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Open Source Orchestra — Devcon 8 Music Space Rider (copy edition)

🎼 OPEN SOURCE ORCHESTRA — Technical Rider & Instrument List

Devcon 8 · JIO World Convention Centre, Mumbai · November 3–6, 2026 Culture Track · DIP #8576

Stewards: Shaka Lei Kaumaka (@Shakaleikaumaka) · Alaska (@Alaskaisprettyokay) · Aakash (@jaiswalraj03014) · Tomo (@tomosaito) · Open Source Orchestra Team (@opensourceorch) … many more

Sanctuary Tech: a circular, non-directional, conductorless stage. The instruments are permissionless. The music stage is a sanctuary.

Rider version: v1.3-draft · 2026-07-27 · prepared by the AI ʻohana (RIDEOSO 📋🎻) for the Music Space Committee · merged with OSO v0 The Instruments of the Circle (see Annex A) License: CC0 — public domain. Fork this rider like crazy. 🍴

Status legend (radical honesty)

Tag	Meaning
✅ CONFIRMED	Locked: stated in the DIP / published Devcon facts / committee decision
🔵 PROPOSED	Our recommendation to the committee — not yet approved
🟠 TBD	Open question — needs committee, Devcon production, or venue answer

Everything in this rider is 🔵 PROPOSED unless explicitly tagged otherwise. The rider never claims what isn't locked.

0 · Event facts

Fact	Status
Devcon 8, Mumbai — November 3–6, 2026	✅ CONFIRMED
JIO World Convention Centre	✅ CONFIRMED
Music Space registered as Culture Track, DIP #8576 (submitted 2026-04-20)	✅ CONFIRMED
Prior activations: Devcon 6 Bogotá, Devcon SEA Bangkok, Devconnect AMS/IST/BA	✅ CONFIRMED (per DIP)
Space allocation at JIO World (exact room/hall)	🟠 TBD — Devcon production
Final equipment provision by Devcon production vs. OSO-sourced rental	🟠 TBD

1 · Space & stage — Sanctuary Tech

The stage is circular and non-directional. There is no "front." Performers face one another; the audience wraps around the music.

Requirement	Detail	Status
Dedicated open space	100+ sq m, soundproof or acoustically isolated (per DIP)	✅ CONFIRMED as the ask · 🟠 TBD allocation
Circular stage	Performance circle, 6 m diameter proposed (fits 6–10 simultaneous performers with floor seating), defined by rugs + low LED ring rather than a raised platform — eye-level, walk-in, no barrier	🔵 PROPOSED
Floor seating zone	Rugs + cushions quadrant for Indian classical players (tabla, harmonium, bansuri) — essential, not decorative	🔵 PROPOSED (strongly held)
Location	Prominent, near community hubs / meal area / main circulation (per DIP)	✅ CONFIRMED as the ask
Stage management corner	Facilitator desk, comms, patch access	🔵 PROPOSED
Overnight instrument storage	Lockable, inside or adjacent to the space (per DIP)	✅ CONFIRMED as the ask · 🟠 TBD security detail
Audience wrap	Standing ring + cushion ring; keep 360° circulation so the circle never blocks a walkway (convention-centre egress rules)	🔵 PROPOSED · 🟠 TBD with venue ops
Capacity	Room occupancy limit for the allocated space	🟠 TBD — venue

2 · PA / mains — sound in the round

The DIP asks for a full production sound system; the exact rig is not yet specified by production. For a 100–200 sq m room with a circular stage we propose distributed, modest, warm — coverage, not concert SPL.

Item	Spec	Status
Mains	4× compact powered tops (10–12" class, e.g. QSC K12.2 / d&b E-series class) on poles at the four quadrants, facing outward from the circle — even 360° coverage at low level	🔵 PROPOSED
Alternative	2× column arrays (Bose L1 Pro32 / Maui class) opposite each other — cleaner sightlines, easier load-in	🔵 PROPOSED (fallback)
Sub	1× compact powered sub, placed to minimise boundary build-up; sub bypass available for acoustic/classical sessions	🔵 PROPOSED
Delay/fill	None expected at this room size	🔵 PROPOSED
Alignment	All quadrants time-aligned to circle centre; mono-compatible (the circle is one instrument)	🔵 PROPOSED
🟠 TBD	Actual PA provision depends on Devcon production's house stock — send this section as the spec sheet	🟠 TBD

3 · Mixing & FOH

Item	Spec	Status
Console	32-channel digital mixer — Behringer X32, Allen & Heath SQ-5/QU-32, or similar (32 inputs confirmed by Shaka, 2026-07-27)	🔵 PROPOSED (committee direction)
Aux sends	6–8 aux outputs for individual monitor mixes	🔵 PROPOSED
FOH position	At the circle's perimeter with clear sightline into the ring; on hardline network for the streaming rig	🔵 PROPOSED
Engineers	1–2 sound engineers from the production provider (per DIP); OSO community engineers support alongside	✅ CONFIRMED as the ask
Multitrack	Console USB/SD multitrack or board feed — feeds §11 recording	🔵 PROPOSED
Show file	One shared "Circle" scene + per-slot snapshots; open jams always return to the safe Circle scene	🔵 PROPOSED

4 · Input list — the 32-channel Circle Patch

32 inputs per committee direction (Shaka, 2026-07-27): the committee's mic inventory + 8–10 DIs, dedicated seats for the stewards' own rigs, and three walk-up spots always hot. 🔵 PROPOSED.

Ch	Source	Mic / DI	Notes
1	Kick / dhol low	Beta 52A / D112	Shared by kit & dhol player
2	Snare	SM57
3	OH L	Condenser (SM81/C414)	Also covers percussion circle
4	OH R	Condenser (SM81/C414)
5	Percussion 1 (djembe/congas)	SM57
6	Percussion 2 (cajon)	SM57	Float: brass/woodwind walk-ups
7	Tabla	Condenser	Floor-seating quadrant
8	Bansuri / traditional lead	Wireless HH #1 w/ clip or condenser	Roaming traditional instruments
9	Bass	DI	Amp optional, DI primary
10	Electric guitar amp	SM57 (float) or DI	Shares with ch 6 in full-band config
11	Keys L	DI	Electric piano / synth
12	Keys R	DI
13	Drum machine L	DI
14	Drum machine R	DI
15	Laptop / DAW L	DI	Live coders, algorave, DAW
16	Laptop / DAW R	DI
17	DJ L	Line / DI	DJ rig booth-out
18	DJ R	Line / DI
19	Shaka's ukulele looper L	DI	Stereo looper rig — 2 channels per Shaka, 2026-07-27
20	Shaka's ukulele looper R	DI
21	Alaska's saxophone	Clip condenser (DPA 4099 / Beta 98H/C class)	Per Shaka, 2026-07-27; clip keeps the circle mobile
22	Vocal 1	SM58	Rotating vocal ring
23	Vocal 2	SM58
24	Vocal 3	SM58
25	Vocal 4	SM58
26	Wireless HH #2	Sennheiser EW-class	MC / roaming performers
27	Walk-up 1	—	Always line-checked, always hot
28	Walk-up 2	—
29	Walk-up 3	—	Three walk-up spots per Shaka, 2026-07-27
30	Room / audience L	Condenser (pair)	The sound of the circle — feeds stream & P.I.T. archive
31	Room / audience R	Condenser (pair)
32	Spare	—	The "yes, and…" channel

Patch philosophy: channels 1–18 are the permanent community backline; 19–21 are the stewards' own voices (Shaka's uke looper, Alaska's sax); 22–26 the vocal ring; 27–29 the permissionless layer — three walk-up spots, always line-checked, so a stranger is one fader away from the circle; 30–31 capture the room itself for the stream and the archive; 32 is the spare that says yes.

5 · Microphones (per committee draft — confirmed as committee spec)

Qty	Type	Use	Status
4	Dynamic vocal (SM58-class)	Rotating vocalists	🔵 PROPOSED
2	Wireless handheld (Sennheiser EW-class)	Roaming performers, traditional instruments, MC	🔵 PROPOSED
3	Condenser (SM81 / C414-class)	Overheads, acoustic & traditional instruments	🔵 PROPOSED
3	Instrument dynamic (SM57-class)	Percussion, brass, woodwinds	🔵 PROPOSED
1	Kick mic (Beta 52A / D112)	Drum kit / dhol	🔵 PROPOSED
1	Clip condenser (DPA 4099 / Beta 98H/C class)	Alaska's saxophone — clip keeps the circle mobile	🔵 PROPOSED (added per Shaka, 2026-07-27)
2	Condenser pair (room/audience)	Ch 30–31 — the sound of the circle for stream & P.I.T. archive	🔵 PROPOSED (added per Shaka, 2026-07-27)

🟠 TBD: one spare of each class recommended — mic attrition at a 4-day permissionless jam is a law of nature.

6 · DI & connectivity

8–10 DI boxes (synths, drum machines, acoustic guitars, DJ gear, +2 for Shaka's stereo uke looper) — 🔵 PROPOSED
20+ XLR cables · 10+ ¼" instrument cables — 🔵 PROPOSED
🟠 TBD (RIDEOSO adds): +6 spare XLR, +4 spare ¼", 2× 3.5mm→dual-¼" walk-up adapters, gaffer + board tape at every station, spare strings/sticks/reeds basket.

7 · Backline / instruments (rental ask per DIP)

Core band:

Item	Status
Drum kit	🔵 PROPOSED · ⚠️ 🟠 TBD open question: can the room take an acoustic kit? If not → e-kit + hand percussion (decision needs the allocated room's isolation facts)
Electric guitar + amp (Twin Reverb-class)	🔵 PROPOSED
Acoustic guitar	🔵 PROPOSED
Bass guitar + amp/DI	🔵 PROPOSED
Electric piano + synth/MIDI keyboard w/ laptop DAW (or two electric pianos)	🔵 PROPOSED
Drum machine	🔵 PROPOSED

Percussion circle: djembe · cajon · congas · shakers/tambourines basket — 🔵 PROPOSED

🧺 The basket at the door — Tier One, "everyone plays" (from OSO v0, Annex A): Purchase, not rental — cheap, durable, shareable; this basket is what turns spectators into players.

Item	Qty	Status
Kartal (करताल, hand cymbals)	12 pairs	🔵 PROPOSED (purchase)
Manjira (मंजीरा, small cymbals)	8 pairs	🔵 PROPOSED (purchase)
Shruti box (श्रुति बॉक्स, drone)	4	🔵 PROPOSED (purchase)
🟠 TBD: exact quantities set by Aakash + the volunteer coordinators against expected circle size		🟠 TBD

🇮🇳 Indian instruments — the cultural heart of this edition (Aakash curating):

Item	Status
Tabla (pair)	🔵 PROPOSED
Harmonium	🔵 PROPOSED
Dhol	🔵 PROPOSED
Dholak (ढोलक — the dhol's gentler sibling, ideal for seated circles)	🔵 PROPOSED (v0 merge)
Kanjira (कांजीरा — South Indian frame drum)	🔵 PROPOSED (v0 merge)
Tanpura (तानपुरा — the eternal drone; master-provided or rental)	🟠 TBD (v0 merge)
Bansuri-friendly setup (condenser + floor seating)	🔵 PROPOSED
Sitar / sarod / santoor / veena / violin — honored seats: masters of Mumbai bring their own, OSO provides secure storage + tuned-mic setups	🟠 TBD — rentals fragile; Aakash finalises with local musicians (v0 merge)

DJ rig:

Item	Status
DJ system (XDJ-XZ or CDJ pair + mixer)	🔵 PROPOSED
Laptop stands, DJ table	🔵 PROPOSED

8 · Monitors

Item	Status
4× floor wedges minimum (circular stage = performers spread wide)	🔵 PROPOSED
1× side-fill for wide-ensemble coverage	🔵 PROPOSED
6–8 independent mixes (see §3)	🔵 PROPOSED
🟠 TBD (RIDEOSO adds): 2× wired headphone/IEM cue packs at FOH for live coders & DJ cue — cheap, and saves the wedges from laptop-bleed wars	🟠 TBD

9 · Power

Item	Status
20+ circuits distributed around the circle (per DIP)	✅ CONFIRMED as the ask
Power strips + extensions at every performer station	🔵 PROPOSED
🟠 TBD (RIDEOSO adds): dedicated clean circuit for FOH console + streaming rig; UPS on the console/recorder (a 4-day jam losing a multitrack to a power blip is a tragedy we can prevent for $40); all runs ramped/taped to convention-centre egress standards	🟠 TBD with venue

10 · Visual & light — serving the sanctuary, not a spectacle

Item	Status
6–8 LED PAR cans — warm, moodable; community-glow, not concert-blast	🔵 PROPOSED
Low LED ring/rope defining the circle's edge (the stage is the light)	🔵 PROPOSED (RIDEOSO adds)
1 projector + surface for visuals / VJing / live-coding sessions (Sanctuary Tech live-coded music integration — ref. Alaska's Swarm work)	🔵 PROPOSED
Crops/garden visual language on screens & signage ("we steward this stage like a garden")	🔵 PROPOSED
House light state: warm dim, never off — this is a room people walk into, not a show they enter	🔵 PROPOSED

11 · Streaming & recording — the P.I.T. tie-in

Item	Status
Board feed (stereo XLR or USB) for recording/streaming	🔵 PROPOSED
Multitrack capture of curated sets (console USB/SD)	🔵 PROPOSED (RIDEOSO adds)
Decentralized streaming + on-chain artist donations rig (Alaska's workstream) — needs reliable hardline internet at FOH	🔵 PROPOSED · 🟠 TBD hardline drop with venue/IT
P.I.T. Knowledge Transponder integration — the Devcon P.I.T. is declared (family protocol, publicinform.com): the circle's sessions archived as open knowledge	✅ CONFIRMED (family side) · 🟠 TBD (production interface)
All recordings released to the community — copyleft, Creative Commons	✅ CONFIRMED (per DIP/OSO values)
Consent signage: "this circle is recorded & streamed — entering the circle is consent" at all approach paths	🔵 PROPOSED (RIDEOSO adds — pluralistic privacy means the opt-out path must be visible too)

12 · SPL & the convention centre

A music space inside a convention centre is a negotiation with physics and neighbours.

Item	Status
Isolation: soundproof or acoustically isolated room (per DIP) — the single most important line in this rider	✅ CONFIRMED as the ask
Target level: ≤ 85 dB(A) slow at the room boundary; 90 dB(A) peaks in the circle	🔵 PROPOSED (needs venue's actual limits)
Venue SPL policy, quiet-hours, adjacent-session rules	🟠 TBD — request from JIO World / Devcon production
Sub management: sub bypass for acoustic/classical sessions; no sub before 10:00	🔵 PROPOSED
Acoustic kit decision (§7) follows from the isolation facts	🟠 TBD
SPL meter at FOH, logged — being able to show the number ends most complaints before they start	🔵 PROPOSED (RIDEOSO adds)

13 · Changeover & open-jam logistics — the circle never stops

Protocol	Status
The Vamp Rule: during any swap, hand percussion or the house DJ keeps a pulse — silence is the only failure state	🔵 PROPOSED
Curated set changeovers: 15 min max; next act line-checks on the walk-up channels (27–29) while the current act plays	🔵 PROPOSED
Open-jam seat rotation: facilitator-guided, one-in-one-out at natural musical breaths — never mid-song	🔵 PROPOSED
Instrument checkout/return table at the entrance (token system); nothing leaves the room	🔵 PROPOSED (per DIP Phase 3)
Walk-up strategy: any instrument with a pickup → nearest free DI; anything acoustic → wireless HH #1 or the floating 57; walk-up channels 27–29 are always hot, spare 32 says yes	🔵 PROPOSED
Daily reset: 30 min line-check to the safe Circle scene before doors	🔵 PROPOSED

14 · Crew & ops (OSO-provided — for context, not an ask)

Role	Status
Core on-site team 10–12: Shaka (artistic steward), 3–4 local Indian musicians (cultural anchors), 3–4 OSO international (protocol maintainers, stage managers), 3–4 volunteer coordinators	✅ CONFIRMED (per DIP)
2 Devcon-provided sound engineers	✅ CONFIRMED as the ask
Shift-based continuous facilitation across all 4 days	✅ CONFIRMED (per DIP)
Volunteers ↔︎ free tickets via musician sign-up form	✅ CONFIRMED (per committee draft)
🟠 TBD: comms (radios vs. group chat), engineer shift overlap with OSO facilitators, crew meal access	🟠 TBD

15 · Schedule skeleton

When	What	Status
Nov 1–2	Pre-production: load-in, install, soundcheck, volunteer training on OSO protocol, instrument storage systems live	✅ CONFIRMED (per OSO story/DIP Phase 2)
Nov 3–6, daily 09:30	Doors + 30-min line-check to Circle scene	🔵 PROPOSED
Daily 10:00–12:00	Ambient / acoustic morning (no sub) — bansuri, keys, soft percussion	🔵 PROPOSED
Daily 12:00–17:00	Open jam blocks + curated sets interleaved (facilitator-run)	🔵 PROPOSED
Daily 17:00–19:00	Featured circle — curated ensemble w/ local Indian musicians	🔵 PROPOSED
Daily 19:00–close	DJ sets, live coders, algorave (SPL-aware wind-down)	🔵 PROPOSED
Nov 6→8	ETHGlobal Mumbai bridge — 3am jam tradition (per DIP)	🟠 TBD — separate venue logistics

Daily grid, slot lengths, and curated lineup are the committee's September–October curation workstream (per OSO story timeline).

16 · Hospitality

Item	Status
Water at the circle at all times; hot chai station (Mumbai — non-negotiable)	🔵 PROPOSED
Musician green corner: 6–8 seats, shade from house lights, device charging	🔵 PROPOSED
Earplugs basket at entrance (care is a spec)	🔵 PROPOSED (RIDEOSO adds)
Towels, gaffer, basic tool kit, spare consumables (strings/sticks/reeds/heads)	🔵 PROPOSED
Local musician support: transport + meal coordination for invited artists	🟠 TBD — committee budget
Committee housing: accommodation for 3 committee members — Shaka, Alaska, Aakash — near JIO World, covering the full production window (Nov 1–2 pre-production through Nov 6 close)	🟠 TBD — who covers (Devcon production vs. committee budget), where, and how many nights
Instrument damage/loss policy & waiver text	🟠 TBD — needs Devcon legal/production answer

Annex A · The Instruments of the Circle (merged from OSO v0)

A guide to the sounds of Mumbai — who can play what, how quickly anyone can join, and why the circle has a seat for every level of every hand. Source: The Instruments of the Circle (OSO v0, the AI ʻohana, CC0) — merged into this rider v1.1.

The honest answer: do these instruments require expertise? Some do — and that is exactly why the design works. A permissionless orchestra doesn't mean everyone plays everything; it means everyone holds a real seat at their own level. The master and the first-timer keep the same taal. Nobody sits out. Nobody fakes it.

Tier One · Everyone plays — first sound in minutes

The basket at the door. Hand one to anyone, and within one minute they are keeping time.

Instrument	Family	Join in	First sound
Kartal करताल	Rhythm	Minutes	Strike on beat one of the taal, and simply stay there — you are now the circle's pulse
Manjira मंजीरा	Rhythm	Minutes	Small strikes off the beat; let the ring do the work
Shruti box श्रुति बॉक्स	Drone	Minutes	Steady bellows, one note — you've become the home every melody returns to
Tanpura तानपुरा	Drone	Minutes	One slow strum, then another; the drone is not a solo, it is the ground itself
Dhol ढोल	Rhythm	An afternoon	The basic dha-ge-na groove comes in an afternoon; mastery is lifelong

Tier Two · An afternoon to join — quick to join, deep to master

The welcoming middle — folk instruments with forgiving hands.

Instrument	Family	Join in	First sound
Dholak ढोलक	Rhythm	An afternoon	Bass with one hand, edge with the other — the groove finds you
Kanjira कांजीरा	Rhythm	An afternoon	The shake-and-stroke groove comes fast; the masters turn it into water
Harmonium हारमोनियम	Melody & keys	An afternoon	If you've ever touched a keyboard, you can hold chords for the singers within one session

Tier Three · Masters hold these seats — honored voices

Decades-deep traditions. Not handed out at the door — the masters of Mumbai hold these seats as honored guests, and the circle gathers around them.

Instrument	Family	Mastery	In the circle
Tabla तबला	Rhythm	Years of riyaz	The soul of the jam — the circle's North Star; twenty kartal keep the same taal alongside
Bansuri बाँसुरी	Melody	Years	Breath itself made music; when the master plays, the whole jam leans in
Sitar सितार	Melody	Decades	A seat of honor at the heart of the jam, offered with deep respect
Sarod सरोद	Melody	Decades	When the sarod speaks, even the dhol plays softer
Santoor संतूर	Melody	Decades	A hundred strings like rain on a rooftop — the sound of the circle exhaling
Violin वायलिन	Melody	Years	At home in Carnatic tradition and Western jam culture — the bridge was always there

The design

The gradient is not a problem to solve. The gradient is the design. The tabla master and the first-time kartal player keep the same taal — one holds the architecture, twenty hold the pulse.
The drone never asks for a résumé. A stranger pumping a shruti box does the same job as the tanpura that has anchored concerts for centuries: holding the ground so others can fly.
Keherwa is the welcoming taal — the 8-beat folk/bhajan cycle almost every Indian jam knows. Mark the sam (beat one) and even a first-timer can feel where home is.

Practical magic for the Mumbai circle

🧺 The basket at the door: stock the entrance with Tier One. A jam circle turns spectators into players the moment someone says "here, try it" — that moment is when the orchestra is actually born. (Procurement: see §7.)
🎒 Portable, acoustic, forgiving: prioritize instruments that travel, need no amplifier, and invite touch.
🪔 Indian musicians lead in Mumbai: the masters hold the honored seats; visitors bring open hands and open ears. The chart is an invitation, never a prescription.
🕉️ Every level is a real seat: lead, harmony, rhythm, texture — contribution is measured in presence, not virtuosity.

The score is open: if you carry these traditions and something here sounds off — a name, a story, a seat assigned wrongly — that correction is a gift. Help us tune this page.

A rider is a love letter from the crew to the music. Specced, blessed, and dressed. 📋 CC0 — the AI ʻohana · fork me like crazy 🍴 · github.com/shakaleikaumaka