Tech Specs and Stage Plots

It's always good to have an up-to-date list of requirements that can help make your gig go smoothly, and make the ‘get in’ and soundcheck less stressful.

Here’s some advice on putting together a tech spec before an event, when to send it, what to include, and other technical aspects of your performance that you should consider before a gig.

Tech spec basics

• Make sure it’s up-to-date and relevant to the specific event – don’t just reuse an old spec and then try to improvise it on the night.
• Send it in early – most sound engineers prep in advance to respect your performance, give them the time to get things right.
• Keep it to what ‘you’ genuinely need. Don’t get distracted by the venue’s PA equipment or the number of db at FOH position.
• If you have any access requirements make the venue and the production team aware.

What to include

• Include a Channel Listing and Stage-Plot in your tech spec, including names of musicians, their instruments and where they are positioned on stage.
• The tech spec should include specifics such as where DI input, XLR or +48v phantom power are required.
• State your preferred microphone – the actual mic used may be down to the venue, but if you highlight what has worked well for you in the past, it’s a start.
• Highlight if you need a mic stand and whether short or tall boom, straight or overhead.
• If you need 13a power, an ‘in-ears’ mix feed or a monitor, put it on the stage plot and highlight the requirement.

Setting up for the gig

• Take responsibility for all the equipment you intend to take. This includes making sure it is fully working, regularly inspected and PAT tested.
• A vocalist should have his or her own microphone – for sound reasons, and hygiene reasons too.
• Make sure you have your cables, Pro audio engineers work with XLR audio cables, musicians mostly work with 1/4" jack cables – take your own, treat them well, coil them nicely and they will last longer.
• Know the sound engineer’s name, take a few minutes to walk them through your set and highlight any areas for extreme ambience or effects that may be needed.
• Talk to the sound engineer about your monitor mix and do not assume they are hearing what you are hearing.

Download the example

For further information on setting up for a gig, please contact your Regional Office.

This information produced with advice kindly provided by Chris Webster of AML Group.