This stage plot example describes five people: a lead vocalist, guitarist, bassist, drummer and keyboard player. The input list contains nine channels; four numbered monitor mixes describe the requested coverage. It is a fictional small-band example to adapt with the venue engineer.
Keep the person count, source count and monitor count separate. One person can use several channels, and one mix can feed more than one speaker. Open the stage plot template, then replace its positions and channel labels with the agreed setup.
A complete five-piece stage plot example
Stage layout
Mark the front of the stage and audience direction. Stage left and stage right mean the performer's left and right while facing the audience; label them explicitly rather than assuming a page orientation communicates this.
Place drums upstage center, bass stage right, guitar stage left, keys downstage left and vocal downstage center. These are illustrative positions, not venue measurements. Check the real stage dimensions and access before finalizing the drawing.
Nine-channel input list
| Input | Source | Routing note |
|---|---|---|
| 1 | Kick | Mic and stand agreed with house |
| 2 | Snare | Mic and placement agreed with house |
| 3 | Overhead left | One side of the overhead pair |
| 4 | Overhead right | Other side of the pair |
| 5 | Bass DI | Agreed DI output |
| 6 | Guitar DI | Modeler or suitable DI output, not an unspecified speaker output |
| 7 | Keys left | Left output |
| 8 | Keys right | Right output |
| 9 | Lead vocal | Vocal microphone |
This deliberately simplified drum setup is not a complete prescription for every kit or room. Agree microphone provision, stands, connections and channel order during advance. A guitar amp drawn for stage sound does not explain the PA feed; the input list must identify that feed separately.
Monitor request
Mix 1 serves bass and drums, Mix 2 vocal, Mix 3 guitar and Mix 4 keys. Those are identifiers in this example, not a universal clockwise numbering rule. Write the intended recipient beside every mix and agree whether one mix needs one or several wedges. If the drummer cannot hear a front wedge, revise the physical coverage with the engineer rather than assuming the label solves it.
Mark power needs and who supplies each item. Distinguish a preference from essential equipment, and send changes with a version date.
Common Stage Plot Mistakes
Wrong stage orientation. The most common mistake is drawing the stage from the audience's perspective. Stage left and right must follow the performer’s perspective, regardless of how the top-down page is oriented. Write "Stage Left" and "Stage Right" clearly on the diagram, and put the front of stage at the bottom.
Missing the input list. A stage plot without an input list is half a document. The sound engineer needs to know which physical input on the snake or stage box corresponds to which channel on the console. Put the input list on the same page as the stage plot.
Vague monitor labels. "Monitor 1" is not enough. Write "Vocal Monitor (Mix 2)" or "Drummer Side-fill." The monitor engineer has multiple mixes to manage and needs to know which performer gets which mix.
Not updating the plot. Your stage plot from last year's tour is wrong if you changed guitarists, switched to in-ears, or added a keyboard player. Update the plot before every tour or major show. An outdated plot is worse than no plot — the engineer will set up for a configuration that does not exist.
How to Create a Stage Plot That Engineers Actually Use
- Keep it readable. Use clear labels, distinct colors per performer, and large enough text. The engineer will look at this on a phone or tablet in a dimly lit venue.
- Include power and special needs. If the keyboard player needs a power drop, mark it. If the vocalist uses a specific mic (e.g., "Beta 58A only"), note it.
- List preferences, not demands. "We prefer 4 monitor mixes if available, but can work with 2" is more useful than "4 MONITOR MIXES REQUIRED!!!" Engineers want to help — give them options.
- Send it in advance. Email the stage plot to the venue by the production contact’s agreed advance deadline. Do not wait until load-in. The advance copy lets the engineer pre-label the snake and position mics before you arrive.
Stage Plot Considerations for Different Types of Shows
Small club or bar gig: keep it simple. A 4-piece band in a small venue may only need 8–12 inputs, and the sound engineer is probably working on a compact digital mixer with limited channels. Focus on the essentials: vocal mics, instrument DIs, and one or two monitor mixes. Keep a concise input list that matches the channel numbers, even when the overall drawing is simple.
Festival or multi-band show: speed of changeover matters more than detail. Include a note about your setup time and any special requirements that slow down the switch. Label everything clearly because the festival engineer will not remember your band's preferences from the advance email. Use large, bold text that can be read from a phone screen in direct sunlight.
Corporate or wedding band: these gigs often involve unusual stage layouts — stages in corners, L-shaped rooms, or outdoor tents. Include a simple diagram of the stage shape if it is non-standard. Note any power requirements (keyboards, pedalboards, laptops) because corporate venues often have limited stage power.
Tour with consistent lineup: create one master stage plot and update it only when something changes. Include your band's contact info and preferred backline (amps, drums, keyboards) on the plot. A touring band with a clean, professional stage plot builds trust with venue engineers before they even arrive.
In-ear monitor setups: if your band uses in-ears instead of wedges, the stage plot changes significantly. Remove the monitor wedges from the diagram and add a note about how many monitor mixes you need and whether you bring your own IEM rack or need the venue to provide sends. Many venues still default to wedges, so make the in-ear setup visually obvious.
Use the plot during venue advance
Give the production contact the same five-person lineup, nine-source input list and monitor request shown on the plot. Confirm who supplies microphones, DI boxes, stands and monitors. Discuss any unavailable item before load-in.
At arrival, identify changes since the accepted version and check the input labels against the actual stage box. A clear plot can reduce avoidable setup questions, but no fixed sound-check saving is promised. Keep the latest readable copy available offline.
Digital vs. Printed Stage Plots: What to Bring
Always have both. Send a digital PNG or PDF to the venue by the venue’s advance deadline — this is what the engineer uses to prep. But also bring two printed copies to the show. Venues have Wi-Fi problems, phones die, and engineers with gloves on do not want to swipe through a PDF on a dirty screen. Tape one printed copy to the stage snake or monitor console so it is visible during setup. Give the other copy to the monitor engineer if there is a separate monitor position. A printed stage plot on a music stand next to the snake is worth more than the most beautifully designed digital file that nobody can access because the venue's router is password-protected and nobody knows the password.
What to Send with Your Stage Plot
Do not send the stage plot by itself if the venue has never worked with you before. Add a short advance note with the same information the engineer will need during setup: arrival time, number of performers, whether you bring your own microphones or DI boxes, how many monitor mixes you prefer, and whether any member uses in-ear monitors. Keep the note boring and practical. The goal is not to impress the venue; the goal is to remove surprises before load-in.
If the routing is unusual, include a separate audio signal flow diagram showing how playback rigs, splitters, interfaces, and the venue console connect. Keep physical positions on the stage plot and signal routing in the signal-flow document so neither becomes crowded.
A good email subject is specific: "Stage plot and input list for The River Keys — July 31 show." Attach the PNG stage plot, paste the input list into the email body, and include one contact number for day-of-show questions. If the attachment fails, the engineer still has the channel list in the email. If the lineup changes, send an updated stage plot with "updated" in the filename so nobody prints the old one.
Open the free stage plot template, replace the pre-filled band positions with your own lineup, update the input list, and export as PNG for your next show.
Confirm the shared revision
Put the band name, show date, technical contact and revision date on the final rider. Ask the venue to confirm the agreed input numbering, available monitor outputs and who supplies each required item. If anything changes, update the stage drawing and input list together and resend the same revision to the relevant contact. A clear latest version avoids two different channel lists reaching the crew.
