Preparing an input list is one of the easiest ways to make a small performance run more smoothly. It gives the sound engineer a clear picture of every audio source, the equipment required, and how the performers will use the stage.
What an input list does
An input list is a channel-by-channel summary of the sounds that need to reach the mixing console. Each row normally represents one input, such as a lead vocal microphone, guitar pickup, kick drum, keyboard, playback device, or spare channel.
For a small performance, the document does not need to be complicated. A one-page table is usually enough. The important thing is that someone unfamiliar with the act can understand the setup without having to guess.
An input list is different from a stage plot, although the two are often sent together. The input list explains the audio channels. The stage plot shows where people and equipment are positioned. If your band has several performers, prepare both documents so the venue can plan microphones, monitors, cables, and stage space.
Gather the information before writing
Start by listing every person, instrument, and playback source involved in the performance. Walk through the show in order and ask what the audience will hear.
Include sources that may be easy to overlook:
- Lead and backing vocals
- Acoustic and electric guitars
- Bass guitar
- Drum kit or percussion
- Keyboard, piano, or synthesizer
- Laptop, phone, sampler, or playback track
- DI outputs from amplifiers or electronic instruments
- Handheld microphones for announcements
- Instruments used only for one song
- Spare or backup channels that may be useful
Do not begin by counting microphones. First identify the actual sound sources. One performer might use a vocal microphone, a guitar DI, and a foot-controlled sampler, while another might only need one microphone.
Next, confirm how each source connects to the sound system. A guitar may use a passive DI box, an acoustic guitar may have an onboard pickup, and a keyboard may provide left and right outputs. If you are unsure whether a connection is balanced, unbalanced, microphone-level, or line-level, ask the venue or sound engineer before the show.
Also note anything that affects setup time. For example, a drum kit supplied by the venue may already be miked, while a visiting act may bring its own microphones or in-ear monitoring system.
Use clear channel numbers and names
Number the channels in the order that will be most useful during setup and soundcheck. Many engineers prefer a logical order from stage left to stage right, or from rhythm section to vocals. Either approach works if it is consistent.
Avoid vague names such as “mic 1,” “input 2,” or “instrument.” Use names that identify both the source and its purpose. “Lead vocal,” “bass DI,” and “acoustic guitar pickup” are much easier to understand.
A basic input list can use these columns:
| Ch. | Source | Connection | Mic or DI | Stand/notes |
|---|---|---|---|---|
| 1 | Kick drum | XLR | Dynamic mic | Short stand |
| 2 | Bass | XLR from amp DI | DI output | Confirm ground lift if needed |
| 3 | Lead vocal | XLR | Vocal dynamic mic | Boom stand |
| 4 | Acoustic guitar | 1/4-inch pickup | DI box | Performer brings instrument cable |
| 5 | Playback L | 1/4-inch or XLR | Stereo DI | Playback device near mixer |
| 6 | Playback R | 1/4-inch or XLR | Stereo DI | Same source as channel 5 |
The connection column is especially useful when the venue is supplying the equipment. It tells the engineer whether to expect an XLR cable, a DI box, a line output, or something else.
Choose the right level of detail
A useful list is specific without becoming a technical manual. Include information that changes the setup, such as microphone type, DI requirements, phantom-power needs, stereo channels, monitor preferences, and unusual instrument connections.
You do not always need to specify an exact microphone model. For many small shows, “dynamic vocal microphone” is sufficient. If the performer depends on a particular microphone, write the model and indicate who is supplying it.
Use notes for exceptions:
- “Use a DI from the keyboard; do not mic the small practice amplifier.”
- “Lead vocal requires a boom stand.”
- “Two backing vocal microphones must be positioned close together.”
- “Playback is stereo and comes from a laptop.”
- “Bass amplifier has no usable direct output; please provide a DI.”
- “Percussionist changes instruments during the set.”
If an input can be handled in more than one way, list the preferred method and an acceptable alternative. For example, write “Acoustic guitar pickup into DI; microphone on the instrument is acceptable if necessary.” This helps the engineer adapt without losing the intended sound.
Decide whether channels should be mono or stereo
Most microphones and DI signals are used as mono channels. Keyboards, playback systems, and electronic instruments are the common exceptions.
If a device has left and right outputs, decide whether stereo is genuinely important. A stereo playback track may need two channels, while a keyboard can often be mixed in mono for a small room. Sending every device in stereo increases channel count and setup time, so use stereo when it provides a real benefit.
Label stereo sources clearly. Instead of writing “keyboard,” use “keyboard L” and “keyboard R.” If the engineer can combine the source to mono, mention that as an option.
Check the output connectors before the performance. A laptop headphone output, a phone adapter, and a keyboard line output may all require different cables. The input list should state who is supplying those cables and adapters. Never assume the venue has a specific connector available.
Add monitoring information
An input list primarily describes front-of-house channels, but small performances also need monitor information. Add a short monitor section below the channel table or include a monitor-notes column.
State how many monitor mixes are needed and what each performer needs to hear. For example:
- Monitor 1: lead vocal, acoustic guitar, a little bass
- Monitor 2: backing vocals and lead vocal
- Monitor 3: keyboard and vocal, with limited drums
If the performance uses floor wedges, identify their positions on the stage plot. If performers bring in-ear monitors, explain whether they need a monitor feed, a stereo mix, or a connection to their own system.
Keep requests realistic. A small venue may not have enough independent monitor mixes for every performer. Mark priorities clearly, such as “lead vocal essential” or “drums preferred but not required.” This lets the engineer make sensible compromises.
Include equipment responsibilities
A frequent source of confusion is not knowing who supplies each item. Add a short responsibility checklist to the document.
Clarify whether the act or venue provides:
- Microphones
- DI boxes
- Mic stands
- XLR and instrument cables
- Power strips and extension leads
- Keyboard stands
- Drum hardware
- Amplifiers and speaker cabinets
- Laptop or playback device
- Special adapters
- In-ear monitoring equipment
You can use simple labels such as “band,” “venue,” or “either.” If an item is critical, identify a backup plan. For example, “Band supplies stereo DI; venue DI acceptable if available.”
This is particularly important for small performances because equipment may be shared between acts. A venue might have one set of vocal microphones, while a touring performer expects to use a personal microphone. Writing the responsibility down prevents duplicate packing and missing gear.
Keep the list aligned with the actual performance
Review the input list against the current setlist and rehearsal setup. Remove channels for instruments that are no longer being used, and add sources introduced during rehearsals.
Pay attention to changes that happen between songs. A microphone used for announcements may need to remain available even if it is not used during most of the set. A guitar may switch from a pickup to a microphone for one song. A performer may use a loop station only during the final section of the show.
If an input is optional, label it clearly rather than leaving the engineer to guess. “Optional shaker mic, only if channel count allows” is more useful than listing it as a required channel.
Keep a little capacity for changes when possible. If a four-person acoustic act needs six channels, a mixer with eight available inputs may be comfortable. If the venue has exactly six channels and the act needs six, any last-minute addition could create a problem.
Prepare a simple stage plot to match
The input list works best when it matches a basic stage plot. Draw a rectangle for the performance area and label the audience-facing edge. Mark each performer, microphone, amplifier, DI position, drum kit, keyboard, and monitor wedge.
Use the same names in both documents. If the input list says “Lead vocal,” do not label the stage plot “Singer A.” Consistent labels save time during setup.
Show stage left and stage right from the performer’s perspective, or state which perspective you are using. This avoids a common mistake in which the venue sets up the arrangement as a mirror image.
The plot does not need artistic detail. A clear handwritten sketch converted to a readable PDF can be more useful than a polished diagram with missing information.
Send the document in a practical format
Save the final input list as a PDF so its layout does not change when opened on another computer or phone. Use a filename that includes the act name and event date, such as River_Street_Trio_Input_List_2026-09-23.pdf.
Send it to the venue, production contact, or sound engineer as early as possible. Include a short message explaining what is fixed and what is flexible. If the document has changed, identify the revision date or write “updated” in the filename.
Bring a copy to the performance. A printed sheet is useful during load-in, and a phone copy is helpful when the paper gets misplaced. If multiple acts are sharing a bill, label your gear and confirm the final channel plan with the engineer before plugging in.
Troubleshooting common problems
If the venue says there are not enough channels, reduce the list intelligently. Combine keyboard outputs to mono if acceptable, remove optional percussion microphones, use an amplifier DI instead of a separate cabinet microphone, or omit a source that contributes very little to the arrangement.
If there are not enough monitor mixes, prioritize lead vocals and rhythm-critical instruments. Ask whether performers can share a mix or use their own small monitoring solution, provided it is compatible with the venue system.
If the engineer cannot provide the requested microphone, describe the desired result instead of insisting on one model. A suitable dynamic vocal microphone may work even if the preferred model is unavailable. For instruments, a DI may be a practical alternative to close-miking an amplifier.
If you hear hum or buzz from an instrument, identify whether the problem appears only after connecting a DI, laptop, or amplifier. The engineer may be able to use a DI ground lift, a different power arrangement, or a balanced connection. Do not defeat the safety ground on mains equipment.
If a channel is silent, check the instrument output, cable, DI power requirements, mute state, and input assignment one at a time. Labeling the list accurately makes this process faster because everyone knows which source should be connected to which channel.
Limitations of a simple input list
An input list cannot replace a soundcheck, a technical advance, or a conversation with the venue. It does not communicate the full musical balance, stage volume, room acoustics, lighting needs, power distribution, or emergency procedures.
It also cannot guarantee that every requested item will be available. Small venues often work with limited channel counts, shared equipment, short changeovers, or volunteers handling sound. Treat the list as a clear starting point and remain prepared to make reasonable adjustments.
The best input list is accurate, brief, and current. Before sending it, verify the channel count, connector types, monitor needs, equipment responsibilities, and stage positions. Those few checks give the venue enough information to prepare confidently and give the performers more time to focus on the show.