Terminology for Stage & FOH Explained

How fluently do you understand stage speak? These days, church auditoriums borrow tons of terms from the English theatre language that was brought to pre-American shores by early colonists. You can even thank the ancient Greeks — they placed their performers on a raised platform to be more clearly seen and critiqued, which is frightening. Over time, churches adopted relevant entertainment industry terms and added a few of their own. Understanding these terms helps us plan, prepare, and communicate more effectively with team members. Plus, working with people from other venues or dealing with contractors, vendors, and new recruits makes things so much easier when we all understand the fundamental terms.

Stage NavigationLocations in the VenueEquipment & GearLighting Fixtures (Traditional & LED)Microphone TypesPhantom PowerActivitiesRoles

Stage Navigation

Upstage (US): the region covering the rear of the entire stage, farthest from the congregation

This term came from raked Shakespearean stages that slanted downward to the front of the stage, allowing audiences to see better.

Downstage (DS): the region covering the front of the entire stage, closest to the congregation

Center stage (CS): usually, the primary area in the center of the stage

Mid stage (MS): region from left to right across the middle of the stage

Stage left (SL): the left side of the stage from the performer’s perspective when facing the congregation

This is sometimes referred to as the “prompt side” (P), with the upper stage left as the “prompt corner” — the place from where you’d immediately and rather harshly hear the stage manager in a traditional British theatre if you forgot your lines.

Stage right (SR): the right of the stage from the performer’s perspective when facing the congregation

This is sometimes called the “opposite prompt side” to avoid right/left confusion.

Pro tip: Stage directions often combine right-to-left and front-to-back terms, like “upstage left” (USL), “center stage right” (CSR), etc. Larger stages may use an additional halfway positional term, like “mid center left” or “downstage center right.”

Onstage: refers to any area on the stage

Offstage: refers to any area not on the stage (just in case you were wondering)

Locations in the Venue

Backstage: a walkway that provides space behind the rear stage wall or curtain to access the stage right and stage left wings

Sometimes, this area is also used for cable and equipment storage. (However, travel lanes should always remain clear to avoid tripping hazards or accidental noise that could distract the congregation during a service.)

Catwalk: an overhead access platform used primarily for lighting

Techs will often attach tools to themselves before going onto the catwalk to avoid accidentally dropping or losing them. (And yes, this term was named for how a cat walks across a roof.)

Cove: a recessed space in the ceiling above the audience with horizontal lighting

This is also called the “FOH beam,” which may not be recessed.

Foyer: the lobby, hallway, or gathering space leading to the auditorium

Pronounce it as foy-AY (British), fwa-YEH (French), or FOY-ur (American) — take your pick.This is also sometimes called the “narthex.”

Front of house (FOH): the space in the auditorium for the congregation

In traditional church architectural jargon, this is called the “nave.”

Graveyard/boneyard: offstage area reserved for storing empty road cases and spare equipment

If unmanaged, this space tends to devolve into permanently cluttered gear storage. (And no, the graveyard isn’t the space where old musicians and worship leaders go to retire.)

Green room (GR): the area where the talent and techs gather before going onstage

This term has been used in theater since at least 1678 as a reference to the behind-the-scenes outdoor grassy space or room where actors relaxed or prepared apart from the audience.Because green or red baize fabric was commonly used to cover the shabby backstage walls and protect costumes from cheap paint, some historians think that many early green rooms were actually red.

Legs: narrow vertical flats or curtains blocking the wings of the stage from the congregation’s view

Interesting tidbit: Even after getting hired, vaudeville artists only got paid if they performed, often waiting in the wings during shows and hoping that the stage manager — who notoriously adjusted the roster spontaneously according to personal whim and audience preferences — would call them onstage past the leg to perform. (This led to the well-wishing theatrical term “break a leg.”)

Proscenium (Pro): the architectural opening between the main curtain and the congregation on some stages

Tech booth: the FOH space reserved for sound, lighting, and other consoles

Its location and condition are often obvious to congregants, guests, and the board members who approve financial purchases. What values might your tech booth aesthetic communicate?

Thrust: the front stage section on some platforms that extends into the congregation space

Wings: high-traffic areas located directly to the sides of the stage and are usually blocked from congregational view by legs

Wings are typically dark or dimly lit, but actors and singers must avoid making noise, tripping, adjusting travel paths, getting in one another’s way, waving at those on the stage or in the FOH, etc., so as not to distract the congregation.

Equipment & Gear

Backline: a term used to refer to musicians’ instruments, gear, or rigs that the church owns or are shared by different players

Baffle: the permanent or temporary acoustically absorbent curtain or panel that addresses troublesome sound frequencies and reflections

Balcony rail: the pipe located on the front of the balcony that is used to hang lights, effects devices, and cameras (it’s not a footrest)

Batten: the pipe suspended horizontally by a rigging system to the grid and supports lights, curtains, flats, baffles, or scenic elements

This is also called a “beam” or a “bar.”

Boom: a vertical pipe/box that houses lighting fixtures on the left or right sides of the stage

Booms can be mounted to a wall, support structure, or lighting tree.This is also called a “pipe.”

Bumper: the short video that engages the congregation as a transitional intro before a primary service element, like a sermon

It gives time for musicians to sneak off the platform, techs to move podiums and gear, and pastors to take their places. (But don’t dawdle — most bumpers only last about 10 seconds.)

Cable pocket: a recessed metal box built into the stage floor for connecting onstage equipment and microphones to the system

This is also called a “floor box” or a “stage box.” (They’re not intended for trash, gum wrappers, guitar picks, or IEM tips.)

Coms: communication headsets used primarily by technical teams and camera operators

Com etiquette says to keep communication concise and to the point — it’s a chit-chat-free zone.

Drum shield: Plexiglas panels that reflect the sound waves of drums and cymbals.

Drum shields don’t absorb sound; they reflect and redirect it. (And no, they are not used to trap drummers.)

Grid: the overhead rigging structure that supports lighting and fly elements

In-ear Monitors (IEMs): wired or wireless personal headsets worn by the talent

IEMs may have a control unit near the user’s station.They reduce the room sound that the user hears, so you may have to speak up unless you’re using a mic to get a user’s attention.Removing only one IEM during use damages hearing and directs IEM sound directly into microphones, so the congregation hears “Click, click, intro, two, three, four,” followed by “Please turn me up in the monitors. I can’t hear myself.”

Jumpbacks: generic, looping video backgrounds used behind lyric projection

Mixer: a term that usually refers to the audio console often located in the FOH tech booth that is used to process and balance the various audio elements for FOH, monitor, streaming, and other locations.

This is also called a “soundboard.”

Personal protective equipment (PPE): gear required for staff and volunteers that may include gloves, hard hats, respirators, back support, high-visibility (hi-vis) reflective wear, and foot, eye, and hearing protection or anything else that makes work (more challenging but) safer

Pipes and drapes: portable frames and curtains that divide, hide, and/or decorate a space temporarily

These are often used by portable church campuses to transform room appearances.

Spike mark: colored tape placed onstage to indicate a talent, scenic, or prop location

Phosphorescent tape (glow tape) may be used for spiking in dim lighting situations.In Shakespeare’s time, stage floors were often made of dirt, so they used literal spikes in the ground to show actors where to stand. (Stage directors may frown on that method now.)

Lighting Fixtures (Traditional & LED)

Barn doors: flaps that attach to lighting fixtures to adjust the edges of the beam.

Cyc light: a specialized floodlight that gives an even wash over a rear screen (called a “cyclorama”), a backdrop, or another large vertical surface

Ellipsoidal: an intense spotlight generally fixed that can use gobos, gels, and barn doors

Floodlight: a light that spreads with a soft, wide field and has no lens

Followspot: a powerful, focused light operated manually to highlight a talent as they move about onstage

A followspot must be bright enough at the required distance (called the “throw”) to cut through the other lighting, so skimp at your own risk!

Fresnel: a light that has a bright center and softer edges, making it a common choice for stage washes

Gobo: a stenciled disk used over a light that projects a shape, image, border, or pattern

Ghost light: the small light often left on at night and when the stage is not in use

While there are all kinds of stories associated with the name, this light really is used for safety.

Hazer: a device that makes a foggy cloud to accent light beams

While associated with lighting, a hazer is not actually a light at all.This is also called a “smoke machine” or a “fog machine.”It takes some finessing; if there’s not enough haze, then the lights lose impact, and if there’s too much haze, then the stage looks like London fog on a bad evening.

Kinetic lights: lights that use motors to move light fixtures like LED pixel tubes or globes vertically

Often programmed in a grouping as a field of lights, kinetics enhance the lighting presentation with special 3D flair.

Laser lights: brightly focused lights that add intensity to a lighting presentation

Because of their extreme directionality, laser lights cannot serve as a primary light source.

LED battens: lights that use a linear or tube configuration to provide uniform coverage of large areas, similar to uplights

These are also called “wall washers.”

LED pixel tube lights: baton-shaped lights that have versatile mounting capabilities and are generally used as design elements

House lights: general FOH lights for the audience that are typically dimmed during services to draw attention to the platform, enhance video elements, and make stage lighting more effective

Moving mirror light: a fixture that has a stationary light source and uses quickly moving mirrors (instead of moving light sources or bulbs) to reflect its light in programmed patterns

This is also called a “scanner.”

Moving head lights: motorized and programmable lights that add excitement and depth to lighting presentations

IP-rated models require far less maintenance, the lack of which kills these lights prematurely. (IP-rated movers are highly preferred because they don’t require maintenance like other types.)These are also called “movers” or “moving yokes.”

PAR lights: general-purpose lights that, like vehicle headlights, lack precision, focus, and zoom capabilities

PARs can be blocked to create vertical or horizontal beams.

Strip lights: several lights mounted in a horizontal chassis with a wide dispersion pattern

These are also used as cyc lights but are wider than most cyc lights.Strip lights are also known as “border lights.”

Strobe light: ultra-bright wash light usually programmed to flash as a special effect

Be careful: when aimed at the audience, strobe lights can be momentarily blinding.

Pro tip: Post a warning in the bulletin / announcement loop or at the FOH entrance doors to caution people with epilepsy or photosensitivity who may be sensitive to lasers or strobe lights. “WARNING: Lasers and/or strobe lights are used during this service.”

Uplights: ground lights that shoot up to cover scenery and walls (but be warned: they cast garish shadows on talents’ faces)

Working lights: general room lights used while cleaning, rehearsing, and setting up

Basic Lighting Terms for Musicians

Microphone Types

Lavalier mic: a small, hands-free microphone that can be clipped to clothing or concealed in the hair, on the set, or in a prop and is often used with a wireless bodypack

A lavalier mic is also called a “lav,” a “lapel,” or a “body mic.”

Headset mic: a specialized lavalier mic with a lightweight frame that wraps around one or both of the performer’s ears

A headset mic‘s close position to the mouth allows for direct vocal sound with reduced feedback and background noise issues.This mic is also called a “headworn mic” and is usually used with a wireless bodypack.

Handheld mic: a mic that is held by the talent or placed on a stand

Most handheld mics become extra sensitive to low frequencies when placed close to the sound source (this is called the “proximity effect”).Some handheld mics contain a built-in wireless transmitter and require a wireless receiver to connect to the sound console.The talent should know the mic’s specific polar pattern to effectively “work the mic” for the best sound.

Overhead mic: a mic suspended from a support or placed on a stand that covers multiple sound sources, such as a large acoustic instrument, a choir, a drum kit, or even an entire room

Its sensitivity makes it susceptible to feedback issues.This is also called a “choir mic.”

Shotgun mic: a specialized mic with a highly directional polar pattern that allows it to reject most of the area surrounding the mic and focus on a more precise location from a distance

Shotgun microphones are commonly used in broadcast recording.

Boundary mic: a mic that is mounted to the floor, wall, or scenery and picks up sound sources in the surrounding area

Its sensitivity and distance from the sound source make it vulnerable to feedback and background/vibration noise issues.Boundary mics are typically used for choirs, pianos, kick drums, and large acoustic instruments.This is also called a “floor” or a “kick” mic.

Note: the design of a microphone (primarily dynamic, condenser, and ribbon) creates specific areas of sensitivity called “polar patterns” and determines sound sensitivity, durability, and power requirements.

Microphone Polar Patterns Demonstrated — Use Your Ears!

Phantom Power

Condenser microphones require 12 volts to 48 volts of power to operate their electronics. This is called “phantom power.” Many preamps, interfaces, wireless packs, and sound consoles provide phantom power that can be switched on or off. While having phantom power activated usually will not damage a microphone, phantom power on a sound console should be turned off when not needed and before connecting or disconnecting a mic or instrument into that channel. Likewise, phantom power may damage equipment that doesn’t require it, like smartphones, laptops, and some effects pedals.

Each mic requiring phantom power draws from one to 10 milliamps (mA). The total draw increases per mic and can tax bus-powered supplies with phantom power that are sometimes found on more economical sound consoles. That may lead to underpowered mics and poor sound quality, especially when using a large number of higher-mA-load condenser mics (like the highly rated, extremely flat Earthworks SR117 supercardioid condenser vocal microphone, which draws 10mA). Using separate phantom-power supplies can resolve this issue for mics with higher current requirements.

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What is Phantom Power and why do I need it?

Activities

Click-through: when the video production team double-checks the cadence, content, and flow of video elements before a service

Blocking: the process by which stage locations and corresponding movements of the talent are determined

This may include stage locations of props, scenery, sets, and lighting.

Line check: a test that follows the stage setup for a service to verify that all audio channels are working

Load in: when the production team and talent carry their gear into a venue to set up for a rehearsal or event

This is also called the “setup.”If you’re loading in significant sound, lighting, and portable church gear, then don’t forget your PPE!

Load out: when the production team and talent carry their gear off the platform and return the stage to a clear, clean, and ready state

This is also called the “strike.”

Monitor check: the time following the soundcheck when the talent makes or requests their monitor mix adjustments

Rehearsal call time: the specific time when all techs and talent are expected to have completed setting up and be in place and ready to rehearse with instruments tuned, music and cues memorized, and batteries charged

Ringing out: a noisy process used by audio engineers to identify and dial out potential feedback frequencies in microphone and acoustic instrument channels

Run-through: the final preservice flow check used by larger or high-production churches that covers all ins, outs, and transitions for every service element, including technical changes and all participants (yes, including the pastor)

No service modifications usually occur after this step.

Soundcheck: a prerehearsal signal-level test during which audio channels are set at the console for levelness, equalization, and balance

This is not a rehearsal.Increasing your instrument’s output level after soundcheck without asking the audio engineer can mess up recording, monitor, and mix balances. (Not cool!)

Tech rehearsal: a rehearsal that focuses on the technological aspects of an event

This is also called the “cue to cue” (Q2Q).The talent may or may not be present during this time.

Truck call time: the specific time when the truck carrying the audiovisual (A/V) equipment is scheduled to arrive on-site prior to load in

Virtual soundcheck: a variation of a soundcheck for individual channels that uses recordings of the talent instead of live performances

It allows the audio technician extra time for balancing levels and equalization without the time pressure of talent being present.Also, as long as the talent maintains volume, effects, EQ, and mic placement settings, a virtual soundcheck provides a helpful place to start mixing the band.

Roles

There are standard terms for the people who facilitate a service — sometimes. Churches borrowed and modded terms from the theatrical and the entertainment worlds here, too. After all, while our values and goals may differ, we have some everyday tasks that are necessary for maintaining a high production-value level without creating distractions for attendees. Considering the relatively small sizes of most church staffs and volunteer teams, these roles may represent different tasks that are performed by the same person. Besides, church organizational structures vary widely. Consider this list as more of a task overview. How many of these hats do you wear?

Creative arts director/worship pastor: the torchbearer responsible for effective management and high-level creative direction of the regular weekend and special services, including overseeing the related staff and volunteers

This person usually interfaces between upper- and mid-/lower-level staff and volunteers who execute services.This person may be responsible for recruiting, developing, and training upcoming worship leaders.This person is also sometimes called the “minister of music.”

Worship leader: the person who primarily works with the rest of the team to implement plans that fulfill the creative arts director’s vision

This person serves as a primary interface with the congregation during music service elements.This role may include choreographing strategic movement or communicating set adjustment needs to the stage manager.

Music director (MD): the expert musician who assists the worship leader in facilitating music service elements and addressing talent needs

This role includes managing and directing band rehearsals and performances, conducting the orchestra, preparing song arrangements, organizing charts and musician resources, and multitrack playback and integration.This person may recruit, develop, and train musicians and vocalists.

Talent: an industry term that refers to all musicians, vocalists, emcees, or anyone speaking onstage for an event

Don’t let the term go to your head!Talent is also referred to as “artists,” “creatives,” or “musos” but never as “prima donnas,” “divas,” or “hams.”

Event producer (EP): the person who assists the music director in organization and management before a service

This role shifts during a service to being the primary contact for the talent to ensure that their overall needs and requests are met.The EP may coordinate between the music director’s vision and the production of the technical director or stage managers.

Stage manager (SM): the person who oversees the stage and backstage spaces, props, and scenic elements; manages stage technicians for services; directs traffic as talent comes on and off the stage; and ensures the talent and stage staff follow cues

Traditionally, this role ensures all service elements come together.The SM maintains the master service order, including tracking all staging and technical cues.

Stage technicians: those who assist with load in, load out, and moving scenic elements and gear during services

They may also help the scenic designer, lighting engineer, audio engineer, or video director with setup or strike — don’t forget your PPE!Stage techs are also called “stage crew” or “roadies.”

Scenic designer: the artist/engineer who develops set elements to communicate a message, tell a story, set a mood, or create a focus for a service, event, or series

This person is also called a “set designer” or a “prop master.”This person acquires and cares for props and may oversee or function as a costume designer for special events.

Technical director (TD): the person who oversees quality technical production and may recruit, equip, and train the technical teams

House manager: the person who works with everything on the congregation’s side of the platform during the service

The house manager interfaces with the congregation; oversees the noncreative “day of” FOH event direction; creates the run of the show for the service; manages the on-site and remote concierge teams, ushers, greeters, cleaning crew, and presenters; and calls cues in the coms during technical rehearsals and services.This person is responsible for stepping in if there is a noisy congregant, health crisis, etc.This person is also called the “show caller.”

Broadcast operator: the technician responsible for incoming and outgoing streamed content during services

This person is also called a “webcast engineer” or a “streaming operator.”

Video director: the person responsible for video during the service, including monitoring and coordinating the actions of all video cameras and calling camera cues/changes

Video technical director: the person who operates the video switcher console to preview and change cameras as requested by the video director

This role may also be responsible for white balancing, color correction, and aperture adjustment.

Video engineer: the person responsible for monitoring and ensuring the safety and optimal functioning of all the video cameras before, during, and after the event

This role is also called the “video utility” or “camera assistant.”

Video camera operator: the person who operates video cameras during the event as directed by the video director

Graphic engineer: the person who creates video content for songs, presentations, and teleprompters and runs nonautomated video/lyric projection software (like ProPresenter)

Lighting engineer: the person responsible for designing lighting elements for use during the service

Lighting operator: the person who operates lighting systems during the service

This person is also called a “board op” or a “lighting assistant.”

Audio engineer: the person who manages sound quality, mixing, microphones, consoles, signal routing, and everything connected to the sound

This person is also affectionately referred to as “the sound guy.” (Things have changed since someone walked into an auditorium and flipped a switch to power up a single podium mic!)

Audio technician: the person who assists the audio engineer and may be distinguished by a specific area of responsibility (i.e., FOH, monitor, foyer, streaming, recording, etc.)

In theater, this role is sometimes referred to as a “board op.”

Do What You Do Even Better!

Whatever role you play, improve your workflow and impact by talking with one of our knowledgeable Sweetwater Sales Engineers at (800) 222-4700. From lights and coms to live sound, consoles, microphones, and more, access expert advice from our seasoned professionals!
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