Electronic Live Act Tech Rider: Synths, Drum Machines, and Playback

TL;DR — An electronic live act rider should inventory every synth, drum machine, sampler, computer, mixer, interface, controller, and output that reaches the venue. Draw the performer, tables, stands, devices, monitors, stage I/O, and power. Build the input list from the real mono, stereo, stem, or submix handoff; identify balanced or unbalanced outputs and DI needs; document clock or MIDI only where it crosses responsibility; and rehearse a simple audio fallback.

Table of contents

1. Choose the venue handoff
2. Draw the electronic stage plot
3. Build the output and input lists
4. Document synths, MIDI, and computers
5. Plan power, monitors, and failure response
6. FAQ

Choose the venue handoff

Electronic rigs can expose every device separately or combine the show into a smaller set of outputs. Pick the actual handoff before drawing.

No format is automatically professional. The correct choice matches the arrangement, operator, channel capacity, soundcheck time, and show requirements.

If the artist sends only a stereo mix, say who controls internal levels and effects. Do not later ask FOH to turn up one synth that is not delivered separately.

Draw the electronic stage plot

Show:

• performer positions;
• keyboard stands and tiers;
• tables with measured usable dimensions;
• laptops and audio interfaces;
• drum machines, samplers, mixers, and controllers;
• pedalboards or foot controllers;
• artist mixer or output rack;
• stage-box and FOH handoff;
• wedge or IEM positions;
• microphones;
• power drops;
• cable exit directions;
• spare device or changeover location when used.

Avoid crowding the plot with every USB or MIDI cable. Draw the physical footprint and venue handoffs. Keep internal wiring in a separate rig diagram when the performer or technician needs it.

Tables and stands need provider responsibility, load capacity, height, and dimensions where fit matters. One table is not enough for a multi-device rig.

Build the output and input lists

Example stem handoff

Replace it with the real interface, connector, signal level, and source names.

For hardware synths and drum machines, record:

• mono or stereo output;
• balanced or unbalanced format;
• connector type;
• artist mixer or direct-to-venue path;
• DI or line-isolation provider;
• console channel;
• playback-only or performed-live role.

Stereo consumes two channels. If mono is acceptable, choose the device’s supported mono output or an approved artist submix; do not combine outputs with an improvised adapter.

The guides What Is a DI Box? and XLR vs TRS help describe the handoff correctly.

Document synths, MIDI, and computers

Synthesizers and drum machines

The venue normally needs the audio output, not the entire internal patch. Record program-change or synchronization detail only if venue equipment or another operator owns part of it.

If a device has high-level outputs, confirm the appropriate DI, line input, or isolator rather than assuming every box marked DI accepts it unchanged.

MIDI and clock

Keep internal MIDI, USB, analog clock, or network synchronization within the artist package whenever possible. When a connection crosses to venue equipment, state:

• protocol and connector;
• source and destination;
• clock master;
• required sample rate or tempo ownership;
• cable provider;
• fallback if synchronization fails.

Do not use MIDI sync as a generic phrase. MIDI clock, timecode, note data, and program changes are different functions.

Computers and audio interfaces

List:

• primary computer and operator;
• audio interface and driver/software dependency relevant to the show;
• physical outputs;
• power supply;
• hub or adapter ownership;
• local network requirement, if any;
• screen or controller placement;
• tested backup method.

Do not depend on venue Wi-Fi for show control unless the venue has approved a dedicated production workflow. Keep operating-system notifications, sleep, automatic updates, and unrelated applications controlled before the set.

Plan power, monitors, and failure response

Power

Create an inventory from device labels and power supplies. Mark drops beside the rig, then let qualified venue staff design safe distribution.

Separate:

• audio devices;
• computers and chargers;
• instruments with external supplies;
• lighting or visual equipment;
• artist-carried distribution;
• venue-provided power.

Never request clean power as a substitute for accurate equipment and grounding information. Describe the actual devices, voltage/frequency compatibility, plug types, and physical locations.

Monitoring

State whether the artist monitors the stereo program, individual stems, live vocals, cue, or click. A performer may need a pre-FOH artist submix plus returned vocal or talkback. Draw the complete handoff rather than writing IEM mix.

Use the Monitor Console Tech Rider when the act carries a dedicated monitor console or split.

Failure response

Plan the smallest workable recovery:

1. identify which device failure stops audio;
2. keep a tested backup project or playback source;
3. label spare power supplies and critical cables;
4. define a safe bypass around optional devices;
5. rehearse muting before reconnection;
6. assign who decides to continue, restart, or switch.

A second laptop that has never loaded the show is not a backup. A backup must include compatible software, licenses, project files, interface, connections, and a practiced change.

Pre-send checklist

• Every device and operator is named.
• Table and stand dimensions, provider, and footprint are clear.
• Every venue-facing output has a numbered channel.
• Mono, stereo, stems, and submixes are explicit.
• Connector, signal level, DI, and cable responsibilities are assigned.
• Click and cue cannot reach the audience mix.
• Power inventory matches the real supplies.
• Monitor return and talkback paths are documented.
• Cross-system MIDI, clock, or network links have owners.
• The audio fallback is complete and rehearsed.

Invite the performer, playback technician, or engineer to edit and save the same Rider and inspect its history. Share the current Rider with production and export a dated PDF for show-day use.

FAQ

What should an electronic music tech rider include?

Include the stage plot, output and input lists, device inventory, tables and stands, mono/stereo/stem handoff, connectors and DIs, monitor and cue routing, power, any cross-system clock or MIDI, operator responsibilities, contacts, and tested fallbacks.

How do you make a stage plot for an electronic live act?

Draw performers, tables, stands, synths, controllers, computers, interfaces, mixers, microphones, monitors, power, stage I/O, and the venue-facing outputs. Keep internal USB and MIDI detail in a rig diagram.

Do synthesizers need DI boxes?

Some synth outputs use DIs; others connect to compatible balanced line inputs or line-isolation devices. Check the output connector, level, balancing, and destination, then advance the correct interface.

Should synths be mono or stereo live?

Use stereo when the sound design depends on it and two channels are available. Use a supported mono output or deliberate artist submix when mono is acceptable. State the decision in the input list.

How do you back up an electronic live set?

Identify critical failure points, prepare compatible projects and licenses, carry tested spare power and cables, define bypass paths, and rehearse the switch to a complete backup playback or performance method.

Turn the rig into one venue-facing patch

Build the electronic stage plot and input list in Techrider.live, keep each output name stable, and send production the current Rider before load-in.

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Last updated: 2026-07-28 · Reviewed for electronic instruments, stem handoffs, MIDI and computer workflows, power, monitoring, and recovery.