What is a band's technical rider?

A technical rider is a document that specifies the requirements needed to prepare for a concert from a technical standpoint. It should describe what the band needs from the organizer, venue, and production company to ensure the concert can be conducted as planned.

It may include, among other things:

• PA system,
• FOH,
• monitoring,
• microphones and DI boxes,
• mixing consoles,
• stage boxes,
• backline,
• power supply,
• stage,
• risers,
• technical communication.

The rider should be a practical document. The person preparing the event must know what needs to be provided, what the band brings, and which elements require prior agreement after reading it. 

Technical rider vs hospitality rider

The technical rider and hospitality rider are two different documents.

The technical rider describes the conditions for the concert: audio, stage, lighting, backline, power supply, and other technical infrastructure.

The hospitality rider, on the other hand, pertains to the organizational conditions and backstage for the artist, e.g., dressing rooms, catering, drinks, parking, or accommodation.

They can be sent together, but for clarity, it is better to clearly separate technical requirements from hospitality.

What is the rider used for by the organizer and the technical company?

The rider allows checking whether the local infrastructure is compliant with the band's requirements and what needs to be provided additionally.

The technical company can prepare based on it:

• a sound system,
• mixing consoles,
• a patch,
• microphones,
• monitoring,
• backline,
• a schedule for stage preparation.

The organizer can also assess in advance whether the requirements can be met at the given venue and what scope needs to be included in the budget.

Therefore, a well-prepared rider significantly facilitates the preparation of a complete concert sound system and all stage technology.

What information should be at the beginning of the rider?

 At the beginning of the rider, there should be information that allows for the clear identification of the band, the document, and the person responsible for technical matters.

The data of the band and the person responsible for technical matters

In the first part, it is worth including:

• the name of the band,
• the surname of the person responsible technically,
• the e-mail address,
• the phone number,
• eventually contact for the tour manager or manager.

The most important thing is to designate one person who can make technical decisions during the advance.

If all questions go simultaneously to the manager, the FOH operator, the musician, and the organizer, conflicting arrangements quickly arise.

Document currency and version number

The rider should have an update date or version number.

This is a simple thing that helps avoid working with an old document. For example, you can label the file as:

• Rider 2026 v1.2,
• update: August 2026.

If the band changes its lineup, console, monitoring, or input list, the rider needs to be updated and the new version sent to all involved parties.

How to describe the requirements for the PA system?

PA requirements should primarily specify the outcome that the system should provide, rather than just being a random list of brands.

Coverage, level, and quality of the system instead of a random list of brands

The rider may specify that the system should:

• evenly cover the entire audience,
• provide adequate headroom,
• operate full range,
• be properly configured and tuned,
• provide the required SPL throughout the audience area.

If the band has specific requirements regarding the type of system, it is worth justifying them technically.

A list of "only brand X, Y, or Z" without information on configuration may be less useful than a clear requirement regarding coverage and performance.

Of course, in the case of concert tours, there may be a list of accepted systems, but it is still necessary to specify what is expected from the entire PA.

The differences between architectures are described in more detail in the material Line array or point source – when to choose which sound system?

Frontfill, outfill, delay, and subwoofers – when is it worth to specify them?

It is not necessary to state that every event must have frontfill, outfill, and delay. These elements should result from the geometry of the audience.

In the rider, it can be noted that:

• the first rows must be properly covered,
• side sectors cannot remain outside the system,
• in large spaces, a delay line should be used if required by the design,
• the subwoofer section must provide the appropriate level and range for the band's repertoire.

Such requirements leave the local system engineer with the ability to properly design a specific configuration.

How to describe the requirements for the FOH position?

FOH should be described as the work position of the engineer, not just the place where the console stands.

Console and infrastructure

The rider should specify:

• the preferred or required console,
• the minimum number of channels,
• the required inputs and outputs,
• the needed matrices and buses,
• any additional devices.

If the band brings their own console, it is necessary to specify what they need from the local infrastructure.

This may include:

• stagebox,
• split,
• analog or digital patch,
• power supply,
• network,
• connection to the PA system.

Position of the production desk

FOH should be located in a representative place relative to the audience.

It should not be placed:

• behind the stage,
• in a closed room,
• extremely to the side,
• in a place that is acoustically completely different from the audience.

In the rider, it is worth noting that the FOH position should provide direct monitoring of the main system and visibility of the stage.

Network, stage boxes, and additional equipment

In modern productions, FOH may also require network infrastructure.

It is worth specifying:

• type of connection to the stage,
• who provides the stage box,
• whether a split is needed,
• whether the band uses its own network,
• whether a redundant connection is needed.

If the routing is complex, the rider should clearly separate what the band brings from the infrastructure required from the local company.

How to describe stage monitoring?

Monitoring must be described in enough detail for the local crew to know how many independent mixes and what types of monitors need to be prepared.

Number of independent mixes

It is not enough to write "5 monitors".

You need to specify:

• the number of independent mixes,
• who uses which mix,
• whether the mix is mono or stereo,
• who controls the monitoring.

For example, five wedges do not have to mean five mixes. Two sets can work on one mix.

Wedge, sidefill and drum fill

If the band uses wedges, it is worth determining their placement on the stage plan.

Sidefill and drum fill should only be indicated when actually needed.

The rider can specify:

• the number of monitors,
• the way they are arranged,
• required headroom,
• preferred models or class of solution.

IEM and RF requirements

If the band uses IEM, it must be clearly specified:

• how many systems are needed,
• whether they are wireless or wired,
• who provides the transmitters and bodypacks,
• who is responsible for RF coordination.

With multiple wireless systems, frequency coordination should be part of the advance.

It is not enough to write "8 x IEM". The entire way of operating the system must be specified.

How to prepare a proper input list?

The input list should clearly describe each input channel of the system. It is one of the most important working documents for stage techs, the FOH engineer, and the monitor engineer.

Channel, source, microphone/DI and stand

A good input list can include columns:

The most important thing is to maintain a consistent order and compliance with the patch.

If there are spare channels, talkback or playback, they should also be included.

Phantom power and additional requirements

If a specific device requires phantom power, non-standard power supply or a specific connection method, it is worth noting this in the input list or comments.

You can also indicate:

• channels stereo,
• devices requiring two DIs,
• digital sources,
• split,
• playback L/R,
• timecode, if used.

The input list should be understandable without the need to guess what the author meant.

How to prepare a clear stage plan?

The stage plan shows the physical arrangement of people and equipment on stage. It should be a simple top view, not an artistic drawing.

Arrangement of musicians and backline

The plan should include:

• positions of musicians,
• drums,
• amplifiers,
• keys,
• additional instruments,
• positions of vocalists.

It is also good to indicate the direction of the audience so that there is no confusion about which side of the drawing corresponds to stage left and stage right.

Monitoring, microphones, DI, and power supply

The stage plan should show:

• wedge,
• positions IEM, if they have infrastructural significance,
• microphones,
• DI boxes,
• power points,
• stage boxes.

It does not need to include every cable, but it should allow the technician to prepare the stage before the band arrives.

Risers and stage infrastructure

If the band needs risers, the following should be provided:

• their dimensions,
• height,
• location.

This may apply to, for example, drums, keyboards, or brass sections.

If special constructions are needed, the dimensions must be specified clearly. The term "large riser for drums" is not sufficient information.

Microphones, DI boxes, and backline – how to describe the requirements?

The requirements for microphones and DI should be specific enough for the local company to know what the band needs, but at the same time should not complicate the implementation without a technical reason.

A good solution is to provide:

• the preferred model,
• acceptable substitute class,
• application.

For example, it is more useful to say:

"dynamic microphone with a cardioid pattern for a guitar amplifier, preferred model X or equivalent upon agreement"

than just:

"only X".

The backline should be described separately. If locally provided amplifiers, a drum set, or keyboards are needed, the following must be specified:

• model or required parameters,
• number of items,
• configuration.

Everything that the band brings themselves should also be marked.

Power and stage requirements

The rider should clearly indicate where and what power is needed on stage.

It is worth specifying power points for:

• the backline,
• pedalboards,
• keyboards,
• IEM systems,
• computers,
• playback devices.

However, random electrical values should not be entered if they are not actually required.

The stage rider can also specify:

• minimum stage dimensions,
• needed risers,
• space for the monitor world,
• required technical passages,
• space for the backline.

If the band requires additional infrastructure, its actual parameters must be provided.

How to describe acceptable equipment substitutes?

The best rider clearly separates truly required elements from those that can be replaced with an equivalent solution.

Terms can be used:

• preferred,
• required,
• accepted substitute,
• substitute upon prior agreement.

If a specific console is required because the engineer is bringing a show file and cannot work on another platform, it is worth noting this.

If, on the other hand, a specific microphone is merely a sound preference, an equivalent can be allowed.

This approach makes it easier for the organizer to prepare the production without the risk that technically equivalent equipment will be rejected just because it has a different name on the casing.

What mistakes should be avoided when creating a rider?

The worst rider is a document that instead of facilitating the concert preparation generates more questions.

Outdated rider

An outdated document may contain:

• old lineup,
• incorrect input list,
• unused IEM systems,
• outdated FOH requirements.

If the band has changed the configuration, the rider should be updated before the next concerts.

Rider impossible to interpret unambiguously

The following terms are problematic:

• “large system,”
• “strong subs,”
• “good console,”
• “several monitors.”

It is unclear what they specifically mean.

The rider should provide technical information that can be unambiguously verified.

Requirements without technical justification

An unnecessarily restrictive rider can increase costs and complicate the execution without improving the outcome.

An example could be the requirement for a very specific device, even though the local equivalent meets all necessary functions.

If the limitation is indeed significant, it is worth providing a reason.

The rider should protect the quality of the performance, not hinder preparation for the concert.

The rider is the beginning – what is a technical advance?

A technical advance is the process of agreeing on concert details between the band, its crew, the organizer, and the local technical company before the event.

The rider is the starting point. During the advance, it is confirmed among other things:

• PA,
• FOH,
• monitoring,
• microphones,
• a patch,
• backline,
• power supply,
• stage,
• schedule,
• soundcheck and changeover.

If the local setup differs from the rider, that is when substitutes are established.

The advance can take place via email, phone, or during a technical meeting. The most important thing is that the final arrangements are confirmed and known to all parties involved.

A good practice is to prepare one current version of working information after the advance instead of maintaining several conflicting versions in different emails.

If the rider requires a detailed analysis, preparing concert technology based on the rider and advance allows for connecting the PA system, monitoring, stage, and routing into one cohesive project.

Summary

A good technical rider for the band should primarily be unambiguous, current, and practical. It must describe contact information, PA, FOH position, monitoring, input list, stage plan, microphones, DI boxes, backline, power supply, and stage requirements.

There is no need to include every possible equipment preference. It is more important to distinguish between mandatory requirements, preferences, and acceptable substitutes.

The greatest value of a rider comes when it becomes the basis for an efficient technical advance. It is during the advance that the document is confronted with the realities of a specific venue and local infrastructure. A rider should not replace communication — it should organize it.

Frequently Asked Questions