How to Make a Detailed Input List for Your Live Shows

Estimated reading time: 5 minutes

As you’re prepping for your next gig, don’t overlook the importance of a detailed input list. Think of your input list as the blueprint behind the show. It’s the “here’s what goes where” for every cable, mic, DI box, and gadget that’s going to hit the mixing board. With a good input list, your sound team sets up faster, asks fewer questions, and you spend less time yelling across the stage, “No! The other guitar channel!”

Without an input list, your live shows can turn chaotic, quickly. A good input list not only cuts down on setup time and stress, but it keeps patching clean and organized while telling your sound crew exactly what you need, how you need it. The last thing you want is to hear the dreaded “Uhh, where’s this supposed to go?” Here’s how to do it right:

Table of Contents:
• Must-haves (don’t skip this part)
• How to order it (and look like a pro)
• Bonus points: add a stage plot
• Pro tips from the road
• Getting started with your input list

Must-haves (don’t skip this part)

At a minimum, you’ll want to include:

The input number / channel

This is the actual channel it’s patched into, whether that’s on the snake, sub-snake, or console. If you change channels mid show without telling anyone, you’ll just end up with dead air or feedback. Number everything sequentially and don’t reuse numbers. Make sure each mic or DI gets its own number.

Source

This is what’s actually making the sound: Kick, Snare, Bass DI, Lead Vox, Playback Track 1, etc. The engineer has to know exactly what’s coming through before they set EQ, gain or compression. You’ll want to make these clear, and yes … a little boring. Gtr 1 in this case is better than “Fender Beast” (unless your engineer knows your rig).

Mic or DI type

This is which mic, DI box, or line input is being used. Different mics mean different frequency responses, pickup patterns, or placements. If you’re bringing specific mics, list them. If not, just note “house” so the engineer knows they’ll be providing it.

Stage location

Knowing the location helps the crew run cables neatly and avoid cable spaghetti. Be specific, such as “Stage Right, in front of keyboard riser” instead of just “Stage Right”.

Stand / mount

Boom stand, short stand, gooseneck, clip-on, headset, and so on. Without this, the crew is left to guess. If you’re bringing your own stands, mark them on the list so they don’t disappear into the venue’s pile.

Routing notes

This includes anything the engineer needs to know about the signal path, including color-coding, sub-snakes, splits, and patchbay info. Use color-coded tape on cables and reference it in the notes, such as “Blue cable = Gtr 2.”

Monitor mix assignment (optional)

Save the monitor engineer from asking “Who needs what?” for 30 minutes. If you know which monitor mix or IEM feed a channel needs to be in, list it. Label your mixes “Mix 1: Lead Vocal,” “Mix 2: Drums,” and so on.

FX preferences (optional)

If you want certain channels dry or with specific effects (FOH or monitor), say so, otherwise you might get surprise hall reverb during a fast song. Keep it simple like “Dry in monitors” or “Light reverb FOH only.”

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How to order it (and look like a pro)

Most engineers prefer:

Drums first
Bass
Guitars / keys / other instruments (grouped logically)
Vocals (lead first, then backing, then any special mics)

Some engineers will also order by stage position. If you’re not sure, ask in advance!

Bonus points: add a stage plot

A stage plot is like a bird’s-eye diagram of the setup. It shows where each player stands or sits, where amps, instruments, and risers go, drum kit layout, and power drops. It also lets you monitor wedge/IEM pack locations. This way, the stage crew can set up before you even get there, saving you time (and sanity!)

Pro tips from the road

Take it from the people who have been there, these pro tips from the road will save you hours of time and lots of confusion:

One input per channel — no doubling up
Group by type (Drums, Bass, Guitars, Keys, Vocals)
Label clearly. If the venue hasn’t met you, they’re not going to know who “Big Mike” is).
Plan for swaps — if your guitarist changes from acoustic to electric mid-set, make sure the engineer knows.

The bottom line is that an input list is your live show’s insurance policy. The more thought you put into one, the less you have to panic when something goes sideways (and something always goes sideways, no matter how much you prepare!)

By following these tips and points, you’ll be the band that the crew actually wants to work with. That can make all the difference between a rushed, messy soundcheck and a show that hits all the right notes.

Getting started with your input list

A great input list isn’t just about keeping the sound crew happy (though honestly, if you take the time to do this, they’ll absolutely love you), it’s about making sure that your show runs smoothly from start to finish. When you hand the engineer a clear, detailed list, it tells them “We respect your time. We came prepared, and we want this to sound amazing.”

The best part is, it doesn’t have to take a ton of time. Setting up a detailed input list like this takes a half hour at most, and the more you do it, the more proficient you get. Keep it updated and pair it up with a helpful stage plot. Send it ahead of time so there aren’t any surprises. That way, all you need to focus on is making great music, not untangling cables or pointing at things while yelling over feedback.

Remember, not all engineers are grumpy sound guys, but coming in with a half-baked input list (or no list at all) makes them that way. There’s no perfect way to do it, but do your best. When you plan it now, you’ll thank yourself later!

Got some tips to share from your own adventures? Let’s hear it in the comments below!