Sound Check and Monitor Mix Sheet
Put the mix that was right at sound check back at show time, and start the next gig from what worked rather than from nothing.
Music and performance · MU-27
A free printable stage plot template with a squared area to draw the stage as the audience sees it, and a numbered input list of every source, mic or DI.
2 pages. Choose your paper size — both versions are laid out identically, so neither one gets shrunk to fit.
Print it and write on it
Fill it in type and save
The fillable versions have real form fields — open them in any PDF reader, type into them and save. Printing help.
Let a venue engineer patch the stage before you arrive, and save the twenty minutes of pointing and shouting that a gig without one costs.
Bands and acts of any size playing venues with house sound, and the engineers and promoters who ask for a plot in advance.
2 pages, in this order:
Printed under the title: The two things a venue engineer asks for before you arrive: a drawing of where everyone stands and what is beside them, and a numbered list of every signal coming off the stage and what it needs.
Write-on lines: Act · Number on stage · Contact / phone · Venue / date
Squared grid
Also printed: DOWNSTAGE — AUDIENCE THIS SIDE
Write-on lines: Stage left (audience right) needs · Centre · Stage right (audience left) needs
Table, 20 rows: Ch · Source · Mic / DI · Own / venue · Stand · 48V · Position on stage
Write-on lines: Monitor mixes needed · IEM / wedges · Power drops needed · Backline supplied by · Anything unusual the engineer needs to know first · Total channels · Version / date
Because there is no standard band. A pre-filled list gets crossed out more than it gets used, and a channel that is listed but not there wastes an engineer's time. Write what you actually bring.
The sheet asks for the audience view, and labels the bottom edge as the downstage side, because that is how most house engineers read one. Whichever you choose, mark stage left and stage right so there is no doubt.
Put the mix that was right at sound check back at show time, and start the next gig from what worked rather than from nothing.
Get through a set without the pause where someone asks what key it is in or whether the capo goes on, and keep a record of what was actually played.
Answer every question the band and crew will ask today before they ask it, on one page that can be photographed and passed round the bus.
Get the day out of one person's head and onto a page everybody can read, so the event does not stall when the organiser is dealing with something else.
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