Plan Every Stage From the First Truck In to the Last Truck Out

See Every Stage's Day on One Timeline

Each day of your event gets its own timeline, with one row per stage and every set laid across the hours, so a stage promised to two acts at the same hour stands out before anyone finds it on the day. Two sets that overlap on a stage are flagged as a conflict, with the set they clash with named. Open any set to change it, and everyone reading the timeline sees the change.

Switch to the table when you want every set as a list, then narrow it by stage or by day, or search for an act, a stage or a note. A set that crosses midnight stays on the day it started, which is how the people working it think about it, and the set on stage now is marked while the day runs.

Version history keeps every change to a set with who made it and when, so a moved time is never a mystery. The same timeline serves a conference agenda, a film festival's screenings and a sports event's matches, each named the way that kind of event names it.

• One row per stage: every set across the hours of the day
• Conflicts flagged: two sets booked on one stage at once
• Timeline or table: by stage and by day, with search

• Build the running order for your event day

Set Up Every Stage, Room or Pitch Once

Add each place where two things cannot happen at once, with its capacity, location, technical specification and colour. The names follow your event: stages at a festival, rooms at a conference, cinemas at a film festival and venues at a sports event. Each one becomes a row on the timeline and gets its own page, so your stage manager opens one page for everything about their stage.

A stage page holds the stage's sets for each day, its run of show, the departments and leads with cues on it, its rota shifts, its tech notes and its open tasks. The stage's colour carries through to the run of show and its dressing rooms, so a busy production office reads the day at a glance.

Each stage also carries its own timing rules: its shortest changeover, its opening and closing times and the days it is closed. Set them once on the stage and every running-order check uses them.

• Stages: or rooms, cinemas and venues, named for your event
• Technical specification: what the stage already has, for every act
• Stage page: sets, run of show, teams, rota and tech notes together

Catch Short Changeovers and Curfew Problems Before Show Day

The running order changes many times as set times, flights and stages move. Fai checks each day every time it changes and points at the problem before an act, a stage manager or the curfew finds it: overlapping sets, a changeover shorter than the stage allows, an act booked on two stages, a flight that lands after soundcheck, a set outside the stage's hours or past curfew, and a rider line the stage cannot meet.

Each problem comes with fixes Fai has already tried against the rest of the day, so a fix never adds a serious problem somewhere else. You see every cue it moves and the new time before you apply it, and you can undo it straight after. A locked stage, or a cue already called on show day, is never moved.

Fai compares each act's technical rider with the technical specification of the stage they play, including lines such as No drum riser. You see the gap with time to hire the gear, agree a substitute with the act or move them to a stage that has it.

• Timing rules: shortest changeover, opening hours and closed days for each stage
• Fixes from Fai: tried against the rest of the day, and undone in one step
• Rider gaps: what a stage cannot meet for an act

• Check your running order for clashes before show day
• Choose Your Acts, Get the Running Order Right and Announce Your Line-Up on Time

Put Build and Break Days on the Run of Show

Add a build day before the show or a break day after it, and tick the usual cues to fill in load-in, rig and sound check, or de-rig and load-out. Build and break days work like any show day, on the run of show and the day sheets, so your crew sees their call times the same way all week and the site build is planned with the same care as the headline set.

Book dressing rooms on the same run of show, with Fai suggesting a room for every performer around their set and flagging any booking that overlaps another. Every booking shows on the run of show, the day sheets and the performer and stage pages, so nobody arrives to a room someone else is in.

• Build days: load-in, rig and sound check
• Break days: de-rig and load-out
• Dressing rooms: a room for every act around their set

• Book dressing rooms and plan build and break days for your event
• Plan Every Cue, Call the Show Live and Keep Every Team on the Same Time

Give Every Act's Plot, Inputs and Power to Their Stage

Your stage manager should not be reading six riders at the side of the stage while the next act waits. Each stage lists the stage plot, the input list and the power each act needs, act by act through the day, filled in from their technical rider. Your stage manager, your monitor engineer and your electricians read the same spec, so the stage is set for each act before they walk on.

The specs build on the riders your team already collects in Advancing, and on the hire list that already takes each act's needs line by line from their rider. A rider change is held for your review there, so a change from the act never overwrites a decision your team made by hand.

• Stage plot: where everything sits for each act
• Input list: every channel each act needs
• Power: what each act needs on stage

• Advance Every Act Without Chasing Email Threads

Plan Every Changeover and Call the Crew for It

Plan the changeover between each act and the next, so every turnaround runs to a plan your crew can see. Crew calls for each changeover sit on the running order, so the stagehands, the backline techs and the monitor engineer arrive when the turnaround starts, with the right gear for the act coming on.

Fai already drafts each act's load-in, soundcheck, changeover, stage call and set, and each department's cues, by email and by text where there is a mobile number. Each draft waits on Today until you approve it, and a moved cue drafts it again, so nobody turns up to an old time.

• Changeover plans: between each act and the next
• Crew calls: for each changeover on the running order
• Call times from Fai: drafted for acts and departments, sent when you approve

Work Out What to Hire and Who Supplies It

Fai works out the backline and production to hire from every rider, stage by stage and day by day, and takes off what each stage already has, so you hire what the busiest day needs and no more. The Production section holds the event-wide work that does not belong to one act or one crew member, as tasks, notes and items for finance, technical, hospitality, catering and travel.

Describe what you need, such as staging, rigging, generators or temporary structures, and Fai researches production companies near your event with their website and how to reach them. Supplier replies and quotes sit in the activity beside the work, so the production manager sees where every order stands.

• Hire from riders: backline and production by stage and day
• Tasks, notes and items: for each production department
• Find suppliers with Fai: local production companies and how to reach them

• Work out the backline and production to hire for your event
• Hire Exactly What Your Show Needs and Know Where Every Piece Is

Stream Your Sets to Fans Who Cannot Be There

Fans who could not get a ticket or could not travel still want to watch. Your stream schedule starts from the running order your production team already keeps, with each act on its stage and set time, and each act's streaming rights come from their contract, so only the sets you may stream go out. The stream plays on your event page, where fans already buy their tickets.

Agree streaming in the contract before the show. Fai drafts each performer's or speaker's contract from the booking, they sign online with no account, and both of you get the signed copy, so the rights you stream under are on record and your team never has to search a signed agreement on show day. Publish your line-up and set times to your event page from Public line-up, after a review of every change. When set times move, you can email your ticket holders a draft listing the changes, so the people watching at home and the people on site know when each set starts.

• Stream schedule: built from your running order
• Streaming rights: for each act, from their contract
• On your event page: the stream where fans buy their tickets

• Get Every Event Agreement Drafted, Checked and Signed