Opportunities
Working with Red & Black Music
Our number one value is communication. We also value loyalty, honesty and FUN. If you are interested in working with any of our productions, you must fulfil the following 9 requisites:
1) Good work ethic
We want people to be committed and enthusiastic about what we do. We do not encourage proposals from temperamental "drifters" who just want to try it out a couple of times for the cash / credential, cause a drama and then disappear. We work very hard to make sure everyone is happy working with us. In return, we only ask that you give your best at all times.
2) Good communicator
Easily contactable via phone/email, and responds quickly to enquiries. Often, we need swift answers - even if the answer is ‘no’. If there is a problem, please communicate it in person or via phone/text/email or whichever method you find most comfortable, and we can sort it out, but please do not expect us to just know.
3) Location
We accept proposals from anywhere in the UK. If you are a musician, fees and expenses are always calculated from the home postcode of the production. If the production has two home postcodes, fees and expenses are calculated from whichever home postcode is nearest to the postcode of the engagement. If you are a technical supplier, fees and expenses are calculated from your home postcode.
4) Mobile
Potentially available take on engagements anywhere in the UK, or, at least on a regional level.
5) Conscientious
Sensitive to conflict of interest. Someone who knows not to advertise an unrelated production or venue during an engagement, or to distribute contact details without consent - we will always support the agent or promoter.
6) Reliable
Able to make commitments and stick to them. We appreciate that some circumstances are unavoidable which renders it impossible to fulfil the terms of your engagement however, please make every effort to:
7) Respect
Someone who appreciates what we are doing and supports it, instead of working against it. We do not aim to make quick cash here. We aim to invest in the sustainability of our work. In reflection of this, fees for guaranteed engagements are extremely reasonable and great value for money, and we treat all of our clients fairly so that they might want to work with us again in the future. However, we also believe that individuals should be paid fairly and in accordance with the time and energy that goes into realising these engagements. Therefore, our pricing structure has a number of different levels incremented for each production, in terms of their musical or technical requirements.
8) Sense of humour
Always important!
9) Well-presented
Takes care of personal appearance and dresses up smartly for performances and photo sessions.
If you feel that you fulfil all of these guidelines, please check the jobs page for the latest opportunities.
Our number one value is communication. We also value loyalty, honesty and FUN. If you are interested in working with any of our productions, you must fulfil the following 9 requisites:
1) Good work ethic
We want people to be committed and enthusiastic about what we do. We do not encourage proposals from temperamental "drifters" who just want to try it out a couple of times for the cash / credential, cause a drama and then disappear. We work very hard to make sure everyone is happy working with us. In return, we only ask that you give your best at all times.
2) Good communicator
Easily contactable via phone/email, and responds quickly to enquiries. Often, we need swift answers - even if the answer is ‘no’. If there is a problem, please communicate it in person or via phone/text/email or whichever method you find most comfortable, and we can sort it out, but please do not expect us to just know.
3) Location
We accept proposals from anywhere in the UK. If you are a musician, fees and expenses are always calculated from the home postcode of the production. If the production has two home postcodes, fees and expenses are calculated from whichever home postcode is nearest to the postcode of the engagement. If you are a technical supplier, fees and expenses are calculated from your home postcode.
4) Mobile
Potentially available take on engagements anywhere in the UK, or, at least on a regional level.
5) Conscientious
Sensitive to conflict of interest. Someone who knows not to advertise an unrelated production or venue during an engagement, or to distribute contact details without consent - we will always support the agent or promoter.
6) Reliable
Able to make commitments and stick to them. We appreciate that some circumstances are unavoidable which renders it impossible to fulfil the terms of your engagement however, please make every effort to:
- Communicate this as soon as possible.
- Find a suitable deputy when requested.
7) Respect
Someone who appreciates what we are doing and supports it, instead of working against it. We do not aim to make quick cash here. We aim to invest in the sustainability of our work. In reflection of this, fees for guaranteed engagements are extremely reasonable and great value for money, and we treat all of our clients fairly so that they might want to work with us again in the future. However, we also believe that individuals should be paid fairly and in accordance with the time and energy that goes into realising these engagements. Therefore, our pricing structure has a number of different levels incremented for each production, in terms of their musical or technical requirements.
8) Sense of humour
Always important!
9) Well-presented
Takes care of personal appearance and dresses up smartly for performances and photo sessions.
If you feel that you fulfil all of these guidelines, please check the jobs page for the latest opportunities.
T&C
- Please do apply via email.
- Please do not apply via landline, mobile, socials and/or smoke signals.
- Please do not apply if you are busy.
- Please do not apply if you are not available.
- Please do not apply if you are not interested.
- Please do not apply if you do not communicate.
- Please do not apply if you do not exist.
- Please do not apply if you do not use a calendar or diary.
- Please do not apply if you do not agree to the T&C of this ad or any of the prerequisites listed alongside.
- Please do not apply if you charge higher fees than those listed.
- Please note that the label is not affiliated with any trade unions. We set our own rates relative to ability, availability and experience, based on our own experience operating as a business since 2012.
- Please note that this is not a full time employment contract: offers and engagements are contracted individually on a freelance basis in writing (not verbally).
- Please do not post these roles on CreativeJobsCentral or any other 1-click application website. Applications made via these websites will not be considered.
- Applicants must be at least 18 years of age, and potentially able to take on engagements anywhere in the UK.
- All payments are made electronically via BACS (online).
Artists Terms & Conditions
Red & Black Music
01. FEE
01.01. The Primary Feature
01.01.01.
The Primary Feature constitutes The Artist produced for The Engagement irrespective of The Secondary Feature.
01.01.02.
The Primary Feature is priced per 1 Time Allocation. The Time Allocation varies per Production.
01.01.03.
The Primary Feature is not priced per hour.
01.02. The Performance Fee
01.02.01.
The Performance Fee includes the fee for the performance alone.
01.02.02.
The Performance Fee excludes charges detailed in sections (02) - (12), and any other additional charges as agreed verbally or otherwise between The Manager and The Supplier at the point of Contract.
01.02.03
The Performance Fee is termed accordingly.
02.03.01. The Production: The Artist, constitution and programme appearing as known in their usual form of entertainment.
02.03.02. The Notice Period: Early Bird / Advance / Full
02.03.03. The Variation: The number of musicians appearing as part of the band
01.03. The Total Fee (Due To Supplier)
01.03.01.
The Total Fee (Due To Supplier) includes The Performance Fee, the aforementioned charges detailed in sections (02) - (12), and any other additional charges as agreed verbally or otherwise between The Manager and The Supplier at the point of Contract.
01.03.02.
The Manager will disclose to The Supplier The Total Fee (Due To Supplier) per Supplier and not for The Artist as a whole.
01.03.03.
The Manager is not obliged to quote to The Supplier The Total Fee for The Artist as a whole.
01.03.04.
The Supplier agrees to maintain confidentiality in regards to The Total Fee (Due To Supplier) and The Performance Fee. Any discussion(s) and / or agreement(s) concerning The Total Fee (Due To Supplier) and / or The Performance Fee are strictly between The Manager and The Supplier. The Supplier agrees to disclose this information neither to other Supplier(s) (past, present or future) nor to The Client.
01.04. Negotiation
01.04.01.
If The Manager is hiring The Supplier; The Manager will take into full consideration the circumstantial needs and requirements of The Supplier in respect to The Engagement, and will make every effort to respond accordingly, but unless an alternative agreement is negotiated accordingly between The Manager and The Supplier, and made in written consent by both parties; The Supplier does not reserve the right:
01.04.01.01. To stipulate The Performance Fee on the basis of The Variation.
01.04.01.02. To stipulate The Variation on the basis of The Manager budget.
01.04.02.
All fee discrimination clauses apply to Support Act(s) appearing as The Secondary Feature, but vary according to a Guest Artist appearing with The Primary Feature.
01.05. The Home Postcode
The Home Postcode is the postcode of the town or city where The Production is
based.
01.05.02.
The Home Postcode is stipulated in accordance with The Production, and not with the constituent Supplier(s), although The Home Postcode is representative of the postcode of the town or city where the majority of Supplier(s) (as members of The Production) are based.
01.05.03.
It is possible for The Production to have more than 1 Home Postcode. The Manager will arrange 1 retainer (line-up of musicians) per home postcode, and quote Performance Fee(s) / charges and contractual arrangements on the basis of the nearest Home Postcode / retainer to the postcode of The Engagement.
01.05.04.
If The Home Postcode of The Supplier(s) does not correspond to The Home Postcode of The Production; it is the responsibility of The Supplier(s) to take this into their own personal consideration when accepting Offers and determining their retainer agreement in The Production.
01.05.05.
If The Home Postcode of The Supplier(s) changes so that it no longer corresponds to The Home Postcode of the retainer; it is the responsibility of The Supplier(s) to make this known to The Manager so that The Manager can review the retainer of The Supplier(s) in respect to this.
01.05.06.
The Manager will only permit an extension to The Performance Fee and / or transport expenses in exceptional circumstances.
01.05.07.
In such circumstances, any extension(s) and / or addition(s) to The Performance Fee(s) and / or Transport Expense(s) are hereby referred to as The Displacement Rider.
01.05.08.
Displacement Rider(s) are built into The Performance Fee(s) quoted to The Client in a Hire Agreement, nor the Transport Expense(s).
01.05.09.
Displacement Rider(s) must be agreed in writing between The Manager and The Supplier(s), and incorporated into the retainer between The Supplier(s) and The Production.
01.05.10.
Any additional expenses (transport, accommodation and subsistence) not included on the original written Confirmation (as representative of The Engagement and its binding terms and conditions) are to be agreed in writing between The Manager and The Supplier(s) prior to The Point Of Advance.
01.05.11.
The Supplier(s) agree to provide The Manager with receipts for any additional expenses (transport, accommodation and subsistence) not already included on the original Contract subsequent to The Point Of Advance, for them to be reimbursed.
02. SUPPORT
02.01. Terms
02.01.01.
The Secondary Feature constitutes The Support Act that is produced in addition to The Primary Feature.
02.01.02.
The Secondary Feature may include one or more Support Act(s) and / or alternative version(s) of The Primary Feature substituting for Support Act(s).
02.01.03.
The Supplier(s) involved in The Support Act(s) receive a separate Support Act Fee for appearing as part of The Support Act(s).
02.01.04.
The Support Act Fee accounts for a separate Time Allocation from The Performance Fee and cannot be combined with The Performance Fee, unless The Support Act incorporates a Guest Artist performing simultaneously with The Primary Feature.
02.01.05.
The Production, Jazz Quartet and String Quartet Support Acts are hereby referred to as Internal Supplier(s) because The Artist hires individuals privately and stipulates their fee(s), time allocation(s) and contractual agreements. This means that they are deemed as Support Act(s) within the overall Hire Agreement.
02.01.06
The DJ, Dance Tuition and Guest Artist Support Acts are hereby referred to as External Supplier(s) because The Artist hires organisations corporately and does not stipulate their fee(s), time allocation(s) and/or contractual arrangement(s). This means that they are deemed as Support Act(s) within the overall Hire Agreement, but their Performance Fees and hiring / contractual arrangements are not managed by The Artist, and are subject to the separate terms and conditions of The External Supplier(s).
02.01.07.
If The Client hires The Artist, and intends to stipulate External Supplier(s) of their choosing as Support Act(s); The Artist must act as an intermediary point of contact between The Client and The External Supplier(s), for The External Supplier(s) to qualify as Support Act(s) and thereby be incorporated into the overall Hire Agreement.
02.01.08.
If The Client hires The Artist, and intends to stipulate External Supplier(s) of their choosing as Support Act(s), but intends to liaise directly with their chosen External Supplier(s); The External Supplier(s) cannot qualify as Support Act(s). Any agreement(s) resulting from the separate liaison between The Client and The External Supplier(s) are deemed a separate Hire Agreement, and The Artist accepts no responsibility or liability within the separate Hire Agreement.
02.02. Production as a Secondary Support Act
02.02.01.
Since 2016, Red & Black Music is offering the smaller productions (Fiesta Latina, 529, Rory) as support acts to the larger productions (Diáspora, Phasma). This means that the smaller production can be booked in conjunction to the larger production at a discount rate as long as it includes Supplier(s) performing in the larger production.
02.02.02.
The smaller production can only be booked at a discount rate if it is booked as a support act appearing in conjunction to the larger production.
02.03. Jazz Quartet
02.03.01.
The Jazz Quartet Support Act can be booked as:
02.03.01.01. 01-piece (vocalist OR horn, optional backing track)
02.03.01.02. 02-piece (vocalist OR horn, piano OR guitar)
02.03.01.03. 03-piece (vocalist OR horn, piano OR guitar, bass OR percussion)
02.03.01.04. 04-piece (vocalist OR horn, piano OR guitar, bass, percussion)
02.03.02.
The Jazz Quartet Support Act appearing as The Secondary Feature is always charged at The Zone 1 Rate, on the basis that it includes Supplier(s) performing in The Primary Feature.
02.04. String Quartet
02.04.01.
The String Quartet Support Act can only be booked as a 4-piece:
02.04.01.01. Violin
02.04.01.02. Violin
02.04.01.03. Viola
02.04.01.04. Violoncello
02.04.02.
The String Quartet Support Act appearing as The Secondary Feature is charged according to The Zone (distance of The Venue from The Home Postcode), on the basis that it does not include Supplier(s) performing in The Primary Feature.
02.05. DJ / Dance Tuition
02.05.01.
DJ / Dance Tuition is priced according to the conditions of The External Supplier(s). In some instances, dance tutors can provide DJ sets included in their Production(s) according to the conditions of The External Supplier(s).
02.06. Guest Artist
02.06.01
If The Guest Artist (appearing as a Support Act) falls inside the artistic scope and parameters of The Production and fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production booking guide; The Guest Artist is hereby referred to as The Internal Supplier(s) as an individual privately booked by The Manager, and their fee(s), charge(s) and contractual arrangement(s) are incorporated into the overall Hire Agreement.
02.06.02
If The Guest Artist (appearing as a Support Act) falls outside the artistic scope and parameters of The Production and fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production booking guide; The Guest Artist is hereby referred to as The External Supplier(s) as an organisation corporately booked by The Manager, and their fee(s), charge(s) and contractual arrangement(s) are subject to the separate terms and conditions of The External Supplier(s), negotiated either indirectly via The Artist or directly via The Client.
02.06.02.01
If The Guest Artist (appearing as a Support Act) falls outside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production booking guide; The Guest Artist agrees inform The Manager regarding this prior to The Point Of Contract.
02.06.02.02
If The Guest Artist (appearing as a Support Act) falls outside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production booking guide, and The Guest Artist has informed The Manager regarding this prior to The Point Of Contract; The Guest Artist (appearing as a Support Act) reserves the right to stipulate whether they wish to liaise with the Client either directly with The Client as a separate Hire Agreement or indirectly via The Manager as part of the same Hire Agreement.
02.06.02.03
If The Guest Artist (appearing as a Support Act) falls outside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production booking guide, and The Guest Artist has informed The Manager regarding this prior to The Point Of Contract, and The Guest Artist wishes that The Manager liaise with The Client; The Manager must act as an intermediary point of contact between The Client and The External Supplier(s), for it to be included within the overall Hire Agreement.
02.06.02.04
If The Guest Artist (appearing as a Support Act) falls outside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production booking guide, and The Guest Artist has informed The Manager regarding this prior to The Point Of Contract, and The Guest Artist intends to liaise directly with The Client; The External Supplier(s) cannot qualify as Support Act(s). Any agreement(s) resulting from the separate liaison between The Client and The External Supplier(s) are deemed a separate Hire Agreement, and The Manager accepts no responsibility or liability within the separate Hire Agreement.
02.07
The Guest Artist (appearing as a Support Act) can work in 2 ways:
02.07.01.
Booked in substitution for Supplier(s) as part of The Primary Feature.
02.07.01.01.
At the standard rate if The Guest Artist falls inside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production technical guide.
02.07.01.02.
At a nominal rate if The Guest Artist falls outside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production technical guide, according to the conditions of The External Supplier(s).
02.07.02.
Booked in addition to the Supplier(s) as part of The Primary Feature.
02.07.02.01.
If The Guest artist falls inside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production technical; The Support Act Fee remains the same as advertised within the most recent version of The Production Retainer.
02.07.02.02.
If The Guest Artist falls outside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production technical guide; costs are subject to the terms and conditions of The External Supplier(s).
02.08
The Guest Artist (appearing as a Support Act) can be a vocalist or an instrumentalist prescribing their own repertoire.
02.08.01
If The Guest Artist is an Internal Supplier, and they prescribe repertoire (as stipulated by The Client) that is on the current playlist of The Production; arrangements are subject to the terms and conditions as stipulated in the most recent version of The Production Retainer.
02.08.02
If The Guest Artist is an External Supplier,
02.08.02.01
And they prescribe repertoire (as stipulated by The Client) that is on the current playlist of The Artist; arrangements are adapted to The Guest Artist subject to the terms and conditions as stipulated in the most recent version of The Production Retainer.
02.08.02.02
And they prescribe repertoire (as stipulated by The Client) that is not on the current playlist of The Artist; requests are subject to the terms and conditions as stipulated in the most recent version of The Production Retainer.
03. TRANSPORT
03.01.
For all Hire Agreements; The Artist requires transport provision or transport expenses in addition to The Performance Fee, unless The Client is hiring The Artist at The Nominal Rate.
03.02.
All transport expenses (quoted at The Point Of Enquiry) are calculated thus:
03.02.01.
The Vehicle Quota (number of vehicles required) per Variation (as stipulated in the most recent version of The Production technical guide),
03.02.02.
Multiplied by the cost of petrol per mile, per Production (as stipulated in the most recent version of The Production technical guide),
03.02.03.
Multiplied by the distance (in miles) of The Engagement from the nearest Home Postcode of The Production (as stipulated in the most recent version of The Production technical guide) calculated using the online distance calculator on Google (www.google.com).
03.02.04.
Multiplied by 2 (inward / outward journeys).
03.03.
Each Variation prescribes a Vehicle Quota (as stipulated in the most recent version of The Production technical guide).
03.04.
The Vehicle Quota is set in accordance to The Variation, and the parameters vary per Production (as stipulated in the most recent version of The Production booking guide).
03.05.
The Vehicle Quota is not necessarily set in accordance to the number of Supplier(s), but as representative of the number of vehicles required to transport the number of Supplier(s) for each Variation, on the basis that The Supplier(s) share transport between themselves.
03.06.
It is the responsibility of The Supplier(s) to make known to The Manager at The Point Of Enquiry any specific transport needs and requirements (e.g., if The Supplier(s) are not travelling to The Venue from The Home Postcode, or if The Supplier(s) are not able to share transport).
03.07.
For some Engagements; The Manager will quote to The Client public transport ticket costs instead of petrol costs depending on The Production and The Variation, in order to reduce transport costs for The Client.
03.08.
In instances whereby The Manager quotes public transport costs to The Client; The Manager or The Producer will provide public transport tickets for The Supplier(s). Public transport tickets are purchased either at The Point Of Contract or at The Point Of Advance.
03.09.
Travel time is factored into The Performance Fee in accordance to The Zone; therefore, it is the responsibility of The Supplier to take this into consideration at The Point Of Enquiry.
03.10.
Public transport tickets are purchased in accordance to the transport needs and requirements of The Supplier within the parameters of The Supplier being able to successfully fulfil their contractual obligation.
03.11.
Once a Hire Agreement is contracted:
03.11.01.
The Manager or The Producer will quote to The Supplier(s) (in writing) public transport tickets, dates, times and their binding terms and conditions prior to purchase in order to verify that the conditions are agreed.
03.11.02.
The Manager or The Producer will make known to The Supplier(s) (in writing) public transport tickets, dates, times and their binding terms and conditions subsequent to purchase.
03.11.03.
The Manager accepts no responsibility or liability for any deviation(s) in the transport needs and requirements of The Supplier subsequent to the purchase of public transport tickets, where deviation(s) do not result from a change in the conditions of The Engagement. In such circumstances, any deviation(s) from the conditions set out prior to purchase are accepted at the discretion of The Manager, and The Supplier is liable for any accrued expenses resulting directly from such deviation(s).
03.11.04.
If there are a deviation(s) in the transport needs and requirements of The Supplier subsequent to the purchase of public transport tickets, where deviation(s) do not result from a change in the conditions of The Engagement, and The Supplier refuses to accept liability for any accrued expenses resulting directly from such deviation(s); any further action(s) and / or cancellation(s) are subject to the terms and conditions of section (11).
04. ACCOMMODATION
04.01.
For some Hire Agreements, The Artist requires either accommodation provision or accommodation expenses in addition to The Performance Fee, unless The Client is hiring The Artist at The Nominal Rate. Conditions depend on The Zone and the performance finish time.
04.02.
All accommodation expenses (quoted at The Point Of Enquiry) are calculated thus:
04.02.01.
The Room Quota (number of rooms required) per Variation (as stipulated in the most recent version of The Production technical guide).
04.02.02.
Multiplied by the rates quoted from the Travelodge nearest to the postcode of The Engagement (www.travelodge.co.uk).
04.03.
Each Variation (number of musicians appearing as part of the band) prescribes a Room Quota.
04.04.
The Room Quota is set in accordance with The Variation, and its parameters vary per Production (as stipulated in the most recent version of The Production technical guide).
04.05.
The Room Quota is not necessarily set in accordance with the number of Supplier(s), but as representative of the number of rooms required to accommodate the number of Supplier(s) for each Variation, on the basis that The Supplier(s) share accommodation between themselves.
04.06.
It is the responsibility of The Supplier(s) to make known to The Manager at The Point Of Enquiry any specific accommodation needs and requirements (e.g., if The Supplier(s) intend to stay with friends / family).
04.07.
For all Hire Agreements; accommodation conditions are treated separately to subsistence conditions, which are determined by The Zone.
04.08.
Instead of paying accommodation expenses; The Client may elect to pay a Late Finish charge subject to the terms and conditions listed in section (09). However, this is determined by the availability of transport resources.
05. SUBSISTENCE
05.01.
For all Hire Agreements, The Artist requires either reasonable subsistence provision appropriate to the time involved in The Engagement, or subsistence expenses (per Supplier(s) / per 6 hours’ Engagement time, inclusive of travel time) in addition to The Performance Fee, unless The Client is hiring The Artist at The Nominal Rate.
05.02.
All subsistence expenses (quoted at The Point Of Enquiry) are calculated thus:
05.02.01. The number of Supplier(s).
05.02.02. Multiplied by a nominal subsistence expense per Zone (as stipulated in the most recent version of The Production technical guide).
05.03.
It is the responsibility of The Supplier(s) to make known to The Manager at The Point Of Enquiry any specific subsistence needs and requirements (e.g., dietary or medical requirements).
05.04.
Once a hire agreement is contracted:
05.04.01.
The Manager or The Producer will quote to the Suppliers(s) (in writing) subsistence arrangements and request dietary / medical requirements from The Supplier(s) prior to submitting a rider to The Client.
05.04.02.
The Manager or The Producer will make known to the Supplier(s) (in writing) subsistence arrangements subsequent to submitting a rider to The Client.
05.04.03.
The Manager accepts no responsibility or liability for any deviation in the subsistence needs and requirements of The Supplier(s) subsequent to the submitting of a rider to The Client, where deviation does not result from a change in the conditions of The Engagement. In such circumstances, any deviation from the conditions set out prior to submitting are accepted at the discretion of The Manager, and The Supplier(s) are liable for any accrued expenses resulting directly from such deviation.
05.04.04.
If there is a deviation in the subsistence needs and requirements of The Supplier(s) subsequent to the submitting of a rider, where deviation does not result from a change in the conditions of The Engagement, and The Supplier(s) refuse to accept liability for any accrued expenses resulting directly from such deviation; any further action(s) and / or cancellation(s) are subject to the terms and conditions of Cancellation, listed in section (14).
06. SOUND
01.
For some Hire Agreements, The Artist requires either sound provision appropriate to The Variation, or sound charges in addition to The Performance Fee, unless The Client is hiring The Artist at The Nominal Rate, or unless agreed between The Client and The Artist verbally or otherwise at The Point Of Contract (e.g., acoustic performances).
02.
All sound charges (quoted at The Point Of Enquiry) are calculated in accordance with the technical needs and requirements of The Variation (as stipulated in the most recent version of The Production technical guide).
03.
Sound Facilities hereby constitutes both the hire and the operation of sound (amplification and mixing) equipment.
04.
For some Variations, sound hire and operation are accounted for and charged separately, in accordance with the technical needs and requirements of The Variation (as stipulated in the most recent version of The Production technical guide).
05.
If The Client is hiring The Artist, and The Client cannot provide Sound Facilities; The Artist will out-source sound facilities from External Supplier(s) in accordance with the technical needs and requirements of The Variation (as stipulated in the most recent version of The Production technical guide).
06.
If The Client is hiring The Artist, and The Client cannot provide Sound Facilities; The Artist will out-source sound facilities from External Supplier(s) local to the postcode of The Engagement.
07.
The Supplier(s) agree to provide their own instruments (back line, front line), music stands (where applicable) and music folders (where provided), unless agreed verbally or otherwise between The Supplier(s) and The Manager(s) or The Producer(s) at The Point Of Contract.
08.
The Artist agrees that the instruments and equipment belonging to The Supplier(s) are not available for use by any other individual without written consent of The Supplier(s).
07. LIGHTING & AV
07.01.
For all Hire Agreements, lighting provision is subject to the needs and requirements of The Client. Only if The Client specifically requires global lighting will The Artist out-source lighting facilities from External Supplier(s) in accordance with the lighting needs and requirements of The Client and / or The Venue.
07.02.
If The Artist cannot provide global lighting; The Artist may provide local lighting (e.g., music stand lighting) at the discretion of The Supplier(s) subject to availability and to the lighting conditions of The Venue.
07.03.
Lighting Facilities hereby constitutes both the hire and operation of lighting equipment.
Certification
07.04.
The Manager agrees to make known to The Suppler(s) at The Point Of Enquiry if they require evidence of Public Liability Insurance (P.L.I.) certification as a mandatory condition of hiring The Supplier(s).
07.05.
It is the responsibility of The Producer / The Supplier(s) to provide evidence of Public Liability Insurance (P.L.I.) certification as part of their Membership with the Musicians’ Union (M.U.), Incorporated Society of Musicians (I.S.M.) or equivalent trade union, if it is deemed a mandatory condition of undertaking The Engagement. The Manager accepts no responsibility or liability for any cancellation(s) resulting in a loss of earning(s) occurring as a direct consequence of failing to adhere to this.
07.06.
The Manager agrees to make known to The Supplier(s) at The Point Of Enquiry if they require evidence of Portable Appliance Testing (P.A.T.) certification as a mandatory condition of hiring The Supplier(s).
07.07.
It is the responsibility of The Producer / The Supplier(s) to provide The Manager with evidence of Portable Appliance Testing (P.A.T.) certification if it is deemed a mandatory condition of undertaking The Engagement. The Manager accepts no responsibility or liability for any cancellation(s) resulting in a loss of earning(s) occurring as a direct consequence of failing to adhere to this.
07.08.
The Producer agrees to provide mains electricity from a safe source for the duration of The Engagement, unless agreed between The Client and The Manager verbally or otherwise at The Point Of Contract (e.g., acoustic performances).
07.09.
The Supplier(s) agrees to use equipment of a good standard from a reputable manufacturer that is in a safe and stable condition for the duration of The Engagement.
08. EARLY ARRIVAL
08.01.
Lead Time varies per production, and accounts for the following:
08.01. Arrival
08.02. Set up
08.03. Sound check
08.04. Curfew
08.02.
If The Client stipulates an earlier Lead Time (more than the standard production Lead Time) prior to The Point Of Contract; The Manager will charge a waiting fee based on the number of hours, on the basis that The Supplier(s) are potentially working during standard daytime hours (09:00 – 17:00) on the date(s) or range thereof of The Engagement. This waiting fee varies per production and constitutes a percentage of The Performance Fee only for the constituent Supplier(s).
08.03.
If The Manager stipulates an earlier arrival and set-up time subsequent to The Point Of Contract; The Supplier(s) reserve the right to not fulfil this requirement if it is not within their capability. Reluctance to comply with this requirement will not affect The Contract and its binding terms and conditions listed in section (13).
08.04.
If the actual performance start time is delayed due to a late arrival of The Supplier(s); The Supplier(s) are liable to deduction(s) from The Performance Fee.
09. LATE DEPARTURE
09.01.
Trail Time varies per production, and accounts for the following:
09.01.01. Breakdown
09.01.02. Departure
09.02.
If The Client stipulates a later Trail Time (more than the standard production Lead Time) prior to The Point Of Contract; The Manager will charge a waiting fee based on the number of hours. This waiting fee varies per production constitutes a percentage of The Performance Fee for the constituent supplier(s).
09.03.
If the actual Trail Time extends beyond the contracted Trail Time where The Manager has not charged The Client for a Late Departure) and The Client does elect to pay a Late Departure Charge; the extended length of time will be agreed verbally or otherwise between The Manager and The Supplier(s) at The Point Of Advance, and the actual performance end time will be altered subject to the final discretion of The Manager with respect to the needs and requirements of The Supplier(s).
09.04.
If the actual Trail Time extends beyond the contracted Trail Time (where The Manager has not charged The Client for a Late Departure) and The Client does not elect to pay a Late Departure Charge; The Supplier(s) reserve the right to commence breakdown / departure at any point beyond the contracted performance end time.
09.05.
If the actual Trail Time extends beyond the contracted Trail Time (where The Manager has not charged The Client for a Late Departure) and The Client does not elect to pay a Late Departure Charge; The Producer will act in accordance with the interest(s) of The Supplier(s) who do not consent or express non-consent to a Late Departure regardless of whether The Client offers additional payment on the day or not.
10. EXTENDED DURATION
10.01.
Engagement Time varies per production, and accounts for the cumulative duration of performance set(s) and interval(s) between the following 2 points:
10.01.01. Start
10.01.02. End
10.02.
Performance Time varies per production and is a set number of minutes divided into set(s), with interval(s) between the set(s).
10.03.
Overtime hereby constitutes the difference between the contracted Engagement Duration as stipulated in the written Contract (as representative of The Engagement and its binding terms and conditions) and the actual Engagement Duration that unfolds during its realisation.
10.04.
If the contracted Engagement Time exceeds the maximum Engagement Time (as stipulated in the most recent version of The Production technical guide); The Artist will charge The Client an Extended Duration Charge, constituting a percentage of The Performance Fee according to the length of overtime, charged in addition to The Performance Fee as a whole.
06.
The Performance Fee Time Allocation rule and The Extended Time Charge rule also apply to The Jazz Quartet, The String Quartet and The Guest Artist Support Act(s), although they vary for other Support Act(s) subject to the separate terms and conditions of The External Supplier(s).
07.
Support Act(s) substituting Supplier(s) in The Primary Feature are incorporated into the same Time Allocation as The Primary Feature Time Allocation.
11. REQUESTS & REHEARSALS
10.01.
Special requests options and costs vary per production. See The Production booking guide for full costs and details.
10.02.
The Supplier(s) reserve the right to decline song request(s) if the song request is made after The Point Of Advance.
10.03.
The Supplier(s) reserve the right to decline song request(s) at The Point Of Advance:
10.03.01. If the song request is made at late notice (within 2 weeks of The Engagement date).
10.03.02. If the song request is deemed outside the artistic scope and parameters of The Production subject to the discretion of The Producer.
10.04.
The Supplier(s) reserves the right to decline song request(s) that have not been agreed:
10.01. Contractually (in writing) prior to realisation subject to the discretion of The Supplier(s).
10.02. Verbally or otherwise during realisation subject to the discretion of The Supplier(s).
10.05.
If The Client makes a song request during realisation; The Supplier(s) reserve the right to:
10.05.01. Either, decline the song request.
10.05.02. Or, charge up front for the song request during realisation.
10.06.
A ‘song’ does constitute an autonomous body of music familiar to band member(s) and listeners alike; made known by its respective artist, album and / or genre(s) for its harmony, melody, rhythm, lyric, structure and / or any other distinguishing characteristics; musical, literary and / or otherwise.
10.07.
A ‘song’ does not constitute two or more songs segued / linked together in a medley. Two or more song requests cannot be combined into one song request as part of a medley.
Red & Black Music
01. FEE
01.01. The Primary Feature
01.01.01.
The Primary Feature constitutes The Artist produced for The Engagement irrespective of The Secondary Feature.
01.01.02.
The Primary Feature is priced per 1 Time Allocation. The Time Allocation varies per Production.
01.01.03.
The Primary Feature is not priced per hour.
01.02. The Performance Fee
01.02.01.
The Performance Fee includes the fee for the performance alone.
01.02.02.
The Performance Fee excludes charges detailed in sections (02) - (12), and any other additional charges as agreed verbally or otherwise between The Manager and The Supplier at the point of Contract.
01.02.03
The Performance Fee is termed accordingly.
02.03.01. The Production: The Artist, constitution and programme appearing as known in their usual form of entertainment.
02.03.02. The Notice Period: Early Bird / Advance / Full
02.03.03. The Variation: The number of musicians appearing as part of the band
01.03. The Total Fee (Due To Supplier)
01.03.01.
The Total Fee (Due To Supplier) includes The Performance Fee, the aforementioned charges detailed in sections (02) - (12), and any other additional charges as agreed verbally or otherwise between The Manager and The Supplier at the point of Contract.
01.03.02.
The Manager will disclose to The Supplier The Total Fee (Due To Supplier) per Supplier and not for The Artist as a whole.
01.03.03.
The Manager is not obliged to quote to The Supplier The Total Fee for The Artist as a whole.
01.03.04.
The Supplier agrees to maintain confidentiality in regards to The Total Fee (Due To Supplier) and The Performance Fee. Any discussion(s) and / or agreement(s) concerning The Total Fee (Due To Supplier) and / or The Performance Fee are strictly between The Manager and The Supplier. The Supplier agrees to disclose this information neither to other Supplier(s) (past, present or future) nor to The Client.
01.04. Negotiation
01.04.01.
If The Manager is hiring The Supplier; The Manager will take into full consideration the circumstantial needs and requirements of The Supplier in respect to The Engagement, and will make every effort to respond accordingly, but unless an alternative agreement is negotiated accordingly between The Manager and The Supplier, and made in written consent by both parties; The Supplier does not reserve the right:
01.04.01.01. To stipulate The Performance Fee on the basis of The Variation.
01.04.01.02. To stipulate The Variation on the basis of The Manager budget.
01.04.02.
All fee discrimination clauses apply to Support Act(s) appearing as The Secondary Feature, but vary according to a Guest Artist appearing with The Primary Feature.
01.05. The Home Postcode
The Home Postcode is the postcode of the town or city where The Production is
based.
01.05.02.
The Home Postcode is stipulated in accordance with The Production, and not with the constituent Supplier(s), although The Home Postcode is representative of the postcode of the town or city where the majority of Supplier(s) (as members of The Production) are based.
01.05.03.
It is possible for The Production to have more than 1 Home Postcode. The Manager will arrange 1 retainer (line-up of musicians) per home postcode, and quote Performance Fee(s) / charges and contractual arrangements on the basis of the nearest Home Postcode / retainer to the postcode of The Engagement.
01.05.04.
If The Home Postcode of The Supplier(s) does not correspond to The Home Postcode of The Production; it is the responsibility of The Supplier(s) to take this into their own personal consideration when accepting Offers and determining their retainer agreement in The Production.
01.05.05.
If The Home Postcode of The Supplier(s) changes so that it no longer corresponds to The Home Postcode of the retainer; it is the responsibility of The Supplier(s) to make this known to The Manager so that The Manager can review the retainer of The Supplier(s) in respect to this.
01.05.06.
The Manager will only permit an extension to The Performance Fee and / or transport expenses in exceptional circumstances.
01.05.07.
In such circumstances, any extension(s) and / or addition(s) to The Performance Fee(s) and / or Transport Expense(s) are hereby referred to as The Displacement Rider.
01.05.08.
Displacement Rider(s) are built into The Performance Fee(s) quoted to The Client in a Hire Agreement, nor the Transport Expense(s).
01.05.09.
Displacement Rider(s) must be agreed in writing between The Manager and The Supplier(s), and incorporated into the retainer between The Supplier(s) and The Production.
01.05.10.
Any additional expenses (transport, accommodation and subsistence) not included on the original written Confirmation (as representative of The Engagement and its binding terms and conditions) are to be agreed in writing between The Manager and The Supplier(s) prior to The Point Of Advance.
01.05.11.
The Supplier(s) agree to provide The Manager with receipts for any additional expenses (transport, accommodation and subsistence) not already included on the original Contract subsequent to The Point Of Advance, for them to be reimbursed.
02. SUPPORT
02.01. Terms
02.01.01.
The Secondary Feature constitutes The Support Act that is produced in addition to The Primary Feature.
02.01.02.
The Secondary Feature may include one or more Support Act(s) and / or alternative version(s) of The Primary Feature substituting for Support Act(s).
02.01.03.
The Supplier(s) involved in The Support Act(s) receive a separate Support Act Fee for appearing as part of The Support Act(s).
02.01.04.
The Support Act Fee accounts for a separate Time Allocation from The Performance Fee and cannot be combined with The Performance Fee, unless The Support Act incorporates a Guest Artist performing simultaneously with The Primary Feature.
02.01.05.
The Production, Jazz Quartet and String Quartet Support Acts are hereby referred to as Internal Supplier(s) because The Artist hires individuals privately and stipulates their fee(s), time allocation(s) and contractual agreements. This means that they are deemed as Support Act(s) within the overall Hire Agreement.
02.01.06
The DJ, Dance Tuition and Guest Artist Support Acts are hereby referred to as External Supplier(s) because The Artist hires organisations corporately and does not stipulate their fee(s), time allocation(s) and/or contractual arrangement(s). This means that they are deemed as Support Act(s) within the overall Hire Agreement, but their Performance Fees and hiring / contractual arrangements are not managed by The Artist, and are subject to the separate terms and conditions of The External Supplier(s).
02.01.07.
If The Client hires The Artist, and intends to stipulate External Supplier(s) of their choosing as Support Act(s); The Artist must act as an intermediary point of contact between The Client and The External Supplier(s), for The External Supplier(s) to qualify as Support Act(s) and thereby be incorporated into the overall Hire Agreement.
02.01.08.
If The Client hires The Artist, and intends to stipulate External Supplier(s) of their choosing as Support Act(s), but intends to liaise directly with their chosen External Supplier(s); The External Supplier(s) cannot qualify as Support Act(s). Any agreement(s) resulting from the separate liaison between The Client and The External Supplier(s) are deemed a separate Hire Agreement, and The Artist accepts no responsibility or liability within the separate Hire Agreement.
02.02. Production as a Secondary Support Act
02.02.01.
Since 2016, Red & Black Music is offering the smaller productions (Fiesta Latina, 529, Rory) as support acts to the larger productions (Diáspora, Phasma). This means that the smaller production can be booked in conjunction to the larger production at a discount rate as long as it includes Supplier(s) performing in the larger production.
02.02.02.
The smaller production can only be booked at a discount rate if it is booked as a support act appearing in conjunction to the larger production.
02.03. Jazz Quartet
02.03.01.
The Jazz Quartet Support Act can be booked as:
02.03.01.01. 01-piece (vocalist OR horn, optional backing track)
02.03.01.02. 02-piece (vocalist OR horn, piano OR guitar)
02.03.01.03. 03-piece (vocalist OR horn, piano OR guitar, bass OR percussion)
02.03.01.04. 04-piece (vocalist OR horn, piano OR guitar, bass, percussion)
02.03.02.
The Jazz Quartet Support Act appearing as The Secondary Feature is always charged at The Zone 1 Rate, on the basis that it includes Supplier(s) performing in The Primary Feature.
02.04. String Quartet
02.04.01.
The String Quartet Support Act can only be booked as a 4-piece:
02.04.01.01. Violin
02.04.01.02. Violin
02.04.01.03. Viola
02.04.01.04. Violoncello
02.04.02.
The String Quartet Support Act appearing as The Secondary Feature is charged according to The Zone (distance of The Venue from The Home Postcode), on the basis that it does not include Supplier(s) performing in The Primary Feature.
02.05. DJ / Dance Tuition
02.05.01.
DJ / Dance Tuition is priced according to the conditions of The External Supplier(s). In some instances, dance tutors can provide DJ sets included in their Production(s) according to the conditions of The External Supplier(s).
02.06. Guest Artist
02.06.01
If The Guest Artist (appearing as a Support Act) falls inside the artistic scope and parameters of The Production and fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production booking guide; The Guest Artist is hereby referred to as The Internal Supplier(s) as an individual privately booked by The Manager, and their fee(s), charge(s) and contractual arrangement(s) are incorporated into the overall Hire Agreement.
02.06.02
If The Guest Artist (appearing as a Support Act) falls outside the artistic scope and parameters of The Production and fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production booking guide; The Guest Artist is hereby referred to as The External Supplier(s) as an organisation corporately booked by The Manager, and their fee(s), charge(s) and contractual arrangement(s) are subject to the separate terms and conditions of The External Supplier(s), negotiated either indirectly via The Artist or directly via The Client.
02.06.02.01
If The Guest Artist (appearing as a Support Act) falls outside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production booking guide; The Guest Artist agrees inform The Manager regarding this prior to The Point Of Contract.
02.06.02.02
If The Guest Artist (appearing as a Support Act) falls outside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production booking guide, and The Guest Artist has informed The Manager regarding this prior to The Point Of Contract; The Guest Artist (appearing as a Support Act) reserves the right to stipulate whether they wish to liaise with the Client either directly with The Client as a separate Hire Agreement or indirectly via The Manager as part of the same Hire Agreement.
02.06.02.03
If The Guest Artist (appearing as a Support Act) falls outside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production booking guide, and The Guest Artist has informed The Manager regarding this prior to The Point Of Contract, and The Guest Artist wishes that The Manager liaise with The Client; The Manager must act as an intermediary point of contact between The Client and The External Supplier(s), for it to be included within the overall Hire Agreement.
02.06.02.04
If The Guest Artist (appearing as a Support Act) falls outside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production booking guide, and The Guest Artist has informed The Manager regarding this prior to The Point Of Contract, and The Guest Artist intends to liaise directly with The Client; The External Supplier(s) cannot qualify as Support Act(s). Any agreement(s) resulting from the separate liaison between The Client and The External Supplier(s) are deemed a separate Hire Agreement, and The Manager accepts no responsibility or liability within the separate Hire Agreement.
02.07
The Guest Artist (appearing as a Support Act) can work in 2 ways:
02.07.01.
Booked in substitution for Supplier(s) as part of The Primary Feature.
02.07.01.01.
At the standard rate if The Guest Artist falls inside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production technical guide.
02.07.01.02.
At a nominal rate if The Guest Artist falls outside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production technical guide, according to the conditions of The External Supplier(s).
02.07.02.
Booked in addition to the Supplier(s) as part of The Primary Feature.
02.07.02.01.
If The Guest artist falls inside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production technical; The Support Act Fee remains the same as advertised within the most recent version of The Production Retainer.
02.07.02.02.
If The Guest Artist falls outside the artistic scope and parameters of The Production and the fee(s), charge(s) and contractual arrangement(s) advertised within the most recent version of The Production technical guide; costs are subject to the terms and conditions of The External Supplier(s).
02.08
The Guest Artist (appearing as a Support Act) can be a vocalist or an instrumentalist prescribing their own repertoire.
02.08.01
If The Guest Artist is an Internal Supplier, and they prescribe repertoire (as stipulated by The Client) that is on the current playlist of The Production; arrangements are subject to the terms and conditions as stipulated in the most recent version of The Production Retainer.
02.08.02
If The Guest Artist is an External Supplier,
02.08.02.01
And they prescribe repertoire (as stipulated by The Client) that is on the current playlist of The Artist; arrangements are adapted to The Guest Artist subject to the terms and conditions as stipulated in the most recent version of The Production Retainer.
02.08.02.02
And they prescribe repertoire (as stipulated by The Client) that is not on the current playlist of The Artist; requests are subject to the terms and conditions as stipulated in the most recent version of The Production Retainer.
03. TRANSPORT
03.01.
For all Hire Agreements; The Artist requires transport provision or transport expenses in addition to The Performance Fee, unless The Client is hiring The Artist at The Nominal Rate.
03.02.
All transport expenses (quoted at The Point Of Enquiry) are calculated thus:
03.02.01.
The Vehicle Quota (number of vehicles required) per Variation (as stipulated in the most recent version of The Production technical guide),
03.02.02.
Multiplied by the cost of petrol per mile, per Production (as stipulated in the most recent version of The Production technical guide),
03.02.03.
Multiplied by the distance (in miles) of The Engagement from the nearest Home Postcode of The Production (as stipulated in the most recent version of The Production technical guide) calculated using the online distance calculator on Google (www.google.com).
03.02.04.
Multiplied by 2 (inward / outward journeys).
03.03.
Each Variation prescribes a Vehicle Quota (as stipulated in the most recent version of The Production technical guide).
03.04.
The Vehicle Quota is set in accordance to The Variation, and the parameters vary per Production (as stipulated in the most recent version of The Production booking guide).
03.05.
The Vehicle Quota is not necessarily set in accordance to the number of Supplier(s), but as representative of the number of vehicles required to transport the number of Supplier(s) for each Variation, on the basis that The Supplier(s) share transport between themselves.
03.06.
It is the responsibility of The Supplier(s) to make known to The Manager at The Point Of Enquiry any specific transport needs and requirements (e.g., if The Supplier(s) are not travelling to The Venue from The Home Postcode, or if The Supplier(s) are not able to share transport).
03.07.
For some Engagements; The Manager will quote to The Client public transport ticket costs instead of petrol costs depending on The Production and The Variation, in order to reduce transport costs for The Client.
03.08.
In instances whereby The Manager quotes public transport costs to The Client; The Manager or The Producer will provide public transport tickets for The Supplier(s). Public transport tickets are purchased either at The Point Of Contract or at The Point Of Advance.
03.09.
Travel time is factored into The Performance Fee in accordance to The Zone; therefore, it is the responsibility of The Supplier to take this into consideration at The Point Of Enquiry.
03.10.
Public transport tickets are purchased in accordance to the transport needs and requirements of The Supplier within the parameters of The Supplier being able to successfully fulfil their contractual obligation.
03.11.
Once a Hire Agreement is contracted:
03.11.01.
The Manager or The Producer will quote to The Supplier(s) (in writing) public transport tickets, dates, times and their binding terms and conditions prior to purchase in order to verify that the conditions are agreed.
03.11.02.
The Manager or The Producer will make known to The Supplier(s) (in writing) public transport tickets, dates, times and their binding terms and conditions subsequent to purchase.
03.11.03.
The Manager accepts no responsibility or liability for any deviation(s) in the transport needs and requirements of The Supplier subsequent to the purchase of public transport tickets, where deviation(s) do not result from a change in the conditions of The Engagement. In such circumstances, any deviation(s) from the conditions set out prior to purchase are accepted at the discretion of The Manager, and The Supplier is liable for any accrued expenses resulting directly from such deviation(s).
03.11.04.
If there are a deviation(s) in the transport needs and requirements of The Supplier subsequent to the purchase of public transport tickets, where deviation(s) do not result from a change in the conditions of The Engagement, and The Supplier refuses to accept liability for any accrued expenses resulting directly from such deviation(s); any further action(s) and / or cancellation(s) are subject to the terms and conditions of section (11).
04. ACCOMMODATION
04.01.
For some Hire Agreements, The Artist requires either accommodation provision or accommodation expenses in addition to The Performance Fee, unless The Client is hiring The Artist at The Nominal Rate. Conditions depend on The Zone and the performance finish time.
04.02.
All accommodation expenses (quoted at The Point Of Enquiry) are calculated thus:
04.02.01.
The Room Quota (number of rooms required) per Variation (as stipulated in the most recent version of The Production technical guide).
04.02.02.
Multiplied by the rates quoted from the Travelodge nearest to the postcode of The Engagement (www.travelodge.co.uk).
04.03.
Each Variation (number of musicians appearing as part of the band) prescribes a Room Quota.
04.04.
The Room Quota is set in accordance with The Variation, and its parameters vary per Production (as stipulated in the most recent version of The Production technical guide).
04.05.
The Room Quota is not necessarily set in accordance with the number of Supplier(s), but as representative of the number of rooms required to accommodate the number of Supplier(s) for each Variation, on the basis that The Supplier(s) share accommodation between themselves.
04.06.
It is the responsibility of The Supplier(s) to make known to The Manager at The Point Of Enquiry any specific accommodation needs and requirements (e.g., if The Supplier(s) intend to stay with friends / family).
04.07.
For all Hire Agreements; accommodation conditions are treated separately to subsistence conditions, which are determined by The Zone.
04.08.
Instead of paying accommodation expenses; The Client may elect to pay a Late Finish charge subject to the terms and conditions listed in section (09). However, this is determined by the availability of transport resources.
05. SUBSISTENCE
05.01.
For all Hire Agreements, The Artist requires either reasonable subsistence provision appropriate to the time involved in The Engagement, or subsistence expenses (per Supplier(s) / per 6 hours’ Engagement time, inclusive of travel time) in addition to The Performance Fee, unless The Client is hiring The Artist at The Nominal Rate.
05.02.
All subsistence expenses (quoted at The Point Of Enquiry) are calculated thus:
05.02.01. The number of Supplier(s).
05.02.02. Multiplied by a nominal subsistence expense per Zone (as stipulated in the most recent version of The Production technical guide).
05.03.
It is the responsibility of The Supplier(s) to make known to The Manager at The Point Of Enquiry any specific subsistence needs and requirements (e.g., dietary or medical requirements).
05.04.
Once a hire agreement is contracted:
05.04.01.
The Manager or The Producer will quote to the Suppliers(s) (in writing) subsistence arrangements and request dietary / medical requirements from The Supplier(s) prior to submitting a rider to The Client.
05.04.02.
The Manager or The Producer will make known to the Supplier(s) (in writing) subsistence arrangements subsequent to submitting a rider to The Client.
05.04.03.
The Manager accepts no responsibility or liability for any deviation in the subsistence needs and requirements of The Supplier(s) subsequent to the submitting of a rider to The Client, where deviation does not result from a change in the conditions of The Engagement. In such circumstances, any deviation from the conditions set out prior to submitting are accepted at the discretion of The Manager, and The Supplier(s) are liable for any accrued expenses resulting directly from such deviation.
05.04.04.
If there is a deviation in the subsistence needs and requirements of The Supplier(s) subsequent to the submitting of a rider, where deviation does not result from a change in the conditions of The Engagement, and The Supplier(s) refuse to accept liability for any accrued expenses resulting directly from such deviation; any further action(s) and / or cancellation(s) are subject to the terms and conditions of Cancellation, listed in section (14).
06. SOUND
01.
For some Hire Agreements, The Artist requires either sound provision appropriate to The Variation, or sound charges in addition to The Performance Fee, unless The Client is hiring The Artist at The Nominal Rate, or unless agreed between The Client and The Artist verbally or otherwise at The Point Of Contract (e.g., acoustic performances).
02.
All sound charges (quoted at The Point Of Enquiry) are calculated in accordance with the technical needs and requirements of The Variation (as stipulated in the most recent version of The Production technical guide).
03.
Sound Facilities hereby constitutes both the hire and the operation of sound (amplification and mixing) equipment.
04.
For some Variations, sound hire and operation are accounted for and charged separately, in accordance with the technical needs and requirements of The Variation (as stipulated in the most recent version of The Production technical guide).
05.
If The Client is hiring The Artist, and The Client cannot provide Sound Facilities; The Artist will out-source sound facilities from External Supplier(s) in accordance with the technical needs and requirements of The Variation (as stipulated in the most recent version of The Production technical guide).
06.
If The Client is hiring The Artist, and The Client cannot provide Sound Facilities; The Artist will out-source sound facilities from External Supplier(s) local to the postcode of The Engagement.
07.
The Supplier(s) agree to provide their own instruments (back line, front line), music stands (where applicable) and music folders (where provided), unless agreed verbally or otherwise between The Supplier(s) and The Manager(s) or The Producer(s) at The Point Of Contract.
08.
The Artist agrees that the instruments and equipment belonging to The Supplier(s) are not available for use by any other individual without written consent of The Supplier(s).
07. LIGHTING & AV
07.01.
For all Hire Agreements, lighting provision is subject to the needs and requirements of The Client. Only if The Client specifically requires global lighting will The Artist out-source lighting facilities from External Supplier(s) in accordance with the lighting needs and requirements of The Client and / or The Venue.
07.02.
If The Artist cannot provide global lighting; The Artist may provide local lighting (e.g., music stand lighting) at the discretion of The Supplier(s) subject to availability and to the lighting conditions of The Venue.
07.03.
Lighting Facilities hereby constitutes both the hire and operation of lighting equipment.
Certification
07.04.
The Manager agrees to make known to The Suppler(s) at The Point Of Enquiry if they require evidence of Public Liability Insurance (P.L.I.) certification as a mandatory condition of hiring The Supplier(s).
07.05.
It is the responsibility of The Producer / The Supplier(s) to provide evidence of Public Liability Insurance (P.L.I.) certification as part of their Membership with the Musicians’ Union (M.U.), Incorporated Society of Musicians (I.S.M.) or equivalent trade union, if it is deemed a mandatory condition of undertaking The Engagement. The Manager accepts no responsibility or liability for any cancellation(s) resulting in a loss of earning(s) occurring as a direct consequence of failing to adhere to this.
07.06.
The Manager agrees to make known to The Supplier(s) at The Point Of Enquiry if they require evidence of Portable Appliance Testing (P.A.T.) certification as a mandatory condition of hiring The Supplier(s).
07.07.
It is the responsibility of The Producer / The Supplier(s) to provide The Manager with evidence of Portable Appliance Testing (P.A.T.) certification if it is deemed a mandatory condition of undertaking The Engagement. The Manager accepts no responsibility or liability for any cancellation(s) resulting in a loss of earning(s) occurring as a direct consequence of failing to adhere to this.
07.08.
The Producer agrees to provide mains electricity from a safe source for the duration of The Engagement, unless agreed between The Client and The Manager verbally or otherwise at The Point Of Contract (e.g., acoustic performances).
07.09.
The Supplier(s) agrees to use equipment of a good standard from a reputable manufacturer that is in a safe and stable condition for the duration of The Engagement.
08. EARLY ARRIVAL
08.01.
Lead Time varies per production, and accounts for the following:
08.01. Arrival
08.02. Set up
08.03. Sound check
08.04. Curfew
08.02.
If The Client stipulates an earlier Lead Time (more than the standard production Lead Time) prior to The Point Of Contract; The Manager will charge a waiting fee based on the number of hours, on the basis that The Supplier(s) are potentially working during standard daytime hours (09:00 – 17:00) on the date(s) or range thereof of The Engagement. This waiting fee varies per production and constitutes a percentage of The Performance Fee only for the constituent Supplier(s).
08.03.
If The Manager stipulates an earlier arrival and set-up time subsequent to The Point Of Contract; The Supplier(s) reserve the right to not fulfil this requirement if it is not within their capability. Reluctance to comply with this requirement will not affect The Contract and its binding terms and conditions listed in section (13).
08.04.
If the actual performance start time is delayed due to a late arrival of The Supplier(s); The Supplier(s) are liable to deduction(s) from The Performance Fee.
09. LATE DEPARTURE
09.01.
Trail Time varies per production, and accounts for the following:
09.01.01. Breakdown
09.01.02. Departure
09.02.
If The Client stipulates a later Trail Time (more than the standard production Lead Time) prior to The Point Of Contract; The Manager will charge a waiting fee based on the number of hours. This waiting fee varies per production constitutes a percentage of The Performance Fee for the constituent supplier(s).
09.03.
If the actual Trail Time extends beyond the contracted Trail Time where The Manager has not charged The Client for a Late Departure) and The Client does elect to pay a Late Departure Charge; the extended length of time will be agreed verbally or otherwise between The Manager and The Supplier(s) at The Point Of Advance, and the actual performance end time will be altered subject to the final discretion of The Manager with respect to the needs and requirements of The Supplier(s).
09.04.
If the actual Trail Time extends beyond the contracted Trail Time (where The Manager has not charged The Client for a Late Departure) and The Client does not elect to pay a Late Departure Charge; The Supplier(s) reserve the right to commence breakdown / departure at any point beyond the contracted performance end time.
09.05.
If the actual Trail Time extends beyond the contracted Trail Time (where The Manager has not charged The Client for a Late Departure) and The Client does not elect to pay a Late Departure Charge; The Producer will act in accordance with the interest(s) of The Supplier(s) who do not consent or express non-consent to a Late Departure regardless of whether The Client offers additional payment on the day or not.
10. EXTENDED DURATION
10.01.
Engagement Time varies per production, and accounts for the cumulative duration of performance set(s) and interval(s) between the following 2 points:
10.01.01. Start
10.01.02. End
10.02.
Performance Time varies per production and is a set number of minutes divided into set(s), with interval(s) between the set(s).
10.03.
Overtime hereby constitutes the difference between the contracted Engagement Duration as stipulated in the written Contract (as representative of The Engagement and its binding terms and conditions) and the actual Engagement Duration that unfolds during its realisation.
10.04.
If the contracted Engagement Time exceeds the maximum Engagement Time (as stipulated in the most recent version of The Production technical guide); The Artist will charge The Client an Extended Duration Charge, constituting a percentage of The Performance Fee according to the length of overtime, charged in addition to The Performance Fee as a whole.
06.
The Performance Fee Time Allocation rule and The Extended Time Charge rule also apply to The Jazz Quartet, The String Quartet and The Guest Artist Support Act(s), although they vary for other Support Act(s) subject to the separate terms and conditions of The External Supplier(s).
07.
Support Act(s) substituting Supplier(s) in The Primary Feature are incorporated into the same Time Allocation as The Primary Feature Time Allocation.
11. REQUESTS & REHEARSALS
10.01.
Special requests options and costs vary per production. See The Production booking guide for full costs and details.
10.02.
The Supplier(s) reserve the right to decline song request(s) if the song request is made after The Point Of Advance.
10.03.
The Supplier(s) reserve the right to decline song request(s) at The Point Of Advance:
10.03.01. If the song request is made at late notice (within 2 weeks of The Engagement date).
10.03.02. If the song request is deemed outside the artistic scope and parameters of The Production subject to the discretion of The Producer.
10.04.
The Supplier(s) reserves the right to decline song request(s) that have not been agreed:
10.01. Contractually (in writing) prior to realisation subject to the discretion of The Supplier(s).
10.02. Verbally or otherwise during realisation subject to the discretion of The Supplier(s).
10.05.
If The Client makes a song request during realisation; The Supplier(s) reserve the right to:
10.05.01. Either, decline the song request.
10.05.02. Or, charge up front for the song request during realisation.
10.06.
A ‘song’ does constitute an autonomous body of music familiar to band member(s) and listeners alike; made known by its respective artist, album and / or genre(s) for its harmony, melody, rhythm, lyric, structure and / or any other distinguishing characteristics; musical, literary and / or otherwise.
10.07.
A ‘song’ does not constitute two or more songs segued / linked together in a medley. Two or more song requests cannot be combined into one song request as part of a medley.