Input List 101: How to Write One a Sound Engineer Will Love

An input list is a numbered list of every sound source your band sends to the mixing desk. Each line is one channel, with the instrument, the mic or DI it uses, and any notes the sound engineer needs.

It's often the first thing an engineer reads. Get it right and soundcheck goes faster, the patch goes in right the first time, and everyone stays calmer.

What an input list does

The sound engineer uses your input list to plan the night. Before you arrive, they can work out:

• How many channels you need
• Which mics and DIs to set out
• Which stands to grab
• How to patch the stage box so each line lands on the right channel

The input list pairs with your stage plot. The plot shows where things are on stage. The input list shows what each channel is. Both belong in your tech rider.

The columns

Keep it simple. Most engineers are happy with five columns.

You don't need to fill every box. If you don't mind which mic goes on the snare, write "any dynamic" or leave it to the house. Engineers often have their own favourites, and many will use what they know works in their room.

The Night Shift

Example input list

CH	Instrument	Mic / DI	Stand	Who
1	Kick	Mic	Short boom	Drums
2	Snare	Mic	Short boom	Drums
3	Hi-hat	Mic	Short boom	Drums
4–5	Overheads L / R	Mic	Tall boom	Drums
6	Bass	DI	—	Bass
7	Guitar amp	Mic	Short boom	Guitar
8	Lead vocal	Own mic	Tall boom	Vocals
9	Backing vocal	Mic	Tall boom	Guitar

Channel numbering

There's no single rule for channel order, but there is a common habit. Many bands and engineers list drums first, then bass, then guitars, then keys, then any playback, then vocals.

A typical order looks like this:

1. Drums, from kick up through snare, hi-hat, toms and overheads
2. Bass
3. Guitars
4. Keys and other instruments
5. Playback or tracks
6. Vocals
7. Talkback and spares

Why drums first? It matches how many engineers build a mix, from the bottom up. It also means input lists tend to look alike from band to band, which helps a busy engineer.

That said, follow the house if they ask. Some venues have a fixed patch, or a house order for nights with several bands. Some festivals want every act on the same layout to speed up changeovers. If the venue sends you their channel order, fit your list to it.

Stereo pairs

Some sources come in two channels: left and right. Common ones are keyboards, drum overheads and playback.

List each side as its own channel, and keep them next to each other. For example:

Put the left side on the lower number. Mark them clearly as a pair so the engineer can link them on the desk.

If you're happy to run something in mono to save channels, say so in the notes. In small rooms with fewer channels, that can help a lot.

Playback and tracks

If you run backing tracks, click or samples from a laptop, list them like any other source. Say how many outputs you send and what each one is. Common splits are:

• Tracks left and right (stereo)
• Click (for the band only)
• Samples or extra parts

Mark the click line clearly as "monitors only". The last thing you want is a click track in the room. If the band uses in-ears, note which players need the click in their mix.

Also say who brings the DIs for the laptop, and whether it sits side of stage or on stage. Ask the venue about space and power for it.

Talkback

Talkback is a mic the band uses to talk to the engineer without it going through the main speakers. Some drummers or musical directors like one to call out changes to the monitor mix.

If you need a talkback mic, give it its own channel near the end of the list and write "talkback – monitors only". Not every band needs one. Leave it off if you don't.

Spare lines

It's good practice to note a spare line or two if your set might change. For example, a guest singer for one song or an acoustic guitar that only comes out at the end.

Write it as "spare vox – guest on song 6" or "acoustic DI – last song only". The engineer can then patch it before the show instead of scrambling mid-set. If you're asking for extra lines, check the venue has the channels to spare.

How FOH and monitor engineers use it

In bigger rooms there are often two engineers. The front of house engineer, or FOH, mixes the sound for the crowd. The monitor engineer mixes what the band hears on stage, through wedges or in-ears. In smaller rooms, one person often does both jobs from the same desk.

The FOH engineer uses the input list to:

• Label the desk
• Set up the mix, often with groups for drums, vocals and so on
• Know which lines don't go to the room, like click and talkback

The monitor engineer uses it to:

• Build a mix for each player
• Know which sources each player wants in their wedge or ears
• Keep click and talkback in the right mixes only

The stage crew uses it too. They put out the right mics, stands and DIs, then run each line to the stage box.

That's a lot of people relying on one page. So keep it clear.

A sample for The Night Shift

Here's a short input list for The Night Shift, a four-piece with vocals, guitar, bass and drums.

Eleven lines. Clean, short and easy to patch. If the room has fewer channels, the drums are often the easiest place to trim, such as dropping the hi-hat mic. Ask the engineer what they'd suggest.

Tips to keep engineers happy

• Put the band name, date and a contact on top. Someone will have a question.
• Use plain names. "Lead vox" and "Gtr amp" beat nicknames.
• Say what you bring. Own mics, own DIs, own in-ear rig. Mark each one.
• Don't over-spec. Asking for exact mic models on every line can worry a small venue. Write "or similar" where you're flexible.
• Keep it on one page. If it runs longer, check what you really need.
• Send it early. Send it with your rider and plot, well before show day.

If you want a head start, the RoadCase input list builder turns your gear into a numbered list with the columns above, ready to export.

A good input list is quiet work. Nobody notices it when it's right. Everyone notices fast when it's wrong.