Start with the location and site plan

The first step should be to gather information about the event location and prepare at least a simplified site plan. The location practically affects every subsequent element of the technical project – from the size of the PA system to the length of power cables and the possibility of heavy vehicle access.

On the plan, it is worth marking the stage, the area for the audience, the anticipated location of FOH, technical facilities, access roads, entrances, fences, and available power points. For larger events, the placement of generators, delay towers, screens, or catering infrastructure is also important.

Simply providing the dimensions of the plot is usually not enough. A space of 100 × 60 meters can be a completely different technical environment than a second space of identical area if one is flat and open, while the other has trees, buildings, terrain slopes, and limited access.

A well-prepared site plan is one of the most important input materials for the technical organization of an outdoor concert. 

The number of participants and the arrangement of the audience

 The number of participants helps determine the scale of the event, but it is not enough on its own to select the technical system. It is also necessary to know, on what surface the audience will be arranged and what shape the audience area has..

A concert for 1000 people can take place in a relatively wide, shallow area or on a long terrain where the last participants are much farther from the stage. In the latter case, a different arrangement of the sound system may be needed, and sometimes additional delay zones.

The following are also important:

• the maximum distance of the audience from the stage,
• the width of the audience area,
• the differences in terrain height,
• obstacles limiting sound propagation or visibility,
• designated sectors,
• VIP zones,
• spaces for people with disabilities.

This information affects not only the audio. In a large area, there may be a need to use additional screens so that people standing far from the stage can observe the performance.

Stage and artist requirements

The stage should be chosen not only based on the number of performers, but primarily according to their actual technical requirements. It is necessary to consider the working area, height, load capacity, roof structure, stage entrance, and space needed for equipment.

A band with drums, guitar amplifiers, an extensive backline, and several instrumental positions requires a different layout than a solo artist with a DJ.

The stage must also have space for:

• monitor system,
• stageboxes and splits,
• cabling,
• backline,
• risers,
• elements of the set design,
• RF devices,
• technical passages.

If several performers play in succession, the method of conducting stage changes is also important. During short breaks between concerts, it may sometimes be more beneficial to prepare additional risers or parts of the backline in advance rather than to rebuild the entire stage during the changeover.

Technical riders

The technical rider is the basic document describing the artist's requirements for the concert's execution. It should be collected as early as possible, as it can significantly change the scope of needed equipment and personnel.

The rider may include, among other things, information regarding:

• the PA system,
• consoles FOH,
• monitoring console,
• microphones,
• DI boxes,
• IEM systems,
• wedges,
• backline,
• stage plot,
• input lists,
• RF systems,
• lighting,
• power,
• stage requirements.

It is not enough to send riders to the technical company a day before the concert. The documents need to be compared with the prepared infrastructure in advance and check which requirements can be met exactly, and which require agreement on substitutes.

If there are several artists performing during the event, it is worth preparing a collective technical advance for the concert, instead of analyzing each performer completely independently.

Sound system

The sound system for an outdoor concert must be tailored to the area, the required volume, the type of event, and the arrangement of the audience. One does not choose a PA system solely based on the number of people.

The main system must provide adequate coverage for the audience. Depending on the geometry of the area, there may be front fills for the area immediately in front of the stage or delay systems for the further parts of the audience.

The project must also include subwoofers, amplifiers, DSP, signal distribution, and the method of hanging or setting up the system.

A rock concert requiring a large headroom and a strong low-frequency section is designed differently than an intimate acoustic concert in a small square.

The process of selecting the system is described in more detail sound system outdoor concerts. At the organization stage, the most important thing is to provide the technical company with accurate data about the area, audience, and repertoire.

Stage monitoring

Monitoring allows performers to hear themselves and the other musicians during the concert. It can be based on classic floor monitors, known as wedges, IEM systems, or a combination of both solutions.

The scope of the monitoring system primarily results from the rider.

In larger productions, FOH and monitors are operated by two independent consoles. The monitor position is usually located at the side of the stage, and the monitor engineer is responsible for mixes for individual musicians.

One must anticipate not only the equipment but also the appropriate space, power supply, communication, and cable routing.

Wireless systems require special preparation. If multiple microphones and IEM sets are in use during one event, it is necessary to consider RF frequency coordination, to minimize the risk of interference.

Lighting

Concert lighting must be designed with respect to the stage, repertoire, outdoor conditions, and artist requirements. Both the number of devices and the possibility of safely mounting them are important.

The lighting design affects:

• the load on the structure,
• the power requirements,
• the number of rigging points,
• the routing of cables,
• the placement of controls,
• the setup time.

At a concert taking place before dusk, it is also necessary to consider the existing light. Devices that appear very bright after 10:00 PM may be significantly less visible in full daylight.

If the event is being recorded by cameras or broadcasted, the lighting must also cooperate with the image production. A design prepared solely for an audience standing in front of the stage does not always yield good results on camera.

Multimedia and screens

Multimedia becomes necessary when the organizer wants to display graphic content, sponsor materials, presentations, visualizations, or images from cameras.

For a larger audience, the screen can also serve for IMAG, which means presenting live close-ups of the artists on stage.

One must then consider much more than just the screen. The system may include:

• cameras,
• image production,
• video mixer,
• signal conversion and distribution,
• LED screen processor,
• playback,
• operator stations,
• communication between teams.

In the case of an LED wall, the construction and surface exposed to wind also matter. Therefore, the screen should be considered at the stage of designing the stage, rather than added to it at the last minute.

Power supply

The power supply must be calculated for the entire technical and auxiliary infrastructure, and then appropriately divided among the various draws. Sound, lighting, multimedia, stage, backstage, and catering should not be treated as a random set of devices plugged into the nearest available outlet.

Before the event, it is necessary to determine what connection is available on site and whether it can actually be used for the planned production.

If the power supply of the facility is insufficient or its availability is uncertain, it may be necessary to use a generator and appropriately designed power distribution.

The physical distance between the power source and the stage, FOH, and other power points is also important.

At this stage, power planning must be linked to protecting concert technology from difficult weather conditions, because the outdoor electrical installation requires proper routing and protection from water and mechanical damage.

FOH and technical space

FOH, or Front of House, is the production position located in the audience area. It is from here that the sound engineer should hear the system in conditions as close as possible to those experienced by the audience.

FOH should not be set up randomly by the side fence just because there is free space left there.

Its location affects the quality of sound production. If the position is outside the main coverage area of the system or is partially obstructed, the engineer makes decisions based on sound other than that heard by most of the audience.

In larger productions, FOH may simultaneously include audio, lighting, and video positions. Therefore, it is necessary to anticipate its area, roofing, power supply, protection from the audience, and the routes of cables leading to the stage.

Transport and access roads

Access is a technical element of the event. If the vehicle transporting the stage, PA system, or LED cannot reach the unloading area, even the best-prepared project will not solve the problem.

Before the event, it is necessary to check:

• the width and height of the entrance,
• the load-bearing capacity of the surface,
• the turning radii,
• the possibility of truck access,
• weight restrictions,
• the unloading area,
• the possibility of turning around,
• the possibility of leaving technical vehicles.

The surface is particularly important. A road that is problem-free during a site visit on a dry day may become inaccessible for heavy transport after a few hours of rain.

It should also be determined whether the area will be open during setup for technical crews and whether subsequent vehicles can enter independently.

Setup and rehearsal schedule

The schedule should result from the actual order of system construction. Some tasks cannot be performed simultaneously, and a delay in one stage can block several subsequent crews.

A typical dependency looks as follows: first, the stage or structure must be built, then part of the rigging can be done, PA, lighting, and multimedia can be installed, cabling can be run, and systems can be activated.

After setup, it is time for configuration, patch, line check, and soundcheck.

If there are several performers, the schedule should determine the times for rehearsals and changeovers. It is also worth considering the time needed to resolve potential issues, rather than planning each stage without any margin.

A good technical schedule does not only answer the question "what time do we start the setup?" but shows who, when, and after completing which previous stage can start their work.

Weather

Weather must be taken into account already during the design of the event, and not just when the forecast starts to look unfavorable.

Rain affects equipment, electrical installations, cable roads, and the ground. Wind impacts the stage, screens, banners, lighting, and other large surfaces. A storm creates additional hazards for people and structures.

The organizer should therefore ensure that a method for monitoring the weather and a procedure for responding to worsening conditions have been prepared.

It is also important to establish responsibility. It must be clear who makes the decision to change the schedule, interrupt the concert, or implement a specific procedure.

The detailed topic of protecting systems, structures, and power is developed in a separate material regarding protecting concert technology from rain, wind, and storms.

Access to the area after the concert ends

Technical production does not end with the last song. After the event, systems must still be safely shut down, equipment must be dismantled, packed, and transport must be allowed to leave.

Therefore, even before the concert, it is necessary to determine how long technical teams have access to the venue.

If the event ends at 11:00 PM, and the area must be completely vacated by midnight, it may be physically impossible to dismantle the elaborate stage, sound system, lighting, and screens in the available time.

The lighting of the area after the event is also important. After the concert system is turned off, the crew still needs to work safely while packing, handling carts, cases, and vehicles.

It should also be determined whether the exit roads will remain accessible after the audience leaves the area.

Organizer's checklist before sending a request to the technical company

A good request does not need to include a finished technical project. However, it should allow the production company to understand the scale of the event, location, schedule, and the most important requirements.

Before sending the request, gather:

• the name and address of the location,
• the date of the event,
• the hours of the concert,
• the expected number of participants,
• the plan or dimensions of the area,
• the expected location of the stage,
• information about the stage or the need for its delivery,
• a list of performers,
• current technical riders,
• the planned schedule of rehearsals and concerts,
• information about available electrical infrastructure,
• needs regarding sound reinforcement,
• requirements regarding monitoring,
• lighting needs,
• information about screens, cameras, and multimedia,
• the expected FOH location,
• information about access and unloading possibilities,
• the hours of area availability before and after the event,
• information about other technical suppliers,
• limitations of the location important for the installation,
• assumptions regarding the protection of the event from the weather.

If some data is still missing, it is also worth noting that. The information "the main artist's rider will be available in two weeks" is significantly more useful for the technical company than the lack of any information about the contractor's requirements.

Sending such a set of data before starting planning the technical support for the concert helps to reduce the number of assumptions and decreases the risk that a significant cost or element of infrastructure will appear only just before the event.

Summary

A well-prepared outdoor concert starts with collecting data, not from choosing a specific sound system model or the number of lights. The organizer should first determine the location, audience layout, stage, performers, riders, schedule, power supply, logistics, and working conditions for the technical teams.

The most important practical conclusion is simple: individual systems should not be planned in isolation from each other. The LED screen affects the structure and power supply, the rider affects audio and monitoring, the area affects the placement of the PA, and the schedule affects the number of teams and the way the stage is built.

The earlier these dependencies are taken into account, the fewer changes need to be made during the assembly. Therefore, before preparing the technical project for the outdoor concert it is best to gather a complete checklist of information and pass it to one person coordinating the entire technical process.

Frequently asked questions