The Ultimate Live Soundcheck Checklist

A step-by-step list to ensure everything is ready before doors open.

Before the crowd walks in and the show begins, a thorough soundcheck is absolutely essential. It’s the not-so-glamorous part of gigging that sets the stage (literally) for a smooth performance. Rushing or skipping soundcheck can lead to on-stage disasters – nobody wants feedback squeals or silent mics during a set. Using a structured checklist will help you move through a soundcheck quickly and efficiently, leaving time to fix any issues. Think of soundcheck as your pre-show flight inspection: you’re making sure every piece of gear and every connection is working properly, and that your band and the sound engineer are on the same page. Here’s a step-by-step guide to the process, from load-in to doors open, to ensure you don’t overlook anything.

Pre-Soundcheck Preparation

Arrive Early and Get Organized

Being early gives you a buffer to handle unforeseen hiccups. Aim to arrive at the venue with plenty of time before soundcheck. There’s no such thing as being "too prepared" for a live event. Before you even make noise, get all your gear in place. Set up the drum kit, amps, keyboards, etc. on stage in their approximate show positions. Organize your cables – unravel and sort them by type/length, so you’re not hunting when connecting things. If you’re using pedalboards or rack units, plug them in and get them stage-ready. Basically, have the stage as close to show-ready as possible. This way when the engineer is ready to start checking lines, you won’t waste time placing gear. Taking a few minutes to neaten up (taping down pedal cables, marking where each member will stand) at this stage can also prevent chaos later. It sets a professional tone and reduces stress for everyone. Also, communicate with the sound engineer upon arrival – let them know you’re there and discuss any special needs (extra DIs, monitor preferences) upfront while you set up. Early organization lays the groundwork for an efficient soundcheck.

Stage Layout and Equipment Setup

Ensure that everything on stage is positioned and connected properly according to your stage plot (if you have one) or as needed. Place your mic stands where each member will perform. Arrange the monitors (wedges) in front of each vocalist or instrumentalist who needs one. If you have a stage plot provided to the venue, verify that inputs (like where the drum mics, DI boxes, etc. go) are roughly in place according to that plan. This is also the time to set up any stands (keyboard stands, amp stands) and tune drums or instruments quietly. Guitarists and bassists should do a quick tuning and then keep their volume off until soundcheck begins. Drummers, get your kit fully assembled and placed – adjust hardware, and tape down a drum carpet if provided (prevents kit slippage). Any wireless systems should be set up and turned on (but mute their outputs). Fresh batteries in wireless mics or packs now saves headaches later. If you’re running backing tracks or samples from a laptop, get that connected to the DI or interface and line-checked for signal (at least see the indicator lights). Essentially, set the stage exactly how it will be during the show. This way, the sound engineer can mike everything up correctly, and you won’t be moving things around (which can change sound) after levels are set. A consistent layout helps both you and the engineer work efficiently.

Cable Management and Power

Before any sound can be checked, everything must be plugged in and powered. Systematically go through each piece of gear: plug microphones into the stage snake or mixer inputs with the appropriate XLR cables. As you do, ensure each cable is healthy – no frayed ends or kinks (swap out any suspect cables now rather than troubleshooting crackles later). Run instrument cables from DIs to instruments (e.g., acoustic guitar, keyboard outputs) and to their sources. Organize cables by running them neatly – perhaps group them and tape them along stage edges to avoid tangles. The checklist here: *mics connected, DIs connected, speaker cabinets mic’d, pedalboard outputs to DIs/amps, monitor sends to wedges.* Connect all the power supplies: guitar amp, bass amp, pedalboards, keyboard power, mixer power – and do so in the proper sequence if you’re powering up (usually mixer or pedalboard first, amps last, to avoid pops. Check that power strips are accessible and not overloaded. If you have wireless units or battery-powered pedals, now is the time to put in fresh batteries (don’t wait until mid-show to discover a dying battery). As you plug things in, do a mental (or written) inventory: every input that needs checking should now be connected. Finally, do a quick visual once-over – no cables dangling where people will walk (tape them down), no power cords stretched taut (could unplug if kicked). By managing cables and power methodically, you eliminate many common soundcheck issues (like “no signal from guitar – oh, it wasn’t plugged in”). It’s tedious, but absolutely necessary for a reliable show.

Initial Line Check

With everything set up and connected, it’s time for a line check – this is a quick verification that each input (mic or DI line) is indeed sending a signal to the mixer. Typically, the sound engineer and one band member or helper work together: one person goes through each mic/line on stage one by one, while the engineer watches levels on the console. For example, you (or the engineer) will say “Kick drum” and then you’ll hit the kick drum a few times – the engineer confirms the kick mic is coming through the PA/monitors and not clipping. Then “Snare” – hit it – good signal, move on. Do this for every drum mic, each DI (bass, keys, tracks), and each vocal mic. If something is not coming through, now’s the time to find out why: is the phantom power on for that condenser mic? Is that DI box set to the right output (and ground lift if needed to remove buzz)? Replace any cable or DI that shows no signal or lots of noise. Listen for hum or buzz on instrument lines during line check – a ground loop can often be caught here and fixed with a ground lift switch or by isolating power sources. This line check is usually done with monitors and mains at low volume or via headphones at the board – it's mostly for the engineer’s benefit to ensure all channels are functional. It’s a quick step (maybe a minute or two), but it can save you from discovering a dead mic in the middle of your set. Once every line shows signal and is noise-free, you’re ready to proceed to actually soundchecking levels and tones with confidence that the technical basics are in place.

Soundcheck: Checking Individual Channels

Drums and Percussion

Soundcheck proper often begins with the drums, since they have multiple microphones and form the backbone of the mix. The engineer will usually ask the drummer to play each part of the kit in turn. For example: “Kick drum, please.” The drummer should play solid, consistent kick hits – about 4 to 8 hits – while the engineer sets the gain and EQ for the kick mic. Then “Snare” – hit the snare (center hits, and maybe a couple rimshots if used). The engineer dials that in. Then each tom (hi-tom, mid-tom, floor tom) with a few hits each. Then the hi-hat – play it open and closed a bit. Overhead cymbal mics: the engineer might just listen as you play a brief groove involving all cymbals, or ask for a crash or ride pattern individually. If you have percussion (shakers, tambourine) mic’d, check those similarly. During this, the rest of the band should stay relatively quiet (no noodling) so the drum mics don’t pick up extraneous sound. The drummer should play at the volume they intend to play during the show – this is crucial. If you hit softly in soundcheck and then twice as hard live, all those settings will be off. So give it your usual whack. The engineer may ask for a brief full kit run (a short beat) to hear the balance of the drum mics together. This is the time to mention any drum nuances: e.g. “I use a lot of ghost notes on snare” – so the engineer can ensure those are audible. Once drums are done individually, usually the engineer is satisfied that they can control the kit sound.

Bass and Other Instruments

Next, the low-end foundation – typically bass is checked after drums. If the bass is through a DI, the engineer will say “Bass guitar” and the bassist should play a bit – maybe a few long held notes on different strings, and a typical riff from a song. This ensures the DI or mic is working and the tone is coming through. The engineer sets the gain so it’s not clipping when you dig in hardest. If you use pedals or switch between pick/fingers/slap techniques, demonstrate a bit of each now so the engineer isn’t caught by surprise later. After bass, proceed through other instruments: guitar amps next. Check each guitar one at a time – guitarist plays a representative riff or chord progression (some lead lines, some rhythm chugs) at performance volume. If you have multiple guitars, do them separately so the engineer can shape each one’s EQ and volume. If guitars have multiple channels (clean vs distortion), quickly test both tones: e.g., strum in clean, then kick in your heaviest distortion to make sure it’s not too loud or causing feedback, then back to clean. The same goes for keyboards: play a snippet with your loudest patch (like a bright piano or synth lead) and also any super bassy or pad sounds – the engineer might adjust monitors or EQ differently for different timbres. If you have acoustic instruments via mics or DIs (violin, acoustic guitar), play them as well. During each instrument’s check, everyone else remain quiet – this ensures the sound engineer can isolate that instrument’s sound. They will likely adjust monitor sends at this stage too (e.g., bassist might say “I need more kick and bass in my wedge”). By the end of this, all instrument lines will have been individually dialed in to an initial sound. It’s worth noting that at this point, some sound techs like to do a rough monitor mix – they might ask after each instrument, “Does everyone hear the guitar okay on stage?” – speak up if not. It can be tweaked further later, but it’s good to note any glaring absences (“I hear no keys in vocalist’s monitor”) now.

Vocals and Microphones

Vocals are often saved for last in the individual check because they are critical and also prone to feedback issues if not done carefully. One by one, check each vocal mic. The engineer will usually start with the lead vocalist: “Lead vocal mic.” The singer should sing at full performance level – perhaps the chorus of a song or any loud part they have – into the mic. Also test softer singing or talking if that will happen (some mics have proximity effect, etc.). The engineer sets the preamp gain so that the loudest notes don’t distort and the soft ones are audible. They’ll ring it out in the mains and monitors to catch any feedback frequencies, adjusting EQ as needed. Then do the same for each backing vocalist’s mic. Important: have the vocalists sing together briefly as well. Harmonies or gang vocals can create different mic interactions, and the engineer will want to balance their levels (maybe the backing vocals need to be a bit lower than lead in the mains, etc.). Soundcheck is also time to mention if you have any special vocal needs, e.g., “I’m going to step away from the mic and shout off-mic at one point” – an experienced engineer might then know not to chase your volume on that, for instance. Monitors: vocals in wedges often need adjustment now – each singer should ask for what they need (“more of my voice in my monitor, and some keys please”). Use hand signals or short phrases for more/less during this phase. The engineer might also compress vocals a bit once hearing them, to smooth dynamics. Once vocals are individually checked, do a quick full-band check (next section) to see how they sit in the mix. The line-check stage is about making sure each vocal mic is clear, free of weird ringings (they often say “check one, two” while tweaking EQ to eliminate feedback frequencies). After this, everyone’s mic and instrument should be working and roughly balanced in the monitors, which means you’re ready for a brief full band run-through.

Special Lines and Extras

Don’t forget to soundcheck any additional inputs: if you have backing tracks, now is the time to play a bit of one so the engineer can set the level in the house and monitors. If you have percussion toys like a djembe or cajón with a mic, give those a test hit. Any talkback mics (for band communication) should be tested (though they typically go to monitors, not front of house). If your show has guest instruments or unique things (like a violinist joining for one song, or a DJ rig), have them ready at soundcheck to line check as well. Often these “extras” get overlooked until showtime when it can be too late to properly EQ or troubleshoot. Ensure the engineer knows about every source of sound that will happen. If you plan to go into the crowd with a wireless mic or have any atypical stunt, mention it now so they know the range (wireless dropout potential) or to watch for feedback (if you take a mic in front of the PA speakers, that can ring – the engineer might need to ride the fader). Another extra: effects that dramatically change sound. For example, if the vocalist will use a megaphone or an octave pedal, try it in soundcheck so the engineer can adjust (often megaphones are super midrangey and loud, the engineer can pull down the channel when they see you raise it so it’s not overpowering). In summary, double-check all the stuff beyond the core band setup. A thorough checklist might include: *guitar wireless? check. second acoustic guitar line? check. sampler pads? check.* By verifying these now, you won’t have any surprises during the show. After each extra input has been tested, you have essentially completed the individual soundcheck of every channel.

Soundcheck: Bringing It All Together

Full Band Run-Through

Once all individual elements have been checked and roughly set, it’s time to hear the band as a whole. Typically, you’ll play through one song (or a portion of one) together. Often bands choose their opening number or a song with a bit of everything in it (vocals, solos, big dynamics) for the soundcheck run-through. This allows the engineer to blend the mix and for you to adjust to hearing each other. As you play, the engineer will balance levels: bringing vocals up over guitars, making sure the kick and bass are driving without burying other things, etc. It’s important to perform this like you will during the show – energy and volume should be representative. If you plan to move around on stage, do it now too (sometimes that affects how you hear monitors). The engineer might walk around the venue during this to check how it sounds in various spots. Meanwhile, each band member should pay attention to their monitor mix and how it feels with everything going. This is the time to request adjustments: more guitar in the vocalist’s monitor, or less cymbals in the drum fill, for example. Use clear requests between or even during songs if it’s urgent (a simple hand signal to the monitor engineer for "up my vocals" can suffice while playing). Typically after the run-through, the engineer will ask if anyone needs anything else in their monitors. Speak up now – "Can I get a little more kick drum on stage left?" or "Please take the keyboards down a notch in my wedge." A live soundcheck isn't just for the engineer; it’s for you to feel comfortable on stage. Take advantage of this time to iron out kinks – maybe you realize the lead guitar boost pedal makes you way too loud; you can adjust or let the engineer know. If something sounded off in the house mix, politely mention it (though trust the engineer’s ears, you can mention like "my backing vocals have a delay effect on them, did that come through?"). A full band run also settles nerves – you’ve effectively played on that stage already, so the first song of the show won’t be the first time. After a good run-through, you should feel confident that the mix is solid and everyone on stage can hear properly.

Monitor Mix Adjustments

After playing together, now’s the moment to fine-tune the monitor mixes for each member. Go person by person and quickly ensure they have what they need. A common approach: the engineer might say, “Okay, let’s fix monitors. Lead vocalist, what would you like more or less of?” The lead singer might say, “Please add some more lead vocal and a bit more keys in my monitor, and less cymbal harshness.” The engineer will make those adjustments and perhaps ask “Better?” – singer sings a line to test and nods. Then to the guitarist: maybe the guitarist needs more of the other guitar or more kick drum for timing. Make the tweak. Do this with each band member. Use concise language: “Can I get a little more bass guitar in Monitor 2?” or “Take the horns down a bit in my mix.” As a rule of thumb, it’s usually more effective to ask to boost what you need rather than cut everything else (i.e., asking for “more me” or specific instruments, because saying “I can’t hear myself” implies you either need more self or less of something else – try increasing what you want first). Keep in mind feedback safety – if a monitor is on the verge of feedback, the engineer might tell you they can’t push something any louder; instead they’ll reduce other things around it. It’s a balance. This is also a time for any last-minute changes: maybe the drummer realized they want the click track in their monitor for one song – ensure that’s routed and audible. Or the keyboardist might ask for reverb on their vocal in their monitor to match what they’ll hear out front (some singers like some reverb in their wedge). The engineer or crew might walk to each monitor to listen themselves briefly, to double-check nothing weird is happening. Spend these extra few minutes – having a great monitor mix can vastly improve your performance, and it’s easier to fix now than mid-show when the audience is present. Once everyone expresses satisfaction (“Yep, I’m good now”), you’ve accomplished one of the most important aspects of soundcheck: every performer can hear what they need to deliver a confident show.

Address Feedback or Problem Spots

During the soundcheck run or monitor adjustments, you might have encountered some problematic sounds – a bit of feedback ring on a certain vocal note, or a resonance when the bassist hits low E, for example. Now is the time to nip those in the bud. The engineer will often do this proactively: they might have identified, say, that the stage right vocal mic tends to ring at a high F#, and they’ll apply a slight EQ cut to that monitor mix to prevent feedback. If you noticed any harsh frequencies or potential issues, mention them: “There was a whistling sound when I faced the guitar amp with my mic” – the engineer can try to replicate and notch it out. Perhaps the keyboard DI has a buzz – check its grounding, maybe use a different DI or cable now rather than hoping it goes away. If a guitar amp is crackling, quickly swap that cable or jiggle the tube – better now than mid-show. This is also when the engineer might do a “feedback check” – briefly raise each open mic to see if any feedback occurs and then taming it. They might ask for silence or say “Cover your ears for a sec” and then deliberately push levels a bit to catch any feedback loops. It’s a bit unpleasant but better done without an audience. Additionally, double-check special effects: if the singer uses a vocal processor or if the guitarist has a crazy delay for one song, maybe sample it now to see that it doesn’t cause any runaway echoes or noise. Solving these problems now leads to a smooth performance later. Soundcheck isn’t done until those pesky issues are resolved to the extent possible. Don’t be shy – if something in your mix is causing discomfort (an icy high frequency or a booming low frequency), speak up. A small adjustment can save your ears and your voice later. Once all feedback and problem spots are addressed, you can be much more confident that the show will go without any nasty sonic surprises.

Finalize and Save Settings

As soundcheck concludes, the goal is to lock in all the settings so they remain consistent when you hit the stage for the actual show. If you have a digital mixer or the engineer uses a digital console, they will likely save the scene/mix at this point, labeling it with your band’s name. This ensures that if there’s a break or another act’s soundcheck in between, they can recall your settings easily. It’s worth politely confirming: “Do you need to save that? We’ll want the same monitor mixes for the show.” In an analog setup, obviously there’s no save button, so it’s about not messing things up once set – band members should avoid adjusting amp volumes drastically after soundcheck (if you do, tell the engineer). Mark positions if needed: for example, drummers often mark their snare stand position or mic positions so if they move gear off for an opener, they can get it back exactly. Same with amp dials: don’t tweak them accidentally when moving. If multiple bands are using the same gear, coordinate so your painstakingly EQ’d instrument doesn’t get changed unknowingly. Also, now’s a good time to quickly review the setlist with the engineer regarding any mix cues – e.g., “Our first song starts with just vocals and acoustic; then full band kicks in – we’ll give a nod for lights at that hit.” This way they are mentally prepared for transitions. Thank the sound crew and ask if they need anything else from you. Sometimes they might do a short “walk-in music” check – if they’re playing music when doors open, they’ll check that level now too. Once everything is finalized, try to keep the stage sound environment the same: avoid turning things on/off needlessly (some slight differences can occur when equipment warms up, but that’s minor). The band can then leave the stage area to let the venue open doors, knowing that when you come back, you should pretty much be able to plug in and go with minimal readjustments. By finalizing and essentially “locking in” your soundcheck settings, you’re set up for a consistent and comfortable on-stage sound during the actual performance.

Before Doors Open: Final Checklist

Secure Your Gear

After soundcheck, take a moment to make sure all your gear is in a safe state for the interim before the show. Power down or mute instruments that won’t be used until the performance (for example, mute your guitar amp or turn off your keyboards) to avoid any accidental noise or feedback if someone bumps a mic. If you’re leaving things on stage while another act plays or while doors are open, tidy up – coil any excess cable length and perhaps cover delicate equipment. For instance, drape a towel over your pedalboard or mixer to guard against any spilled drink by stage crew or an excited fan. If there’s a break between soundcheck and show, you might remove especially valuable or easily stolen items (like that vintage guitar or personal microphone) and keep them with you, just as a precaution. Double-check that mic stands are tightened (they often droop over time if not). Put your instruments on stands or back in cases for now (don’t leave a guitar just leaning precariously). Mark positions on stage with small pieces of tape if you had to move things for an opener – for example, mark where the front wedge monitors were, or where the keyboard stand should go back to. This way if anything is shifted, you can quickly reposition it. Ensure the stage is clear for opening acts if any – move your stuff to the sides if needed, but in an organized way so you can set back up swiftly. Think of this like setting a "ready" stage state. Once doors open, you may not have the luxury to be crawling around fixing these details. So do the housekeeping now: secure, organize, and stage-proof your setup. This reduces the chance of technical issues once the audience is present, and helps the show for all acts flow smoothly.

Setlists and Supplies in Place

Before the show starts (or before your set if you’re not first), make sure all those little items that can make or break comfort on stage are set. Tape your setlist in a visible spot for each band member – often at the base of a mic stand, on a monitor wedge, or on the floor by pedalboards. Do this now so you’re not fumbling in the dark later. Put a couple pieces of tape on the top edge so it doesn’t blow away or move. If you have notes (like tunings or cues) on it, highlight them so they’re easy to see. Next, place any drinks or towels you'll need in reachable positions (but away from electronics!). A common tip: keep water bottles on the side of the stage or on an amp, not on the floor where you might kick them near cables. If using in-ear monitors or special ear plugs, have them out and ready. Drummers: place your stick bag where you can grab quickly, and tape a spare stick to a tom or hi-hat stand for emergency. Guitarists: have picks on a pick holder on your mic stand or taped to the stand – many performers tape 2-3 picks down low on the stand for quick grabs. Keyboardists: if you need sheet music or cheat sheets, put them up now and secure pages with clips so stage breeze doesn’t turn them. Check that your backup guitar is tuned and in an accessible stand. Essentially, run through in your mind anything you might reach for during the show and stage it logically. Having a towel on top of the amp to wipe sweat, a spare cable coiled at the back of stage, or a small flashlight by the pedalboard can be lifesavers. By prepping these items pre-show, you won’t be caught off guard needing something and realizing it’s in the green room. This final pre-show checklist means when it’s go time, you can just step up and play, with all your tools at hand and your roadmap (setlist) clearly visible.

Communicate with the Crew

Before the doors open or between bands, touch base one more time with the sound engineer and any stage crew. Confirm any cues or special needs: for example, “Remember, I start the show off-stage with a vocal from the back of the room” – the engineer should be ready to unmute that mic and perhaps shine a spotlight if arranged. Or “During the third song I’ll need my acoustic guitar – I’ll swap and give a thumbs up when I’m ready” – so they know to unmute the DI at that point. If you have your own tech or friend helping, brief them on duties like guitar changes or picking up your jacket after the first song. If there’s a lighting person separate from sound, ensure they know your key moments too (big strobe at the final chorus? House lights on at the end for a bow?). Also, confirm how the start will happen: are you ready to go at the set time, do you want intro music played? If the venue is playing background music, coordinate when it should fade out – many bands have a specific walk-on track, so tell the engineer, “When you hear our intro tape start, please kill the house music.” Communicating these details prevents awkward pauses or miscues. Additionally, check with the crew about changeover timing: how long do you have to set up after the previous act? Make sure they know if you need a minute to line-check something quick (maybe the opening band moved a mic, etc.). Often, if you’re nice and clear with crew, they’ll go the extra mile for you. Thank them for the soundcheck and effort – a little appreciation can ensure they’re attentive during your set. Lastly, confirm anything regarding recording/streams if applicable (if the show’s being recorded, are the sound levels for that okay, etc. – that’s more advanced). With all crew and band on the same page, the show is set to run like clockwork. Good communication pre-show (and a positive relationship) means if anything does go wrong, everyone knows how to react. Now you can all focus on delivering a great performance.

Stay Calm and Ready

With all the technicalities sorted, the final item on the checklist is you – the performers. Take a breather after soundcheck. Give yourselves time to relax, change into stage clothes, do warm-ups, etc., without rushing. Knowing that you’ve ticked off every item (gear is set, mixes sound good, setlist is down, crew is informed) will help ease pre-show nerves. Use a few minutes to mentally go over any tricky transitions or reminders (like “Song 5 starts with just drums and bass, don’t come in early”). But don’t obsess – trust the preparation. If you feel the need, do one last quick tune of instruments right before hitting the stage (temperature changes can affect tuning since soundcheck). Ensure wireless packs have fresh batteries (worth repeating – many a show has been saved by swapping batteries now rather than mid-song). Then, have a ritual – some bands huddle up for a pep talk, others do individual stretches or vocal warm-ups. When the stage manager or sound engineer gives you the sign that it’s time, gather your thoughts, step on stage, and take your positions. Glance around: do a quick eye-contact with each member and a thumbs up to the monitor engineer that you’re good to go. Breathe – you’ve done all you can to set this up right. Now it’s about playing and connecting with the audience. By staying calm and confident (thanks to thorough soundcheck and prep), you’ll carry that composure into the performance. And if any hiccup occurs, you’re prepared and the crew is alert. That’s the whole point of the checklist – to minimize surprises and allow you to perform at your best. So as the lights dim and you hear the crowd, give a nod to the sound engineer to start your intro music or say your greeting. Rock and roll – you’re ready.