[Stage Plot Pro Serial Number 12
Sharif Garmon
A thorough stage plot typically outlines the placement of amplifiers, instruments, monitors, band members, risers, power needs, and other pertinent details that will be needed during a performance. It is shared with the venue and local technicians in advance of the performance.
Some examples might include microphone preference, type of mic stand or clip, stage location, stage box assignment, and any effects settings. The list may also include notes or instructions for the sound engineer or technician, such as suggested EQ settings or recommended levels.
Input lists are typically created by the performers or producers in advance of the performance or recording session, and are provided to the sound engineer or recording technician to help them prepare and manage the audio inputs. Input lists can be created using specialized software or simply as a spreadsheet or document.
A technical rider is a document that provides detailed information about the technical requirements for a performance or event. It is typically used by musicians, performers, or production teams to communicate their specific technical needs to venue staff or event organizers.
A well-executed stage plot and input list can help to minimize technical difficulties, reduce set-up and soundcheck time, and contribute to a more enjoyable experience for both the performer and the audience.
Google Draw is an excellent free solution for creating a quality stage plot. It is intuitive and easy to use. Aim to create something that is clear, concise, and gets the point across. Adobe Photoshop is another program that would work.
Local production managers and stage managers love receiving accurate, up-to-date information. Help them help you. Consider hosting your most up-to-date tech rider online in a shared folder. When advancing include a link to this folder. Always keep the folder updated so the most up-to-date version is readily available.
In the world of live audio, no documents are as ordinary as input lists and stage plots. Every day across the world, artists, management, and production technicians create, share, and employ these seemingly simple documents to prepare for concerts and other live events.
Unfortunately, as commonplace as input lists and stage plots are, they are regularly lacking crucial content, are filled with misinformation, or are difficult to decipher. As a college educator who instructs young sound engineers, I do my best to communicate best practices. What follows is my current list of suggestions on how to fashion the all-important input list and stage plot.
Regardless of the chosen document-dating approach, contact information must be provided on all stage plots and input lists. The inclusion of the name, email, and phone number for the front of house engineer, production manager, or other artist representative is a necessity for helping local technicians answer questions and avoid assumptions.
I have a small-time bar band that occasionally hires sound, and occasionally works with venue sound. Is something like this helpful to those folks in general? My goal is to establish a positive relationship with the sound provider, give him information he needs, and let him do his job.
I bring my own vocal mic (Beta 58) and mics for Leslie in case the provider is short. I also carry a Behringer MX882 which will work as 6 matching amplifiers, in case he's short on DIs (at my level they usually have one or two at the venue). I can plug unbalanced into the MX882 and go balanced out into the snake. When I am doing the sound, we just run everything right into the board, except the acoustic guitar.
Wes: that would indeed be very helpful information to have up front. I'd frankly take the EQ tips under advisement as opposed to a stated mandate but welcome the suggestion nonetheless. My normal venue is so small-time/low-key I rarely even know how many artists will be on stage if it's a regional band I'm not familiar with. YouTube often is my only tool for preparing so info like you provide would be a huge improvement.
That looks great. I agree with what dbmontana said about recommending vs demanding. A couple of things I noticed are, names are OK but better to put their instrument instead (on one nighters I don't remember names but if the DRUMS needs more kick.........). I see you have icons and you have correlated it in the input list but the names on the plot are not needed (besides what if you're playing with a substitute for the night?). Also AC drop locations are useful info (even if you provide your own, it gives them an idea of what you need). In the lower section where you have sort of an input list, state if you bring your own mics, DI,s etc (and what they are) as it will expedite pre wiring & some decisions. You could also include recommended mics & mic stand types (understanding that you might not get them - doesn't hurt to ask).
I agree about including mic & stand type preferences... and keep to "standard stuff": SM-58's on the vocals, SM-57 on snare, D6 on kick drum... that sort of thing. Couple of reasons for this: Any sound contractor who can't comply would be "unsettling" (to me anyway), and secondly those who can comply (being likely most that are worth their salt), are given assurance that you folks are "straight-forward professionals to work with".
Oh dear - just got into a band where we actually need to submit a tech spec for the gig next Saturday - did the best I could, but the stage plot was "upside down", sorry Dogoth ! Another learning filed away for the future.....
Contact info! Maybe the only thing that really matters. I will look at a stage plot but like to verify it as well - and don't just put your email, put cell phone numbers and land line (or a back-up cell) please.
Also your icons look nice but I personally would rather have the instrument name with a block line around it. It's more specific and won't chew up printer ink - those icons look dark and ink hungry. No problem for a larger co but for a small or cheap provider they might cause a scowl.
I agree as well, that I don't want band member names just instruments. I would also put the EQ tips below everything else, with an explanation that the EQ tips are ones that have worked in the past for your specific style of band. Featured prominently like they are, they will probably be ignored, as they seem arrogant - just my opinion of course.
PSG - Leslie cuts were suggested to me by a friend with "Golden Ears" (you have heard him if you like soul), although checking my notes, he said 10k not 8k for the high-end roll-off. The basic idea is to cut out everything where there is no signal. The Leslie's two speakers use a second-order crossover at 800Hz, and there is no signal at all from organ above 6300Hz, except maybe key-click transients. I am not a key-click guy. But there is wind noise and motor noise you want to get outta there...and severe bleed from the cymbals. I also don't play bass pedals, nor really low notes, so the low cut on the lower rotor really helps.
I usually gleen this info at setup or sound check and write it on the tape strip. I agree it's more personable OTOH it makes for yet another translation step in your brain when requests are flying at SC. When someone says, I need more of Bruce & Sheila in my wedge, I have to look down and remember who they are and what they play. I REMEMBER where I patched Bass & Vocal so if someone says, I'd like more bass & vocal in my wedge, it's just faster. I'll certainly work either way but it's kinda like a digital speedometer vs analog, the analog one is quicker (no translation required :-). I've learned rather than "hey you" I say F.I. sending kick to SR guitar. Sometimes I remember their names but no one ever seems offended if I don't (they get mine wrong all of the time and I don't mind a bit :-). I even often have a little speech at the top of SC where I say, "due to poor memory, I may not remember your names so If I just call out your instrument, I hope it's OK". That usually keeps it still in a friendly mode :-).
to LOCO_P_MAN. That's just a pet peeve of mine. I'd say 95% of all plots are set up from FOH perspective (with down stage, down). It's not anything unworkable and I don't think anyone will really think its all that bad. It's more a standardization thing. Hey I've done national acts with a stage plot, that appears to be hand drawn on a napkin (that DOES make me think less of them :-). It's all good :-)
I think EQ needs/considerations are bunk, I've seen too many that were assessed on crap systems - to be honest, if I'm the sound guy, don't tell me my system is crap like yours until you've heard it... If the drum pads hiss, the person responsible for them should have a gate or some other fix already set up, that should not be on the sound person (unless everyone is going to have full-function digital consoles or giant racks of extra gates/etc... )
Good points on the drum pad. Maybe I should pick up a 1U rack for it and something that can gate, like a DBX166...when I'm running the board, I just mute the stupid thing when it's not in use. I'm also looking for a 1-channel stereo rack mixer, so I can use our MX400 on the piano without plugging it into the mixing board.
Leslie EQ settings are largely provided because I have never actually worked with a sound guy (that I didn't know personally) who knew what a Leslie speaker WAS. The usual question is, "Where is your direct out?". Then, "Can't we just plug into the organ?" ... my assumption is that if you don't what it is you're reinforcing, you're not going to do the best job possible...especially as I can't think of any other amp that is normally bi- or tri-miked.
Any tips for getting the piano to be run without an 80Hz low-cut, without explicitly telling them that I need it that way? I play notes lower than that. That has also been a problem in the past. Would I be better checking and complaining at sound check?
Hmm, maybe I should provide EQ suggestions in person? That way I can assess the level of knowledge before saying anything. I have to help set up the speaker anyway -- i.e. "this is signal from the low speaker" ... "this is signal from the high speaker" ... "this is signal near the crossover point" ... they need to sound balanced out front, you can't do that without ears at the FOH, the mic positions are too different to guess by gain.
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