Sound checks and rehearsals are the unglamorous but essential backbone of any live event. A properly planned schedule ensures every act gets the time they need to prepare, your technical team can work efficiently, and the event starts on time without last-minute panic. Get this wrong, and the consequences ripple through the entire show. This guide covers how to plan and manage the process effectively.
What is a sound check?
A sound check is the process where each performer or act runs through part of their set on stage while the sound engineer adjusts levels, monitors, and effects to optimise the sound for the specific room and performance. It serves several purposes: the engineer gets the technical settings right, the performers hear how they sound in the room, and any equipment issues are identified and resolved before the audience arrives.
A sound check is different from a line check, which is a quicker process where each input (microphone, instrument, etc.) is tested briefly to confirm it is working and routed correctly, without the full process of adjusting the mix. Line checks are used when time is tight or for support acts who do not require a full sound check.
Planning the schedule
The sound check schedule should be planned well in advance and communicated to all acts, your technical team, and your venue staff. The key factors to consider are:
Number of acts: More acts means more sound check time. A simple formula is to allow 20 to 30 minutes per act for a full sound check, plus 10 to 15 minutes between acts for stage changeover and equipment adjustment. For a four-act evening show, that means starting sound checks approximately three to four hours before doors open.
Reverse running order: The standard convention is to sound check in reverse running order. The headline act checks first, followed by direct support, and so on down the bill. This means the headline act's settings are dialled in first (giving them priority) and the opening act's settings are freshest when the show begins. It also means the headline act arrives earliest and can leave if they wish, while the opening act, who checks last, is already at the venue when doors open.
Technical complexity: Acts with more complex setups need more time. A solo acoustic singer-songwriter needs far less sound check time than a seven-piece band with multiple monitor mixes, backing tracks, and complex routing. Allocate time based on actual need rather than giving every act an identical slot.
Venue access and curfew: When can you access the venue? When must you be finished? Work backwards from your doors-open time, leaving a buffer for any overruns. Many venues have noise curfews that affect when sound checks can happen, particularly in residential areas.
Creating the schedule document
A clear, written schedule should be shared with everyone involved. Include the following for each act:
The act name. The load-in time (when they should arrive and start setting up on stage). The sound check start and end time. The stage changeover time. Any specific notes (complex setups, backline sharing, etc.).
Also include the doors-open time, the show start time, and the performance running order with set times, so everyone can see how the sound check schedule connects to the live show.
A well-organised schedule document prevents the single most common sound check problem: acts turning up at the wrong time. If an artist arrives two hours late for their sound check, it throws the entire schedule off and can result in acts not getting checked at all.
Working with your sound engineer
Your sound engineer is the person who makes the sound check work. Brief them thoroughly in advance: share the technical riders for all acts, discuss any specific requirements or challenges, and ensure they have everything they need to do their job.
During sound checks, the engineer should be in charge of the technical process. Their job is to get the best possible sound for each act within the time available. Avoid rushing them or cutting checks short unless absolutely necessary. A sound engineer who is given adequate time and respect will deliver a significantly better-sounding event.
If you do not have a regular sound engineer, our guide to sound production for small events covers how to find and work with sound professionals.
Managing multiple acts
Multi-act events present specific sound check challenges. Here are strategies for managing them efficiently:
Backline sharing: If multiple bands are on the bill, sharing backline (drum kit, amplifiers, etc.) saves significant changeover time. Discuss this in advance with all acts and agree what will be shared and what each act will bring. Drum stools, cymbals, and snare drums are usually personal items that each drummer brings, even when sharing the rest of the kit.
Monitor settings: Modern digital mixing desks can store and recall settings for each act, making changeovers much faster. If your venue or hire company uses digital consoles, this is a significant advantage. Analogue desks require the engineer to reset levels manually between acts, which takes longer.
Stage patches: For festivals and events with very fast changeovers, a split stage or festival patch allows the incoming act's equipment to be set up and line-checked on one side of the stage while the current act is still performing on the other side. This is standard practice at larger festivals but requires additional stage space and cabling.
Communication: Keep all acts informed about any changes to the schedule during the day. If one act's sound check runs over, let the next act know immediately so they can adjust their arrival time. Clear, proactive communication prevents frustration.
When time is limited
Sometimes you do not have enough time for every act to get a full sound check. This is common at festivals, multi-stage events, and venues with restricted access hours. When time is tight:
Prioritise the headline act for a full sound check. Give the direct support act an abbreviated check (one or two songs rather than three or four). Use line checks for opening and lower-billed acts. Ensure your sound engineer has the technical riders in advance so they can pre-set levels based on the rider information, reducing the time needed during the actual check.
Communicate honestly with acts about what time is available. Most professional musicians understand time constraints and can work within them if they are told in advance. What causes problems is artists being told they will get a full sound check and then having it cut short on the day.
Rehearsal schedules for larger events
For events with choreographed elements, complex staging, or production that goes beyond standard live music (awards ceremonies, theatrical events, large-scale corporate shows), you may need full rehearsals rather than just sound checks. These require significantly more time and planning.
Full rehearsals should include a complete run-through with all technical elements: sound, lighting, video, staging changes, presenter cues, and any other production elements. Build in time for notes, adjustments, and a second run-through if needed. For events with strict timing requirements (broadcast events, for example), a full dress rehearsal is essential.
For more on managing the backstage side of events, see our backstage management guide. And for guidance on managing the many suppliers and contractors involved in larger events, our article on managing event suppliers covers the coordination skills you will need.
