A practical guide and copyable template for collecting a band’s stage plot, inputs, monitors, backline, power, soundcheck and changeover requirements.
August 18, 2026
A band saying “we need a normal stage and PA” is not a technical brief.
The organiser and production team need to know how many people are performing, where they stand, what instruments they bring, which microphones and inputs are needed, how they hear themselves and how long the changeover will take.
That information is normally supplied through a technical rider, input list and stage plot. You do not need to be a sound engineer to collect them, but you do need them early enough to affect the stage, sound system and schedule.
This guide explains what each document does and includes a template you can send to performers.
A technical rider describes the equipment, crew, power, staging, soundcheck and practical requirements for a performance. It sits alongside the commercial booking agreement and event schedule.
A useful rider may cover:
The stage and production supplier does not need pages of inflated demands. It needs accurate information that affects the show.
The Musicians’ Union guidance on tech specs and stage plots is a useful reference for performers preparing their documents.
A stage plot is a simple overhead diagram showing where each performer and key item sits on the stage.
It should show:
It does not need polished design. A clear labelled drawing is better than a beautiful diagram with missing information.
The production team cannot size a stage or sound system from the band name. It needs the people, positions, inputs, monitors and changeover plan.
A four-piece band is not automatically a small setup. One may use a compact drum kit, two guitars and shared monitors. Another may bring a large drum riser, keyboards, tracks, multiple pedalboards, guest performers and separate monitor mixes.
The stage needs room for performers to work without standing on cables or blocking entrances. It may also need:
Send the rider before agreeing final dimensions. Our event stage size guide explains the venue and audience factors that must be checked alongside it.
An input list gives the sound team one numbered list of every source that needs to reach the mixing system.
For each input, include:
Do not write “full drum mic kit” if the production team needs to know the actual channel count. List it.
State whether performers use floor wedges, wired in-ears, wireless in-ears or a mixture. Show who needs each mix and what they need to hear.
If the band carries its own in-ear rack or monitor engineer, explain the required signal split and connection. That information needs checking by the sound provider before the event, not during line check.
List every amplifier, drum item, keyboard stand and specialist piece of equipment. Mark each as:
Shared backline can reduce changeover time, but only when every performer has agreed what they will use. A headline drummer discovering the shared kit is the wrong size on show day is not a changeover plan.
Show where power is required on the stage and what equipment uses it. Identify laptops, playback interfaces, controllers, keyboard supplies and any equipment that cannot be moved from the plotted position.
Tell the production team whether playback is stereo, multitrack or used with timecode. If redundant playback matters to the show, state what the artist carries and what is expected from production.
Give a realistic time requirement and explain whether the artist can line check immediately before the set or needs a full soundcheck.
The schedule should also account for:
Do not put five bands into a schedule with ten-minute changes because the sets fit on paper. The physical reset, patch and line check still have to happen.
Set a deadline. If the rider arrives after equipment and crew are booked, changes may affect the scope, schedule and price.
Touring riders can contain preferred equipment, minimum requirements, outdated notes and venue assumptions in the same document. The organiser should not promise every line without review.
Send the rider to the production provider, identify anything unavailable and agree substitutions with the artist’s technical contact in writing. Keep one approved version for show day.
Artist or band:
Technical contact and mobile:
Number of performers:
Performance date and set time:
Arrival time:
Soundcheck or line-check time needed:
Stage size requested:
Drum riser required:
Inputs:
Monitor mixes:
In-ear system carried:
Backline carried by artist:
Backline requested from production:
Playback system:
Power requirements and positions:
Lighting or screen requirements:
Changeover notes:
Guest performers:
Stage plot attached:
Latest revision date:
Add an input list and one overhead stage plot. Put the same revision date on every document so the crew can spot an old version.
A rider should reduce uncertainty. If it creates more questions than it answers, it needs another revision.
Beatz Hire supplies modular and covered staging alongside sound, lighting, DJ equipment and LED screens. Send performer riders and stage plots with the venue, audience and running order so the whole setup can be planned together.
Use the stage hire quote checklist for the event brief. Local staging information is available for London, Reading, Oxford and Southampton.
Have a question or ready to get started? Let us know what you need, and our team will guide you every step of the way to make your event exceptional.
Reach out to us directly via email or phone—we’re here to assist you with any inquiries or bookings.
Stay connected and see our latest events, updates, and behind-the-scenes moments.
