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. The drum block usually fills the most lines, so it helps to plan it alongside how you mic the kit before you number anything. If you run backing tracks, list those channels and note whether you also send a click to the drummer’s monitor.
Why the order matters more than you’d think
The convention isn’t arbitrary fussiness — it lets an engineer work on muscle memory. When the kit always lands on the first block of channels and vocals always sit together near the end, the engineer can group, colour, and assign faders to subgroups without re-reading your list for every move. That speed matters most when you’re sharing a bill: at a multi-band night the desk gets re-patched between every act, and a list that follows the expected pattern slots in cleanly instead of forcing the engineer to rethink the whole layout under time pressure.
Keep your numbering contiguous, too. Leave gaps only on purpose — for instance, if you reserve a couple of spare channels for a guest or a second vocal mic — and label those lines “spare” rather than leaving them blank. A blank line on an input list reads as an omission, and the engineer will stop to ask about it.
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.
A few details are worth spelling out rather than leaving the engineer to guess. If an instrument is stereo — most keyboards, some synth rigs, stereo tracks — say so explicitly and use two adjacent channels labelled “L” and “R” so the pair stays together on the desk. If you split a signal, such as a bass that goes both to a DI for the front-of-house mix and to an amp that’s mic’d, list both lines and note that they come from one source. And if a channel feeds something specific in the monitors, like a click that must only go to the drummer, write that on the line. The engineer can’t read your intentions, but they can read a clear note.
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.
Name the file so it’s obvious out of context — something like BandName-InputList-2026.pdf beats final_v3.pdf when it’s sitting in an engineer’s inbox among a dozen others. Put your band name, the date, and a contact number on the sheet itself as well, in case the printout gets separated from the email.
Common mistakes to avoid
Most input-list problems come from leaving things vague rather than getting them wrong. Watch for these:
- Not saying who supplies what. “Bass — DI” doesn’t tell the engineer whether to put a DI box out. Add “band provides” or “venue to supply” to every mic and DI line.
- Forgetting phantom power. Condenser mics and active DIs need it; flag those channels so nobody spends soundcheck chasing a dead input.
- Listing gear instead of sources. The engineer cares that channel 9 is the lead vocal, not the exact mic model. Note a preferred mic if you have one, but lead with the source.
- Letting the list drift out of date. If you add a percussionist or drop a guitar, update the sheet before you send it. An out-of-date list is worse than none, because the engineer trusts it.
- Sending it on the day. Email it a few days ahead so the venue can confirm they have enough channels and the right boxes, not at load-in when nothing can be changed.
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 — worth checking against the mixers small venues typically run, which often top out around 16.
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 on the stage box each channel lands on. Keep yours accurate and the engineer’s job becomes simple.
What’s the difference between an input list and a stage plot?
They answer different questions and work as a pair. The input list says what plugs in and in what order — it’s the channel-by-channel rundown the engineer patches from. The stage plot is a top-down diagram showing where each player, amp, and monitor sits on stage. One is the wiring, the other is the layout; send both together and the engineer can set up the whole stage without asking you a single question.
