HEAT AND COLD, ENERGY GENERATORS 

Several million years ago, gigantic storms raged through the earth's nascent atmosphere.

Even today, air is unevenly heated by the sun's rays according to the planet's curve and the tilt of its rotational axis, and is in continual motion, constantly seeking equilibrium.

This incessant collision between the masses of hot and cold air causes violent tropical storms, thunderstorms, varying winds, uneven spreads of rainfall...

From the beginning of life, each being is rocked from birth to death by the sighing of the winds, by the beating of the rain on the leaves, on the tile or metal, by the rhythmic lapping of the ocean waves, but also terrorised at times by the tempest's roar and the fork of lightning.

Each of us retains in the innermost part of our body, itself heated precisely to thirty-seven degrees, the memory of this constant interaction between heat and cold.

THERMAL CHANTS

The Thermal Chants are the direct reflection of this permanent confrontation, by the illustration of combustion's multiple expressions of sound.

Their purpose is, in effect, to create a range of vibrations capable of aligning themselves in sympathetic harmonies in accordance with frequencies, or indeed conversely arranging themselves in opposition to produce drumming sounds, etc.

It is about finding a unifying theme between the vibrations of fire and the various expressions of sound linked to life's activities: not just birdsong and the songs of wolves and whales but also those of humans, including sighs, breathing...

The rhythms and puffing of engines, of thermal machines are not excluded from this epic thermal saga...

Bibliography

Gaston Bachelard: "Psychanalyse du feu" (Psychoanalysis of fire)

Jacques Atlan: "Entre le Cristal et la Fumée"  (Seuil) (Between crystal and smoke)

Jean Pierre Dupuy: "Ordre et désordre" Seuil (Order and disorder)

THE EVENT

Each "Thermal Chant" is a creative work that is organised in accordance with a project and the characteristics of a given venue.

A visit to the proposed site is usually essential.

The technical and financial terms and conditions depend on the choices made in mutual agreement with the organiser.

Their general characteristics are as follows:

The performances take place at night or at dusk, at the earliest.
Inside factories, in grottos and in dark locations, a daytime performance is possible. 
Depending on the size of the audience, a sound system is not always essential.
Performances last an average of forty-five minutes or may be longer depending on any guest artists that may be appearing.

A joint performance with other acts (adult or youth choirs, but also actors, narrators, a DJ, etc.) can be considered provided that the notions of "breath" and energy are emphasised.

In such cases, the Fire Organ can be used as a catalyst enabling different sound interactions to occur. 

Allow time for prior installation of the equipment, a minimum of one day and one evening for rehearsals.


BASIC TEAM: 3 to 4 people.

Two people for the thermal instruments.
One sound engineer. 
One assistant.

 GENERAL PRACTICAL INFORMATION AND REQUIREMENTS:
The thermal instruments are composed of six separate metallic structures. The Fire Organ structure (frontage of 7 metres, depth of 3 metres and height of 9 metres) supports around 200 stainless steel tubes of differing lengths and diameters.

Overall transport volume: 7 to 10 cubic metres (subject to variation)
Weight: 1,500 kg (subject to variation)


Security:
Secure parking facilities must be provided for the two transport vans (hot-air balloon gas cylinders transported) from our arrival until our departure. The stage must also have security guarding at night, as soon as we set up, and during the day at mealtimes.

There will be a 5-metre clearance space between the stage and the public. The organiser must also provide a minimum of security staff during the show and prohibit public access to the stage.

Public lighting:
In built-up areas, it is the organiser's responsibility to ensure public lighting causing visual interference is turned off for the duration of the show.

Required personnel:
2 people provided by the organiser for unloading and loading, the latter to be carried out immediately after the show.


FINANCIAL TERMS AND CONDITIONS:
Our quotations include:

A visit to the proposed site (in France only). 
Design and installation of the creative work. 
Transport for the team and thermal instruments. 
Gas supply.
All microphones, excluding connectors.
The team's salaries and social security contributions. 

They do not include:

Stage hire and set-up.
Sound system rental.
Electricity supply.
Security guarding.
Our team's accommodation locally.

TECHNICAL RIDER

Summary:

- Timings.
- Stage.
- Electrical circuits.
- Front of house.
- Monitors.
- List of our microphones.


In this section, we hope to provide you with all the information required for correctly understanding the technical rider, which constitutes an integral part of the contract.


TIMINGS AND INSTALLATIONS:
Installation and set-up:
Depending on the event in question, the sound check must be carried out the day before the show. On an ordinary stage, it takes about 6 hours to set up the thermal instruments and the gas lines and to position the microphones. A typical installation would be:

- Day 1: Stage set-up. Evening arrival of the "Thermal Chants" team.
- Day 2: Installation of the thermal instruments and the general technical equipment (sound and lighting). Evening sound check.
- Day 3: Performance of the show

Sound check:
The organiser must ensure that the sound engineer can carry out an uninterrupted sound check for about 1 hour 30 minutes or perhaps for longer depending on the guest artists... No unauthorised personnel may access the stage during the sound check and a minimum of silence is required.

Sharing the mixing table:
If the Fire Organ has to share the mixing console with other artists or acts, no audio channels will be shared unless the console has an automatic memory feature.
If this type of console is not available, the mixing table must have a sufficient number of channels or there must be two mixing tables in order to safeguard each user's settings.
No other formation will be authorised in using the sound equipment without prior permission of the Thermal Chants representative.

Access authorisation:
From installation to dismantling, the thermal chants sound engineer and his assistants will have full access and total control of operations concerning the electrical equipment and the P.A. system.
The stage manager must be available at all times in order to facilitate access to all areas and to check activation and deactivation of the electrical circuits.

STAGE:
A typical stage, for all the thermal instruments, must measure a minimum of 20 metres facade by 6 metres depth and be positioned at least 1.20 metres above ground level. One or two stairways are required. The stage should be ready (mounted and equipped) the day the Fire Organ team arrives.


ELECTRICAL CIRCUITS:
For the sound, stage and lighting, dedicated circuits connected to independent circuit breakers are required.
The lighting must not be supplied on the same circuit as that of the sound.
European Standard schuko-style sockets of 220v 50Hz 30A, connected to circuit breakers, must be available in two onstage locations (cf. stage plan for details).


FRONT OF HOUSE:
The mixing table will be placed between the 2 sound systems at a distance of approximately 30/40 metres from the stage on the same level as the public or 60 cm higher at the most.

Sound level:
The sound system must be of professional quality. The system must be in stereo and supplied by quality amplifiers; it must be a 3-way system and reinforced in the sub-bass range.
In fact, the Fire Organ naturally produces sounds of very low frequency and consequently 50% more subwoofers are required.

The loudspeakers and the sound system must be capable of producing a sound level of 100 dBa with a frequency response of 40Hz to 18KHz with regard to the mixing console.
Preferences: L-acoustics, D&B, Clair brothers, EV, Meyer.
Under no circumstances must the speakers be placed on the main stage. As a minimum, they must be one metre forward of the stage.

Front fills:
3 to 5 "front-fill" speakers (depending on the stage) with independent amplification must be installed on an independent auxiliary circuit or on the matrices.

Front of house mixing table:
A mixing table of 32 or 40x8 channels is required (depending on artistic considerations) with 4 parametric equaliser bands, 8 aux., 8 sub-groups or VCAs, 4 mute groups and 4 auxiliary returns.
Recommended table: Amek, Midas, yamaha.
No digital consoles without a correction stage and direct access auxiliary buses for each channel (e.g. Yamaha PM5D).

Front of house rack:
- 3 31-band equalisers per one-third octaves (e.g.: Klark-Teknik, White, BSS, DBX, EMO, Ashley).
- 2 DBX 160
- 4 DBX 1066
- 2 Drawmer DL241
- 1 Yamaha SPX990.
- 1 Yamaha D1500 or Roland SDE3000.
- 1 Lexicon PCM91.
- 1 Lexicon 300 or 200 or PCM81 or Sony R7.
- 1 CD player.


MONITORS:
2 quality stage monitors type : L-acoustics, D&B, Clair brothers, EV, JBL, Nexo, Martin.
Possibly, depending on guest acts ... Michel Moglia will work with his own ear-monitors
- 1 31-band equaliser per one-third octaves dedicated to auxiliaries 7 and 8 (e.g.: Klark-Teknik DN360, BSS DPR966)

CONTROL DESK RADIO LINK: INTERCOMS:
HF full duplex link between front of house control desk & PAD (cf. stage plan for PAD positions).
A "talk-back" microphone on FOH (capable of being sent to auxiliaries 7 and 8)



PATCH MICROPHONES (supplied, therefore included in the quotation, including stands but excluding connectors)
I N P U T S :
IN INSTRUMENT MIC TYPE INSERT
1 ORGUE A FEU (bass 1) RE 20 DBX160 - 1
2 ORGUE A FEU (bass 2) RE 20 DBX160 - 2
3 ORGUE A FEU T Bone EM 800  
4 ORGUE A FEU T Bone EM 800  
5 ORGUE A FEU T Bone EM 800  
6 ORGUE A FEU T Bone EM 800  
7 ORGUE A FEU (bass in the middle) M 201 TG Beyerdynamic DBX1066 - 1 (left)
8 ORGUE A FEU (bass in the middle) M 201 TG Beyerdynamic DBX1066 - 1 (right)
9 ORGUE A FEU T Bone EM 800  
10 ORGUE A FEU T Bone EM 800  
11 ORGUE A FEU T Bone EM 800  
12 ORGUE A FEU T Bone EM 800  
13 ORGUE A FEU (over heads) T Bone SC 180  
14 ORGUE A FEU (over heads) T Bone SC 180  
15 FLUTES THERMIQUES Schoeps  
16 FLUTES THERMIQUES (and gong) Schoeps  
17 CONTINUO AKG C 214  
18 CONTINUO AKG C 214  
19 BALANCIERS THERMIQUES SM 57  
20 BALANCIERS THERMIQUES SM 57  
21 PERCUS THERMIQUES N/D 868  
22 PERCUS THERMIQUES N/D 868  
23 PERCUS THERMIQUES M 201 TG Beyerdynamic 
24 PERCUS THERMIQUES M 201 TG Beyerdynamic 
25 PERCUS AUTO AKG C 214  
26 PERCUS AUTO AKG C 214  
27 PERCUS AUTO AKG C 214  
28 PERCUS AUTO AKG C 214  
29 PHASE LIQUIDE AKG D 202 ES Drawmer DL241 (left)
30 PHASE LIQUIDE AKG D 202 ES Drawmer DL241 (right)
31 STAGE INSTRUMENTS MIX BALANCED OUTPUT  
32 STAGE INSTRUMENTS MIX BALANCED OUTPUT 
33 FX RETURN  
34 FX RETURN  
35 FX RETURN  
36 FX RETURN  
37 FX RETURN  

G R O U P S :
1-2 ORGUE A FEU DBX1066 - 2
3-4 PERCUS THERMIQUES DBX1066 - 3
5-8 PERCUS AUTO DBX1066 - 4
7-8 MIX  

SAFETY

For safety reasons, depending on the various stage layouts connected to the production, each thermal instrument is equipped with its own propane gas cylinder directly at hand. This allows the burners of the different instruments to be instantly lit or extinguished in accordance with their usage. Not all the instruments are in use at the same time.

Each (stainless steel) hot-air balloon cylinder is equipped with a safety valve in the event of excessive pressure.

Cylinders tested on 15.09.03. Certificate of approval: AUTHORIZED RELEASE CERTIFICATE JAA FORM ONE approval U-NE 53. These cylinders, which are always maintained in a vertical position, are secured by a strap fixed to the base of each appliance.

The outlets are fitted with a quick-release fail-safe nozzle.

The factory-crimped hoses can withstand pressure much beyond that linked to the use of propane gas: (between 200 and 400 bars!). General length is three metres.

Onstage, one team member is specifically responsible for monitoring the correct operation of the pilot lights of the instruments in use during the show.

Nobody may access the stage without prior authorisation; after identification of "sensitive" areas, certain permitted pathways will be defined.

A space of a minimum of 5 metres separates the audience from the thermal instruments...

The space where the thermal instruments are located must have nighttime security guarding.