播放音軌技術需求清單：輸出、提示音與備份方案

重點整理 — 播放音軌技術需求清單需標示系統位置、所有音訊輸出、接頭類型與訊號種類、音軌、節拍音與口語提示音的傳送目的地、所需DI盒或隔離設備、監聽路由、供電、操作員位置以及備份方案。需搭配舞台配置圖與編號輸入列表使用。請說明實際巡演使用的系統，並在前期會勘時協調替代方案，不要假設每個場地都支援相同的播放工作流程。

目錄

1. 在繪製配置圖前先定義播放系統
2. 六步驟完成播放系統技術需求章節
3. 播放系統輸入列表範例
4. 規劃故障與應變機制
5. 與場地會勘播放系統
6. 常見問題

在繪製配置圖前先定義播放系統

「伴奏音軌」的定義可能包含單一立體聲音樂檔、分離的樂器分軌、給表演者的節拍音、口語倒數提示、時間碼，或是這些訊號的組合。製作團隊無法僅從這個詞彙推斷路由設定，請寫下當前演出使用的所有精確輸出。

首先確認五項決策：

• 由誰啟動、停止與監控播放；
• 電腦、播放器或機櫃在舞台上的擺放位置；
• 哪些輸出傳送到前場（FOH），哪些僅供監聽使用；
• 輸出為類比音訊、數位音訊還是時間碼；
• 主要播放路徑故障時該如何處理。

文件製作時請將音訊、控制與同步訊號分開標示。節拍音是音訊來源，MIDI 是控制資料，時間碼是同步訊號。這些訊號可能來自同一套播放系統，但預設情況下不會共用相同的傳送目的地或線材。

六步驟完成播放系統技術需求章節

1. 標示系統與操作員位置

在舞台配置圖上標示播放系統的實際擺放位置。依職務或姓名標示操作員，例如 播放技術員 — 舞台右側，並標示電腦架、機櫃、介面或硬體播放器的大致佔地範圍。

如果由鼓手操作播放系統，請將播放硬體標示在鼓組旁邊，不要用通用鼓組符號遮蓋。如果由專屬技術員在舞台外操作，請標示其位置以及通往舞台接線盒的線材路徑。配置圖需協助舞台團隊在換場時正確擺放設備。

2. 列出所有實體輸出

為每個傳送到場地的輸出建立一筆輸入列表條目。標示交接點的接頭類型，以及來源為平衡或非平衡訊號。可參考以下描述方式：

• 介面輸出 1，使用平衡 6.35mm TRS 接頭；
• 介面輸出 2，使用 XLR 接頭；
• 耳機輸出，使用立體聲 6.35mm TRS 接頭，需搭配對應的分接線；
• 藝人提供的變壓器隔離 XLR 輸出。

請勿只寫「筆電左右聲道」。場地需要知道可插入的接頭類型、是否需要兩個聲道，以及誰提供轉接頭、DI盒或隔離設備。

3. 標示每個輸出的內容與傳送目的地

在播放工作階段、介面、舞台配置圖、輸入列表與調音台上使用一致的標籤。以四輸出的播放系統為例，交接設定可能如下：

實際配置為演出的決策，並非通用標準。部分製作會合併節拍音與提示音；也有製作使用單聲道音軌減少聲道數；大型演出可能傳送多組分軌。請記錄實際採用的配置，不要將可選的路由方案寫成強制要求。

4. 避免節拍音與提示音進入觀眾混音

若工作流程要求節拍音與口語提示音僅供監聽使用，請明確標示為 僅供監聽。這些聲道可能仍會通過監聽調音台或共用調音台，但不得指派到觀眾混音。

同時標示每個訊號的需求對象。「Click to drummer IEM only」比「click in monitors」更有參考價值。如果音樂總監需要提示音但其他表演者不需要，請在監聽備註中標示此差異。如需了解傳送目的地與混音標籤的詳細說明，可參考 Configuring Monitor Mixes & IEMs。

5. 記錄DI盒、隔離設備與增益責任

電腦與音訊介面可能使用不同的接頭格式與輸出電平。技術需求清單需標示實際設備的輸出，並說明誰提供介面、DI盒、變壓器隔離設備與轉接頭。除非特定藝人提供的設備有文件證明需要幻象供電，否則請勿強制要求提供幻象供電。

如果藝人攜帶的播放機櫃已預接標示完整的 XLR 訊號線，請寫上 artist provides playback rack and XLR outputs。如果場地需要接收非平衡輸出，請在會勘時確認所需DI盒的準確數量與類型，避免當場臨時湊合使用非標準轉接頭。

6. 添加供電、網路與換場備註

在播放系統旁標示供電位置，並列出所需插座數量與擺放位置。如果播放系統使用區域網路進行控制，請標示藝人攜帶的交換器、路由器與線材；不要假設可使用場地製作網路或公共 Wi-Fi。

請添加簡潔的換場備註：

• 硬體是預先接線在單一機櫃還是分開擺放；
• 從播放系統到舞台接線盒的線材長度；
• 預期的線路檢測方式；
• 操作員是否需要對講機路徑；
• 播放系統在場次間是否保留在舞台上。

場地的專業製作人員會決定安全的供電分配方式，技術需求清單只需標示負載位置與藝人設備，最終接線計畫會在會勘時確認。如需了解完整的供電工作流程，可參考 How to Document Stage Power Requirements。

播放系統輸入列表範例

雙聲道立體聲播放

此配置沒有獨立的節拍音或提示音聲道，適合播放內容僅包含觀眾收聽的節目素材，或是表演者不需要專用節拍音的演出。

音軌、節拍音與提示音播放

Replace every generic interface description with the connectors and provider assignments of the actual touring system. If tracks can run in mono as an agreed fallback, record that option explicitly instead of silently combining a stereo program at the venue.

規劃故障與應變機制

決定本演出的「備份」定義

A backup may be a second computer, a hardware player, a duplicate audio interface, a spare power supply, or a simplified stereo file on a separate device. These options do not provide the same recovery time or routing. State which equipment is carried and whether switching is manual or automated.

讓備援方案易懂

The backup output should have labels that match the primary system. If the fallback provides only stereo tracks and no separate click, say so. If switching requires the band to stop and restart a song, the musical director and stage manager should know that plan before doors.

演練安全應變流程

Test the recovery process during rehearsal with the same output configuration used on stage. The operator should know how to mute an unstable source, select the backup, confirm the correct song or cue, and communicate with the performers and engineer. A written backup list is not a substitute for a rehearsed decision.

與場地會勘播放系統

Send the playback details with the complete rider, not as a separate message on show day. During the advance, confirm:

• available console channels and stage-box inputs;
• analog handoff connectors and DI or isolation providers;
• monitor-only routing for click and cues;
• the operator's monitor, talkback, and line-of-sight needs;
• power location and artist-carried distribution;
• changeover and line-check time;
• whether timecode or other synchronization is in scope;
• the agreed fallback if the full routing cannot be supported.

Update the rider after the conversation so the final file records the agreed plan. Use the process in How to Advance a Show to keep decisions, owners, and deadlines together.

播放技術需求清單常見錯誤

Writing “backing tracks” with no channel count. List every output and destination. Sending click to an unspecified monitor bus. Name the performers who receive it and mark it monitor-only. Assuming the venue supplies adapters. Assign providers for DIs, isolation, breakouts, and connector conversion. Confusing stereo audio with two independent stems. Label the content of each channel, not only L and R. Claiming redundancy without describing recovery. State the carried backup and the operator's switching method. Leaving playback off the stage plot. The physical rig, operator, power, and cable handoff all affect setup.

寄送前檢查清單

• Rig and operator positions appear on the stage plot.
• Every playback output has a channel number and content label.
• Connector and signal type are stated at the handoff point.
• Tracks, click, cues, stems, and timecode are distinguished.
• Monitor-only channels name their destinations.
• DIs, isolation, adapters, and cables have assigned providers.
• Power and any artist-carried control network are documented.
• Primary and fallback systems have an understandable recovery plan.
• Changeover and line-check requirements are included.
• The final rider reflects agreements made during the advance.

FAQ

What should a playback tracks tech rider include?

Include the rig and operator positions, a numbered output list, connectors, signal types, content labels, FOH and monitor destinations, click and cue routing, DI or isolation providers, power, changeover needs, and the backup plan. The stage plot and input list should use the same names.

How do bands send backing tracks to front of house?

Bands commonly deliver one or more analog audio outputs from a playback interface or hardware player to the venue's input system. The exact connectors, channel count, balance, level, and need for DIs or isolation depend on the touring equipment. Confirm the physical handoff during the advance.

Should click track go to front of house?

Click is normally intended for selected performer monitors, not the audience mix. Label the channel monitor-only and identify each recipient. The console workflow may still route the channel through the monitor system, but it should not be assigned to the house mix unless the production has an unusual, explicitly agreed reason.

Does a playback rig need a DI box?

It depends on the interface output, connector, cable run, isolation needs, and venue input. A balanced professional output may connect differently from an unbalanced headphone or consumer output. Document the exact device and agree on suitable DIs or isolation rather than assuming every rig needs the same box.

How do you back up a live playback rig?

Carry a tested alternative appropriate to the show, such as a second computer, hardware player, spare interface, or simplified stereo playback device. Document what the fallback can output, how the operator switches to it, and what performers should do during recovery. Rehearse that process before the show.

Build one current playback document

Create a Rider in Techrider.live, place the playback rig on the stage plot, connect every output to the matching input-list row, and record monitor destinations and provider assignments. Share the current link during the advance and export a dated PDF for show-day reference.

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Last updated: 2026-07-20 · Reviewed by the Techrider.live team for live playback handoffs and production advances.