Backline in music refers to the musical instruments and equipment needed to play a live show, not including the P.A., monitor, and lighting systems.

Here’s what we’re referring to with the term “backline”:

• Amplifiers
• Keyboards
• Drums
• Cymbals
• Stands
• Rack effects
• Cables
• Sometimes guitars, basses, and orchestral instruments

What you need depends on the kind of group you have, the style of music you play, the size of the hall, and the instrumentation. It might also depend on the budget of the promoter, or availability of certain equipment at a location.

When choosing your backline, make a list, to include the following:

• Guitar amplifiers
• Bass amplifiers
• Keyboards
• Keyboard amplifiers and/or sound mixers
• Drum kit and percussion
• Miscellaneous, such as amp stands, risers, guitar stands, cables, etc.

Image courtesy of Andy Bergsten

On top of the list of gear needed, the backline description should include specifications (i.e., specs) for all equipment.

As a minimum, include the make and model, speaker size and power handling capacity for amplifiers, drum sizes, plus any other specific details for each piece of equipment.

All of your backline specs will ultimately go into the contract rider.

You need the backline list to communicate to promoters, roadies, stage crews, your specific gear your group will need in order to play.

There are times where you might bring all your own gear, like a local small gig. And some clubs have their own backline installed permanently. You will want to check out the quality before you go.

For bigger shows, and when you travel to perform at some far-off destination, you will likely not be carrying all your gear with you.

It’s crucial that you communicate all your equipment needs in advance to the venue and backline rental company. They should have everything ready so you can just walk out on stage and play (usually after a brief soundcheck).

Start by asking each performer in your group to give you their equipment specifications as a list.

For some, it might just be one item, like a single guitar amp. For others, like drummers, it will include many parts.

Write down the brand and model of each item, plus any details that might be important, like speaker type, power (expressed in watts), number of channels, years of manufacture, and so on.

Also include a second choice in case the requested model is not available. Some players might also have a “do not use” list, meaning the brands or models they would not find acceptable.

Once you have it all in writing, assemble it all into the backline rider for the contract.

The contract rider is simply a list of all the backline gear required for the performance, attached to the contract itself.

Riders can cover other requirements about dressing rooms, catering, travel, and lodging, but these are not considered a part of the backline rider. A backline rider can be part of a more comprehensive technical rider.

It’s important to note on the contract that the rider is attached, and also the exact number of pages.

The rider also includes the stage plot, which we’ll talk about below.

Here is an example of what a contract rider could look like:

Here’s an example of what a list of backline needs and specifications can look like:

• Amplifiers needed: Two Ampeg SVT (models from 1968-1976 only) tube bass head
  • If not available: Gallien Kruger 1001 RB or 400 RB solid state amplifier
  • Do Not Use: SWR, Eden, Aguilar, GK 800 RB or any hybrid (tube preamp, solid state power amp)
• Speakers: 8X10” cabinet, prefer Celestion or Eminence drivers, Two 4X10” cabs also fine, but they must be 8 Ohms each
• All Connecting Cables: AC power cable, ¼ inch or speakon cables, extra ¼ inch instrument cable
• Plus: Rack mount tuner with outboard AC power power conditioner, parametric or graphic EQ (equalizer), and compressor (optional), plus connecting cables
• Guitar Stands: (2) Needed

The stage plot is a detailed drawing of the stage showing the placement of all the backline gear, plus microphone and monitor placement.

Depending on the size of the stage, you might have a separate monitor for each musician, or in a smaller hall, just a frontline monitor for vocals and side fills (speakers placed on either side of the stage in the wings, pointing inwards) for the other musicians.

The stage plot should show the front of the stage at the bottom of the page, which should be in landscape orientation (lengthwise from right to left). This way, looking at the stage plot can give a facsimile of what the audience will see, though pictured from above.

You can draw your stage plot neatly by hand. You don’t need to be a visual or graphic artist to draw your plot, but try to do it as neatly as possible.

Show the placement of every piece of gear, plus microphones, music stands, risers (if any), and where the performers will stand. Label everything you draw.

You could also show hanging curtains or scrims. You might consider using some CAD (Computer Assisted Design) software; there are free programs available online if you search for them.

It’s a good idea to speak directly with the venue or promoter in advance to review your rider.

You want to be sure they understand your needs, which rider items are non-negotiable, and if there’s anything not on the list that they might wonder about. They should also confirm verbally with you that they understand the backline needs.

The worst-case scenario is arriving at the venue and none of the equipment is there because the rider was completely ignored. Believe it or not, this does happen.

Potential conflicts about the rider can cause delays or cancellations, which could have serious consequences. The audience could become unruly, request immediate refunds for their tickets, or worse. Lawsuits sometimes follow.

Of course, nobody ever wants to find themselves in such an unfortunate situation. It happens more often than you might expect, and there’s always plenty of blame to go around.

A top-notch backline company rents gear for everything from small gigs to large concerts and stadium acts, and they maintain and service their equipment in-house.

They also cater to party planners, event organizers, theme parks, entertainment companies, and schools and colleges.

If you are planning to use a backline rental service for a show, communicate directly with them about your needs if possible.

It’s important to make sure that they have a clear understanding of your technical requirements, and for you to understand what they can and cannot offer.

Backline rental companies are a specialization in the music products and services industry with local, and regional, and sometimes international presence.

Local concert promoters, bands, and venues will usually know which companies are reliable, so you can always ask them for referrals.

Or you can find backline rental companies is in the Pollstar directory.

Image courtesy of Andy Bergsten