What we rent, and what changes the price.
| Wireless handheld | For roving Q and A, emcees and award presentations. Channel count matters more than microphone count. |
|---|---|
| Lavalier and headset | For speakers who need both hands, and anyone being recorded. Headsets hold level when a presenter turns their head. |
| Lectern and table | Gooseneck at the lectern, table microphones for panels, AGMs and board sessions. |
| Speaker systems | Point source for meeting rooms and ballrooms up to a few hundred, line array with delay fills for long rooms. |
| Price moves on | Open channel count, room size and shape, and whether the house system can carry the job. |
| 2.6mm pitch | For a low stage where the front row sits within a few metres of the wall. |
|---|---|
| 3.9mm pitch | The common ballroom choice, sharp from about four metres back and cheaper per square metre. |
| Sizing | Built to the room width and the back row sightline. A wall wider than that just wastes panels. |
| Support | Ground support stacking where ceiling rigging points are unavailable or load-rated too low. |
| Price moves on | Total panel area, pitch, build hours, and whether the room is available the night before. |
| Fast-fold screens | Rear projection hides the throw and keeps presenters out of their own shadow. |
|---|---|
| Projectors | Specified by brightness against ambient light and throw distance, not by lumens alone. |
| Confidence monitors | Downstage displays so speakers read their slides without turning around. |
| Price moves on | Screen size, projector brightness, and whether the room can be darkened. |
| Stage wash | Even key light on presenters, colour temperature matched to the cameras in the room. |
|---|---|
| Uplighting | Perimeter fixtures set to a brand colour, and the cheapest way to change how the room photographs. |
| Moving heads | Programmed looks for launches, awards and dinner segments for room colour changes. |
| Price moves on | Fixture count, rigging height, truss requirement, and how many programmed states the show needs. |
| Single camera | Locked wide or operated, with desk audio. Fine for an internal recording. |
|---|---|
| Multi camera | Two or three cameras with live switching, slide feed and lower thirds cut into the programme. |
| Connectivity | Wired venue line where it can be tested in advance, with a bonded mobile path as the fallback. |
| Price moves on | Camera and operator count, recording deliverables, and whether editing follows the event. |
It depends on open microphone count, screen area and type, crew hours including load-in and strike, and whether the venue's house system can carry part of the job. A quote given before seeing the room is a guess.
Ambient light decides it. Bright ballrooms and rooms with windows need LED, while a dim function room with controllable lighting does fine on fast-fold projection at a fraction of the cost. Viewing distance sets the pixel pitch.
Yes, for anything with live speech. Radio microphones need channel management and levels change as the room fills. A playback-only setup in a small meeting room can be handed over after a briefing.
Two to four weeks for a standard conference. Year-end dinners and the AGM season book out earlier, but short notice still works when the venue has a load-in window.
We come back with the equipment and the price, line by line.