A stage plot tells a venue where the band goes. A band input list tells the venue what each sound source needs once the band is there. The two documents answer different questions, and a clear show usually benefits from both.
An input list is a practical channel plan. It gives the engineer a starting point for microphones, direct boxes, stands, patching, monitor sends, and unusual requirements. It does not need to predict every artistic choice. It needs to make the expected setup legible before the first cable is placed.
What an input list contains
Begin with the source number and source name. A simple order such as kick, snare, bass, guitar, keys, playback, and vocals helps the engineer compare the document with the stage and console. Use names that describe the sound source rather than private shorthand that only one band member knows.
Add the input type. A source might arrive through a microphone, a direct box, a keyboard output, a playback interface, or a venue line. If the band has a preferred microphone, list it as a preference and identify a workable substitute when the request is not essential.
Include stand and phantom power notes when they matter. A condenser vocal microphone, a stereo keyboard output, or an active direct box can change the preparation. The point is not to ask for every possible detail. The point is to surface details that could create a delay or a wrong patch.
A compact input list might use these columns:
1. Channel number 2. Source 3. Microphone or connection 4. Stand or placement note 5. Monitor send or special requirement 6. Notes for the engineer
How it works with a stage plot
The input list and stage plot should describe the same show. If the plot places the lead vocal downstage center but the input list calls it vocal three, the venue has to solve a needless puzzle. Use the same source names, numbers, and performer roles in both documents.
The plot handles space. It can show drum positions, amplifiers, monitor wedges, keyboard stands, risers, playback tables, and audience direction. The input list handles signal. It can show which source reaches which channel and whether that source needs a microphone, direct box, stand, or special patch.
Check both documents after any lineup change. A new percussionist, an added backing track, a switch from acoustic guitar to electric guitar, or a different monitor plan can make an old list misleading even when most of it remains correct.
Make the document easy to use
Put the band name, show date when known, contact person, and revision date at the top. Label stage left, stage right, downstage, upstage, and audience in the plot, then use those same terms in technical notes where helpful.
Keep the type large enough to read on a phone and on a printed page. Use a plain filename that includes the band and document type. A venue should not have to open five files called final or newer final to find the current version.
Separate firm needs from preferences. If a singer cannot perform without a particular monitor position, say so. If a preferred microphone is helpful but a substitute is fine, say that too. This distinction helps an engineer protect the important parts while making sensible local choices.
Include playback and power notes even when they are not audio channels. A laptop, interface, phone, wireless receiver, or pedalboard can create a meaningful setup question. Mention who supplies the item, which connection it uses, and whether a backup is expected.
Common mistakes
The most common error is an input list that reflects a rehearsal from six months ago. The cure is a short review before every new run of shows. Confirm sources, tuning, lineup, playback, monitor needs, and the instruments that actually arrive in the cases.
Another error is mixing signal names with performer names. A musician may play bass on one song and keys on another. Name the source and add a performer note only when it clarifies the change.
Avoid turning the list into a wish list. A venue needs a reliable preparation document, not an argument about every production preference. Keep the required information prominent and place optional ideas in a notes area.
A good input list respects the engineer's time. It makes the expected signal path clear, stays in agreement with the stage plot, and gives the room enough information to prepare without pretending that soundcheck can be replaced by a page.
Subscribe to the Sunday Stem
A short, honest dispatch on American music, three mornings a week, with the Sunday Stem on craft, catalog, and the writers keeping the long tradition alive.
More from the Indie Label / Artist Dev desk →Frequently asked
Is an input list the same as a stage plot?
No. An input list describes channels and technical sources. A stage plot shows physical positions and relationships. The venue uses both to prepare the room.
Does a small band need an input list?
Yes. A short list can be especially helpful for a small setup because it makes unusual inputs, playback, monitor needs, and shared equipment clear before load-in.