I'm not sure it's so much an issue of adding sensory input as defining a lot of things. In my second drafts, I always look for what's missing or, more importantly, what I, as the god, know but have not put on the page for the reader. It's easy to miss what you might have failed to share when you so intimately know the environment, the characters, and their world. As a writer, you have to remind yourself that your readers may not see, hear, know as much of the story as you do and you need to be aware of possible shortfalls in your storytelling.
So, when it comes to adding sensory perceptions, it is not really unusual to go back on subsequent run-throughs and add a lot of different little 'things'. The caveat here is that, as I always remind novice writers, a little goes a long way. It is not necessary to write down every single sensation your characters experience. You can describe a scene of ... a freshly cut field of hay just after sunrise with a light dew still on the ground and, if done right, the visual sense will inspire the olfactory sense. You can describe the acrid smell of a morgue and, likewise, if done right, your reader will be put in the place visually as well. The best of course, is to interweave the visual, audio, tactile, and olfactory simultaneously as they apply to your story to create a fuller experience for your reader. And, that may take more than just a couple of drafts to get it right.
The trick is to pick and choose what you really need. I've never met a novice writer who could successfully instill all of the necessary sensory triggers on one go 'round. Hell! I have yet to meet any writer who could get it all right on one pass! There is always going to be something you missed. Some writers are more action oriented and they can nail down the action events in the ms easily and never require a touch up of that part of the story. But they fall a bit short on dialog, or character-building, or ... sensory. Still, another writer may have a strong sense of sensory and are able to lay down a perfect balance of senses on the first try. For others, it may be characterization or dialog that is their strongest suit and they need to go back and work on other parts of the story.
Whatever is your strong suit, play to that, but be sure you are aware of your weaker areas and do, indeed, go back and work on those in subsequent drafts. Just remember, a little really does go a long way.