A stage is
a structure.
It looks like a piece of furniture, but it behaves like a structure: people stand on it, often many of them, often moving, sometimes with heavy equipment. So every stage plan starts with three numbers — how large, how high, and what goes on it — and not with the question of how it should look. The looks come afterwards, and they come almost by themselves once the first three are right.
How large, and above all how high
On area, most people underestimate: a band needs more room than it occupies in a photograph, because there is equipment between the people. On height they overestimate. A high stage looks important, but past a certain height the front rows are craning upwards, and the distance to the audience grows beyond what the evening can carry. We work the height back from the last row, not the first.
What actually stands on it
The load rating of a modular stage is not a guideline but a limit. It is rarely exhausted by people, but regularly by everything else that goes up: grand pianos, drum risers, speaker stacks, floor fixtures for the lighting. So we do not ask "how many people", we ask you to list what is going up there. That is the question where an honest answer saves trouble later.
Stairs, handrails and the way up
Past a certain height, handrails and proper stairs are part of the stage — not an accessory. That gets overlooked in planning because it appears in no photograph. Then there is the question of where the way up sits: anyone performing during the event should not have to climb through the audience. We plan both in, and both need space that has to be allowed for in advance.
Outdoors: ground, wind and rain
In the open, the ground decides. Not all grass is the same, and what carries after three dry days will not after a thunderstorm. Add a roof and it gets more serious: a roofed stage system is a surface for the wind to push against, and every system has wind speeds above which it must come down. Those limits are in the manufacturer's assembly instructions, and we keep to them — even when that means calling off an event that would otherwise have gone ahead.
- ▸Modular stages built from decks, height adjustable in steps
- ▸Small risers for drums, choir, lectern or the wedding couple
- ▸Stairs and handrails to match the chosen height
- ▸Stage skirting and black surround
- ▸Roofed stages for outdoors, with ballast or guy lines
- ▸Load spreading on soft ground
Every setup is cut to the venue, the guest count and the running order — this list is a starting point, not a packing list.
What we get asked most often.
As a rough steer: for a four-piece with a drum kit, six by four metres works well; less gets tight once monitors and equipment join them. The answer becomes reliable once we know who is standing on it and what they bring.
That depends on size, location and the type of event, and it differs from one municipality to the next. We tell you which documents belong to our build — assembly instructions, structural calculations, test certificates — and which of them an authority usually wants to see. The permit itself is obtained by the organiser.
Roofed stages have a defined wind speed at which they come down. That is not a judgement call and not a matter for negotiation. We agree beforehand who decides if it comes to that and how quickly it has to happen — so the question is not first asked once it is already windy.
Yes. Many organisers already have lighting and sound and only need the platform. It works the other way round too: once the stage is up, we can come in with the equipment.
Tell us about
your event.
Send us the basics — you get an honest assessment and a quote shortly afterwards. No obligation, and nobody chases you about it afterwards.
We usually reply within 24 hours.