PERFORMANCE CONTRACT RIDER [for bus/touring only]: GET THE LED OUT (revised 17-September-2014) Rider Page i of xii

SRO Artists, Inc.http://www.sroartists.com | gigs@sroartists.comPHONE: (608) 664-8160FAX: (608) 664-8161

PERFORMANCE CONTRACT RIDER: GET THE LED OUT(revised 17-September-2014) page i of xii

Today’s Date Sponsor

Venue Performance Date

Name of Technical Director who has read this rider:

GET THE LED OLUT (GTLO) CONTACTS:

BOOKING AGENT: BAND/TOUR MANAGER:Jeff Laramie Dustin RehrigSRO Artists Inc. DDR Entertainment, LLC6629 University Ave, Suite 206 535 Mildred DriveMiddleton, WI 53562 Walnutport, PA 18088(608)664-8160 (484)357-2648 mobile(608)664-8161 fax e-mail: ddrehrig@gmail.come-mail: jlaramie@sroartists.com

PRODUCTION MGR./SOUND ENGINEER: TOUR MANAGER:Chris Chalfin Dustin Rehrig*(610)349-5124 mobile e-mail: gman03@gmail.com *Cell Phone is best method for contacting Chris

PUBLICIST:Denise Kovalevich(609)828-0048e-mail: denise@dmkpublicity.com

FACEBOOK/GOOGLE ADS:Paul Fariello (215)896-1938e-mail: gtloproductions@aol.com

ANY CHANGES TO THIS RIDER MUST BE MADE IN WRITING AND APPROVED BY ARTISTS’ REPRESENTATIVES.This rider forms an integral part of the attached contract. The rider must be signed and returned with all pages of the contractwithin two weeks of receiving this documentation.

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NOTE: A GTLO show is typically two (2) sets with a 20-minute intermission. A one-set show is also available on request. We askthat all GTLO performances be ALL AGES. Please make your representative aware of any time limitation, curfews or all agerestrictions PRIOR to signing this agreement.

A. BOX OFFICE:1. GTLO requires ALL venues and promoters to allocate no more than 2% of sellable capacity for promotional give-

aways unless authorized by artist representative.2. When returning this rider THE SPONSOR must supply a ticket manifest for all engagements. THE SPONSOR agrees

to sell tickets in accordance with the manifest. THE SPONSOR must confirm the following:a) The total number of tickets to be sold, their prices in advance and on the door. If the engagement is not general

admission, all ticket price variations within the venue must be listed.b) A list of all guest list places and promotional complimentary tickets showing their effect on the grossc) Details of THE SPONSOR ticketing system, box office, agency and credit card commissions.

3. All tickets will be of the “one stub one price” variety, both portions being numbered in the standard manner. THESPONSOR further agrees that there shall be no multiple price tickets printed. Should this be violated THE SPONSORagrees that he will be liable for the agreed number of tickets sold at the highest price printed on each ticket.

4. All ticket stubs, unsold tickets and pre-sales print outs will be available for inspection no later than hour prior to theopening of house doors.

5. All ticket stubs will be collected for later inspection at all points of entry.6. GTLO requires all venues and promoters to submit final box office numbers to Pollstar within one (1) week following

your show. Use only the official Pollstar Boxoffice Form at http://www.pollstarpro.com/Please include all ticket information and web-site access for use on the GTLO web site.

Facility Web-Site Address

Facility Box Office Number

Charge By Phone (TicketMaster, etc.)

B. BILLING:Billing for all advertising, marketing materials, announcements, Marquees etc., shall be billed as follows:

(100% size) GET THE LED OUTNo other billing arrangements will be acceptable.If a tag line is to be used, the following may be added:

(30% size) The American Led ZeppelinNote: If this is the first visit by the band to your city/venue, use of the tag line in all advertising is mandatory.Use of band web site and/or a link to band web site www.gtlorocks.com is mandatory in all web based advertising.

C. MARKETING:As a part of the standard marketing strategies (i.e. print ads, radio spots, tv spots, email blasts, social media, etc.,) a budget of upto $500 should always be allocated for utilizing Facebook, Google Adwords, and various other online marketing as a specificmarketing component.

We’ve found that one of the most effective ways to optimize our shows’ marketing budgets is to put a good percentage of theallocated dollars into an online promotional campaign to compliment the overall marketing plan.

The results of online campaigns are proven impressions and trackable clicks to the show’s ‘deep URL’ within your web site orticketing page.

Have your venue’s marketing person connect with GTLO Facebook/Google Ads contact to arrange a scalable internetmarketing campaign for your show: Paul Feriello, gtloproductions@aol.com, (215)896-1938.

By collaborating directly with the band’s marketing team, they’ll be able to customize a plan within the budget you’ve allottedfor advertising, and ensures minimal waste on items that have very little return to growing the awareness of the show to theband’s specified, targeted market.

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For example, one of our standard Facebook promotions is a targeted post that includes the who, when, and where of the show,along with the new Get The Led Out promo video, and a direct link to ticketing. It’s designed to reach, but not limited to, fans ofLed Zeppelin, classic rock, and of course the contracted venue. This campaign on average reaches a minimum of 100,000 people(as a paid promotion). It has proven extremely effective (as opposed to a generic, non-promoted/boosted wall post)

This approach ensures the greatest online awareness of the upcoming Get The Led Out performance in your venue. Receipts,and all documentation of said campaign, will be provided for the sponsor at settlement for reimbursement.

D. PHOTO, SOUND RECORDING, VIDEO:GTLO reserves the exclusive right to audio and/or video record their performance(s) directly from the board and/or additionallocations in the house and retains 100% rights to the distribution of the recorded music and/or video recordings of theirperformance(s). Further, no fees will be paid nor will any fees be assigned as house expenses in connection with the recording ofthe performance. Rights to audio and/or video recording, or distributed recordings of the performance by the promoter or house,must be negotiated in a separate document to which GTLO retains the right to agree or reject without prejudice to the agreementto perform or fees paid for performance.

E. OPENING ACTS:There shall be NO opening act for GTLO under any circumstances unless first approved by the band through theirrepresentative, Jeff Laramie at SRO Artists Inc. NO EXCEPTIONS*. A typical GTLO concert consists of an extensivesoundcheck. All mic’s and settings have to remain unmoved/unchanged between soundcheck and performance. *This does notinclude festival concerts where there may be multiple acts throughout the course of the event.

F. MERCHANDISING:Artist reserves the right to sell all formats of recording and other materials. Sponsor will provide a well-lit space and table.Artist or Artist’s licensee shall have the sole right to sell, advertise, promote and distribute prior to, during and after theperformance any and all merchandise bearing the Artist’s name and/or likeness, including but not limited to souvenir programbooks, pictures, posters, stickers, records, tapes, CDs, and items of clothing, etc. All receipts derived from the sale of saidmerchandise belong solely to the Artist.1. THE SPONSOR shall provide three (3), 6’ long by 30” wide, laminate-top tables set up in a convenient location for display

and sale of merchandise AND for a meet-and-greet between band and fans following the show.2. Artist’s representative will conduct an inventory of all merchandise prior to any sale and again at the close of all sales.

G. HOTEL:WHEN SPONSOR is providing hotel, the hotel must be of a quality of Business Class or above, with eleven (11) single roomsprovided. Of those rooms two (2) should be smoking permitted when available. Hotel should be in close proximity of venue withadequate parking for tour vehicles, and one (1) large truck, have on-site restaurant and room service capability. A map of hotellocation must be provided.

H. TRANSPORTATION:1. THE SPONSOR will provide a map of performance-city and surrounding area. Map must show location of venue, hotel and

airport. Also directions to the venue and hotel from the expressway and clear indications of venue loading and parkingareas.

2. ARTIST travels with one (1) 45’ tour bus and trailer. THE SPONSOR must provide parking permits either at loadingdock or immediately adjacent to facility for ALL band vehicles. If parking areas are serviced by meters, it is theresponsibility of SPONSOR to plug meters for the full duration of use for the load in, performance and load-out.

3. THE SPONSOR must provide access to loading dock or main doors nearest to performance stage for load-in.4. THE SPONSOR must provide transportation to and from venue and hotel for GTLO bus driver. If runner is provided for

this task, runner must be responsible and sober at all times when transporting a member of GTLO crew.

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I. INSTRUCTIONS FOR PROMOTER AND STAFF:1. THE SPONSOR agree that he/she will not commit Artist to any personal appearances, inter-views or any type of promotion

or appearance without prior consent of Artists or Artists’ representative at least 72-hours prior to performance date.2. THE SPONSOR shall make available thirty (30) complimentary seats per show to Artists for their use. Seats must be in

preferred locations and Artists and/or their representative will contact box office no later than the afternoon of theperformance as to how many or if all complimentary tickets will be used. Please note that the band uses comp tickets intrade for street level publicity and marketing of each event.

3. THE SPONSOR shall not allow audience to enter concert hall until technical set-up has been completed. Artists shallcomplete said set-up ninety (90) minutes prior to performance time, provided there are no technical problems beyond theircontrol. If technical problems do occur that are beyond the control of Artists, Artists shall not be liable for THE SPONSORlosses in case concert is delayed or canceled.

4. No background music taped or otherwise, shall be played before or after the performance without approval of artists. Artistswill provide and play music on CD appropriate for their audience. GTLO will have control over ALL TV SETS in venueduring load-in, sound-check and performance. Except for situations when the performance is broadcast via closed-circuit inthe venue, ALL TVs WILL BE TURNED OFF DURING PERFORMANCES

5. THE SPONSOR shall furnish and supply at his/her sole cost all necessary permits, licenses and authorizations from any andall government agencies, bureaus and departments, Federal, State and local.

6. THE SPONSOR agrees to pay all Federal, State and local amusement taxes and to indemnify and hold Artists harmless frompayment of such taxes.

7. Artists request that all shows be “all ages” and advertised as such. If all ages are not possible, then artists request that theshow be 18+. Please notify artist’s representative if this is a problem.

8. FINAL PAYMENTS: The amount of the Guarantee balance due stated on the attached Contract Face shall be given toArtist prior to performance. When applicable, additional bonuses or points earned by Artist shall be paid at settlement.

9. SETTLEMENT: At the time of settlement, Sponsor must provide a detailed accounting of all expenses, and for advertisingmust include receipts, sample print ads, social media buys and click-through validation, radio buys, printing and/or anyother advertising costs associated with this specific show. GTLO reserves the right to dispute any advertising costs that arenot verified at the settlement and deduct that amount from overall show expenses. IN ALL CASES, SETTLEMENTSHALL BE BASED ON THE STATED BUDGETED AMOUNT ON THE FACE OF THIS CONTRACT ANDATTACHED BUDGET, OR ACTUAL EXPENSES VERIFIED AT SETTLEMENT, WHICHEVER IS LESS.

J. PRODUCTION OFFICE:THE SPONSOR will provide one (1) room at stage level within easy reach of the stage but to be secluded enough so as not to beunusable during the performance. The room should be well-lit and clean with: wastebaskets; two (2) tables with chairs; one (1)telephone line; internet access; and one (1) fax line.

All contacts and phone numbers should be sent to Dustin Rehrig, by phone (484)357-2648, or e-mail ddrehrig@gmail.com

K. DRESSING ROOMS:1. A minimum of three (3) clean dressing rooms must be available for artist sole use.2. Tables and comfortable chairs for 15 people.3. One (1) sink with hot & cold running water.4. Four (4) A/C electrical outlets.5. Dressing rooms must be locked or guarded to ensure safety of Artists belongings.

L. TOILETS:THE SPONSOR agrees to provide a backstage toilet for the exclusive use of THE ARTIST. On no account is THE ARTIST tobe expected to use public toilets or to walk through public area in order to use toilet facilities.

M. SHOWERS:Please note that THE ARTIST may be traveling overnight after each show. All members of the touring party will need to showerat the end of the working day. We will need two (2) working showers with hot running water. Where showers are not availablein the venue a day room at a local hotel must be provided.

N. TOWELS:Twelve (12) dark, clean FACE towels and eighteen (18) clean BATH size towels, as well as washcloths, available at load in.

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O. STAGE:Stage size minimum 40’ w x 32’ d (40-feet wide by 32-feet deep) of unobstructed performance space (not to include wings orstage apron). No corner stages are acceptable1. Promoter must indicate EXACT stage size here: __________________________________2. Stage and risers must be completely cleared of any excess equipment and swept clean prior to Artists’ arrival with the

exception of monitors and required cabling.3. If venue is outdoors, stage must be protected from sun, wind and rain.4. Generators must be of an enclosed crystal-controlled professional type, properly grounded.

P. RISERS:ALL PROMOTERS, PRODUCTION MANAGERS: PLEASE ADVANCE WITH PRODUCTION MANAGER,Chris Chalfin (610)349-5124. We require Drum and Keyboard Risers for EVERY show where the stage is large enough toaccommodate. The required riser sizes are -

DRUMS: 12’ wide x 8’ deep x 24” highKEYBOARDS: 8’ wide x 8’ deep x 12” high

Q. HOUSE LIGHTS:The house lights operator should be in position and on headset ten (10) minutes prior to the advertised show time. He / Sheshould consult with the GTLO Stage Manager prior to “Doors” as to the evenings lighting cues.

R. LOCAL LABOR:Unless otherwise noted, GTLO will travel with its own professional FOH Sound, Monitor Engineer, and Lighting Director.These engineers will have access to, and authority to, inspect and operate all elements of the sound and the light systems fromload-in to load-out, and will operate the FOH, Monitor, and Lighting consoles during the performance.

SPONSOR shall be required to provide able, sober and responsible crew for all load-in, running of show and load-out tasks.GTLO Road Manager has authority to direct, dismiss or cause to replace at SPONSOR cost, any and all local labor crew at hissole discretion if he deems that any crew provided is impaired (by means of alcohol or drugs) and/or unable to perform theirtasks as directed.

SPONSOR shall provide:1. Four (4) to Six (6) able, sober and responsible stage hands for load-in and load-out. GTLO RE-SERVES THE RIGHT

TO CHARGE THE SPONSOR $200 FOR EACH LOADER THAT FALLS SHORT OF OUR MINIMUMREQUIREMENT OF 4 OR $200 FOR EACH LOADER THAT IS NOT SOBER.

2. One (1) knowledgeable, able, sober and responsible stage manager to coordinate stage staff (optional).3. One (1) or two (2) able, sober and responsible sound technicians from load-in through load-out to adequately set-up and

test and tear down house sound and monitor system.4. SPONSOR to provide one (1) lighting director, GTLO technicians will not be responsible for set-up or tear down of

house equipment.

S. ELECTRICAL POWER:AC power distribution should be provided by the sound company and derived from the theater road switch, preferably anisolated transformer separate from lighting system connections. It must be of appropriate amperage to properly power the soundsystem as well as provide the AC power for the performers as indicated on stage plot. The distribution system must be properlygrounded.*

1. *See the technical portion of this rider for details.2. One (1) 220 volt, 50-amp service accessible to ARTIST bus.

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T. TECHNICAL RIDERThe technical aspects for production will be discussed in advance between ARTIST Production Coordinator and THESPONSORS Production Coordinator/Representative. Cooperation and communication are of the utmost importance inorder to present a high quality show. Any production “surprises” to the Artist may result in cancellation of theperformance.

THE SPONSOR shall not allow audience to enter concert hall until technical set up has been completed and THEARTIST Production Coordinator has given his ok.

All equipment required in this rider must be completely set-up and tested prior to artist/crew’s arrival at the hall. It is extremelyimportant that the entire system is free of hum, ac induced lighting noise, and physical noise from equipment racks. The systemmust be fully functional with all lines run and tested with a phantom powered microphone, prior to the crew’s arrival. Failure tocomply with this requirement could result in a delay or cancellation of performance and shall constitute a breach of contract.From the time of load-in the GTLO engineering staff will have control of the sound system. This includes all walk-in music,intermission and post-show music.

NOTE: IT IS ESSENTIAL THAT YOUR TECHNICAL STAFF ADVANCE WITH THE GTLO CREW. Failure by thepromoter to ensure communication with the tech crew who will be working the show may constitute breach of contract.

One (1) professional sound technician provided by the venue is required, capable of setting up and running system throughoutset-up and sound check as directed. It is essential that the venue sound company/engineer advance the show with the GTLOsound engineer.

U. OPERATION OF SYSTEM:1. Artist engineer shall have complete control of house PA system.2. A competent (and sober) system tech must accompany the system from load-in through load-out.3. Mix position shall be centered when possible, not under balcony or behind other obstructions, which will remove it

from direct throw of house PA.4. Mix position will be adequately secured against intrusion and theft from all sides with one Security personal on hand

from the opening of doors to load out.

V. LIGHTING PATCH/PLOT:The lighting aspects for production will be discussed in advance between ARTIST Production Manager and THESPONSOR’S Lighting Coordinator/Representative. Cooperation and communication are of the utmost importance inorder to present a high quality show. To obtain a copy of the Lighting Patch and Plot, contact Artist ProductionManager.

W. TECHINICAL SPECIFICATIONS AND STAGE PLOT: SEE PAGES vii through xi(if not attached, contact ARTIST PRODUCTION MANAGER, Chris Chalfin (610)349-5124)

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                                             Get the Led Out Last updated August 2014

P.M. / FOH > Chris Chalfin (610) 349-5124 gman03@gmail.com

Tour Manager > Dustin Rehrig (484) 357-2648 ddrehrig@gmail.com

*** GTLO carries the following equipment on all dates except for fly dates***

> All Backline, FOH & Monitor consoles, Cat5 Snake, Sub Snakes, XLR’s, Mic’s, DI’s & Ear Monitors < The following technical specifications have been updated for the current GTLO touring season. They include only those things that we feel are essential to the professional presentation of the show. Any difficulty meeting these specs must be reported to the GTLO Production Staff and any changes made only on their authority. The following production items are to be supplied by the purchaser at no cost to Get the Led Out. Risers: (1) Sturdy 12’ wide X 8’ deep X 24” high drum riser with skirt & steps. (1) Sturdy 8’ wide X 8’ deep X 12” high keyboard riser with skirt. Dry Ice: 100 lbs of dry ice pellets delivered to the stage at time of load in. (Blocks of dry ice are unacceptable as they will not fit in our machine) Labor: GTLO requires (4) sober, English speaking stagehands to assist with load in, set up, tear down, & load out of all backline & audio equipment. As well as (1) audio tech and (1) lighting designer / operator to set up, focus & program lights (our LD will run the show)

Audio – Front of House Main PA: Get The Led Out requires a professional quality name brand front of house PA which is capable of

producing 115db (“A” weighted) of clean, undistorted sound at the very back of the venue. This system must have a frequency response of 30Hz-20kHz. The PA should be flown wherever and whenever possible. Here are the acceptable systems in order of preference: Meyer LEO or LYON - Adamson E-15 or E-12 - Martin MLA - L-Acoustics K1 or K2 - D&B “J” Series - JBL VTX Series (No Vertec please!) Any other PA must be approved prior to final contract signing.

Subs: Our preferred ratio for tops to subs is 3:2 however we will accept 2:1 as a minimum. One of our big

concerns is obtaining even subwoofer coverage. Please do everything possible to avoid the power alley’s and phase cancellation nulls that are created with standard L/R sub stacks. We can discuss our options upon advancing the show.

Fills: Very important! Please provide plenty of front fills and any other fills necessary to assure we have

even coverage throughout the entire audience area. FOH Area: GTLO requires a 8’x8’ Front of House mix area. The location of this area MUST be dead center of

the house and situated somewhere between 75’ – 100’ from the downstage edge. The front of house area is absolutely not to be located in a booth, in a balcony, or underneath a balcony.

PERFORMANCE CONTRACT RIDER [for bus/touring only]: GET THE LED OUT (revised 17-September-2014) Rider Page viii of xii

Get the Led out   Last updated August 2014

P.M. / FOH > Chris Chalfin (610) 349-5124 gman03@gmail.com

Tour Manager > Dustin Rehrig (484) 357-2648 ddrehrig@gmail.com When contacting us please reference the date of your event.

Audio – Monitors Wedges: (2) Professional quality name brand monitors, must be able to produce 115dbA continuously.

Acceptable wedges in order of preference: D&B M2, M4, or M6 - Meyer MJF210 - L-Acoustics 112P - JBL SRX712M

Side Fills: (1) Sub and (1) top box per side. The side fills must be wired in mono.

Acceptable side fills in order of preference: L-Acoustics SB-28 & Arc - D&B B2 & C4 - Meyer 700HP & JM1-P

Amps: We need (2) mixes of power for the wedges + whatever is needed for the mono side fills.

Monitor 1&2 – Key Ears (Andrew) 3&4 – Lead Vocal Ears (Paul S) Mixes: 5&6 – S.L. Gtr Ears (Paul H) 7&8 – Drum Ears (Adam) 9 – 10 – Bass Wedge 11 – 12 – Side Fills (Mono) 13 – 14 – Kicker 15&16 – S.R. Gtr Ears (Jimmy)

Audio – Miscellaneous

Stage Power: (6) Edison Quad Boxes on 3 separate circuits for backline. (See stage plot for placement)

(1) Edison Quad Box for Monitor world. (1) Edison Quad Box at FOH (preferably on the same circuit as monitor world) (2) Edison Quad Boxes for guitar worlds (1 stage left & 1 stage right) (1) 12 Gauge Single or Quad on a 4th dedicated circuit for dry ice machine (Stage Right)

Drive Cables: We don’t carry XLR for FOH or Monitor drives so you will need to get your FOH drives

either to our FOH console or into monitor world & the 2 Monitor drives into monitor world. Mic Stands: (8) Short Tripod Booms, (8) Tall Tripod Booms, (4) Round Base Straits.

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Get the led out Last updated August 2014

Input List Ch. Input Mic / DI Stand Location Sub Snake 1 Kick M-88 Beyer M-88 USC A-1 2 Kick Beta 91A Shure Beta-91A USC A-2 3 Snare Top Telfunken M-80 Short Boom USC A-3 4 Snare Bottom Shure Beta-57A Short Boom USC A-4 5 Hi-Hat KM-184 Short Boom USC A-5 6 Rack Shure Beta 98 Amp Claw USC A-6 7 Rack Trigger Trigger USC A-7 8 Floor – 1 Shure Beta 98 Amp Claw USC A-8 9 Floor – 1 Trigger Trigger USC A-9

10 Floor – 2 Shure Beta 98 Amp Claw USC A-10 11 Floor – 2 Trigger Trigger USC A-11 12 Ride Shure Beta-98 USC A-12 13 OH – S.R. KSM-44 Tall Boom USC B-1 14 OH – S.L. KSM-44 Tall Boom USC B-2 15 Timpani / Timbale (2) Senn. e-604 Short Boom USC B-3 16 Seat (Ramble On) Shure SM-57 Tall Boom USC B-4 17 Drum Pad Radial JDI USC B-5 18 Gong Audix D-4 Claw USC B-6 19 Bongo’s Drop XLR on DSR corner of drum riser USC B-7 20 Tape Machine Radial JDI USL E-7 21 Bass DI Radial JDI USR B-9 22 Bass Mic Beyer M-88 Short Boom USR B-10 23 S.R. Guitar – Mic Senn. MD-421 Short Strait USR B-11 24 S.R. Guitar – DI Radial JDX USR B-12 25 S.L. Guitar – DI Radial JDX USL E-1 26 S.L. Guitar – Mic Senn. MD-421 Short Strait USL E-2 27 S.L. Guitar # 2 – Mic Senn. MD-421 Short Strait USL E-3 28 Top Key – L Radial Pro D8 (1) DSR C-4 29 Top Key – R Radial Pro D8 (2) DSR C-5 30 Bottom Key – L Radial Pro D8 (3) DSR C-6 31 Bottom Key – R Radial Pro D8 (4) DSR C-7 32 Organ – L Radial Pro D8 (5) DSR C-8 33 Organ – R Radial Pro D8 (6) DSR C-9 34 Key – 3 Radial Pro D8 (7) DSR C-10 35 Andrew Acoustic (Keys) Radial Pro D8 (8) DSR C-11 36 Jimmy Acoustic Radial JDI DSR C-12 37 Andrew Acoustic (DSC) Radial J48 DSC D-1 38 Paul Acoustic Radial JDI USL E-4 39 Mando Radial J48 USL E-5 40 Theremin Radial J48 Round Base Strait USL E-6 41 Harp Radial J48 DSC D-5 42 Key Vocal Shure Beta-58A Tall Boom DSR D-6 43 Bass Vocal Shure Beta-58A Tall Boom DSR D-7 44 Lead Vocal Shure Beta-58A Round Base Strait DSC D-8 45 S.L. Guitar Vocal Shure Beta-58A Tall Boom DSL D-9 46 Diana Vocal Shure Beta-58A Round Base Strait DSR D-10 47 Audience – L Shure SM-81 Tall Boom DSL D-11 48 Audience – R Shure SM-81 Tall Boom DSR D-12

PERFORMANCE CONTRACT RIDER [for bus/touring only]: GET THE LED OUT (revised 17-September-2014) Rider Page x of xii

Get the led out Last updated August 2014

P.M. / FOH > Chris Chalfin (610) 349-5124 gman03@gmail.com

Tour Manager > Dustin Rehrig (484) 357-2648 ddrehrig@gmail.com

Lighting (1) 40 Ft. Downstage truss with: (6) Martin Mac Aura Fixtures. (2) RGBW LED truss warmers. (12) Source 4 / 19 degree Leko’s. (6) Source 4 / 26 degree Leko’s. (Only needed if there are no spotlights available) (2) 9-Lite Audience Blinders. (1) 40 Ft. Midstage truss with: (6) Martin Mac Aura Fixtures. (2) RGBW LED truss warmers. (4) Martin Mac 700 Profile fixtures. (2) Racks of Par 46 ACL’s. (2) Martin Atomic 3K Strobes. (1) 40 Ft. Upstage truss with: (6) Martin Mac Aura Fixtures. (2) RGBW LED truss warmers. (5) Martin Mac 700 Profile fixtures. (6) Clay Paky Sharpie fixtures. (3) Racks of Par 46 ACL’s. (3) Martin Atomic 3K Strobes. (6) 4’ Drop down pipes for Sharpies. > RGBW LED Strip Lights to down-light the backdrop. Floor Units: (6) Clay Paky Sharpie fixtures mounted on top of 5’, 8’, & 10’ vertical trusses. (6) RGBW LED Truss warmers. (2) 10’ Sticks of truss w/ floor bases. (2) 8’ Sticks of truss w/ floor bases. (2) 5’ Sticks of truss w/ floor bases. (2) Racks of Par 46 ACL’s. (4) Martin Atomic 3K Strobes. > RGBW LED Strip Lights to up-light the backdrop. Everything Else:

(2) Reel Efx DF-50 Hazers with fans. (2) Spotlights (size depends on venue and throw) Please make sure the spots are a minimum of

25 feet above stage height so they don’t blind the performers. (1) Digital lighting console (Grand MA, Avolite, or Hog) > Adequate digital dimming capability for the entire lighting system. > All motors & rigging or ground support, cabling, & color as necessary. > Clear-Com from the lighting console to the spotlights & house lights is required.

Notes: * We have a 40’ wide x 20’ high backdrop that weighs 40lbs. it can be tied to an upstage

pipe or upstage truss.

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PERFORMANCE CONTRACT RIDER [for bus/touring only]: GET THE LED OUT (revised 17-September-2014) Rider Page xii of xii

X. HOSPITALITY (this clause must be adhered to and cannot be deleted, changed, or bought out):1. The following list consists of drinks, food, and other essential items to be ready at load-in in the “Green Room” (All items

are for GTLO crew and Band members only).

______ Deli Tray - Cold Cuts, Cheese (American and Provolone only) w/ Condiments, Mayo, Mustard, Hot Sauce.Lettuce, tomatoes, peppers, sliced pickles and onions. Sandwich Bread (Whole Wheat, White and Kaiserrolls). Please make sure the Deli Tray will feed at least 10 (ten) people.

______ Fresh vegetable tray.

______ Cheese and cracker tray.

______ 3-Pack of Bumble Bee white albacore tuna, single serving cans.

______ (4) Dannon Lite™ Fit Yogurts in assorted flavors.

______ One (1) Jar Peanut Butter and One (1) Jar Jelly, with loaf of White Bread.

______ Assorted snacks-Potato Chips, Tortilla Chips, Salsa, Mixed Nuts, Assorted Chocolates and One (1) Box ofGranola Bars.

______ One (1) Assorted Fresh Fruit bowl, (Whole Fruit Only).

______ One (1) Case Bottled Domestic Microbrew and One (1) Case of Bottled Miller Lite (No Heineken or Budweiser).

______ Two (2 ) Bottles of Red Wine (Venue Preference).

______ One (1) Bottle of Absolute Vodka and One (1) 32 oz. bottle of Ocean Spray Cranberry Juice.

______ Assortment of Bottled Soda products (Coke, Diet Mountain Dew, Sprite, Ginger Ale and Root Beer), servedcold or with ice.

______ One (1) Case Assorted Sport Drinks such as Gatorade or PowerAde, served cold or with ice.

______ Fresh Brewed Coffee. A selection of Herbal, Green and Black Hot Teas. (Avail throughout the entire day/night.)

______ Four (4) cases of Bottled water;

______ Eighteen (18) Bath towels and Twelve (12) dark, clean face towels for show.

2. At Load-Out:______ Four (4) 20lb bags of ice delivered to bus after show.

______ Two (2) cases of Bottled water deliver to bus after show.

______ Three (3) large pizzas (2 plain and 1 pepperoni) for band and crew served hot and fresh 45-minutes after curtain.

Y. CATERING:

______ DINNER: Twelve (12) HOT meals. No fast food or pizza.If catering is preferred, the following must be provided:1. Hot meal must be provided backstage for Artist and Crew (twelve people) following the sound check.2. Food should be served in a room that is well heated/cooled and in close proximity to dressing area.3. A selection of one fish, meat and pasta with vegetables, potatoes, or rice.4. All meals should include a fresh green salad (dressings on the side) or coleslaw, fresh bread and butter.5. Desert can be a variety of cakes, pies or cookies.

Please provide electric/gas hot plates (to keep food warm).

______ The DINNER portion of this rider may be bought out at a cost $300 cash (twenties please).You MUST make arrangements in advance with the ARTIST production coordinator.

Z. CONTRACT RIDER ACCEPTED:

Sponsor Date

SRO ARTISTS INC for Get The Led Out/GTLO Productions, LLC Date