How to Prepare a Professional Backline Technical Rider

A useful backline rider helps an artist and production team describe the stage they need before equipment is allocated.

It should be specific enough to protect important performance requirements without becoming so rigid, outdated or incomplete that the local production cannot act on it. The strongest riders explain the complete system: musician positions, instruments, drums, keyboards, amplification, hardware, accessories, power, connections and the process for approving alternatives.

This guide focuses on how to create that document. It complements our guides to understanding technical riders and reviewing a technical rider professionally.

A backline rider should allow an authorised production partner to understand what must be prepared, what the artist will carry and what still needs confirmation.

It should:

• Identify the artist, production and current document version
• Describe the complete backline requirement by musician position
• Separate essential specifications from preferences
• State acceptable alternatives where they are already known
• Identify artist-carried equipment
• Match the stage plot and relevant input information
• Explain who may approve substitutions or changes
• Provide contact details for technical clarification

The objective is not to make the document long. It is to make the requirement unambiguous and operationally useful.

Begin with the current performing line-up. Give each musician a consistent position name that is also used on the stage plot and input list.

For example:

• Drums - upstage centre on drum riser
• Bass - stage right
• Guitar 1 - stage left
• Guitar 2 - stage right
• Keyboards - stage left, two-tier position
• Percussion - upstage left

Include doubling where it changes equipment. A musician listed only as "guitar" may also require an acoustic stand, DI, stool or second amplifier path.

If positions change between songs or sections of the show, describe that separately instead of forcing several configurations into one unclear list.

Use exact models when their behaviour, feel, sound, dimensions or workflow materially affect the performance. Then state whether an alternative may be proposed.

A useful format is:

Preferred: Nord Stage 4 88 Acceptable alternatives: Nord Stage 3 88 or another approved 88-key weighted stage piano Approval required: Yes - musical director

Avoid using "or equivalent" without explaining what must remain equivalent. Relevant characteristics may include key action, shell sizes, amplifier format, speaker configuration, switching, mounting or physical dimensions.

If no substitute is acceptable, say so clearly and explain the operational consequence early enough for the production to plan sourcing.

Describe the drum kit as a complete playing system.

Include:

• Brand or acceptable families
• Bass drum, rack tom and floor tom sizes
• Shell material or series where essential
• Finish requirements only when visually important
• Drumhead preferences
• Tuning or dampening notes
• Required snare drums
• Drum riser dimensions, if known
• Whether the drummer carries snare, cymbals, pedals or throne

State whether a four-piece or five-piece configuration is required rather than listing shells without explaining the intended setup. If the drummer uses an unusual tom orientation, auxiliary snare or hybrid electronics, show it on the stage plot as well.

Cymbals and hardware should not be hidden inside a generic line such as "standard hardware."

List:

• Hi-hat, crash, ride and effects cymbal sizes
• Preferred cymbal series or tonal direction
• Number and type of cymbal stands
• Straight, boom or combination preferences
• Hi-hat stand requirements
• Single or double bass drum pedal
• Throne type or artist-carried throne
• Snare stands, tom mounts, clamps and racks
• Any memory-lock or positioning requirements

If cymbals or pedals travel with the artist, confirm what local mounting and stand support is still required.

For every keyboard position, specify the instrument and the system around it.

Include:

• Preferred model and approved alternatives
• Key count and action
• Required sounds or functional role
• Single-tier or multi-tier stand
• Seated or standing position
• Bench or stool
• Sustain, expression and switching pedals
• Music stand or device holder
• Artist-carried laptops, modules or controllers
• Mono, stereo or multiple output requirement
• DI boxes and required channels
• Power supplies and local voltage considerations

Name which keyboard sits on each tier. This prevents a correct instrument list from becoming an unusable physical layout.

Separate guitar and bass requirements because they involve different systems, rider language and signal decisions.

For guitar, document:

• Head, combo or modelling format
• Preferred model and acceptable alternatives
• Cabinet size, speaker configuration and impedance
• Required footswitch or channel control
• Artist-carried pedalboard and connection point
• Open-back or closed-back preference where relevant

For bass, document:

• Amplifier head or combo
• Cabinet format and impedance
• Required power and stage-level expectation
• DI source and whether pre/post EQ matters
• Artist-carried bass, pedals or processing

Show amplifier positions on the stage plot and identify any offstage or isolation requirement.

List locally required instruments and the small items needed to make them usable.

This can include:

• Electric, acoustic and bass guitars
• Percussion instruments
• Instrument stands
• Guitar stools
• Active or passive DI boxes
• Mono or stereo DI channels
• Isolation or link-output requirements
• Music stands
• Sustain and expression pedals
• Footswitches
• Adaptors and approved power supplies
• Specialty mounts or holders

Do not assume a backline provider will infer accessories from the headline instrument. State who supplies each performance-critical item.

The stage plot and backline rider should describe the same production.

Use matching musician names and position labels. The plot should show:

• Performer positions
• Drum riser
• Keyboard orientation and tiers
• Guitar and bass amplifier placement
• Percussion position
• DI and connection points where useful
• Artist-carried playback or control positions
• Shared equipment on festival stages

Add the same version date to both documents. When the line-up or layout changes, update both rather than sending a revised rider with an old plot.

Backline documents should identify power and connection needs without attempting to replace the audio department's full input specification.

Useful information includes:

• Instrument operating voltage
• Required local power adaptors
• Number and location of power points
• Mono or stereo outputs
• Balanced or unbalanced sources
• DI requirements
• Playback or computer interfaces
• Amplifier switching connections
• MIDI, USB or network dependencies that affect the backline setup

Coordinate this information with the latest input list. A keyboard listed as stereo in the rider should not appear as one mono channel elsewhere without explanation.

State who can approve a change and how approval should be recorded.

A clear rider might say:

Substitutions: Significant model or configuration changes require written approval from the tour manager or musical director before equipment allocation.

Approval should cover the complete consequence of the change. A different amplifier head may require another cabinet or footswitch. A keyboard alternative may change outputs, stand width, pedals or program compatibility.

Written confirmation protects the artist, provider and production from relying on different assumptions.

Common problems include:

• No revision date or version number
• An old line-up
• Model names without sizes or configuration
• "Professional standard" without a measurable requirement
• "Or equivalent" without acceptable criteria
• Missing pedals, stands, thrones or footswitches
• Artist-carried items not identified
• A stage plot that conflicts with the equipment list
• Power and output information omitted
• No authorised substitution contact
• Visual preferences presented as technical necessities
• Several documents containing different versions of the truth

Before issuing the rider, ask someone who did not write it to check whether they could prepare the complete stage from the information provided.

Use our Professional Backline Technical Rider Checklist before sending a new rider or revision.

The checklist covers document control, musician positions, drums, cymbals, hardware, keyboards, amplification, instruments, DI boxes, accessories, stage plots, power, connections and substitution approval.

It is a preparation aid, not a fixed rider template. Every artist and production still needs its own clear document.