One drawing saves twenty emails. The crew sets the stage from it before the artist arrives, so load-in starts with everything close to right.
What goes on it
- Each performer's position, seen from above with the audience at the bottom
- Instruments and amps, named by type
- Monitor wedges, numbered, with who hears which mix
- Power drops, DI positions and where cable has to run
- Riser sizes and heights, if the show uses them
Keeping it readable
Label everything in plain words. Put the artist's name and a date on the drawing so nobody works from a version two tours old. A clear hand drawing photographed straight on does the job; a tidy PDF travels better through a promoter's inbox.
When it changes
Any change to the line-up changes the plot. A five-piece touring as a duo needs a second drawing, not a note buried in an email. Send it together with the Input list as one file, because the sound engineer reads the two side by side.