What is an input list? It’s a numbered list of every audio signal your band sends to the mixing console, in the order those channels are patched. Channel 1 might be the kick drum, channel 2 the snare, and so on through every mic and DI on stage. The engineer uses it to patch the stage, label the desk, and check everything is plugged in correctly before you play a note.
Along with your stage plot, the input list is the single most useful thing you can hand an engineer. Here’s what goes on it and how to build one.
Why every band should have one
An input list turns a chaotic load-in into a fast, predictable setup. The engineer knows exactly how many channels you need, which DI boxes and mics to put out, and what order to expect them in. It pairs directly with your stage plot: the plot shows where things go, the list shows what plugs in where. Hand over both and your soundcheck gets dramatically shorter.
What to put on each line
For every channel, include:
- Channel number — the patch order.
- Source — kick, snare, bass DI, lead vocal, etc.
- Input type — mic or DI (and a suggested mic if you have a preference).
- Notes — phantom power needs, stand type, or “band provides.”
For example: Ch 5 — Bass — DI — band provides active DI. That one line tells the engineer everything they need for that input.
The conventional channel order
Engineers expect a familiar order, so following convention makes you easy to work with. A typical band list runs:
- Kick drum
- Snare
- Hi-hat (if mic’d)
- Toms
- Overheads (left/right)
- Bass (DI and/or mic)
- Guitar(s)
- Keys (often a stereo pair)
- Lead vocal
- Backing vocals
- Any backing tracks or click feeds
Drums first, then bass, then the rest of the band, with vocals toward the end. If you run backing tracks, list those channels and note whether you also send a click to the drummer’s monitor.
Account for DIs, mics, and power
Be specific about how each instrument connects. Acoustic instruments and keyboards usually go through a DI box; vocals and amps go through mics. Note which DIs and mics you’re bringing versus what you need the venue to supply, and flag any channel that needs phantom power so condensers and active DIs work. For background on the connectors involved, see condenser vs dynamic microphones.
How to make and share one
A spreadsheet is ideal — one row per channel, columns for number, source, input type, and notes. Keep it on one page, export it to PDF so it reads the same everywhere, and name the file clearly. Update it whenever your setup changes, and email it to the venue a few days ahead along with your stage plot. Bring a printed copy for the engineer on the day.
Frequently asked questions
How many channels does a typical band need?
A four-piece rock band with a fully mic’d kit might use 12 to 16 channels; a stripped-back acoustic act might use four or five. Count every mic and DI on stage and that’s your channel total. List them all so the engineer can confirm the desk has enough inputs.
Do I need an input list for a small gig?
Yes — even a short list helps. At a small bar it might be six lines, but it still tells the engineer how many channels to prep and saves the back-and-forth at load-in. It’s quick to make and always appreciated.
Who fills in the input list, the band or the engineer?
The band creates it, because only you know your full setup. The engineer uses it to patch and may add their own notes, like which physical inputs they patched each channel to. Keep yours accurate and the engineer’s job becomes simple.
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