Tech Rider – Digital Scratch

Tech rider for the Digital Scratch performance.


Pierre Hébert:

Andrea Martignoni :


– Highest quality video projector(s) possible, preferably a HD projector with a HDMI port.

– Projection can be front or rear, as you like.

– Cabling to send HDMI (best) or VGA video signal from an on-stage computer to the videoprojector (wherever the projector is). Note: all video comes from an on stage computer.

-It is not necessary that ther is a screen, a white wall can do.


-1 chair without arms.

– 1 table no less than 4’x 2.5’ (1.5m x .80m), it should be a four legs type of table so that the space underneath is totally open to allows for pedals installation.

– 2 sturdy mike stands with boom (to hold small digital cameras and a little light – not for mikes).

–11 ac oulets;


-One 16mm projector in good working condition.

-A small table approximateli 1 meter x 60cm.

-A light box.

-An assistant to oversee the loop of film while Pierre Hébert is away from the projector.

-A cardboard box approximately 60cm x 60cm x 60cm

-Two chairs.

-2 ac outlets;


– 8 channel Mixer with AUX Effect output that must be positioned beside the musician;
– 2 active D.I. Box ;

-2 audio monitors;
– 1 projector 16 mm with optical sound;
– 2 tables, one of  about 50 x 80 cm and one of about 100  x 60 cm;
– 1 cardboard box;
– 1 assistant to mend the projector during performance
– 6 ac outlets

-1 16mm film splicer (italian type)


Approximately three hours is needed for the technical set up on stage (this is taking for granted that the video projector and the sound system is already up and running). When the venue is available in the afternoon, it is also preferred that the set up be done a few hours ahead of time and that there is a period of one or two hours to relax between set up and performance.
*** IT IS BETTER BY FAR IF WE DO NOT HAVE TO MOVE OR ALTER the SET-UP IN ANY WAY BETWEEN SET-UP AND PERFORMANCE. The performance requires a very tight connection between stage lighting levels, camera placement, and the settings of the onstage computer. These settings are far more delicate than in a more conventional show. Once these has been set, nothing can be moved, the computers cannot be powered off and has to remain connected at all time to an active projector. If moving my things between set-up time and performance time and disconnecting the computer from the proejector is unavoidable, please be advised that time will be needed to recreate the proper arrangement, and an intermission longer than the standard 15 minutes.
*** If there is a choice between a concert venue in which the seats in the house are sloped upward from the stage, and a venue in which the seats on on a flat floor and the performers on an elevated stage, the venue in which the seats in the house are sloped upward from the stage by by far better. Black box type venues with no seats where the audience can either walk around or sit on cushions on the floor is also quite nice.

We have to set up in front of the public so that we can be seen. I usually set up on the right side of the screen and Andrea Martignoni sets up on the left side. The 16mm projector must be set in a central aisle facing the screen and there should be a corridor of free circulation to allow me to easily go back and forth from the projector to the digital setup.

Pierre Hébert carries all the necessary light for the digital set up position. No other lights are needed.

But there should be a low level of light on Andrea Martignoni.

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