Describe what people need to hear
Separate speech, recorded playback and live music. A short announcement, a conference with video and a band with several instruments are different sound jobs. Say whether quiet speech needs to be intelligible across the room, whether performers need to hear themselves, and whether the event also needs recording or remote audio.
Make a source list. Include each microphone, instrument and playback device, noting which will be used at the same time. This helps identify the mixer inputs, connections and operator workload. A spare input or microphone may be useful, but it should be planned rather than assumed.
Map the audience, not just the stage
Provide a floor plan with the stage, seating, aisles and any separate listening areas. A long narrow room, a room with pillars and an open outdoor space cannot be specified from the same audience figure. Note areas where sound is needed and areas where it should be limited.
Tell the supplier about existing loudspeakers and any venue restrictions on positioning or sound level. Loudspeaker coverage and output capability matter more than the headline power number. Maximum output is not a recommended listening level; event-specific noise management still needs consideration.
| Planning question | Why it matters |
|---|---|
| Where is the furthest listener? | Distance and obstructions affect coverage. |
| Are people seated or moving? | The listening area may change during the event. |
| Is there a band or loud background activity? | Speech has to be considered within the real sound environment. |
| Will microphones move? | Their position relative to loudspeakers can change. |
Choose microphones around the people
A handheld is straightforward to pass between speakers but needs someone to hold it consistently. A headset can suit a presenter who moves or demonstrates; a lapel may be preferred where discretion matters. Discuss the choice with the person wearing or using it, including costume, comfort and hands-free requirements.
For panels and audience questions, decide how many people can speak together and how microphones reach them. For performers, include the instruments and monitor requirements. Radio systems also need a frequency and licensing check appropriate to the equipment and event.
Decide who will run the sound
If the programme has changing presenters, videos, musicians or microphone handovers, operation is part of the requirement. Ask who will mute unused microphones, change playback levels and follow the running order. One person cannot be assumed to operate sound while simultaneously presenting or managing backstage changes.
For equipment-only hire, identify the person setting up and operating the system, and discuss any training or support they need. A simple system used well can be more useful than a larger system nobody has time to prepare.
Plan a listening check before doors open
Test with the actual microphones, presenters and media wherever possible. Walk the audience area rather than checking only beside the mixing desk. Listen for clear words, uneven coverage and places where the system is unnecessarily loud.
Allow time to address issues before guests arrive. A soundcheck is not just ‘does it make a noise?’ It should establish usable levels and transitions for the programme. If a recording or remote feed is needed, check that output separately with someone listening at the receiving end.
Put it into practice
Send this with a PA hire enquiry
- Venue and room plan, audience size and layout.
- Speech, playback, live music or a combination.
- Microphones and devices used at the same time.
- Existing equipment, venue restrictions and access times.
- Whether you need setup, an operator, monitors or another audio feed.
Technical references
Manufacturer and official guidance behind the technical points in this article. Follow the instructions for the specific equipment and the arrangements agreed with your venue.
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