Stage plots and tech riders?

[Dorado Pulido]

How many of you are using stage plots and tech riders? Have you been successful with them?
In my experience some venues are great about this, in others they don't even bother looking at it.
For those who have been using them successfully please share yours here as example.

 

[pepj]

It varies, because the stage and P.A varies.
So basically it becomes the line up on the day and DI and mics.
For multi bands, like festivals, its good to have pods, like bass, keys and obviously drum risers so you aren't dragging lines all over the place.
If required, I send them over in advance of give them to main mix engr on the day.

 

[Bonecat]

We’ve used them whenever we’re going into a venue with house sound/staging. Usefulness varies on the quality of the tech staff. Even so, it’s always good to be able to reference it when the inevitable issues arise. Always bring hard copies and give them to techs at load-in, too…

 

[Marko 1]

It's nice to get a stage, but when they don't, I do expect that they move some tables out of the way.

I kinda wish all pavilions had functioning/adequate overhead lighting for teardown,

but I always bring a couple aluminum clamp lights just in case.

 

[ChrisB2]

It's nice to get a stage, but when they don't, I do expect that they move some tables out of the way.

Lol. I usually have to do that myself.

Have had to do stage plots when requested, doesn't come up much in my circuit.

 

[JC BASS 91]

Heck, I'm just happy to find a large enough space to setup our equipment and enough power. Anything else at this point is glaze for the goose.

 

[Ralph Manak]

Between the routine, and people's experience and abilities (or not) to adapt to situations, people seem to prefer maintaining an aversion to information. Perhaps having a document implies study and extra work that can be overcome by brute force.

 

[Medicine Man]

I think everyone should develop a stage plot and tech rider. Why not plan for success? Now I'm not saying send it to every dive bar, mind you, but having one readily available in case you are asked for it is just good business. Also be prepared for it to be ignored and have contingency plans and flexibility.

 

[WI Short Scaler]

We've only needed to come up with a stage plot one time. It was for a local multi-band festival. I provided one, which is pretty simple based on our configuration of 3 pc with guitar/bass/drums and 3 vocal mics.

We were 2nd on the bill and the first performer was a solo acoustic who had his own wireless headset mic and wireless guitar setup. We were told we had 10 mins to be ready when he was done. And there we stood waiting for the sound crew to set up vocal mics. Our 1 hr of allotted playing time was cut down to about 40 mins after all the messing around. The stage plot appeared to have never been looked at.

Declined the offer to play it again.

 

[Slevage]

Depends on the venue.

I've done gigs where the music director gave a stage plot well before the gig and it was honored along with stage hands to move amps into position.

Then there a gigs where we had to wait until the patrons at the 3 tables were done eating before we could move them out of the way to set up.

 

[rufus.K]

Maybe 30% of the places I play ask for one.
Of that number, I'd say only 25% of them acutally seem to look at it and use it.

 

[FronTowardEnemy]

Our booking agent sends out the stage plot for our band to the venues at time of contract.

We still approach the FOH people and let them know our set up. Some of them actually have the plot, some don’t.

 

[Marko 1]

We were told we had 10 mins to be ready when he was done. And there we stood waiting for the sound crew to set up vocal mics. Our 1 hr of allotted playing time was cut down to about 40 mins after all the messing around.

Man, that's just sad.

For a couple years I did Sound for “First Night Youngstown”, four stages, all small acts, largest being a Polka Band.

No stage plot info, I just looked at the acts for each stage and put in place everything that could possibly be needed on that stage.

If one stage had three singers singing to backtracks, one a single impersonator w/backtracks and another duo playing acoustics, there were enough mics and stands there all hooked up and at-the-ready, and a playback device in a channel.

Took only a couple minutes to switch between acts.

And I had one buddy/assistant to help 'cause there were two stages in each of two separate buildings, but right across the parking lot from each other.

 

[dreamadream99]

We have never used a tech rider, but when sound and backline are provided, we give them a stage plot as a courtesy.

There are many free stage plot design websites — just search “stage plot software”

common things you want to see on any stage plot: the configuration of people and instruments on stage, where the frontline (mics, wedge monitors) should be positioned, where the backline (amps, DI’s, power) should be positioned, and the presence of any pedals.

Here is the one we use:

 

[mambo4]

IDK about tech riders.
Back when I was in a 9 piece Salsa band, we had printed stage plots
so the FOH people knew the number and location of microphones
usually these came in handy at festivals where we were sandwiched between other acts

 

[rodsnhawgs]

Absolutely! It's part of being professional at all levels. Now, having said that, I'm in a bit of an unusual situation with a 12 piece band that includes 5 horns and 3 lead vocals. With that many people, it's important to have a plot. Anyone who hires us knows we're a big band. Early on in the negotiations, the discussion of stage plot and sound requirements are talked about. Included with the stage plot is a line send/return schedule that is pretty close to 30 channels.

We're currently building a new monitor rack for our IEMs and everything needed on stage. We'll have a 96 pin labeled connector and "short" snake to hand the FOH tech. Idea is that wherever we play, our stage sound is a quick, repeatable setup and it makes the FOH tech very happy too.

I realize not many bands have this kind of setup, but even so, this should be a part of any pro band's negotiation and contract...did I mention contract? If you're playing somewhere other than your local venue where you have a successful history and other bands have worked without issues, you might get away with it...but if you're playing a bigger venue/stage/show, do yourselves a favor and get a signed contract with a deposit.

Beyond that, if you can get contact info from the producer for the sound company, it's a good idea (and courtesy) to touch base with them to see if they have questions and/or need anything additional from you.

 

[dBChad]

Having switched from a performer to a sound engineer, what's absolutely most important to us is inputs and outputs. It's good to know where you'll set up in advance, but we can work that out at the show if you're unable to make a stage plot. I have multiple boards, and which one I pack (and bill for) is dependent on how many inputs are needed for the largest act of the day.

Tech riders really only come up at really big shows. Even though some bands have preferences, most bands really just want to know whether or not your production outfit has enough rig for the gig. For example, I had a band that asked for 3 Shure SM58s and powered monitors such as QSC K12. Upon contacting them, they were plenty happy with our Sennheiser e835s and passive 12" monitors fed 800w ea. Due to the location we work in typically having 1 sub panel near the stage with outlet boxes mounted on the outside of it, It's easier to park the amp racks close to the available power and run long speaker cables rather than running a bunch of extension cords to each monitor. Their main concern was having played on stages with beginner level powered monitors promising thousands of watts and not actually being loud enough to hear over the drums and amps, or sounding really distorted when you get them loud enough, or other reliability issues that can be more common in entry level gear.

 

[IvanBassist]

Absolutely! It's part of being professional at all levels. Now, having said that, I'm in a bit of an unusual situation with a 12 piece band that includes 5 horns and 3 lead vocals. With that many people, it's important to have a plot. Anyone who hires us knows we're a big band. Early on in the negotiations, the discussion of stage plot and sound requirements are talked about. Included with the stage plot is a line send/return schedule that is pretty close to 30 channels.

We're currently building a new monitor rack for our IEMs and everything needed on stage. We'll have a 96 pin labeled connector and "short" snake to hand the FOH tech. Idea is that wherever we play, our stage sound is a quick, repeatable setup and it makes the FOH tech very happy too.

I realize not many bands have this kind of setup, but even so, this should be a part of any pro band's negotiation and contract...did I mention contract? If you're playing somewhere other than your local venue where you have a successful history and other bands have worked without issues, you might get away with it...but if you're playing a bigger venue/stage/show, do yourselves a favor and get a signed contract with a deposit.

Beyond that, if you can get contact info from the producer for the sound company, it's a good idea (and courtesy) to touch base with them to see if they have questions and/or need anything additional from you.

This. A million times.

 

[gln1955]

We like to specify which little corner of the bar we set up in.

 

[Hawk256]

99% of the shows I've played are being shown where evertying is that all the other bands use and telling me to have at it, If the other bands don't need it why do you? Seems to be the attitude. Never had a show that didn't go off well. Maybe some of it was luck.