5-Specifications.pdf

Procurement Division

Request For Bid (RFB)

Project: Event Production Equipment & Services for Americas 250th Celebration

Ref #: RFB-26-158

August 2023

SPECIFICATIONS

Due to the City’s commitment and contractual obligations with the artists, all equipment and services must strictly adhere to the specifications and requirements as detailed. No substitutions or deviations from the specified equipment are permitted.

1. SCOPE OF WORK

Provide all sound, lighting, stage equipment, backline, and personnel necessary for all concert performers, including but not limited to trusses, risers, backline, technicians to set up and operate the sound and lighting systems, stage lighting, speakers, microphones, sound board, and all related accessories (collectively referred to as “Equipment”).

1.1. Equipment Setup and Removal: Unless otherwise agreed upon by the City, the awarded Bidder is to deliver the Equipment approximately twenty-four (24) hours before the event and set up the Equipment such that the Equipment is fully functional and may be operated safely no later than four (4) hours before the event. Awarded Bidder warrants and shall ensure that the Equipment is fully functional and be used as intended until the final performance is completed. Awarded Bidder shall disassemble and remove all Equipment from the venue within ten (10) hours after the final performance has completed.

1.2. Stage Planning and Layout: The bidder is to collaborate with City personnel in evaluating the venue layout and available space. This collaboration is intended to determine the appropriate audiovisual (AV) configuration that can effectively accommodate the required number of performers, maximize audience viewing experience, and ensure optimal sound quality for the event.

1.3. Stage Structure Assembly: Bidder is to construct a sturdy and safe stage structure using modular stage platforms and risers, ensuring proper alignment and leveling of the components for optimal stability. The assembly process of the stage structure should strictly adhere to the manufacturer's instructions.

1.4. Stage Flooring: Provide a safe and suitable stage flooring. Flooring shall consist of a slip-resistant material that will provide traction and minimize the risk of accidents or falls. Ensure that the stage flooring is securely and evenly constructed, prioritizing a safe surface for performers.

1.5. Truss Installation: The Bidder shall be responsible for the professional installation of a truss system for the concert stage. This truss system will serve as the reliable framework for hanging lighting fixtures, audio equipment, and visual elements. The bidder must accurately calculate and distribute the load-bearing capacity of the truss system to safely support the weight of all Equipment. Additionally, they must ensure proper rigging techniques and secure attachment of the trusses to the stage structure. The installation shall adhere to industry standards and safety regulations to ensure stability, durability, and the prevention of any potential hazards.

1.6. Audio Equipment Rigging: The bidder shall be responsible for the professional installation of audio equipment on the stage. This includes rigging and positioning speakers, microphones, and audio mixing consoles in strategic locations to ensure optimal sound coverage and clarity throughout the venue. The bidder shall consider factors such as speaker placement and dispersion patterns to achieve even and balanced sound distribution. The installation should adhere to industry standards and best practices to deliver high-quality sound performance for the concert.

1.7. Aesthetics and Finishing: The successful bidder shall be responsible for ensuring the aesthetics and finishings of the concert stage they have constructed. This includes coordinating with the Special Events Coordinator to incorporate branding elements, backdrops, multimedia displays, and a title banner spanning the front of the stage. The bidder should make final adjustments to ensure a visually appealing and cohesive stage design that aligns with the event theme and atmosphere. They shall test and optimize all stage elements, including lighting effects, audio levels, and overall functionality, to ensure a seamless integration.

1.8. Coordination with City’s Contracted Music Promoter: The awarded production company shall work closely and collaboratively with the City’s contracted music promoter to ensure that all elements of the artists’ contract riders are fully addressed and adhered to. The production company must participate in all necessary planning meetings, site visits, and communications as directed by the City or its music promoter, and promptly respond to any requests for clarification or additional information regarding rider requirements.

1.9. Change Orders: The City reserves the right to approve change orders to address modifications, additions, or deletions to the specifications and scope of work that may arise before or during the event. Any changes outside the original specifications must be documented and approved in writing by the City prior to implementation. The production company shall promptly accommodate any approved changes and adjust services, equipment, or personnel as necessary to ensure compliance with the updated requirements.

2. EQUIPMENT

2.1. Backline Equipment:

2.1.1. Drums

A. Pearl Drum Kit

B. DW Collector’s Series Kit

C. Multiple snare drums, floor toms, rack toms, kick drums, drum rug/carpet, heavy-duty hardware, drum thrones, pedals, hi-hat stands, cymbals (Zildjian, Paiste), and all necessary accessories.

2.1.2. Keyboards

A. Hammond B3 Organ with Leslie 122 Speaker Cabinet

B. Nord Stage 2 Weighted Keyboard

C. Yamaha CP88 88-key Stage Keyboard (with stand and sustain pedals)

2.1.3. Guitar/Bass

A. Vox AC-30, Fender Twin Reverb, Fender 65 Deluxe Reverb, Quilter or Fender Twin Reverb (Lap Steel), Ampeg SVT Classic, Ampeg 8x10 Cabinet, Fender Tone Master Pro, Gibson J-45 or Martin D-28 Acoustic Guitars, Ernie Ball Stingray or Fender 5-string Bass.

B. Wireless instrument systems (UHF-R, Shure Axient, etc.), instrument belt packs, DI boxes, instrument cables, guitar stands, and accessories.

2.2. Audio Equipment:

2.2.1. Mixing Cables

A. Avid Profile Console (48 inputs, 16 outputs) for FOH and Monitors

B. Allen & Heath CTi 1500 Console

C. DMO Mixrack, DX168 and DX32 Expanders, Lake LM44/26IN Mesa Mode Controller

2.2.2. PA Systems

A. Line-array style PA system (Adamson, D&B, L’Acoustics, JBL VerTec, Meyer Sound, or equivalent) capable of producing 100dB @ 60Hz at FOH.

B. Mains, subs, and front fills on separate sends.

C. 48-channel snake and splitter system, stage boxes, all necessary cabling.

2.2.3. Microphones & Wireless

A. Wired and wireless microphones (Shure Beta 58, SM58, Axient, Telefunken, DPA, AKG, Audio-Technica, etc.)

B. Wireless IEM systems (Shure PSM1000, P10R Bodypacks)

C. Wireless instrument systems (Shure Axient AD4D/AD1)

D. RF antennas, combiners, distribution systems, batteries, and chargers.

2.2.4. Monitors

A. Stage monitors/wedges, powered shout speakers (Behringer Eurolive B205D or similar)

B. Monitor mixing console and associated hardware.

2.3. Lighting Equipment:

2.3.1. Fixtures

A. GrandMA3 Full-Size or Light console for lighting control.

B. Minimum three (3) spotlights with competent operators and Clear Com system.

C. Ultratec Radiance or DF-50 hazers with blower-style fans.

2.3.2. Controls

A. All required cabling and rigging hardware.

2.4. Staging and Rigging:

2.4.1. Stage

A. The stage shall be a minimum of 40 feet wide by 32 feet deep to accommodate headline artist requirements.

B. For additional acts, the stage depth shall be increased by five (5) feet for each support act, as required.

C. The stage shall be elevated at least three (3) feet from ground level.

D. When available, a thrust shall be provided, sized at a minimum of eight (8) feet wide by 16 feet deep, and three (3) feet tall, with a smooth transition to the main stage and no tripping hazards.

E. The stage structure must be sturdy, level, and free of all tripping hazards and obstructions, with OSHA-compliant guardrails along all sides except the downstage edge.

F. The stage must include a minimum of two sets of stairs (stage left and stage right) and at least one ramp (minimum 36 inches wide) from the floor to the stage.

2.4.2. Truss and Roof

A. Aluminum truss system for hanging lighting, audio, and video equipment.

B. Stage roof cover for sun/weather protection.

C. Additional shade/weather protection for FOH, Monitor World, Stage Right Tech area, and merchandise area.

D. 100’x20’ roll of visqueen or equivalent for wet weather protection.

E. Cable ramps for all exposed cabling.

2.5. Power Distribution:

2.5.1. Electrical

A. Minimum nine (9) Edison quad boxes on isolated circuits.

B. Ten (10) dedicated NEMA 5-15/5-20 circuits for stage, FOH, MON, and Guitar World.

C. Generator(s) with sufficient capacity to power all equipment, with backup and operator onsite.

2.6. Video and Visuals:

2.6.1. Backdrop LED Video Wall: Provide a large LED video wall as the main stage backdrop for multimedia displays and branding, with dedicated HDMI or SDI tie-in at FOH (Front of House). The backdrop LED wall shall have a minimum measurement of 20 feet wide by 10 feet tall and utilize a 16:9 aspect ratio for optimal viewing and content display. The wall must be securely mounted or integrated into the stage truss system, elevated as appropriate for audience visibility, and must not require the use of a boom truck for installation due to venue constraints. All mounting and rigging must comply with industry safety standards and be suitable for outdoor use.

2.6.2. Side Stage LED Video Walls: Provide two (2) LED video walls, one on each side of the stage, each with a minimum measurement of 12 feet wide by 16 feet tall. These side walls must be mounted or fully integrated into the truss system and elevated to ensure clear sightlines for the audience. The use of boom trucks or similar lifting equipment is prohibited for permanent installation, due to limited space in the stadium backhouse area. All mounting hardware and rigging must be designed for safe, stable, and efficient installation and removal.

2.6.3. IMAG System

A. Stationary and moving cameras, operators, and projection for audience areas further than 150 feet from stage (if required by artist).

2.7. Personnel:

2.7.1. Technical Staff

A. Qualified technicians for audio, lighting, backline, and stage management.

B. Minimum eight (8) stagehands for load-in and load-out.

C. Lighting and FOH engineers, monitor engineers, and competent operators for all technical systems.

2.8. Contingency and Safety:

2.8.1. Weather Protection

A. Tarps, visqueen, tenting, and wind/rain walls for all outdoor technical areas.

2.8.2. Backup Equipment

A. Sufficient backup equipment and batteries for uninterrupted service.