Why does the choice of location affect the entire project?

The location practically affects every technical element of the outdoor concert. The shape, terrain, access, and infrastructure determine the stage, PA, FOH, power supply, cable routes, transport, structures, and the organization of crew work.

Two areas of similar size may require completely different designs. One may be wide and flat, with good access right up to the stage. The other may be long, uneven, limited by trees, and accessible only by one narrow technical road.

In the first case, the problem may be covering a wide audience. In the second, additional issues will arise:

• delay line,
• long cable runs,
• limited load-in,
• truck positioning,
• more difficult construction placement.

Therefore, the area should be analyzed already at the stage of planning outdoor concert techniques, not just after ordering the stage and equipment. 

How to check the size and geometry of the area?

The size of the area must be analyzed together with its geometry. The mere number of square meters does not indicate how the audience will look or where technical systems can be set up.

It is necessary to determine:

• the width and depth of the audience area,
• the location of the stage,
• the maximum distance of the viewer from the stage,
• side zones,
• obstacles,
• terrain levels,
• possible FOH and delay locations.

For sound reinforcement, not only the distance of the farthest listener matters, but also how wide the audience extends. A narrow and deep area may require a different configuration than a wide space with the audience relatively close to the stage.

Geometry also affects multimedia. A screen set up near the stage may be well visible straight on, but insufficient for very wide side sectors.

It is best to work from a plan with actual dimensions, rather than a sketch made roughly based on an online map. 

Ground conditions – what do you need to know before installation?

The state of the ground directly affects the ability to set up the structure, move heavy equipment, and conduct a safe load-in. An area that looks good on a dry day may behave completely differently after heavy rain.

You need to pay attention to:

• the type of surface,
• soft ground,
• unevenness,
• slope,
• drainage,
• wet areas,
• ruts and the possibility of vehicles sinking.

This is important both at the stage and on transport routes.

If the ground is soft, trucks may not be able to approach the unloading area. If the terrain is uneven, it may hinder the setup of structures, carts, cases, or lifts.

One should not assume that since the area is used daily as a meadow or parking lot, it automatically qualifies for heavy event infrastructure.

Where to plan the stage?

The stage should be located in a place that simultaneously works well with the geometry of the audience, logistics, power supply, and construction capabilities. It should not be set up solely where it "looks nice".

You need to consider:

• the direction of PA playback,
• the depth of the audience,
• possible FOH setup,
• backstage area,
• technical access,
• space for structures and rigging,
• access to power.

A stage set up in the wrong direction can create problems with audience coverage or increase sound emission towards an undesirable area.

Access from the back is also important. If the backline and equipment need to be delivered through the audience space, each changeover becomes significantly more difficult.

Before approving the stage location, it is worth comparing it with the full plan of the festival or concert's technical backstage, rather than analyzing it as a separate object.

Where should FOH be located?

FOH should be located in a representative spot for the sound perceived by the audience, while also not unnecessarily blocking the audience or pathways.

FOH, or Front of House, is the production position primarily responsible for mixing sound for the audience. In a larger production, it may also include lighting, video, or other production positions.

The location of FOH should consider:

• the line of sight to the stage,
• the position relative to the PA,
• the distance from the stage,
• signal paths,
• power,
• space for crews,
• access during setup.

Placing the operator very far to the side or behind an obstacle makes it difficult to assess what most of the audience hears.

FOH must also be secured against participant movement and included in the cable routing plan. If signals between the stage and FOH must cross the main communication route, their routing should be designed before installation.

How to prepare locations for delay and other technical zones?

The delay line and other additional zones must be marked on the site plan before production begins. They should not be set up "wherever there is space."

The delay line is an additional speaker system set further from the stage and appropriately delayed relative to the main system. It allows for sound reinforcement of the farther part of the audience without the need to excessively increase the level of the main PA.

The location for the delay must consider:

• the geometry of coverage,
• access to power,
• the signal path,
• stable positioning of the structure,
• no conflict with audience movement.

Similarly, planning must include:

• outfille,
• additional screens,
• camera positions,
• lighting towers,
• power distribution points.

Each of these zones occupies physical space and requires technical access.

Detailed rules for the operation of delayed systems are developed in a separate material about how to sound large spaces using the delay line.Technical roads for trucks and equipment..

Technical roads for trucks and equipment

Technical roads should allow for the delivery of equipment to appropriate areas without colliding with the audience, structures, and other crews. In practice, their layout can determine whether the entire load-in schedule is feasible.

It is necessary to check:

• the width of the roads,
• the turning radii,
• the surface,
• the height of the clearance,
• slope,
• the possibility of turning around,
• access after rainfall.

It is also important where the truck can actually stop during unloading.

The mere fact that a vehicle can enter the event area does not mean that it can reach the stage. If the final several dozen meters must be covered manually with cases, the schedule and the number of needed technicians may change significantly.

Roads should also be planned with load-out in mind. After the concert, part of the area may still be occupied by the audience, the security, and other crews.

Parking and production facilities

Production parking should be separated from the main public traffic and provide space for crew vehicles, trucks, and artist transport.

For larger productions, it is necessary to distinguish:

• permanent parking,
• the loading zone,
• the truck waiting area,
• space for artist vehicles,
• crew facilities.

Not every vehicle needs to stay by the stage at all times. After unloading, the truck can be directed to a separate area so it does not block access for subsequent transports.

A well-designed production parking area also allows for easier management of the delivery sequence.

In multi-stage events, the lack of such a plan can create a situation where vehicles from different crews block each other and delay subsequent stages of assembly.

Where to store empty cases?

Empty cases should go to a designated storage area away from the main production flow and the audience. With a large amount of equipment, their volume after unpacking can be very large.

They should not be located:

• on evacuation routes,
• at stage entrances,
• in technical passages,
• near distribution points,
• in areas needed for changeovers.

The best location is a place close enough to the stage, so that during load-out, crates can be efficiently retrieved, but at the same time outside of the intensive work area.

At a festival, it is also worth separating:

• empty cases,
• equipment waiting for the next concert,
• gear ready for transport.

Such separation greatly simplifies backstage logistics.

How to plan cable routes?

Cable routes should be designed together with the layout of the stage, FOH, delays, generators, and other technical areas. They should not be created only after the equipment is set up.

Cables may include:

• power,
• audio,
• network,
• video,
• control,
• RF in appropriate configurations.

It is necessary to determine the routes that can be conducted without collision with:

• the audience,
• technical roads,
• crew passages,
• vehicles,
• structural elements.

If the route crosses a road, an appropriate method of securing the infrastructure against mechanical damage and traffic must be anticipated.

The length of the cables is also significant. This particularly applies to power supply, where distance affects the selection of cross-sections and voltage drops, as well as signal systems, for which there are specific technological limitations.

The plan for cable routes is therefore an integral part of the power supply and technical infrastructure project of the event.

Where to place generators and distribution boards?

Generators should be located in a place that ensures safe operation, service access, appropriate ventilation conditions, and reasonable distances from receivers. At the same time, noise and exhaust fumes must be taken into account.

When choosing a location, the following are considered:

• the route to the distribution board,
• the distance from the stage,
• the audience,
• backstage,
• the possibility of refueling,
• service access,
• ventilation and exhaust fumes.

Too great a distance from the generator may increase the length of the main power supply routes. Too small – may cause acoustic and organizational problems.

Distribution boards should be positioned so that the distribution to individual receivers is logical and controllable.

For larger productions, the system may have the structure:

generator / source → main distribution → sub-distribution → audio, light, video and other receivers.

The detailed selection of the source is described in the article how to choose a generator for a concert and outdoor event.

How does rain change transport routes and ground conditions?

Rain can completely change the logistics of an event even when it does not directly affect the concert program itself. The biggest problem is often not wet equipment, but the condition of the roads and ground.

A dry grassy road can allow for smooth passage of trucks. After heavy rainfall, it can become slippery, soft, and impassable.

The same happens in the zones:

• under the stage,
• at loading,
• around generators,
• at the case storage.

Already at the site visit stage, it is necessary to determine what will happen to the area after rain and whether there is an alternative route.

Additional surface preparation or relocation of technical zones may be needed.

The worst moment to discover that the vehicle with the PA system cannot reach the stage is the morning of the concert.

What needs to be measured during the site visit?

The site visit should provide data needed to create a real technical project. General photos are useful, but they do not replace measurements.

It is necessary to measure or confirm primarily:

• the width and length of the area,
• the approximate geometry of the audience,
• the distance stage–FOH,
• the distance stage–farthest sector,
• location for delay,
• available road widths,
• width of gates,
• distances to power sources,
• potential lengths of cable routes.

It is also worth documenting:

• the surface,
• location of unloading,
• potential positions of generators,
• obstacles,
• slopes,
• elements obstructing visibility.

A well-prepared site visit before the technical execution of the event allows for working later with specific data instead of assumptions.

Site checklist before project approval

Before approving the technical outdoor plan, it is worth checking if all basic questions have been answered:

• Do we know the actual dimensions of the site?
• Is the audience layout confirmed?
• Is the position of the stage technically justified?
• Does FOH have the proper location?
• Have delays and additional zones been planned?
• Can trucks safely reach the loading area?
• Will the roads remain passable after rain?
• Is there space for production parking?
• Is there a plan for storing empty cases?
• Are the cable routes known?
• Do the generators have appropriate locations?
• Will access to the distribution board remain possible during the event?
• Do all technical zones have planned power and signals?
• Does the area allow for setup and load-out on the accepted schedule?

If several of these points remain unknown, the project is not yet ready for final approval.

For larger concerts technical preparation of the event should start with such an analysis of the space, because later decisions regarding the stage, PA, structure, and logistics are based on this data.

Summary

Preparing the site for an outdoor concert involves designing the space as a single technical system. It is necessary to consider the stage, audience, FOH, delays, transport routes, production parking, cases, cable routes, generators, and distribution.

The most important factor is not the size of the plot itself, but its actual geometry, access, and ground behavior under different conditions. An area suitable in dry weather may require a completely different approach to load-in after rainfall.

Therefore the site plan should be created before the final selection of systems, and the most important assumptions should be verified during the site visit. The earlier the space limitations are detected, the fewer changes will need to be made during setup.

Frequently asked questions