The following is a partial list of items Pamela Z generally carries with her for use in her live performances. (See tech requirements for items the venue or presenter must provide.)
Pamela Z provides her own:
- microphone(s) – Neumann KMS 105 and/or DPS headset mic with Sennheiser wireless transmitter and reciever.
- 2 Apple computers (Mac Book Pro) w/ MAX MSP and Isadora software.
- In Degrees faders and pedal pod
- various gesture activated MIDI controller(s) including the Nº UTM Ultrasonic controller, and SensorPlay wireless controllers.
- MOTU Ultralite firewire audio interface.
- various found objects
– sometimes amplified with piezo contact mics.
- for local engagements (San Francisco Bay
Area), if necessary, she can also provide a small PA consisting of two powered
Speakers on "Ultimate Support" stands resulting in a self-contained
sound system run by the performer on stage.
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Pamela Z's technical needs vary depending
on the venue and the program being performed. For most engagements (basic solo voice & electronics concerts), she will
require sound reinforcement as detailed below. In some cases (i.e. small venues
within driving distance of her home base) she may provide her own P.A. for an additional
fee. And for more technically complex productions (i.e. large-scale, theatrical, multi-media performance
works) she may require additional lighting and audio/visual equipment and operators and additional load-in/set-up and tech time.
Technical riders specific to those works are available upon request. NOTE: Pamela Z prefers to work in a smoke-free environment.
For Basic Solo Voice & Electronics (and video) Performances:
Load-in & Set-up time: 45 - 60 minutes
Sound-check & tech time: 25 - 50 minutes (depending on complexity of show)
The following is a list of technical requirements (items to be provided
by the venue or presenter):
- a sound engineer familiar with
the in-house equipment.
- a stereo PA system with 2 available
inputs (a stereo pair). (PZ can also work in multiple audio channels if the venue is configured to support that.)
- a snake or a pair of cables to
reach from the performing area to sound board. (Or enough cables to support a multi-channel configuration.)
- direct boxes (DIs) will be needed
if your inputs are XLR (PZ's outputs are 1/4 inch).
- speakers should be downstage of
the performer or angled so that they do not feedback into the performer's
microphone due to heightened feedback problems associated with live processing.
- adequate monitoring (in some houses,
the sound from the mains might suffice.)
- grounded AC power on or near the
stage. NOTE: For performances outside the United States, appropriate transformers
and/or adapters will be needed to convert the power to interface with standard
American equipment. (Alternating Current, 60hz, 110-120v, standard American
3-prong grounded plug)
- for performances outside of driving
distance from San Francisco, a microphone stand (tri-pod style preferred)
- a small table to elevate her equipment on stage. (In some cases a chair will also be required.)
- for performances that include video:
- a projector (beamer) – preferably at least 2000 Lumen – and a projection surface
- an HDMI or VGA cable long enough to reach from the artist's onstage computer to the projector.
- rear projection is preferred when possible, and it's preferable to have the projected image within the same visual field as the artist (rather than above her head or off to one side)
- lighting should be adjusted so that the artist is well-lit without spilling light on the video projection.
- a small desk-height table (approx 26" - 30" h, with surface area at least 18" x 30") In some cases a chair will also be required.
- drinking water
- adequately lit dressing area with mirror
- a secure place for storing personal effects