (6) experienced

stagehand/loaders that must be available at load-in time, during set up as well as during
show and until load out has been completed.

3. A runner shall be available to Artist’s personnel. This runner should have a van or station
wagon and be familiar with local music stores and repair facilities.

4. A house electrician with a full working knowledge of the electrical facilities in the building
must be available five (5) hours prior to the house opening and stay throughout the show

5. Experienced lighting operators: one for the dimmer board, one for lighting console and
one for each and every spotlight required.

6. Experienced monitor console operator as well as one main mixing console operator.

7. Light, Sound and Production Staff shall be subject to the direction of Artist’s technical
personnel.

8. The Purchaser of qualified representative of the Purchaser with full decision making
powers must be in the hall and accessible from load-in time until at least one (1) hour
after the show ends. This person must be available to crew and Production Manager
during all phase of load in, set up, sound check, performance, load out, and departure.
This is necessary because situations may arise that can only be resolved by immediate
decision by the Purchaser or his agent.

9
 STAGE

1. Minimum clear stage dimensions are twenty (20) feet deep, thirty five (35) feet wide, and four
(4) feet high. Stage surface must be solid, level and free of holes, cracks, and projections.
There should be no limitations in the load-bearing capacity of the stage. Purchaser shall
provide lighted steps on both sides of the stage for safe access to the stage.

2. Sound Wings – Two (2) platforms for PA. Each platform shall be a minimum sixteen (16) feet
wide, eight (8) feet deep, at stage height. The front of the sound wings shall be level with the
front of the stage. The sound wings shall be smooth, free of obstructions and capable of
supporting an unlimited amount of weight.

3. Mixing Console – A platform of sixteen (16) feet wide, eight (8) feet deep, and four (4) feet
high. The platform shall have two (2) cafeteria-type tables on top.

4. Drum Riser – One (1) drum riser minimum eight (8) feet wide, eight (8) feet deep, and one (1)
foot high, free of any obstructions with carpet.

5. Backline Equipment – Contact Joan Zeledon home/office 603-228-0931 / cell 603-715-0038 /

email Joanie1001@aol.com regarding backline equipment that is required. Purchaser agrees
to supply at his sole expense equipment list provided by Artist’s management.

ELECTRICAL POWER REQUIREMENTS

Power will be needed in two (2) separate sources for sound and lights

SOUND – 200 amps / 3 phase

LIGHTS – 300 amps / 3 phase

POWER FAILURE

1. Artist has the right to stop and cancel any remaining portion of his performance if any of the
following electrical power problems effecting any one combination of sound, lights and/or
Artist’s equipment should occur.

10
2. Electrical power failure or a voltage drop of twelve (12) volts or more, due to insufficient
electrical power available at place of Artist’s engagement.

3. Electrical power failure due to local power company problems. Acts of God, accidents, etc. In
this instance, however, Artist agrees to remain at the place of engagement, provided there are
no eminent dangers of safety problems present and provided Artist’s equipment has not been
damaged by said power failure for one (1) hour from the time of the initial power failure. In the
event power has been completely restored within said hour, Artist agrees to resume his
performance. However, should a further electrical power failure occur during Artist’s resumed
performance, Artist has the right to cancel any remaining portion thereof.

4. None of the foregoing contained above Nos. 2 and 3 shall in any way alter Purchaser’s
obligation to pay Artist any and all payments, including engagement fee, box office receipt
percentages, and any payments mentioned on Page 1, paragraph 2 and Page 2, paragraph 3
due Artist under the attached contract.

SOUND SYSTEM

1. The sound system for Artist must be of professional quality. The entire system must be
balanced, and all monitors must be bi-amped. NO EXCEPTIONS!
2. If Artist is not headlining and the headliner will not allow our sound engineer to use the mixing
board or change settings on the mixing board, another mixing board of the same or of equal
quality is required and must be approved by our Production Manager.

PLEASE NOTE: These sound requirements are strictly enforced.

11
 MONITORS

1. Monitor Requirements are as follows: All monitors shall be of professional quality, bi-amped
and capable of providing at least one hundred fifteen (115) db of clear, undistorted sound
between one hundred (100) and ten thousand (10,000) hertz plus or minus three (3) db, at a
distance of ten (10) feet. Side fills are required and must be of high quality. The monitor mix
board shall consist of a minimum of twenty-four (24) low impedance input channels with at
least four (4) bands of EQ on each channel. The output of the monitor mix board shall have
the capability of eight (8) discrete mixes, utilizing any one of all of the twenty-four (24)
channels. Each mix shall have 1/3 octave equalizers for maximum control. LESS THAN
EIGHT DISCRETE MIXES IS UNACCEPTABLE. One reverb unit is required for the front
wedges and side fills.

2. Main Mix – Purchaser shall provide Artist at Purchaser’s sole expense, a first class, highest
quality PA system including the technical personnel to set up and operate such system. The
main mixing board shall consist of at least thirty-two (32) channels. Each channel shall have
four (4) bands of sweepable equalization, independent gains, sweepable high pass filters and
phase reverse capability. The house mains shall have a house equalization of at least 1/3
octave. Outboard equipment shall consist of three (3) high quality effects including a
dedicated DDL, 2 digital reverbs and a harmonizer. A minimum of six (6) channels of high
quality compression will be required. A minimum of four (4) channels of high quality gates are
required. The speaker system shall provide clear, undistorted (less than 1% total distortion at
any given frequency at any time) evenly distributed (not less than one hundred eighty (180)
degrees and covering all balconies and/or elevated seating area at a sound pressure of at
least one hundred twenty (12) db (measuring at twenty (20) feet from the stage with a
frequency response of at least forty hertz (40 Hz) to twenty thousand hertz (kh) plus or minus
three db).

3. It is specifically agreed and understood that a representative of the Artist shall have sole and
absolute authority in mixing and controlling all sound equipment while the Artist is performing.

4. A sound company representative shall assist Artist’s sound engineer in obtaining a rough mix
and interfacing special effects equipment. A sound company representative engineer shall be
at the main mixing board during the entire performance to assist as necessary.

12
 LIGHTS
NO SMOKE OR FOG EFFECT TO BE USED UNLESS AUTHORIZED BY ROAD MANAGER

1. Depending on the size of the venue, Purchaser agrees to furnish a first class professional
lighting company for the use of Artist. In any given situation, the smallest amount of lights
shall be sixty (60) par-64 instruments. ACL’s may be substituted. Also a lighting designer
(engineer) shall be present all day for design, focus and performance and shall be utilized by
the Production Manager as he feels necessary, including actual light mixing if required.

2. Purchaser shall provide at his sole expense general stage lighting overhead, operating or
dimmers, including but not limited to leikos, or par-64s (three circuits, primary red, primary
blue, primary magenta, and primary amber) and balcony rail and side tree lights. Purchaser
agrees that if additional lighting facilities are necessary at the venue or from outside sources,
they will be furnished without any additional cost to Artist. In addition, two (2) super trooper
follow spots with gets as listed above with iris, shutter, and fader in perfect working order, are
to be provided. Purchaser shall also provide a qualified and experienced spot operator for
each spotlight. (If the throw is less than 100 feet, then troopers are permissible.)

3. It is specifically agreed and understood that a representative of the Artist shall have sole
authority in determining use of all and any stage lighting house lighting during the Artist’s
performance regardless of Artist’s position on the bill. The name and phone number of
the lighting company shall be supplied to Artist’s Production manager three (3) weeks prior to
the engagement.

4. If venue is over 2,000 capacity, the minimum lights required shall be one hundred twenty (120)
par-64 or equivalent.

5. Lights available to headliner must also be available to Artist.

13
 SECURITY

1. If a situation should arise when Artist should be forced to pass through the audience, a
security force of four (4) security guards must be present to escort Artist to and from stage.
Security guards shall be posted at the door of the dressing rooms commencing at least thirty
(30) minutes prior to admission of the public to the engagement and ending when all of the
Artist’s property shall have been removed.

2. All access to stage will be guarded by house security at all times and only those persons
designated by Artist (except for stage personnel etc.) will be allowed on stage during Artist’s
performance.

3. In situations where the main mixing console is located within (or in an area accessible to) the
audience, a minimum of two (2) security guards are to be stationed at console during Artist’s
entire performance and particularly during Artist’s encores.

4. Purchaser is responsible for the Artist’s equipment while Artist has access to the hall.

5. Purchaser will provide a minimum of one (1) security person to be stationed in vicinity of
Artist’s merchandising concession. Said security person shall be made available to Artist’s
merchandising representative from the time doors open at the place of engagement until the
closing of Artist’s merchandise concession following Artist’s performance.

DRESSING ROOMS

1. Purchaser will provide two (2) comfortable and private dressing rooms to be located as close
to the stage as possible. All rooms must have electrical outlets and clean lavatory facilities.

Dressing Room #1 Chuck Negron

Dressing Room #2 Band and Crew

2. If the dressing rooms are lockable, the keys must be issued to Artist’s Production manager at
the time of load-in.

14
 CATERING

Load-In – Two (2) People

Gatorade Load-In & lunch if applicable

Spring Water Please advance with Joan Zeledon
Soft Drinks Home/Office 603-228-0931
Coffee w / Milk & Sugar Cell: 603-715-0038

Lunch for Eight (8) People

Good healthy food and beverages

NOTE: If lunch requirements cannot be met, a cash amount of $15.00 per person will be
required.

Band Dinner for Eight (8)

We will need a hot sit-down meal for the band at the time designated by Artist’s representative.
This meal should be in a private room within or near the venue. This meal is to include the
following:

Salad
Hot Entrée – 2 Choices
Boneless, Skinless Chicken – Breast Only
Salmon Fillet
Fresh Vegetables
Dessert
Bottled Spring Water
Die 7-Up or Diet Coke
7-Up or Coke
Apple or Orange Juice

NOTE: If dinner requirements cannot be met, a $25 per band member will be required.

DRESSING ROOM #1 – CHUCK NEGRON

Fresh Cut Fruit – In Season – melon, pears, peaches, grapes, bananas

Hot water set-up (herbal tea – lemon and honey)
Coffee mug and spoon
Five (5) clean white bath towels
Two (2) six packs 12 to 16 oz SMART WATER – CHILLED IN ICE

15
 DRESSING ROOM #2 – BAND & CREW (Eight (8) PEOPLE)

Dressing Rooms are not to be shared with any other bands or personnel

Hot water set-up with tea – lemon & honey

Coffee with milk, sugar
Three (3) six packs 12 to 16 oz still bottled water CHILLED IN ICE
One (1) six pack Diet Pepsi (chilled)
One (1) six pack Coke (chilled
Two (2) four packs Starbucks Double Shot Espresso and Cream (chilled)
Assorted bottles of fruit juices
Two (2) six packs of high quality, interesting local beer
Two (2) six packs of Samuel Adams beer (chilled)
One (1) bottle of high quality Chardonnay wine (chilled)
One (1) bottle of high quality Cabernet wine
One (1) cork screw or other implement capable of opening a bottle of wine
Fresh fruit – grapes, bananas, apples, etc.
Half dozen (6) regular and onion bagels with low-fat or fat-free cream cheese
One loaf bread
1 box of zip-lock baggies – These are for sandwiches (what did you think?)
Several larger plastic bags (like grocery store type)
Deli Tray for 9 including fresh turkey slices, lettuce, tomato, cheese, etc.
Clean ice for drinks
12 clean white towels
4 9V Batteries

Cups for hot water beverages

Sturdy cups for all other drinks
All necessary eating utensils, condiments and napkins

All perishable items should be kept at safe, proper temperature

NOTE: Must have filled large bucket of ice able to hold enough water for band on stage
prior to performance

Generally, dressing room catering should be ready 45 minutes prior to performance but please
advance all food delivery times with Joan Zeledon home/office 603-228-0931 / cell 603-715-0038
/ email Joanie1001@aol.com.

Some parts of this Rider may be difficult to accomplish. If such a problem or difficulty should
arise, please contact Joan Zeledon at home/office 603-228-0931 / cell 603-715-0038 / email
Joanie1001@aol.com

ACCEPTED AND AGREED TO

PURCHASER _____________________________________ DATE: _____________________

ARTIST: __________________________________________ DATE: ____________________

16
 Chuck Negron
Backline Equipment - CURRENT
Contact: Joan Zeledon / email Joanie1001@aol.com
Home/Office: (603) 228-0931 / Cell: (603) 715-0038

DRUMS First Choice - Yahama Recording Custom Maple Drums – 3 years old or newer
Second Choice - DW
1 – 22” x 16” or 22” x 18” Kick Drum
1 – 10” Tom, 1 – 12” Tom Mounted on Kick Drum
1 – 16” Floor Tom
1 – 6 ½” x 14” Snare
DRUM HEADS Remo Emperor Heads on kick and toms
Remo Emperor coated head on snare

All heads must be brand new

NOTE: Drummer brings cymbals, but please supply back-up assortment
Same w/kick pedal

DRUM HARDWARE All hardware heavy duty by Yamaha, Gibraltar or Tama

5 – Long Boom Cymbal Stands – heavy duty
(Boom arm length 24” to 30”)
1 – Hi Hat Stand (base must be wide and able to swivel)
1 – Bass Drum Pedal (chain drive) Tama or DW
1 – Heavy Duty Drum Throne (must be able to go very low)
1 – Drum Carpet

GUITARS STAGE RIGHT

1st Choice: 2 – Fender Vintage Series ’65 Deluxe
Reverb Reissues (23w combo amp w/1-12” speaker)
2nd Choice: 2 – Fender Vintage Series 65 Reissue Super Reverbs
(60w combo amp w/4-10” speakers)
3rd Choice: 2 – Fender Hot Rod Devilles (60w combo amp w/4-10” speakers)

1 Fender Stratocaster with light gage (.10 to .46) GHS or D’Addario Strings (new)

STAGE LEFT
1 – Fender Hot Rod Deville (60w combo amp w/4-10” speakers)

Guitar Stands – 7 individual stands are required (3 guitar stage right, 2 bass, 1 guitar stage left,
1 spare)

BASS 1st Choice: AMPEG Classic SVT Tube Amp with AMPEG 8x10 Cabinet
2nd Choice: GK800 RB Head w / two 4x10 cabinets
1 Fender Jazz Bass

KEYBOARDS
1 – Hammond B-3 Organ w/122 Leslie Speaker & Organ Bench. No pedals Stage Right
1 – Yamaha Motif ES7 w / sustain pedal (must have USB port) Stage Right
1 – Yamaha Motif ES7 w / sustain pedal (must have USB port) Stage Left
2nd Choice: KORG Trinity (NOT TRITON)
1 – Ultimate Support Apex Keyboard Stand (for MOTIF) Stage Left
2 – Keyboard Amps – Peavey KB-300 or Roland KC-500 Stage Right or Left
IMPORTANT: BOTH MOTIF’S MUST BE ES MODEL - or we won’t be able to load our sound

All Equipment must be in Excellent Working Condition!! Just Don’t Throw It on the Truck!!

17