Where to start the technical design of an outdoor concert?

The technical design of an outdoor concert should begin with gathering data about the event, not with choosing sound equipment, lights, or the size of the stage. First, it is necessary to determine, what is going to happen, where, for what audience, and according to what schedule.

The earlier all technical departments work on the same assumptions, the easier it is to avoid later conflicts – for example, a situation where the designed structure does not allow for the suspension of the planned PA system or the LED screen limits the space previously allocated for lighting.

Location and area

The first step is to analyze the event location. The address alone is not enough. Factors include available space, topography, stage location, audience orientation, access for heavier vehicles, and the space needed for technical support.

It is also necessary to define the location's limitations: adjacent buildings, available connections, the possibility of setting up generators, the location of FOH, cable routes, and technical zones.

For more complex implementations, some of this information is best verified during a site visit before the technical execution of the event.

The number and layout of the audience

The number of participants allows for estimating the scale of the event, but is not enough for designing the technology. Particularly in the case of sound, the geometry of the audience is of enormous importance.

A thousand people arranged in a wide square creates different requirements than a thousand people in a long and narrow area. In the first case, the problem may be covering the side sectors, while in the second – ensuring an appropriate level and clarity at a great distance from the stage.

The design of the screens is similar. Their size and location should be determined, among other things, by the maximum distance of the viewer and the line of sight.

Event program and riders

Another source of information is the concert program and technical riders of the performing artists. The rider can specify requirements regarding PA, FOH and MON consoles, the number of monitor mixes, microphones, IEM systems, backline, risers, or stage infrastructure.

With several performers, the requirements need to be matched up and a configuration found that allows for the smooth execution of the entire event. This does not always mean preparing a separate system for each band. Many issues are resolved during the technical advance, agreeing on a common infrastructure and accepted substitutes.

More about the process itself can be described in a separate material regarding how to prepare a concert according to the technical rider of the band.How to prepare a concert according to the technical rider of the band..

Schedule

The technical schedule should include much more than the start time of the concert. It is necessary to consider access to the site, deliveries, stage construction, rigging, assembly of individual systems, configuration, tests, soundchecks, the event itself, and later dismantling.

Order matters. Some tasks cannot be performed simultaneously, and a delay in one department can halt others. 

How to choose the stage and structure for the event?

 The stage should be selected based on the event program and the requirements of all systems that will be on or above it. Its design must take into account the performers, backline, monitoring, risers, lighting structures, PA, video, and the space needed for the technical crew.

Stage size

The size of the stage should primarily result from what will actually be on it. Simply asking about the number of musicians is insufficient.

The band may need additional risers for the drums or instruments, a large backline, multiple wedges, a monitor position, scenic elements, or lighting devices set on the floor.

It is also necessary to maintain a workspace that allows the technical crew to safely perform changeovers and operate equipment during the event.

Roof and structures

The stage structure is not solely protection against weather conditions. It often also serves as a basis for hanging technical systems.

Therefore, during the design phase, it is important to know what loads and in which locations will be associated with the PA, lighting, screens, scenic elements, or other devices.

One should not assume that just because there is a physical space where something can be hung, it is automatically intended for such a load. Points and structures must be designed for specific applications.

Rigging PA, lights, and video

Audio, lights, and video compete for space and available construction options. The design should specify the positions of the hangings, their function, and the resulting loads.

The placement of the PA system simultaneously affects its coverage. The position of the screens affects visibility, and the placement of lights – the possibilities for implementing the lighting design.

Therefore, rigging should be analyzed as part of a joint project, not as a final stage of finding free space for devices.

How to plan a sound system?

The sound system for an outdoor concert is designed primarily for audience coverage, required SPL levels, the nature of the program, and the geometry of the terrain.There is no universal PA set assigned to a specific number of participants.

An outdoor setting eliminates some reflections characteristic of closed venues, but at the same time may require covering significantly larger distances and a wide area of the audience.

Main PA

Main PA is responsible for the basic sound reinforcement of the audience. It can be implemented as a point source, line array, or another configuration depending on the project requirements.

The choice should not be determined by the prestige of a specific solution. A short and wide audience may require a different architecture than a very deep concert area.

In larger projects, the system should be verified using the manufacturer's predictive software. This allows for assessing among other things the expected SPL distribution and coverage of the space before physically setting up the system.

Subwoofers

The low-frequency section requires a separate design. The number of subwoofers depends among other things on the expected level in the LF range, the repertoire, the capabilities of specific devices, and the size of the area being amplified.

Placement is also important. Subwoofers can operate in various configurations, and properly designed directional systems allow influencing the distribution of low-frequency energy.

A detailed selection of the number and configuration should be developed separately in material on how to choose subwoofers for a concert and an outdoor event..

Frontfill, outfill, and delay

The main system should not always handle the entire audience on its own.

Frontfill complements the area directly in front of the stage, which may be outside the optimal coverage of the main PA. Outfill serves the side sectors of the audience. The delay line, on the other hand, allows for the sound to be delivered to the further part of the area without the need to excessively increase the system level at the stage.

Each of these systems has a different task and should be properly time-aligned and level-aligned with respect to the other sources.

FOH

The Front of House position is the workplace of the engineer responsible for the mix heard by the audience. Its location should not be determined solely by where there is free space.

FOH should be located in a place that allows for a representative assessment of the system's performance and mix. At the same time, visibility of the stage, signal infrastructure, power supply, communication, and space for production equipment must be taken into account.

How to prepare monitoring and stage technique?

Stage monitoring should enable performers to comfortably hear the necessary sources without unnecessarily increasing the sound level on stage. Depending on the production, wedge, IEM systems, sidefill, or a combination of several solutions are used.

The number of independent mixes results from the needs of the bands. In larger productions, a separate monitor console and a monitor engineer may work at the stage. In smaller configurations, monitor mixes can be prepared from the FOH console.

Stage technique, however, encompasses much more than monitoring. Stageboxes, patch, microphones, DI boxes, stands, cables, backline, riser, and power supply should be prepared according to the rider and stage plan.

A well-planned stage accelerates both the line check and subsequent changeovers. With many teams, it becomes particularly important to describe and label connections and to establish in advance which elements of the infrastructure remain common.

How to plan the lighting for an outdoor concert?

Concert lighting should be designed in parallel with the stage and structures, as its placement directly affects rigging, power supply, and available loads.

The design should stem from the nature of the concert, the size of the stage, the program, and the expected visual effect. Different tools are required for basic performer lighting, and others for an elaborate production synchronized with the music program.

It is necessary to plan, among other things, the positions of devices, structures, control, power distribution, and the position of the operator. If registration or broadcasting is conducted during the event, the light design should also consider the needs of the cameras.

In outdoor settings, the devices and installations suitable for the conditions in which they will operate are particularly important. The issue of weather resistance should not be addressed only when it starts to rain.

When are LED screens and video production needed?

LED screens become particularly useful when part of the audience is far enough from the stage that direct observation of the performers is difficult. In such cases, they can serve for IMAG, meaning live display of the image from the stage.

Video can also include pre-prepared materials, event identification, sponsor content, visualizations, and multimedia set design elements.

The addition of screens, however, means further dependencies. It is necessary to anticipate the structure, power supply, signal paths, image processors, production positions, and – in the case of IMAG – cameras and the entire production chain.

If the concert is also being broadcast or recorded, it is worth determining at the design stage which audio and video signals should be made available to the production team. Live broadcast implementation should not be added as a completely independent system just before the event.

How to plan wireless and RF systems?

Wireless systems require frequency coordination, especially when many microphones, IEM systems, and other RF-utilizing devices are operating during a single event.

Planning begins with determining the number of required channels and the available frequency ranges of the devices. Next, it is necessary to consider the local radio environment, mutual frequency compatibility, and potential intermodulation products.

In larger systems, the antenna infrastructure also becomes important: the placement of antennas, signal distribution, and losses resulting from the RF cables used.

Scanning and coordination done earlier are important, but the situation should also be verified on-site. The radio environment during the actual event may differ from the conditions present during the initial preparations.

How to determine power requirements?

Power requirements should not be determined based on a single total power sum recorded on the device labels. It is necessary to know the actual requirements of each system and how they are powered and distributed.

Audio, light, video, stage, and backstage may require separate circuits or appropriately designed distribution. It is necessary to consider both loads and the physical location of receivers.

If the infrastructure available at the event site is insufficient, it may be necessary to use additional power sources. Their selection must take into account the requirements of the entire production and an appropriate reserve.

Equally important is the routing of power cables. The routes must not interfere with the audience, communication paths, or technical transport.

How do all systems affect the stage structure?

The stage is the point of intersection for most concert systems. PA, light, video, set design, and technical infrastructure may utilize the same structure, so their requirements must be known before approving the project.

For example, increasing the size of screens may change the loads on the structure. Adding PA elements may require different hanging points. Expanding the lighting design may increase both the load and the demand for space.

Therefore, the order of "first we order the stage, then we'll see what we hang on it" can lead to problems. The structure should be selected with consideration of the actual technical design.

In more complex events, this is where the advantage of planning audio, light, video, and stage as one comprehensive technical service for the event instead of several independent projects is particularly visible.

How to plan transport and load-in?

The transport of concert technology begins with the schedule of production. It is necessary to know what must arrive at the site first, how much space the equipment takes up, how it can be unloaded, and in what order it will be used.

Load-in means the process of bringing equipment onto the site of the event and preparing it for assembly. In the case of an outdoor event, it is necessary to plan among other things the arrival of vehicles, the unloading area, transport routes, and the space needed for temporarily setting aside cases and construction elements.

The order of deliveries should correspond to the order of work. The arrival of all teams at the same time does not always speed up production – it may actually block the site if individual departments cannot yet start assembly.

The schedule must also immediately include load-out after the event. Transport, assembly, and disassembly of event technology are part of the production process, not just a service for transporting equipment.

What does the weather change in the technical project?

The weather is one of the main risk factors during an outdoor concert. The project should take into account not only the possibility of precipitation, but also wind, temperature, and conditions affecting the safety of the structure and the operation of devices.

It is necessary to define procedures in advance for worsening conditions. Some situations may require securing the equipment, limiting the use of certain elements, halting work, or changing the course of the event.

Weather conditions also affect logistics. The surface that allows for smooth passage of vehicles and transport of cases in good conditions may behave completely differently after heavy rainfall.

Therefore, the contingency plan should be created before the event, and responsibility scope and decision-making processes must be clearly established.

How to plan the soundcheck and rehearsals?

The soundcheck should be part of the production schedule, and not a time that remains after the setup is completed. Before starting the rehearsal, the PA system, monitoring, patch, and remaining infrastructure should be prepared and checked.

A line check is performed earlier, during which the correctness of individual signal paths is verified. Only later can one proceed to the actual soundcheck involving work with the performers, preparation of monitors, and FOH mix.

With several bands, the rehearsal schedule must also account for changeovers and possible differences in stage configuration. A well conducted advance allows a significant portion of problems to be resolved even before the artists' arrival.

It is worth describing more about the procedure itself in the material why the soundcheck is important and what a professional soundcheck looks like..

What does the technical documentation look like before the event?

Documentation allows all teams to work according to the same assumptions. Its scope depends on the scale of the production, but for a larger concert, a single equipment list is definitely not enough.

The documentation may include, among others:

• a plan of the area with the location of the stage, audience, FOH, and technical infrastructure,
• the design of the stage and structure,
• information regarding rigging,
• designs and configurations of audio, lighting, and video systems,
• riders and agreements from the advance,
• stage plans, input lists and patches,
• plan RF,
• plan of power supply and distribution,
• schedule of deliveries, assembly, rehearsals, show and disassembly,
• contact details of the persons responsible for individual areas.

Documentation should be updated along with changes in the project. The situation is particularly dangerous when individual teams work on different versions of the plan.

If the concert project is just being created, a good starting point is to send the technical company the technical brief of the event, site plan, program and available riders. Based on this, one can move from general assumptions to a specific project.

The most common mistakes in planning an outdoor event

The most common problem is planning individual elements independently. Ordering the stage, PA, screens, and lights from different contractors is not a mistake in itself – the problem arises when no one is responsible for checking the dependencies between them.

Typical mistakes include:

• choosing the PA system solely based on the number of participants,
• approving the stage before knowing the rigging requirements,
• too late analysis of the artists' riders,
• lack of space for FOH, technical positions or backstage,
• not considering the power supply needs of all departments,
• lack of coordination of wireless systems,
• not accounting for time for configuration, line check and soundcheck,
• incorrect order of deliveries and assembly,
• no procedures related to the weather,
• treating video, streaming, or additional sound reinforcement zones as elements that can be added last minute without consequences.

Most of these issues do not arise from improper equipment. They stem from a lack of a common design and appropriately early information exchange.

Summary

The outdoor concert technology should be designed from the general to the specific. First, one must understand the area, the geometry of the audience, the program, riders, schedule, and location constraints. Only then can one correctly determine the requirements for the stage, sound reinforcement, monitoring, lighting, video, RF, and power.

The most important thing is to view all these elements as one cooperating system. The PA needs appropriate hanging points, lighting and video utilize the structure and power, monitoring depends on the organization of the stage, and everything must be delivered, installed, configured, and checked in the correct order.

Therefore, for a larger outdoor event, the greatest value comes not from maximizing the number of devices, but from a coherent technical design of the concert prepared before the assembly begins.

Frequently Asked Questions