Audio and lighting carry the show. We tune both to the room before doors open.
The room a donor walks into for the paddle raise has to carry the ask to the back wall. The keynote your CEO opens at 8 a.m. has to land at row 22 the same way it lands at row 2. We design for both: one system designer, one lighting director, one console op in comms, all of them briefed on your run-of-show before the first guest arrives.
We tune corporate event audio in the actual room, not on the datasheet.
System choice is the first decision, not the last. We model line-array coverage during design, then measure with Smaart on load-in day. By the time your first speaker walks on, intelligibility holds at row 22 and the bass sits right, in the actual room, on the actual day, with your actual run-of-show in hand.
- Line-Array PAL-Acoustics Kara / K2, d&b KSL / Y-Series. Sized to the room with modeled coverage predictions.
- RF CoordinationCoordinated frequencies, with redundant lavs and handhelds on every principal.
- Broadcast AudioSeparate mixes for in-room, stream, and archive. Loudness-compliant on every output.
- Interpreter BoothsISO-standard booths and discreet language channels for multilingual summits.
Lighting is designed to your content arc, not pulled from a hire sheet.
Our lighting directors build to the storyboard: warm and ambient for the open, sharp and theatrical when your CEO steps to the podium, intimate and focused when the paddles come up. Every cue is built during design and rehearsed live before doors, not improvised on show day.
- Automated FixturesRobe, Ayrton and Martin moving heads. Spot, wash and beam coverage matched to scenic.
- Key & Fill for BroadcastARRI and Aputure LED keys tuned to match camera ISO and white balance.
- Scenic LightingUp-lights, architectural washes, and branded gobos. Ambient lighting designed around the room’s bones.
- Lighting Design + OperatorgrandMA3 / Hog 4 consoles. Cue-list built during design, rehearsed live, operated in comms.
The results impressed our clients and wowed 1,200 event attendees. Rarely have I found a media vendor more personable and knowledgeable.
For a 300–600 person keynote ballroom, a typical audio + lighting package runs $12K–$32K per show day including L’Acoustics or d&b line arrays, a 32-channel console, moving lights, crew and programming. Multi-day events scale per-day but with setup amortized, and the quote includes a rehearsal day on-site. If you’re comparing audio visual services in Houston, ask every bidder whether programming and the rehearsal day are in the number; ours are, and the full engagement ranges are on the investment guide.
For large rooms we deploy L’Acoustics KARA/K2 line arrays; for mid-ballrooms, d&b Y/T Series; FOH and MON on Yamaha QL/CL. Broadcast feeds run on redundant Dante with a dedicated broadcast engineer. Because the inventory is in-house and ready to roll, you get the same rig show to show with no broker chains or sub-rental surprises — and the engineers who tune your room are the ones who designed it.
Yes, that’s the whole point of running audio, lighting and video under one production team. Our video engineers delay-match speaker timing to the LED wall position, our lighting director programs cues that don’t blow out camera iris, and one PM keeps the three disciplines in sync through rehearsal and show.
We program. Every show day ships with a lighting director on console and pre-built cue stacks synced to your run of show. For galas we program paddle-raise lighting to key speaker beats. For general sessions we script session-transition looks. Programming is included, not a separate line item.
Yes. Flown loads run through the venue’s rigging process, and we work with venue riggers to land motors legally. Every motor has load-tested CM Lodestar or ChainMaster gear with current inspection tags. We ship rigging plots to venue engineering weeks before load-in.
Related services and case studies
Your stage gets tuned before doors, by the producer who’ll still be in the room when the donors stand up.
Tell us the room, the run-of-show, and the date. We’ll come back with the system that fits and the names of the team running it. Fifteen minutes is enough to lock the system and the crew to your room.