Horn Section Stage Plot: Mics, Stands, and Channels

TL;DR — A horn section stage plot should name every player and instrument, show standing or seated positions, microphone and stand locations, instrument-change space, risers, power for wireless equipment, and monitor destinations. Give each microphone a stable input-list name and state whether it is shared, dedicated, wired, or wireless. Keep bell direction, nearby loud sources, movement, and safe storage visible, then confirm microphone substitutions and wireless details during the advance.

Table of contents

1. Inventory the section
2. Arrange the section in six steps
3. Choose dedicated or shared microphones
4. Build the horn input list
5. Plan instrument changes and storage
6. Connect the section to monitors
7. Common mistakes
8. FAQ

Inventory the section

List people, instruments, and changes before drawing symbols. “Three horns” is ambiguous: it could mean three brass players, a mixed saxophone/brass section, or several instruments doubled by fewer performers.

Replace the example with the real lineup. If one musician changes instruments, keep the performer identity stable and document whether the same microphone moves, a second microphone is patched, or the change uses a clip-on system.

Write required seating, risers, music stands, instrument stands, and movement separately. If chairs need no arms or a baritone saxophone needs extra seated clearance, say so.

Arrange the section in six steps

1. Place and name every player

Use stage left and right from the performer’s perspective. Label each position with a name or role plus instrument, such as Maya — trumpet, rather than Horn 1.

2. Show standing or seated posture

Draw chairs only for seated players. Add music stands, instrument stands, and mute stations where they affect the footprint. Preserve a safe route for entering, leaving, and changing instruments.

3. Add microphones and stands

Place each microphone at the performer it serves and add the input number. Show tall boom, short boom, straight, or clip-on mounting accurately. A stand must not cross a neighboring bell, music stand, or change path.

4. Mark orientation and spacing

The plot need not prescribe microphone technique, but it should show the section’s orientation and meaningful spacing. Avoid placing a horn bell directly into another performer’s microphone or ear. Leave final microphone placement to the engineer and players.

5. Add risers and boundaries

Dimension a required riser or minimum section footprint. Include safe access and loading as venue responsibilities rather than improvising construction instructions in the rider.

6. Add monitors and nearby sources

Place wedges or identify IEM destinations. Show drums, guitar cabinets, sidefills, or other loud sources close enough to affect the section layout.

Use How to Make a Stage Plot for orientation and the stage dimensions guide when the footprint or riser must be measured.

Choose dedicated or shared microphones

The production, stage level, arrangements, and available inputs determine the microphone plan. Document the agreed approach without treating one method as universal.

Dedicated microphones

A separate microphone per player gives clear channel identity and independent control. Record the preferred microphone or functional alternative, stand or clip, provider, channel, and phantom-power requirement for the actual device.

Shared microphones

A small section may share microphones when the arrangement and stage conditions support it. Show who shares each microphone and how players reach it without unsafe movement or blocked sightlines. Do not label a shared source with one performer’s name.

Clip-on microphones

Clip-on wired or wireless systems can support movement and instrument changes, but they add mounting, connector, transmitter, battery, and coordination details. State who supplies the capsule, clip, cable or transmitter, receiver, antennas, batteries, and spare.

Instrument doubles

When one player changes from saxophone to flute, clarinet, or another instrument, decide whether the main microphone captures both, the stand moves, or a separate input is used. Name a second channel only if it will be patched and checked.

Wireless frequencies are location-specific. Inventory equipment in the reusable rider, then confirm coordination and show-specific assignments during the advance.

Build the horn input list

Use source names that stay unambiguous during line check:

This table illustrates structure, not model selection. Confirm suitability, phantom power, and placement for the actual production.

For every row, record:

• stable source and player or section name;
• instrument or instrument changes;
• microphone or wireless system;
• stand, clip, and connector;
• artist or venue provider;
• phantom-power requirement;
• stage position and input number;
• monitor destination;
• whether the channel is required, optional, or spare.

See the input list guide for the full workflow and phantom-power guide before marking 48V.

Plan instrument changes and storage

Instrument changes are physical production events. Show where the unused instrument waits and how the performer reaches it without crossing cable runs, stand legs, riser edges, or another musician’s space.

Do not place instruments on a traffic route or invent a universal storage method. State the required footprint and responsibility, then coordinate the safe local arrangement with production.

Mutes, reeds, mouthpieces, water, and accessories may need a compact utility position. Include it when it changes the plot; otherwise keep the drawing focused.

Connect the section to monitors

Decide whether the section shares a wedge mix, uses multiple wedges, or receives individual IEM mixes. A shared wedge does not automatically mean every player wants the same balance.

Include rhythm references, vocals, cues, click, and the section itself only as required. Avoid fixed percentages; they do not translate reliably between systems. Use priorities and let the monitor engineer build safe balances on site.

The monitor mix guide explains how to connect sources and destinations.

Common mistakes

Labeling everyone “horn.” The crew cannot map microphones to instruments or players.

Ignoring instrument doubles. A change can require another position, channel, stand, clip, or storage area.

Drawing microphones without stands. Stand type and footprint matter when players, music stands, and bells share one area.

Assuming clip-on means wireless. A clip-on microphone may be wired. Record the complete signal path.

Requesting wireless without coordination details. Name the system, owner, tuning information, receiver output, batteries, and fallback.

Crowding trombone movement. Preserve slide clearance and safe separation from stands, riser edges, and performers.

Ignoring nearby loud sources. Drums, amplifiers, wedges, and sidefills affect microphone and position decisions.

Pre-send checklist

• Every player and instrument is named
• Instrument doubles and change method are listed
• Standing, seating, risers, and music stands are shown
• Microphone input numbers match the input list
• Dedicated and shared microphones are distinguished
• Stand or clip type is included
• Wired and wireless responsibilities are explicit
• Instrument storage and change routes are workable
• Wedge or IEM destinations use stable mix IDs
• Nearby loud sources and required clearance are visible

FAQ

How do you show a horn section on a stage plot?

Name each player and instrument, show standing or seated positions, microphones and stands, input numbers, risers, music and instrument stands, monitor destinations, and room for bells, trombone slides, and instrument changes.

What microphones do horn sections need live?

The plan depends on instruments, stage level, movement, arrangement, and available channels. A section may use dedicated stand microphones, shared microphones, clip-ons, or a combination. Confirm actual equipment with the audio team.

How do you list horns on an input list?

Give each microphone a channel, player or section name, instrument or doubles, microphone and mount, provider, phantom-power status, monitor destination, and notes. Use section names for shared microphones.

Do horn players need separate monitor mixes?

Not always. A section may share a wedge, split across two mixes, or use individual IEMs. Base the choice on performers’ needs and identify exactly who each destination serves.

Where should a horn section stand on stage?

Place the section where players can see the musical leader, work safely, and fit around microphones, stands, risers, monitors, and nearby sources. There is no universal side; use the arrangement advanced for the production.

Turn the section into one clear handoff

Build the horn section stage plot in Techrider.live, use the same player names in the input and monitor lists, and share the current Rider with production before the advance closes.

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Last updated: 2026-07-25 · Reviewed for practical horn-section, microphone, and stage-layout communication.