03 / Audio & Lighting

Broadcast-grade audio and concert-caliber lighting, tuned for the room before doors.

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 tune for both, one system designer, one lighting director, one console op who's heard your show flow before the doors open.

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Audio

The system gets tuned in the actual room, not on the datasheet.

System choice is the first decision, not the last. We predict line-array coverage during design, then measure with Smaart on load-in day, so intelligibility holds at row 22 and the bass sits right at 2 a.m. when the room is empty and the only ear left in it is yours.

Line-Array PA

L-Acoustics Kara / K2, d&b KSL / Y-Series. Sized to the room with modeled coverage predictions.

RF Coordination

Full spectrum scan on every show day. Licensed RF coordinator. Redundant lavs and handhelds on every principal.

Broadcast Audio

Separate mixes for in-room, stream, and archive. Loudness-compliant on every output.

Interpreter Booths

ISO-standard booths and discreet language channels for multilingual summits.

Lighting

Design to the storyboard, not the hire sheet.

Lighting is the story you don't have to tell in words. Our lighting directors design to the content arc, warm and ambient for the open, sharp and theatrical for the keynote, intimate for the donor ask when the paddles come up.

Automated Fixtures

Robe, Ayrton and Martin moving heads. Spot, wash and beam coverage matched to scenic.

Key & Fill for Broadcast

ARRI and Aputure LED keys tuned to match camera ISO and white balance.

Scenic Lighting

Up-lights, architectural washes, and branded gobos. Ambient lighting designed around the room's bones.

Lighting Design + Operator

grandMA3 / Hog 4 consoles. Cue-list built during design, rehearsed live, operated in comms.

Audio & lighting questions

Spec, price, rigging, answered straight.

How much does audio and lighting cost for a corporate event? +

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. The quote includes a rehearsal day on-site.

What audio systems do you deploy? +

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. All inventory is Houston-owned, no subrental markup, no third-party operators tuning your room for the first time on show day.

Can you match audio to an LED video wall so ratios stay cinematic? +

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.

Do you program lighting cues or just hang the gear? +

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.

Do you handle rigging permits and motor certs? +

Yes. Our rigging drawings carry a Texas PE stamp when required, and we work with venue riggers (IATSE or in-house) 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.