One quote, the full AV stack — PA, microphones, DJ, mixers, projectors, livestream. L-Acoustics, d&b, Meyer Sound, JBL VTX. Certified engineers on every gig, 24-hour response.
Most LA shops will rent you a console and tell you to call somebody else for the speakers. We don't. Send us the venue, the format, the date, and the audience count, and what comes back is the whole AV stack on one bid — owned by one crew, run by one engineer, billed on one PO.
Each card is a category we ship every week in Los Angeles. Tap through for gear lists, scope notes, and use cases.
L-Acoustics K-series, d&b GSL, Meyer Sound LEO, JBL VTX A12. Line array for rooms over 500 cap and outdoor stages. Point source for conferences and intimate venues. Includes amps, drive racks, system tuning by an FCC-certified engineer, and full distribution from FOH to delay zones. We design the system from the room dimensions, not the brochure.
PA system rental →Wireless and wired. Shure Axient Digital, Sennheiser EW-DX, DPA 4061 lavs, Shure Beta 58 / 87 / 91, Neumann KMS 105 vocal condensers. RF coordination on every show — we walk in with a spectrum analyzer and clear the band before doors. Includes IEM packs (PSM1000, EW IEM G4), antenna distribution, and battery management through the run of show.
Microphone rental →Pioneer CDJ-3000, DJM-V10, DJM-A9, full Rekordbox-ready booth packages. Allen & Heath Xone:96 for the analog purists, Technics SL-1210 GR turntables for the vinyl-only sets. Includes monitor wedges, booth lighting tap, redundant power to the table, and an audio tech on standby for set changeover. Same crew that runs your headliner ran the opening DJ.
DJ equipment rental →DiGiCo SD series and Quantum, Yamaha CL5 / QL5, Avid S6L, Allen & Heath dLive. Console picked by the show file — we keep DiGiCo for touring acts that travel with sessions, Yamaha for corporate keynote work, Avid for theatrical and broadcast. Includes stage rack, FOH rack, network distribution, and console pre-load before truck call.
Audio mixer rental →Christie, Panasonic, Barco, Epson — from 5,000-lumen compact units for breakouts to 30,000-lumen lasers for general session and stage IMAG. Includes Decimator HDMI / SDI converters, signal distribution, screen package (16:9 or wide-screen), and switching through a Roland V-160HD or Blackmagic ATEM. Every projector ships with three lens options.
Projector rental →Multi-cam capture, ATEM Constellation switching, dedicated broadcast audio embed, RTMP push to YouTube / Vimeo / Restream / custom destinations. Includes a broadcast engineer separate from FOH, redundant internet (bonded LTE plus venue circuit), and a dedicated graphics op for lower-thirds and brand overlays. Hybrid events shouldn't compromise either audience.
Livestream services →We don't carry every brand. We carry the four that hold up under load, tune predictably, and have parts service inside the LA metro. Picked by room shape and audience count, not catalog page.
K1, K2, KS28 subs. Festival and arena workhorse. The default for any outdoor stage above 5,000 capacity. Predictive coverage in Soundvision, scales clean.
GSL8 and GSL12 with SL-Subs. Touring-grade line array with extraordinary low-mid clarity. Our go-to for mid-size live concerts and broadcast-quality theaters.
LEO-M, LYON, and 1100-LFC subs. Self-powered, network-monitored, and tuned by Meyer's Compass software. Standard for high-end corporate and theatrical work in LA.
VTX A12 with G28 subs. Strong price-to-performance for festival side stages, mid-size touring, and event venues that need touring-grade coverage without the K1 sticker.
Every AV booking includes a Front-of-House engineer on the console. Concerts and festival mainstages get a dedicated monitor engineer at side-stage with their own desk, plus a system tech on the line array tuning. Corporate keynote work gets an FOH plus an A1 (lead audio) and an A2 (mic runner) on radio for hot swaps. Our engineers carry the credentials that matter when a fire marshal walks the show or a broadcast embed asks for a frequency map — specifics shared on the call. We do not run double-duty FOH-plus-monitors on any show over four mic inputs; that's where mixes fall apart. The crew you book is the crew that shows up — no day-of subs.
Our LA dispatch covers every working venue from the harbor up through Pasadena. Same-week bookings are routine — we know the load-in docks, the union rules, and the power tap locations by heart.
We don't publish a rate card because two events with the same square footage rarely cost the same. What drives the number: pixel pitch (for LED), fixture density (for lighting), engine + camera count (for XR), permitting (for SFX), and how much load-in lives inside our 24-hour window. Tell us what you're building and we'll come back with a number engineered to it.
Want a directional estimate before you brief us? Run the LED Wall Calculator — it returns panel count, weight, power draw, and a band you can sense-check internally before you send us a brief.
The AV stack is the same; the crew scaling and run-of-show change by market. Each page below covers the specifics.
We start with discovery — a 20-minute call to understand the room, the run-of-show, and the look you're after. From there we do a site visit (or virtual walkthrough) to verify load-in, power, rigging points, and sightlines. That feeds an engineering document with fixture or panel counts, crew, transport, and any permitting. The fixed quote follows the engineering doc, line-itemed so you can see exactly where each number lands. No surprise add-ons after signature.
Our LA shop dispatches AV gear across the metro — DTLA, Hollywood, Burbank, Beverly Hills, Santa Monica, Pasadena, the South Bay, the Valley. Same-week bookings are routine. We know the venue load-in docks, the union rules, and the power tap locations by heart, which means a near-me search ending at our number ends fast: send the venue address, we send a real bid the same day.
Yes. Our livestream package includes multi-cam capture (Blackmagic or Sony), an ATEM Constellation switcher or vMix workstation, dedicated audio embed and de-embed for clean broadcast feed, real-time encoding to YouTube / Vimeo / Restream / custom RTMP, and a dedicated broadcast engineer in addition to the FOH crew. We handle hybrid events where in-room audience and remote viewers see the same show with no quality compromise. See the dedicated livestream services page for the full breakdown.
Yes. Concerts and festival mainstages get a dedicated monitor engineer at side-stage with their own console — usually a DiGiCo SD or Yamaha CL series. The FOH engineer mixes the house; the monitor engineer mixes wedges and in-ears. We do not run double-duty FOH-plus-monitors on any show with more than four mic inputs onstage — that's where mixes go wrong and a guitarist's snare drum suddenly disappears from their in-ear.
Line array hangs vertically, throws long, and covers wide audiences with even SPL — the right pick for any room over 500 capacity, festival stages, and outdoor shows. Point source (single or stacked boxes) is the right pick for small to mid-size indoor rooms under 500 capacity, conferences, and corporate dinners. Point source is easier to deploy and tune in tight spaces; line array carries SPL across a deep room without front-row eardrum damage.
Conference and corporate AV: three to six hours load-in, doors same evening. Mid-size concert: a full prior day for load-in, soundcheck before doors. Festival mainstage: two days for stage rigging, line array fly, and system tune; soundcheck on day three. Touring packages run on tight overnight call sheets — we get the system flown, dialed in, and gated against the previous night's house EQ inside six hours when the venue allows.
