Audio-visual equipment can make or break an event. A packed room with a crackling PA system and dim lighting feels amateur regardless of how good the act or speaker is. Conversely, proper sound and lighting transform even a modest space into something professional. This guide covers what you need to know about planning AV for events of all sizes.
PA systems: matching the system to the room
The PA (public address) system handles all amplified sound — music, speech, and announcements. The system you need depends on the room size, event type, and audience expectations.
Small events (under 100 people)
A pair of powered speakers on stands with a small mixer is usually sufficient. Total output of 500 to 1,000 watts handles acoustic acts, solo performers, DJs, and presentations comfortably. You can hire this level of kit for around fifty to one hundred pounds per day. For speech-only events like meetings or presentations, a single speaker and a wireless microphone may be all you need.
Medium events (100 to 500 people)
Step up to a larger PA with separate main speakers and subwoofers. A system delivering 2,000 to 5,000 watts gives you enough headroom for a full band, DJ with bass-heavy music, or a conference with multiple microphones. You will likely need a sound engineer to set up and operate the system. Hire costs typically run from two hundred to five hundred pounds including an engineer.
Large events (500+ people)
Line array speaker systems, delay towers for deep rooms, dedicated monitor systems for the stage, and a full front-of-house mixing console. This level of production requires professional sound engineers and specialist hire companies. Budget from one thousand pounds upwards depending on the complexity.
Always build in headroom. A PA system running at maximum output sounds strained and distorts. Aim for a system that can deliver your required volume at around seventy per cent of its maximum capacity.
Lighting basics for events
Lighting serves three purposes: visibility, atmosphere, and focus. Even small events benefit from basic stage lighting that separates the performance area from the audience.
Essential lighting elements
- Wash lights — provide broad, even coverage of the stage. LED par cans are the most common and affordable option. A set of four to eight covers most small stages.
- Spotlights — focus attention on a specific performer or speaker. Follow spots are operated manually; fixed spots can be pre-aimed during setup.
- Effect lighting — moving heads, strobes, hazers, and colour washes add energy and visual interest. Best suited to music events and club nights rather than conferences.
- House lights — the venue's built-in lighting. You need the ability to dim or switch off house lights independently so you can darken the audience area while keeping the stage lit.
Lighting for different event types
A conference needs bright, even lighting so presenters are clearly visible and cameras can capture clean footage. A gig needs dynamic, colourful lighting that moves with the music. A comedy night needs a single bright spotlight on the performer and darkness everywhere else. Match your lighting design to the event, not the other way around.
Projectors and screens
Visual displays are essential for conferences, presentations, and any event where slides, videos, or branding need to be shown.
- Projector brightness — measured in lumens. For a dark room, 3,000 to 5,000 lumens is adequate. For a room with ambient light (windows, house lights partially on), you need 6,000 lumens or more. Outdoor projections require specialist high-brightness units.
- Screen size — the back row needs to read text comfortably. As a rule of thumb, screen width should be at least one-sixth of the distance from screen to the furthest viewer.
- LED screens — for larger events, LED video walls offer brighter, sharper images than projection and work well in daylight. They are significantly more expensive to hire but virtually eliminate visibility issues.
- Connection types — ensure compatibility between laptops and the projector. HDMI is standard, but carry adaptors for USB-C, DisplayPort, and VGA. Test every connection before the audience arrives.
In-house equipment vs hiring
Many venues, particularly dedicated music venues and conference centres, have their own AV equipment. This has advantages and drawbacks:
Advantages of in-house AV
- Already installed and tested in the space — no setup surprises.
- Venue staff know how to operate it.
- Often included in the venue hire fee or available at a reduced rate.
- No transport or rigging costs.
Drawbacks of in-house AV
- Equipment may be outdated or poorly maintained.
- Limited flexibility — you get what the venue has, even if it is not ideal for your event.
- Venue technicians may not be available for your specific date or may charge separately.
- You may face restrictions on bringing in additional or replacement equipment.
Always ask to see the venue's AV inventory and test the equipment during your venue viewing. If the in-house system is inadequate, establish early whether the venue allows external hire companies to bring in their own kit.
Technical riders
If you are booking bands, DJs, or speakers, they will likely send a technical rider — a document listing their specific AV requirements. A rider typically includes:
- Number and type of microphones (vocal, instrument, wireless)
- Monitor requirements (foldback speakers or in-ear monitors)
- Backline equipment (amplifiers, drum kits, keyboards) — whether they are bringing their own or expect you to provide them
- Stage dimensions and power requirements
- Lighting preferences
- Playback requirements (laptop input, CDJ setup, vinyl decks)
Collect riders from all performers as early as possible. They inform your AV hire requirements and help your sound engineer plan the setup. If a rider requests equipment you cannot provide, discuss alternatives with the performer — most are flexible as long as you communicate early.
Power requirements
AV equipment draws significant power, and insufficient electrical supply is one of the most common (and avoidable) production problems.
- Know your total draw — add up the wattage of every piece of equipment. PA, lighting, backline, laptops, and anything else plugged in. A standard UK 13-amp socket provides roughly 3,000 watts. You will need multiple circuits.
- Dedicated circuits — audio equipment should be on separate circuits from lighting to avoid interference. Never share a circuit between a PA system and a dimmer pack — the dimmer creates electrical noise that comes through the speakers as a buzzing hum.
- Three-phase power — larger events may require three-phase power, especially if you are running a large lighting rig. Not all venues have it. Check early.
- Outdoor events — if there is no mains power, you need a generator. Generators must be positioned away from the audience area (they are noisy) and require proper earthing and RCD protection. Hire a generator from a reputable company that includes delivery, setup, and fuelling.
Sound limiters
Many UK venues, particularly those in residential areas, have sound limiters installed. A sound limiter monitors the volume level in the room and cuts the power to the PA if it exceeds a preset threshold.
This is not optional — the limiter is typically required as a condition of the venue's premises licence. Disconnecting or bypassing it is illegal and could result in the venue losing its licence.
If your event involves loud music, ask about the limiter before you book:
- What is the decibel limit?
- Where is the monitoring microphone positioned?
- Does the limiter cut power instantly or give a warning?
- Can the limit be temporarily raised for specific events (some venues have provisions for this)?
A good sound engineer can work within a limiter by managing the mix carefully — keeping bass and kick drum controlled, using compression, and positioning speakers to maximise coverage without excessive volume at the monitoring point. If the limiter is very restrictive (below 90 dB, for example), the venue is simply not suitable for amplified music events.
Planning your AV requirements thoroughly and early prevents last-minute scrambles and ensures your audience hears and sees everything clearly. Whether you are running a small spoken-word night or a multi-stage festival, the principles are the same: match the equipment to the space, test everything before doors open, and always have a backup plan.