You just got booked for a show. The promoter emails: "Can you send over your technical rider?" If you then have to google what that is, you're not alone — but it's exactly the document that decides whether your soundcheck runs smoothly or ends in chaos.
In this guide we explain what a technical rider is, why you need one, and what it should contain — with a fully worked example and the most common mistakes.
What exactly is a technical rider?
A technical rider is the document in which you set out what your band needs technically to play well. It's the means of communication between you and the sound engineer or venue — people who usually have never heard your act before.
That last point is key: the engineer on site doesn't know your drummer has a double kick, that the keyboard player wants stereo, or that the singer uses an in-ear monitor. Anything not in your rider is a surprise on the day — and surprises cost soundcheck time.
A technical rider is not the same as a hospitality rider (catering, dressing room, backstage). They often live in one document, but they're two separate worlds. This guide is about the technical side.
Why do you need a technical rider?
Even if you're "only" a cover band or a starting act, a rider pays off straight away:
- Faster, smoother soundcheck — the engineer can patch and set up the stage in advance.
- Fewer surprises — no "oh, you have keys too?" ten minutes before doors.
- A professional impression — a tidy rider says: this band knows what it's doing.
- One source of truth — no more scattered emails and texts; everything in one place.
What does a technical rider consist of?
A complete technical rider usually contains these eight parts.
1. Contact details
Name, phone number and email of your technical contact (often the band leader or your own engineer). Put this on every page — if something is unclear on the day, the venue needs to reach you immediately.
2. Line-up and stage requirements
Who is on stage and who does what: lead vocals, guitar plus backing vocals, drums, and so on. Note specifics such as risers (raised stage sections for drums or horns) and how much space you need.
3. The input list (channel list)
This is the heart of your technical rider. The input list — also called the channel list — tells the engineer exactly which sources arrive at the console, channel by channel. At a glance it's clear how many channels you need.
A good input list has at least this information per channel: the channel number, the source (instrument or voice), your microphone or DI preference, the stand (tall, short or clamp), whether +48V phantom power is needed, and any notes.
Phantom power (+48V) is the current the console sends to the microphone through the XLR cable. Condenser microphones (often used for overheads, hi-hat and acoustic instruments) need it to work. Dynamic microphones (such as the classic SM57 and SM58) do not need it and are not damaged by it either.
A DI box (Direct Inject) converts an instrument signal — bass, keys, acoustic guitar — into a balanced signal the console can handle cleanly. An active DI box needs +48V itself; a passive one does not.
4. The stage plot
The stage plot is the visual map of your stage setup, seen from above. It shows:
- Where each band member and instrument stands
- Where the monitors are (and which mix they get)
- Where you need power on stage
- DI boxes and their position
- Any risers and their dimensions
5. Monitoring
Monitoring is about what the musicians themselves hear on stage. State: wedges or in-ears, how many separate mixes you need, and who hears what. Start from your ideal situation ("four mixes: vocals, guitar, drums, bass") — the engineer translates that to what's possible locally.
6. Backline
Backline is the large instruments and amplifiers on stage: drum kit, guitar and bass amps, keyboard stands. Make clear what you bring yourselves and what you expect from the venue. Miscommunication here is a classic pitfall.
7. Power
Often forgotten, often a problem. State where on stage you need power points and how many. Larger productions may need three-phase power (CEE, 16A or 32A) instead of ordinary single-phase outlets.
8. Set-up and soundcheck time
How much time do you need to set up and check? An acoustic duo is ready in 20 minutes; a seven-piece band with horns needs considerably more.
Example: input list of a 5-piece cover band
Here's what a realistic input list looks like for a band with drums, bass, two guitars, keys and three singers:
- CH 1 — Kick: Beta 52A / D6, short stand, no +48V
- CH 2 — Snare top: SM57, clamp, no +48V
- CH 3 — Hi-hat: condenser (SM81), short, +48V
- CH 4 — Rack tom: e904 / MD421, clamp
- CH 5 — Floor tom: e904 / MD421, clamp
- CH 6-7 — Overheads L/R: condenser, tall, +48V
- CH 8 — Bass: active DI, +48V
- CH 9-10 — Guitar 1 and 2 (amp): SM57 / e906, short
- CH 11-12 — Keys L/R: DI
- CH 13 — Lead vocal: SM58 / e935, tall (boom)
- CH 14-15 — Backing vocal 1 and 2: SM58, tall (boom)
15 channels — a solid ballpark for a full cover band. An acoustic duo often gets by with 4-6 channels; a band with horns quickly runs to 20+.
Which microphone do you choose? (preferred mics)
You state a preference — not a demand. A good venue has fine alternatives; the point is that the engineer knows your intent. A common guideline:
- Kick: Shure Beta 52A, AKG D112, Audix D6
- Snare: Shure SM57
- Toms: Sennheiser e904, MD421
- Overheads / hi-hat: condenser (SM81, KM184, Rode NT5)
- Guitar amp: SM57, Sennheiser e906
- Bass: DI box (optionally plus a mic)
- Vocals: SM58, Beta 58A, Sennheiser e935
Tip: don't prescribe too rigidly. "SM57 or equivalent" works better than a long list of brands the venue may not have.
The 5 most common mistakes in a technical rider
- Sending an outdated PDF. You change your setup, but the venue still has the version from three months ago.
- Being too vague. "Some drums and some vocals" says nothing. Be specific about channels and monitoring.
- No contact details. If the engineer has a question and can't reach anyone, you're stuck.
- Unrealistic demands. Eight monitor mixes for a pub gig is counterproductive.
- Forgetting power. The classic omission on the stage plot.
Technical rider versus hospitality rider
In short: the technical rider is about sound, stage and power. The hospitality rider is about catering, dressing room and backstage. Keep them separate (even if they share one document) — the engineer doesn't need to know what beer you drink, and the caterer doesn't need to know how many monitor mixes you want.
How do you make a technical rider?
You can do it by hand in Word or a drawing program — but redrawing a stage plot and maintaining an input list is laborious, and with every setup change you start over.
It's faster with a tool like Stageplot: you drag your instruments onto the stage, your input list is built automatically, and you export to PDF or Word in one click. The biggest advantage: you share your rider through a live link that's always up to date — make a change in the morning and the venue sees the right version on arrival, not the attachment from three days ago.
Frequently asked questions
What's the difference between a technical rider and a stage plot?
The stage plot (the map of your stage setup) is one part of the technical rider. The rider is the complete document; the stage plot is the drawing within it.
Do I need a technical rider if I bring my own sound engineer?
Yes. Even then it helps the venue to know how many channels and how much power you need, and whether you expect a digital or analog console.
How many channels does an average band need?
An acoustic duo: 4-6. A full cover band with drums: around 15-16. A band with horns or percussion: 20+.
What is phantom power (+48V)?
Current the console sends to the microphone through the XLR cable. Condenser microphones and active DI boxes need it; dynamic microphones do not.
What is a DI box?
A small box that converts an instrument signal (bass, keys, acoustic guitar) into a balanced signal for the console.
Ready to make your own rider? Create your stage plot and channel list for free.