Percussion Stage Plot: Instruments, Mics, and Channels

TL;DR — A percussion stage plot should map the percussionist’s complete working zone, every fixed instrument, change instruments, microphone or DI position, channel reference, monitor destination, power point, and safe access route. Name each source rather than writing “percussion,” and separate artist-carried equipment from venue backline. Because microphone choice and placement vary widely by instrument and stage conditions, document the intended source and functional requirement, then confirm the final method with the engineer.

Table of contents

1. Inventory the percussion rig
2. Draw the setup in six steps
3. Choose an input strategy
4. Build the percussion input list
5. Plan backline and instrument changes
6. Connect power and monitoring
7. Common mistakes
8. FAQ

Inventory the percussion rig

“Percussion” can mean a cajón and shaker or a large station with congas, bongos, timbales, cymbals, electronics, and mallet instruments. The plot must describe the actual show configuration.

Start with an inventory grouped by function:

Record what the artist carries and what the venue must provide. For venue backline, include enough specification to obtain a workable instrument: quantity, size or range, stand, mounting hardware, condition, tuning needs, accessories, and acceptable substitute process.

Do not list a brand as the entire requirement. A conga request without drum sizes, stands, hardware, and provider responsibility is still incomplete.

Draw the setup in six steps

1. Define the working footprint

Measure the complete setup at performance spacing, not the storage footprint. Include the percussionist’s body position, arm and mallet reach, chair or stool, pedals, instrument stands, microphone stands, monitor, and the table used for changes.

Give both preferred and minimum usable dimensions only if both layouts have been tested. A percussionist who must turn between congas and a sample pad needs clear rotational space. A mallet player needs room across the full keyboard width and at both ends.

For a systematic fit check, use Stage Dimensions on a Stage Plot.

2. Place the primary instruments

Draw the instruments used most often at their exact relative positions. Use separate labeled shapes for Conga — Quinto, Conga — Tumba, Timbales, or Vibraphone instead of one Percussion icon.

Show the performer’s facing direction and dominant transitions. Keep instruments within a comfortable, rehearsed reach; do not use the drawing to invent a compact arrangement the player has never tested.

3. Add tables, racks, and change instruments

Place the percussion table or trap table, stick tray, cymbal rack, and spare-instrument area. Label instruments that enter only for certain songs and state whether they remain on stage.

If an instrument is moved during the show, draw its start and destination or add a clear cue note. Identify who moves it and whether the audio channel remains patched. A stagehand should not have to guess whether a stand is spare, active, or about to be repositioned.

4. Add microphones, DIs, and channels

Place each microphone or shared coverage zone with a channel reference. Add DI boxes beside electronic outputs, not at an arbitrary edge of the drawing. Distinguish:

• dedicated close microphone;
• shared microphone covering a pair or small group;
• stereo microphone pair;
• contact microphone or pickup supplied by the artist;
• mono or stereo electronic output;
• spare or talkback input.

The plot communicates which source the input serves. The input list carries model preference, stand, phantom power, connector, and supplier.

5. Add monitoring and power

Place the wedge where it does not block pedal, mallet, or instrument movement. For IEMs, show the performer and mix ID, then document the receiver, pack, or wired connection in the monitor table.

Add power points beside sample pads, vibraphone motors, laptops, small mixers, chargers, or other powered equipment. List the equipment and supplied voltage/frequency compatibility; do not request unsafe improvised adapters or make circuit claims without equipment data.

6. Mark access and stage relationships

Show how large cases and instruments reach the position. Keep exits, riser stairs, drum access, and cable paths clear. Mark nearby drum kit, keyboard, horn section, or backline so stands and working zones do not collide.

If the station sits on a rolling riser for a festival, provide the riser size, instrument anchoring plan, cable disconnect point, and who is responsible. See Festival Stage Plot and Changeover Guide for the larger sequence.

Choose an input strategy

Dedicated microphones

A dedicated microphone gives the engineer independent control of a source. It may be appropriate for a featured drum, quiet instrument, solo voice within the rig, or instrument with a distinct tonal role. It also consumes a channel and adds a stand, cable, and potential spill path.

Shared microphones

Pairs of congas, bongos, timbales, or nearby mounted instruments may sometimes share a microphone. Whether that works depends on physical spacing, playing balance, required control, microphone pattern, and other stage sound. Name the sources covered by the shared channel so the crew understands the compromise.

Stereo pairs

Wide mallet instruments or a percussion mix may use two channels when stereo coverage is musically and technically justified. Label them L and R, keep the pair adjacent in the input list, and state whether mono is an approved fallback. Do not call two unrelated microphones a stereo pair.

Pickups and electronic outputs

An artist-supplied pickup or contact microphone should include its preamp, connector, power, and DI requirement. For a sample pad, module, laptop, or submixer, specify:

• mono or stereo output;
• balanced or unbalanced connection;
• connector type;
• nominal handoff level if known from the device;
• artist- or venue-supplied DI;
• click, cue, or separate stem outputs;
• backup and recovery plan.

Do not combine unrelated acoustic and electronic sources into one vague Perc L/R label unless the artist actually carries a submixer and has advanced that handoff.

Microphone placement is instrument-specific

The appropriate position for congas is not the appropriate position for a marimba, tambourine, gong, or cajón. Instrument size, sound-producing area, player movement, desired isolation, microphone type, and stage volume all matter.

Use a functional description and an approximate plotted position, then let the responsible engineer finalize the placement. Preserve player clearance: a microphone that sounds promising but enters a mallet or stick path is not a workable solution.

Build the percussion input list

Here is an example for one hybrid percussion station:

Replace the example device choices with confirmed production information. Confirm is acceptable while drafting, but the show advance must give it an owner and deadline.

Keep names identical on the plot and input list. If the plot says Perc OH, the table should not silently rename it Toys. Stable labels make line check and troubleshooting faster.

Review the list:

• Every microphone, pickup, and electronic output has a channel
• Shared microphones name every source they cover
• Stereo pairs are adjacent and clearly labeled
• DI and connector responsibilities are explicit
• Phantom power matches the confirmed device
• Stands preserve the player’s movement
• Change instruments and their song use are noted
• Monitor mix IDs match the plot
• Spare channels have a defined purpose

Plan backline and instrument changes

Describe venue-supplied percussion precisely

A useful backline row contains:

• instrument and quantity;
• sizes, range, or pitch where relevant;
• stand, rack, mount, pedal, chair, or table;
• heads, mallets, beaters, or accessories;
• tuning responsibility and timing;
• preferred item and acceptable substitute;
• supplier and approval contact.

Large percussion can require special transport, doors, lifts, and setup time. Advance the route and schedule, not only the stage position.

Separate setup from storage

Show where cases, spare instruments, and covers go after load-in. Do not fill an exit or backstage crossover with unplanned cases. For festival use, state what remains on a riser and what is hand-carried during changeover.

Write the change sequence

If the player moves from congas to vibraphone, swaps a snare for a frame drum, or brings a gong on for one song, note:

1. instrument start position;
2. destination;
3. person responsible for the move;
4. microphone or cable action;
5. mute responsibility;
6. safe time available;
7. return or storage position.

The stage plot cannot show time by itself. Pair the drawing with short cue notes when movement affects audio or safety.

Connect power and monitoring

Power

Create an equipment inventory before requesting outlets. Electronic percussion, laptops, interfaces, submixers, chargers, and vibraphone motors can have different requirements. State what the artist carries and identify the requested drop on the plot.

Keep audio and power cables away from pedals and walking paths. The venue or qualified production electrician determines the safe distribution. Read How to Document Stage Power Requirements before finalizing this section.

Monitoring

The percussionist may need:

• a wedge with vocals and harmonic reference;
• an IEM mix with click or cue;
• a drum fill shared with the rhythm section;
• a dedicated personal mix;
• talkback from the musical director.

Name the destination and mix ID, mono or stereo format, priority sources, and system supplier. Avoid writing exact mix percentages in a reusable rider; the engineer and performer will balance the mix in context.

If a vocal microphone sits inside the percussion station, show its relationship to the wedge and loud instruments. Feedback, spill, and hearing level depend on the whole setup, not a single microphone choice.

Common mistakes

Using one generic percussion icon

It hides the footprint, player movement, source count, and stand positions. Draw the instruments and working zones that affect setup.

Copying a drum-kit input list

Percussion is not a smaller drum kit. Congas, mallet instruments, hand percussion, pickups, and electronics need different coverage and change planning.

Forgetting shared microphone compromises

A channel labeled only Perc does not tell the engineer whether it covers congas, bongos, a table, or the entire station. Name the intended sources.

Blocking the player with stands

Boom arms and tripod legs can enter stick, mallet, pedal, or change paths. Plot stands as physical equipment and test the arrangement at performance spacing.

Omitting hardware from backline

Drums without stands, cowbells without mounts, or a vibraphone without a working pedal and power arrangement are incomplete requests. List the functional rig.

FAQ

What should a percussion stage plot include?

Show every primary instrument, change-instrument area, performer position, table, rack, microphone or DI with channel reference, monitor, power drop, stand footprint, nearby equipment, access route, and artist-versus-venue responsibility.

How do you mic percussion instruments?

Choose coverage per instrument, role, stage level, player movement, and available equipment. Some sources use dedicated microphones, some can share coverage, wide instruments may use two channels, and electronic sources may use DIs. Confirm final placement with the engineer.

How do you make a percussion input list?

Create one row per microphone, pickup, or electronic output. Include channel, exact source, microphone or DI, stand, phantom power, supplier, monitor destination, and notes. Name all sources covered by a shared microphone.

How much stage space does a percussionist need?

There is no standard footprint. Set up the real rig with performer movement, stands, monitor, pedals, and change table, then measure its preferred and tested minimum width and depth.

What percussion backline details belong in a rider?

List instrument quantity and sizes or range, stands and mounting hardware, pedals, seat, table, heads or accessories, tuning, supplier, preferred item, acceptable substitute, and the contact who approves changes.

Turn the percussion station into one clear plan

Build the percussion stage plot and input list in Techrider.live, link every source to a stable channel name, and send the current Rider before backline and microphone choices are locked.

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Last updated: 2026-07-26 · Reviewed for practical percussion layout, input, backline, monitor, and changeover workflows.