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.
One list per venue or supplier, with the detail that matters at load-in.
What is going where, and when it needs to be back.
Condition on the way out and on the way in, so faults are found before the next show.
Owned, hired and borrowed kit kept apart but visible together.
A clash is refused at the point of booking, not discovered at soundcheck.
Photos and notes against each item, timestamped.
What the artist expects against what the room actually has.
How often an item goes out, and how often it comes back broken.
The list the crew ticks off, on the same record.
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.
That is the intention: a supplier view limited to their inventory and its bookings.
Yes, marked as hired with the return date against the allocation.
Counted rather than tracked individually, with a low-stock note.
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