Start with every source that reaches the PA

List each microphone, DI or line output that needs its own mixer channel. Do not list equipment simply because it exists on stage. A guitar amp that is miked needs an input; a spare guitar sitting on a stand does not. Stereo devices such as keyboards or playback rigs may require two channels, so make that explicit.

Use a logical channel order

There is no single compulsory order, but consistency helps. A common approach is drums first, then bass, guitars, keys or other instruments, playback and finally vocals. Number the channels sequentially. The venue may patch the desk differently, but a logical list makes your requirements much faster to understand.

Describe the source before the microphone

Write what the channel actually is — for example Kick, Snare, Bass DI, Guitar 1, Keys L, Lead Vocal — and then give the connection or microphone preference. This means the list remains useful even if the venue substitutes a different microphone. If a specific piece of equipment is genuinely essential rather than preferred, explain why in the notes.

DI boxes and phantom power

A DI converts an instrument or line-level source into a signal that can be sent cleanly to the mixing system. Acoustic instruments, basses, keyboards and playback devices are common DI candidates. If your own active DI or condenser microphone requires phantom power, mark it clearly. Never assume every device should receive phantom power.

Match the input list to the stage plot

Every important source should make sense when somebody compares the list with the diagram. If Guitar 1 is stage left on the plot, the engineer should be able to identify the corresponding input. Performer names can also help when a band has several similar vocal or instrument channels.

Add monitor information separately

An input list is not a monitor mix request. Use the stage plot or notes to show who needs each wedge or IEM mix and what matters in that mix. Keeping channel requirements and monitoring requirements distinct makes both easier to read.

Example four-piece input list

A four-piece rock band might use channels for kick, snare, rack tom, floor tom, overhead left/right, bass DI, two guitar microphones and two or three vocals. That is only an example: the correct list is the smallest accurate representation of your actual show. Do not add channels just because another band's rider uses them.

Check it before every run of shows

Input lists go stale quickly when bands change rigs. Check playback, stereo outputs, drum microphones, extra vocals and DI requirements before sending the rider. A current ten-channel list is much more useful than an impressive sixteen-channel list that no longer matches the stage.