Skip to content

Blog

Take Booking Requests From Your Own Website

Most bands take booking requests through a form tool bolted onto the website — Tally, a Google Form, whatever was quickest. It collects the enquiry and emails it to someone. Then the work starts: copy the date into the calendar, dig out the promoter’s address, write back, hope nobody else in the band already replied.

The form is doing half a job. The request arrives, but nothing is booked and nobody has answered. Here is how to close that gap by taking booking requests straight into the tool the band already runs on.

A standalone form tool ends at the notification. It has no idea the band has a calendar, an inbox, or four people who might each answer a promoter separately.

So the same three things happen every time a request comes in:

  • Nothing is on the calendar. The date lives in an email until someone types it into the band’s calendar by hand — and until they do, another gig can get booked on top of it.
  • The reply is manual and slow. The promoter hears nothing back until a band member happens to see the email and write one. A day of silence loses gigs that a same-day acknowledgment keeps.
  • The band answers over each other. Two members see the enquiry, two members reply, and the promoter gets a muddled picture of who runs the band.

None of that is the promoter’s problem to solve. It is the cost of a form that talks to an inbox instead of to the band’s own tools.

A booking form built into the band tool treats a request as the start of a gig, not the end of a form. One submission does two things at once.

It books a tentative date. The request becomes a gig on the band calendar, marked as an option so it reads as “asked, not confirmed” — visible to the whole band the moment it lands, so nobody double-books the night.

It starts a conversation. The requester gets an acknowledgment straight away, and — with a shared mailbox connected — a thread opens in the band inbox, linked to that gig. The band replies from there, and the promoter’s replies come back to the same thread. One place, one conversation, the whole band reading it.

The request stops being a notification to act on later and becomes a gig already sitting where the band works.

The booking form lives in Settings > Booking Form, next to the shared mailbox and rider pack settings. Setting it up takes calendar-edit rights, so owners, managers, and members can do it.

1. Choose the fields. Toggle what to collect — name, email, phone, event date, event type, location, and a message — and add custom fields for anything specific to the work you take. Keep it short: the fewer boxes a promoter faces, the more of them finish the form.

2. Set the language. Pick the form’s language and both the public page and the acknowledgment email follow it, so a promoter who writes in French reads the form and the reply in French.

3. Share it. Copy the hosted link for a Book Us button, or the one-line embed snippet to render the form inside a page on your site. Turn the form on and it is live.

Both are copyable from the settings panel; use whichever fits the site.

The hosted link opens the form as its own page and needs no website at all — it works from a link-in-bio, a social profile, or a message. Point a Book Us button at it and you are done.

The embed snippet is a single line of HTML that renders the form in-page, inside your own layout. Use it for a dedicated booking page on a site you control.

If a link ever needs pulling — it went to the wrong place, or you want a clean URL — rotate it from the settings panel. The old link stops working, any embed pointing at it goes dark, and you drop the new one onto your site.

The point of taking requests into the band tool is that nothing has to move by hand afterwards.

A booking-request gig lands on the calendar as an option. Confirm it, decline it, or firm up the date as the conversation goes — the same controls as any other gig. When it firms up, run a Gig Advance on it to collect load-in times, PA responsibility, parking, and contacts back from the organiser.

With a shared mailbox, the whole exchange sits in the inbox, linked to the gig, so anyone in the band can pick it up and nobody replies twice. Without one, the acknowledgment still goes out and the band’s notification recipients get an email they can answer directly — the promoter always hears back either way.

Why use a booking form instead of a generic form tool? A generic form drops an email in an inbox and stops there — someone still has to copy the details into a calendar and write back. A booking form built into the band tool turns each request into a tentative gig and starts the reply automatically, so the booking is already where the band works it.

Do I need my own website to use a booking form? No. The form has a hosted link that works on its own, so you can share it from a link-in-bio, a social profile, or a message. If you do have a site, an embed snippet renders the form in-page inside your own layout.

What happens to a booking request after it comes in? It creates a booking-request gig on the calendar, marked as an option so it reads as tentative, and it sends the requester an acknowledgment. With a shared mailbox connected, a thread appears in the inbox linked to that gig and the band replies from there; without one, the band’s notification recipients get an email they can reply to directly.

Can I revoke a booking form link? Yes. Rotate the link from the booking form settings and the old one stops working, along with any embed pointing at it. Update the button or snippet on your site with the new link afterwards.

How to Advance a Show: The Bandleader's Checklist

Most gigs that go wrong were losable weeks earlier. The PA turns out to be two powered tops on sticks, the load-in door is up a flight of stairs, the curfew is 22:30 rather than midnight, and nobody knew because nobody asked.

Advancing the show is the conversation that prevents all of it. Here is what to cover, when to do it, and what to send.

Advancing a show means contacting the venue or promoter ahead of the date to confirm every logistical detail in writing — times, sound, access, hospitality, and contacts.

It is not a formality reserved for touring acts. A function band playing a hotel ballroom benefits as much as a support act at a 500-capacity club, and the checklist is largely the same.

The important thing is that it runs in both directions. The band sends what the venue needs to plan the stage. The venue confirms what it is actually providing. Advances fail when only one half happens — a band that emails a rider and hears nothing back has not advanced the show.

Between two weeks and one week out for a normal club or function gig.

Earlier than a month and the details are still soft: engineers change, set times move, support acts get added. Later than a few days and there is no room left to fix whatever the advance uncovers. If the curfew is an hour earlier than assumed, a week is enough to cut two songs and a support slot; two days is not.

Festivals and support tours usually advance through a production manager on their own schedule. Follow theirs.

The two halves are worth keeping separate, because they have different owners.

What the band sends. The technical rider, the stage plan, the input list or patchlist, and the hospitality rider. This is the band’s own paperwork and it should not change gig to gig — write it once, keep it current, send the same pack every time. The venue cannot plan a stage without knowing how many inputs the band needs and who stands where. Soundcheck prep covers what belongs in that pack in detail.

What the band asks for. Everything below. These are the answers only the venue has.

Five sections. Get all of it in writing, and treat a verbal answer on the phone as something to confirm by email afterwards.

Field Why it matters
Load-in time When gear can come into the building — often earlier than the band expects, and sometimes the only slot
Soundcheck time Sound on stage before doors, if there is a soundcheck at all
Doors time When the audience is let in, which caps how long soundcheck can overrun
Set times Which act plays when, and for how long
Curfew The hard stop for live music

Curfew is the field most often left vague and the one most likely to cut a set short. A venue with a residential licence may stop music at 23:00 regardless of what the poster says. Confirm it as a time, not as “late”.

Field Why it matters
PA responsibility House, band, or hired — three genuinely different evenings
Backline provided Drum kit, bass and guitar amps, keyboards
Stage power How many outlets, and where they are
Tech rider received Confirmation the venue actually has the rider, not just that it was sent

“There is a PA” means nothing on its own. A house system with a resident engineer and a pair of powered speakers on sticks are both technically a PA. Ask which, and ask whether an engineer comes with it.

Backline matters most for fly dates and shared bills. If a drum kit is provided, find out whose it is and whether the drummer is expected to bring breakables.

Field Why it matters
Catering Meals, drinks, and dietary requirements
Green room Somewhere to put cases and get changed
Guest list spots How many, and who to send names to

Guest list is the one that causes friction on the night if it was never agreed. Get the number, and get the address to send the names to.

Field Why it matters
Parking Where, whether a permit is needed, and how long you can stay
Load-in access Nearest door, and any stairs, lift, or ramp
Address notes Anything awkward about finding or entering the building

Load-in access is worth a specific question rather than a general one. “Ground floor, double doors off the side alley” and “up two flights, no lift” produce very different call times, and the second one is a reason to bring another pair of hands.

Field Why it matters
On-site contact Who to reach on the day — name, phone, email
Sound engineer The venue’s engineer, if there is one

A mobile number that will be answered on the day is worth more than the booker’s office email. The person who signed the contract is frequently not the person holding the keys at 16:00.

An advance that lives in one person’s inbox has solved half the problem. The band still does not know what time to arrive.

The output of a good advance is a day sheet: one page with the address, the times, the parking, and the phone numbers, sent to everyone playing. It ends the ritual of four separate “what time are we on?” messages the morning of the gig.

In Gigmeister this is built in. Advance templates are reusable across gigs, the organiser fills in a shared link rather than a chain of emails, and the confirmed answers become a read-only day sheet you share as one link — the whole lineup, and the promoter, open it in a browser or print it, and the fee stays off it. The Backstage pillar covers how the calendar, shared inbox, and rider pack fit together, and function bands tend to lean on it hardest, since corporate and wedding work is almost entirely logistics.

The failures are consistent and all of them are cheap to prevent:

  • Arriving to a locked building because load-in was 15:00 and nobody confirmed it.
  • A set cut short because curfew was earlier than assumed.
  • Not enough inputs because the venue never received the patchlist and set up for a four-piece.
  • No parking at a city-centre venue, so the van does a lap while the drummer unloads onto the pavement.
  • Nobody to call when the side door is locked at 16:00 and the booker’s phone goes to voicemail.

None of these are unlucky. Each one is a question that was not asked.

What does it mean to advance a show? Contacting the venue or promoter before the date to confirm every logistical detail in writing — times, sound, access, hospitality, and contacts — while sending the band’s own technical requirements in return.

When should you advance a gig? Two weeks to one week out for a normal club or function gig. Festivals and support tours advance on the production manager’s schedule.

Who is responsible for advancing the show? Whoever booked it — bandleader, manager, or tour manager. One named person on each side, rather than four band members separately messaging the promoter.

What is the difference between a rider and an advance? The rider is the document the band sends describing what it needs. The advance is the conversation confirming the venue can meet it, and establishing what the venue provides in return.

Do small gigs need advancing? A pub gig for a familiar landlord needs a text message confirming times. A first-time venue needs the full list. The cost of asking is five minutes; the cost of not asking turns up at 19:00 on the night.

MIDI Program Change Reference: Bank and Patch Formats for 51 Stage Devices

The MIDI specification explains bank select and program change in the abstract. What it does not tell you is that a Nord Stage 4 wants A:11, a Kemper wants a performance and a slot, and a Roland FA-08 is listening on channel 16 rather than channel 1.

This is that missing layer: the addressing scheme for 51 devices that actually turn up on stages, taken from the device profiles Gigmeister ships. If you need the underlying theory first, how MIDI program changes work in a live band covers it.

A Program Change (PC) is a single MIDI message carrying a value from 0 to 127. That gives 128 addressable programs — enough for a vintage synth, nowhere near enough for a modern workstation.

Bank Select extends the range. It is two Control Change messages sent immediately before the program change:

  • CC 0 — Bank Select MSB (Most Significant Byte)
  • CC 32 — Bank Select LSB (Least Significant Byte)

Together they select one of 16,384 banks, each holding 128 programs. The three messages always travel in the same order: MSB, then LSB, then PC.

Where manufacturers diverge is in how they map their own front-panel names onto that structure. A Nord calls it a page, bank and preset. A Helix calls it a setlist and a preset. A Kemper calls it a performance and a slot. Underneath, all of them reduce to the same three numbers.

Each table below gives the device’s own program structure — the vocabulary printed on the instrument — along with the total number of addressable programs and the MIDI channel it listens on out of the box.

The program structure column is the useful one. It tells you how many discrete addresses exist and how the manufacturer divides them. A device listing 8 banks × 128 programs = 1024 programs needs a bank select; one listing Direct program entry takes a program value on its own.

Stage Keyboards

DeviceManufacturerProgram structureDefault channel
Nord Stage 4Nord8 pages × 8 banks × 8 presets = 512 programs1
Nord Stage 3Nord16 banks × 5 pages × 5 programs = 400 programs1
Nord Electro 6Nord26 banks × 4 pages × 4 programs = 416 programs1
Nord Piano 5Nord16 banks × 5 rows × 5 cols = 400 programs1
Yamaha CP88/CP73Yamaha15 pages × 8 live sets = 120 programs1
Yamaha YC SeriesYamaha40 pages × 8 live sets = 320 programs1
Korg Kronos/NautilusKorg21 banks × 128 programs = 2688 programs1
Roland RD-2000Roland15 banks × 20 programs = 300 programs1
Hammond SKXHammond2 banks × 100 patches = 200 programs1

Synthesizers

DeviceManufacturerProgram structureDefault channel
Moog Subsequent 37Moog16 banks × 16 presets = 256 programs1
Sequential Prophet Rev2Sequential8 banks × 128 programs = 1024 programs1
Sequential Prophet 6Sequential10 banks × 100 programs = 1000 programs1
Novation Peak/SummitNovation4 banks × 128 patches = 512 programs1
Access Virus TIAccess Music30 banks × 128 patches = 3840 programs1
Arturia PolyBruteArturia8 banks × 96 presets = 768 programs1
Nord Lead A1Nord8 banks × 50 programs = 400 programs1
Oberheim OB-X8Oberheim9 banks × 128 programs = 1152 programs1
Waldorf BlofeldWaldorf8 banks × 128 sounds = 1024 programs1
Korg Minilogue XDKorg5 banks × 100 programs = 500 programs1
Korg MicroKorgKorgDirect program entry1
Korg microKORG 2Korg4 banks × 8 genres × 8 programs = 256 programs1
Modal Cobalt8Modal ElectronicsDirect program entry1
Nord Wave 2Nord16 banks × 25 programs = 400 programs1
Sequential OB-6Sequential10 banks × 100 programs = 1000 programs1
Korg PrologueKorgDirect program entry1
ASM HydrasynthASM8 banks × 128 patches = 1024 programs1
Novation Bass Station IINovationDirect program entry1
Moog OneMoog8 banks × 8 presets = 64 programs1
Arturia MicroFreakArturiaDirect program entry1
Elektron DigitoneElektron8 banks × 16 patterns = 128 programs10
Elektron Analog FourElektron8 banks × 16 patterns = 128 programs9
Roland System-8Roland4 engines × 64 patches = 256 programs1
Behringer DeepMind 12Behringer8 banks × 128 programs = 1024 programs1
Korg WavestateKorg4 banks × 16 slots = 64 programs1
Dexibell Vivo S9DexibellDirect program entry1
Nord GrandNord16 banks × 5 pages × 5 programs = 400 programs1
Nord Drum 3PNord4 banks × 50 kits = 200 programs10
Roland FA-08Roland5 banks × 128 studio sets = 640 programs16
Roland VR-730RolandDirect program entry4

Effects Processors

DeviceManufacturerProgram structureDefault channel
Line 6 HelixLine 68 setlists × 128 presets = 1024 programs1
Kemper ProfilerKemper125 performances × 5 slots = 625 programs1
Fractal FM9/FM3Fractal AudioDirect program entry1
Boss GT-1000Boss250 presets = 250 programs1
Neural DSP Quad CortexNeural DSP13 setlists × 256 presets = 3328 programs1

Drums & Percussion

DeviceManufacturerProgram structureDefault channel
Roland SPD-SX/ProRoland200 kits = 200 programs10

Workstations

DeviceManufacturerProgram structureDefault channel
Roland Jupiter-XRoland4 banks × 128 scenes = 512 programs1
Roland FantomRoland4 banks × 128 scenes = 512 programs16
Kurzweil PC4Kurzweil41 banks × 128 programs = 5248 programs1
Yamaha MontageYamaha93 banks × 128 programs = 11904 programs1
Yamaha Montage M / MODX MYamahaLive Set pages plus Preset, User and Library performance banks (single and multi part)1

Host Software

DeviceManufacturerProgram structureDefault channel
Apple MainStageApple128 banks × 128 patches = 16384 programs1
Gig PerformerDeskew Technologies128 banks × 128 programs = 16384 programs1
Camelot ProAudio Modeling128 setlists × 128 songs × 127 scenes = 2080768 programs1

Which Devices Do Not Default to Channel 1?

Section titled “Which Devices Do Not Default to Channel 1?”

Six of the 51 listen on something other than channel 1 out of the box, and this is the single most common reason a correctly configured program change appears to do nothing:

Device Default channel Why
Elektron Analog Four 9 Elektron’s own track-channel convention
Elektron Digitone 10 Elektron’s own track-channel convention
Nord Drum 3P 10 General MIDI percussion channel
Roland SPD-SX/Pro 10 General MIDI percussion channel
Roland VR-730 4 Upper/lower/pedal parts occupy channels 1 to 3
Roland FA-08 16 Control channel sits above the 15 part channels

If a device stays silent while everything else in the rig switches, check the channel before you check anything else.

The Nord Stage 4 exposes 512 programs as 8 pages (A–H), 8 banks per page, and 8 presets per bank. The front panel shows A:11. The wire sees something else.

Nord numbers them contiguously, so the position is calculated first and then split across LSB and PC:

  • A:11 — the first program. Position 0, which sends MSB 0, LSB 0, PC 0.
  • B:11 — position 64, which sends MSB 0, LSB 0, PC 64.
  • C:11 — position 128, the first program past the 128 boundary, sending MSB 0, LSB 1, PC 0.
  • H:88 — the last program. Position 511, sending MSB 0, LSB 3, PC 127.

The MSB never moves off 0 on a Stage 4. The LSB increments once per 128 programs, giving four LSB values (0–3) to cover all 512. Every other picker-style device in the tables above follows the same principle with its own page, bank and preset sizes.

MIDI program change values run 0 to 127. A great many manufacturers number the same programs 1 to 128 on the front panel.

So a patch displayed as 001 is usually program change 0 on the wire. If every single patch loads exactly one position away from the one you wanted, this off-by-one is almost always the cause — not your cabling and not your setlist software.

The fix is to decide once whether your device is 0-indexed or 1-indexed, write it on the rig sheet, and stay consistent.

Reading a MIDI implementation chart once is fine. Doing it for four devices, then re-deriving the numbers every time the band adds a song, is where the evening goes.

The practical setup is per-song: each song in the library stores a program for each device in the rig, and advancing the setlist fires all of them at once. Gigmeister ships the 51 profiles above with their bank and program mappings already correct, so patches are chosen by name rather than by number — see the MIDI documentation, the full device list, or the Stage pillar for how it fits with the click track and backing tracks.

What MSB and LSB values does a Nord Stage 4 need? MSB stays at 0. The LSB runs 0 to 3, incrementing every 128 programs across the 512 total. Program A:11 is MSB 0, LSB 0, PC 0; H:88 is MSB 0, LSB 3, PC 127.

Which stage devices do not default to MIDI channel 1? Six: the Elektron Analog Four (channel 9), the Elektron Digitone, Nord Drum 3P and Roland SPD-SX (channel 10), the Roland VR-730 (channel 4), and the Roland FA-08 (channel 16).

Do all devices need a bank select before the program change? No. Anything with 128 programs or fewer takes a bare program change. Bank select only becomes necessary above 128, which is why a Korg MicroKorg needs none and a Korg Kronos with 1,792 programs does.

Does the order of the three messages matter? Yes. Bank MSB, then bank LSB, then the program change. Sending the program change first selects a program in whichever bank was already active, which is how a rig ends up playing the right patch number from the wrong bank.

How long should I leave between the message and the downbeat? Some devices take 100–500 ms to load a patch, and a few of the larger workstations take longer. Send the change during the gap between songs rather than on the count-in.

The Best Setlist Apps for Gigging Bands in 2026

Most “best setlist app” lists rank on feature counts. What actually decides it is narrower: whether the app fires your MIDI patches, whether the whole band can use it, and whether it works on the devices your band already owns.

Here is the field in 2026, with what each one is genuinely best at. Pricing is as published by each vendor at the time of writing — check before buying, since several changed models recently.

Five questions settle it faster than any feature table:

  1. Does the band need MIDI? If a keyboard player is changing patches between songs, this narrows the field to two apps immediately.
  2. Is it for one player or the whole band? Shared libraries and per-member permissions are a different product to a personal songbook.
  3. What hardware does the band own? An iPad-only app is a non-starter if half the band is on Android.
  4. Does it need to work with no signal? Basements and steel-framed venues are where cloud-only apps fail.
  5. How much off-stage work is there? Booking emails, riders and advances are a real workload for a gigging band, and most setlist apps do not touch them.

Best for: bands that need deep MIDI automation and have someone willing to configure it.

Around since 2012 and still the default recommendation for MIDI-heavy bands. It triggers program changes, backing tracks and lighting cues per song, and handles the surrounding admin — schedule, contacts, finance, stage plots and a practice log on the Pro tier. Runs on iOS, Android and the web.

The learning curve is real. BandHelper gives you a lot of switches and expects you to know which ones you want, which is the trade for its depth. Pricing is banded by band size rather than multiplied per seat: Pro is $8/month for 2–5 users ($80/year), Plus $6/month, Basic $4/month. There is no free tier.

Where it wins over Gigmeister: longer track record, a deeper well of community configuration, and Android has been shipping for years rather than being in beta.

Best for: iPad players reading charts, especially worship and jazz.

The strongest chart reader in the category. ChordPro, PDF import, on-the-fly transposition, auto-scroll, and a genuinely good annotation experience on a large iPad. Session players and musical directors who read from charts all night tend to prefer it to anything else.

It moved to subscription: Essentials $3.99/month or $29.99/year, Premium $5.99/month or $59.99/year, with a free download for building and viewing a library. Essentials covers up to 2 devices, Premium up to 4.

The limitation is platform and scope. It is iOS only, and it is a songbook rather than a band-management tool — no calendar, no shared inbox, no rider handling.

Where it wins over Gigmeister: chart rendering and annotation on an iPad is its entire focus, and it shows.

Best for: a simple, cheap running order with no subscription.

Lightweight and straightforward: song database, setlists, basic lyric and chord display, on iOS and Android. Low commitment and low cost.

One thing to know before adopting it: the developer has stopped adding features and points new users at BandHelper, their newer product. It still works, and for a band that wants a running order and nothing else that may be fine — but it is not a platform to build on for the next five years.

Best for: medium and large worship teams with volunteer rotas.

Not really a setlist app. It is scheduling and team management for churches, with chord charts attached — who is serving which week, whether they confirmed, what key the vocalist needs. For a worship team of thirty rotating volunteers it is the industry standard and nothing else comes close.

Pricing scales with team size, roughly $14 to $200+/month.

For a five-piece covers band it is the wrong shape and too expensive.

Best for: working bands that want the whole gig in one place, with real MIDI and audio depth.

The pitch is breadth without giving up depth. On stage: setlists, MIDI program changes across 51 pre-configured devices, click track, backing tracks, multitrack stems, and follow-the-leader sync across the band’s screens. Off stage: a band calendar, a shared booking inbox, rider packs, gig advances, and practice tracking — the half of the job most setlist apps leave in a group chat.

It runs on the web, iOS, and desktop (macOS, Windows, Linux), with Android in beta, and works offline everywhere except the Backstage tools. The free tier covers 10 songs, 2 setlists and 2 members, with current paid rates shown at gigmeister.app.

Where it loses: it is the largest surface area here, and a band that only wants a running order on a phone will find it more app than they need. BandHelper has a longer track record for MIDI, OnSong is better on an iPad chart, and Android is not out of beta yet.

Two recent browser-based entrants worth knowing about, both aimed squarely at small bands who find the established apps heavy.

SetSync — real-time sync across the band’s screens, PDF and photo import with OCR, an AI scanner that converts sheet music and tabs to ChordPro, chord diagrams, and per-user annotations. Free for 5 songs and 1 list; Pro £1.99/month or £19.99/year. No MIDI and no audio playback.

The Rudiment — setlists, lyrics with inline chord markers, and a nicely judged private annotation layer where each member adds their own colour-coded cue notes to a shared chart. Free for 1 member and 10 songs; $5/month up to 5 members, $12 up to 12, $30 unlimited. Web only, no MIDI, no audio, no offline mode.

Both are young and neither has much of a track record yet. Both are worth watching if what you want is a shared lyric sheet rather than a rig controller.

App Best for MIDI automation Platforms Free tier
BandHelper MIDI-heavy bands Yes, deep iOS, Android, web No
OnSong iPad chart readers Yes iOS only Yes, view and build
Set List Maker Simple running orders No iOS, Android Yes, with purchases
Planning Center Large worship teams No Web, iOS, Android No
Gigmeister The whole gig, on and off stage Yes, 51 devices Web, iOS, desktop; Android beta 10 songs, 2 setlists, 2 members
SetSync Shared charts, live sync No Web 5 songs, 1 list
The Rudiment Simple shared lyric sheets No Web 1 member, 10 songs

Worth separating, because they are often compared and they are not the same category.

A patch host — MainStage, Camelot Pro, Ableton Live — runs the sounds. It hosts plugins, plays audio, and switches between them. A setlist app manages the running order, the charts and the band, and sends MIDI out to hardware or to a patch host.

Plenty of bands run both: the setlist app drives the show and fires the program changes, the host makes the noise. The full feature comparison covers Gigmeister against the patch hosts specifically, and there is a guide to using Gigmeister with MainStage and Gig Performer.

Which setlist app has the best MIDI support? BandHelper and Gigmeister. Gigmeister ships 51 device profiles with bank and program mappings already correct; BandHelper has the longer track record and a larger base of user-built configurations.

Is there a free setlist app for bands? Yes, several. OnSong is a free download for building and viewing a library, Gigmeister free covers 10 songs and 2 setlists for 2 members, SetSync free covers 5 songs, and The Rudiment free covers 1 member and 10 songs. BandHelper offers a trial rather than a free tier.

Which setlist apps work on Android? BandHelper and Set List Maker have native Android apps. Gigmeister has an Android build in beta, and its web app runs in any Android browser, as do SetSync and The Rudiment. OnSong is iOS only.

Do any of them work offline? BandHelper, OnSong, Set List Maker and Gigmeister all work offline. The browser-only apps generally need a connection.

What should a covers band choose? If there is MIDI in the rig, BandHelper or Gigmeister. If everyone reads charts off iPads, OnSong. If the band is also drowning in booking emails and riders, that is what Gigmeister’s Backstage tools exist for. There are also breakdowns by band type for cover bands, function bands and worship teams.

Soundcheck Prep: What to Send Your Engineer Before You Arrive

A soundcheck that runs 90 minutes instead of 45 is a soundcheck that eats into your set, strains the relationship with the venue, and leaves the band starting their first song already tired. Most of the delays are caused by information that could have been shared days in advance: what channels the engineer needs to build, what monitors each player requires, what the stage layout looks like.

None of this should be figured out in the venue. Here is what to prepare before you arrive, how to format it so the engineer can actually use it, and how to share it without four separate PDF attachments.

The house engineer at a Thursday night pub gig might have 30 minutes from the time you arrive to when doors open. A corporate event’s AV team might have two hours — but also three other acts on the same stage.

When you arrive with a patchlist in your head rather than on paper, the engineer is writing down what you tell them in real time, asking clarifying questions, and hoping they got it right. When you arrive with a patchlist sent 48 hours ago, they have already built the initial channel layout and spent those 30 minutes doing something useful.

The band that makes the engineer’s job easier gets better treatment — faster checks, more time dialling in the mix, a sound person who is already invested in making the show work.

The Patchlist: Your Engineer’s Most Important Document

Section titled “The Patchlist: Your Engineer’s Most Important Document”

The patchlist is a channel-by-channel breakdown of every input on stage. It tells the engineer what they are building before a single cable is plugged in.

A complete patchlist row includes:

Field Example
Channel 1
Source Kick drum (inside)
Mic / DI Shure Beta 52 / Beta 91A (if dual-mic)
Stand type Short boom on floor
Notes No phantom, low-cut at 80Hz

The notes column carries the information that causes surprises at soundcheck when it is missing:

  • Instruments that need phantom power (condenser mics, active DIs)
  • Sources where you want a pad engaged at the preamp
  • Stereo pairs that must go to adjacent channels
  • DI outs from keyboards that go to two channels
  • Click track or backing track outputs and which channel they are on

Keep it scannable. Engineers read patchlists on a phone in a noisy venue with one hand while doing something else with the other. Dense paragraphs do not get read. A clean table with one row per input does.

Building a Patchlist That Works for Any Venue

Section titled “Building a Patchlist That Works for Any Venue”

The house engineer at a bar does not have the same rig as the A1 at a theatre. Write the patchlist for the instrument and source, not for a specific mic model — the engineer may not have your preferred microphone, but they know how to mic a snare drum with what they have if they know it is a snare drum.

Specify: instrument type, source (DI vs. mic’d, overhead vs. clip), stand type, phantom and pad requirements, any stereo routing.

Leave optional: preferred mic models (note as a preference, not a requirement), EQ settings (the engineer has their own approach), effects (discuss at soundcheck).

A patchlist that works at every venue is one that describes what you have and what it needs — not one that prescribes what the engineer must provide.

Some songs have details the FOH engineer should know in advance: a long outro that fades to silence (they do not need to chase a fader), a song where the vocalist moves to a handheld mic mid-song, an intro where the band plays quietly before the first downbeat.

In Gigmeister, you can add per-song PA notes to each entry in your setlist. These notes appear in the Soundman View — the real-time read-only link you share with the FOH engineer. They see the notes for each song as it comes up in the set, before the song starts.

This is the difference between a reactive engineer (scrambling to adapt) and a prepared engineer (already set up for what is coming).

The Stage Plan: Getting Everyone in the Right Place

Section titled “The Stage Plan: Getting Everyone in the Right Place”

A stage plan is a visual diagram of who stands where — instrument positions, monitor wedge positions and assignments, amp placement, and cable runs. Its purpose is to get the physical stage set up before you arrive, so you are not spending the first 20 minutes moving amplifiers.

Most bands use the same stage layout for the majority of their gigs. The drummer is in the back centre, the bass amp is stage right, keyboards are stage left, the guitarist moves between centre and stage right depending on song. Build the plan once and reuse it.

  • Musician positions — labelled by name or instrument. If the vocalist and the guitarist share centre stage, show it.
  • Monitor wedge positions — which wedge faces which player, and which aux send it is on. “Monitor 1 faces vocals and keys, Monitor 2 faces drums” is enough.
  • Amp positions — with a note for whether each goes direct-in (DI) or mic’d.
  • Drum kit position and orientation — including whether the kit is elevated on a riser.
  • Keyboard and guitar riser positions — if applicable.
  • Cable run notes — anything that crosses a walkway or audience area that needs to be addressed before people are moving around.

The goal is for the venue’s crew to have the stage mostly right before you arrive. You will still adjust things — but “mostly right” is far faster than starting from scratch.

In Gigmeister’s Rider Pack, the stage plan editor is a visual canvas: drag positions, label them, save. The plan is part of your rider share link. Every venue that receives the link gets the current version.

When your guitarist moves from a combo amp to a Kemper and the input routing changes, update the plan once. Every venue with the link sees the new version immediately. There is no version to recall.

The tech rider describes what the venue needs to provide for your show to work. It covers PA system requirements, monitor setup, power, backline (if applicable), and any specialist equipment.

A practical tech rider for a working band without excessive demands:

PA system: full-range stereo system appropriate for the room size, with subwoofers. No specific brand required.

Monitor system: minimum two independent monitor mixes (wedges or IEMs compatible). For larger bands: four independent mixes.

Inputs: minimum 16-channel capability at FOH (more for larger bands — specify based on your channel count).

Power: clean power with a dedicated circuit for the backline if possible. Specify any high-draw requirements (Leslie cabinet, high-powered keyboard rig).

Backline (if venue-supplied): specify exactly what you need. If you bring your own, say so clearly so the venue does not set up something that will not be used.

A venue reading a 12-page technical rider for a Thursday bar gig will ignore most of it. Match the detail level to the gig type and the venue’s capacity to respond.

For pub and club gigs: a one-page rider covering channel count, monitor sends, and power requirements is right.

For corporate and private events: two to three pages, covering everything above plus any AV integration (HDMI for visuals, walk-in/walk-out music from a laptop, wireless handheld mics for speeches).

For festivals and theatres: full technical specification with addenda for backline and power requirements.

Include a short “essentials” block at the top — three or four items that are genuinely non-negotiable — for venues that will not read beyond page one. Everything else is a preference.

The hospitality rider covers what the venue provides for the band off stage: catering, dressing room, parking, and load-in access. Keep it proportionate to the gig.

A sensible hospitality rider for a mid-tier function or event band:

  • Parking: clearly marked spaces close to the load-in entrance, held from arrival to departure
  • Dressing room: one clean room with chairs, a mirror, and a power outlet per device (or a power strip)
  • Water and refreshments: water on stage throughout the show; light snacks or a hot meal for multi-hour bookings
  • Meal allowance: a fixed amount per head if catering is not practical

Leave out demands that signal inexperience for your tier — a headlining stadium act’s hospitality requirements do not translate to a private birthday party booking. Unreasonable riders create friction with venues and do not get honoured anyway.

Four separate PDFs in an email — patchlist, stage plan, tech rider, hospitality rider — is how important documents get missed. One gets moved to a folder, one gets forwarded to the wrong person, one is the version from two years ago.

The Rider Pack share link in Gigmeister is a single URL that surfaces all four documents in one view. Send it once in the booking confirmation email. The venue coordinator, the stage manager, and the house engineer can all access the same link. Sending the pack is one half of the job — advancing the show is how you confirm the venue can actually meet it, and both live in Backstage.

When you update the patchlist before a run of gigs, everyone with the link sees the new version. No re-send required. No “which version is current?” question at soundcheck.

The link requires no login to view. It is printable. It works on any device. For venues that prefer a physical copy, the engineer can open it on their phone or print it from the URL.

The Soundman View: Setlist Mode for Front of House

Section titled “The Soundman View: Setlist Mode for Front of House”

During the show, the FOH engineer benefits from knowing what song is next — especially on variable-order setlists or gigs where the band calls songs from the stage. Gigmeister has a dedicated Soundman View mode built into the setlist page: a cleaner, read-optimised layout showing song titles, order, and per-song notes without the performance navigation controls.

  • The full setlist with song order
  • The currently playing song (highlighted)
  • Per-song notes (PA notes, stage banter cues, instrument changes)
  • Duration of each song

The view updates live as the band leader advances through songs.

The practical setup: a dedicated device (tablet or spare phone) at FOH, logged into the band’s Gigmeister account, open on the setlist in Soundman View mode. The engineer follows the set without a printed sheet, and per-song notes are visible before each song starts.

An engineer who can see “keys-led intro, vocal enters bar 5, big reverb tail on snare in second verse” before the song starts is set up rather than reacting. These notes live on the song in Gigmeister and are visible in the Soundman View alongside the setlist order.

Soundman View comes in two forms: an in-app mode for a logged-in FOH device, and a public read-only Front-of-House share link that needs no account. Tap Share in the setlist toolbar to get a no-login URL that surfaces the ordered set, per-song PA notes, and an optional link to the rider pack — ideal for handing to a house engineer you can’t add to the band.

A consolidated checklist for every gig:

  • Patchlist updated and included in rider share link
  • Stage plan current and in the rider share link
  • Tech rider accurate for tonight’s setup
  • Rider share link sent to the venue contact
  • Setlist locked for tonight (or finalised at soundcheck)
  • PA notes added for any songs with specific requirements
  • FOH device logged in and open on Soundman View mode
  • MIDI program changes tested against all devices
  • Backing tracks verified (levels, routing, trigger settings)
  • Calendar event updated with load-in and soundcheck times for all band members

The first time through this list takes a few minutes. After the first gig, it takes 90 seconds to confirm that nothing has changed.

Build your rider pack, share it with venues, and give your sound engineer real-time setlist visibility. Create a free Gigmeister account or read the Rider Pack documentation to set up your production documents.