Clearly AC/DC are calling all the shots at any show they do. The guy behind the mixing desk works for the band and is on board with their idea of how they should sound live. They pretty much carry their own production wherever they go (via dB Sound) and in any case where they don't, they hire racks and stacks from official EV X-Array providers and bring their own desks, outboard gear, mics, etc.
But you don't need to be at AC/DC's level to have and enforce a contract rider with respect to production. Once the buyer signs the contract they're legally bound to uphold their side of it. Hell, I play in a local cover band and our contract has been deemed to be legally binding in court (after a conflict with a buyer) and I have used it to coerce an uncooperative production company into doing what it states: i.e. that we have 100% control of PA and lighting during our performance.
Now noise ordinances might be a difference ball of wax, but we don't have any around here so we haven't run up against them, though I know there are situations where those rules get bent too.
Funny story: Years ago, I was mixing Buddy Guy in a theatre in Maine which had a "strict" 95dB limit at FOH enforced by the administration at the university who owned the venue. Exceeding it resulted in a pretty large fine. During soundcheck, the first chord from Buddy's guitar hit 105dB on the meter they had on a pole at FOH position, before I had even turned the PA on. This resulted in several official looking people in suits descending on me like flies and a conversation that went like this:
Suit: "We have a 95dB SPL limit, you're way too loud!"
Me (chuckling): "Well, that's just his guitar amp, the PA isn't even on yet."
Suit: "Oh well, you have to tell him to turn down, then."
Me: "With all due respect, if you want to tell BG to turn down, do it yourself because I'm not doing it and trust me, that's going to go over like a fart in church. They'll probably blow off the gig."
After that, I opined that no one who was coming to this show would be surprised or offended by the SPL. They scurried off and talked to BG's tour manager and then disappeared for a bit. They came back about 30 minutes later with a temporary amendment to the bylaw, allowing the show to exceed the limits. They actually posted a notice at FOH and on the doors. I mixed the show at an appropriate level and BG's tour manager and the man himself (who wandered around the crowd quite a bit during the show) said that the sound was excellent. No one in the audience complained.
But you don't need to be at AC/DC's level to have and enforce a contract rider with respect to production. Once the buyer signs the contract they're legally bound to uphold their side of it. Hell, I play in a local cover band and our contract has been deemed to be legally binding in court (after a conflict with a buyer) and I have used it to coerce an uncooperative production company into doing what it states: i.e. that we have 100% control of PA and lighting during our performance.
Now noise ordinances might be a difference ball of wax, but we don't have any around here so we haven't run up against them, though I know there are situations where those rules get bent too.
Funny story: Years ago, I was mixing Buddy Guy in a theatre in Maine which had a "strict" 95dB limit at FOH enforced by the administration at the university who owned the venue. Exceeding it resulted in a pretty large fine. During soundcheck, the first chord from Buddy's guitar hit 105dB on the meter they had on a pole at FOH position, before I had even turned the PA on. This resulted in several official looking people in suits descending on me like flies and a conversation that went like this:
Suit: "We have a 95dB SPL limit, you're way too loud!"
Me (chuckling): "Well, that's just his guitar amp, the PA isn't even on yet."
Suit: "Oh well, you have to tell him to turn down, then."
Me: "With all due respect, if you want to tell BG to turn down, do it yourself because I'm not doing it and trust me, that's going to go over like a fart in church. They'll probably blow off the gig."
After that, I opined that no one who was coming to this show would be surprised or offended by the SPL. They scurried off and talked to BG's tour manager and then disappeared for a bit. They came back about 30 minutes later with a temporary amendment to the bylaw, allowing the show to exceed the limits. They actually posted a notice at FOH and on the doors. I mixed the show at an appropriate level and BG's tour manager and the man himself (who wandered around the crowd quite a bit during the show) said that the sound was excellent. No one in the audience complained.
