Equipment

Backline that actually arrives.

PA, microphones, mixers, lighting and staging tracked per event, so nobody arrives to find the drum kit double-booked or the DI box still in the last van.

How it works

  1. Build the inventory

    One list per venue or supplier, with the detail that matters at load-in.

  2. Allocate per event

    What is going where, and when it needs to be back.

  3. Log the return

    Condition on the way out and on the way in, so faults are found before the next show.

Most equipment failures are record-keeping failures.

What it does

Inventory by venue or supplier
Owned, hired and borrowed kit kept apart but visible together.
Per-event allocation
A clash is refused at the point of booking, not discovered at soundcheck.
Condition and return logs
Photos and notes against each item, timestamped.
Backline sheets
What the artist expects against what the room actually has.
Service history
How often an item goes out, and how often it comes back broken.
Load-in checklists
The list the crew ticks off, on the same record.

Most equipment failures are record-keeping failures

Ask a promoter what went wrong last month and the answer is usually equipment, but the cause is almost always one list held in two places. A single inventory, allocated per event, with a condition note on return, is unglamorous and removes most of the arguments.

  • One inventory, one truth
  • Clashes refused at booking
  • Condition logged both ways
  • Soundcheck spent on sound