Wired, wireless, broadcast, and lavalier mics — RF-coordinated, gain-staged, and operated by our own crew. From Shure SM58 to Axient Digital, Sennheiser to DPA. 24-hour response, one bill, one team on radios through strike.
Vocal handhelds, lavaliers, instrument mics, and broadcast-grade boundary and shotgun systems — stocked in LA and ready for same-week dispatch. Every mic ships with RF coordination, cabling, and an engineer who has rung it out before.
Shure SM58 and SM57 dynamic standards for live vocal and instrument. Beta 58A and Beta 87A for cleaner top end on quieter rooms. Neumann KMS 105 for premium vocal duty on broadcast and high-end concerts.
Shure Axient Digital handheld with SM58 or KSM9 capsules — broadcast-tier RF integrity, AES256 encryption, frequency-agile. Shure ULX-D and Sennheiser EW-DX for mid-channel-count shows. Lectrosonics for production sound work.
DPA 4061 and 6061 omni lavs — the broadcast standard. Sennheiser MKE-1 and MKE Essential omni for film and conference duty. DPA 4088 and Countryman B6 headsets for hands-free keynote work, color-matched to skin tone and concealed in-shop.
DPA 4099 instrument clip-ons for strings and horns, Sennheiser MD 421 and Shure SM7B for broadcast and podcast, Schoeps CMIT 5U shotguns for ENG and event capture. Sennheiser e604/e904 drum kits with full kick and snare options.
We don't substitute on bid day. The model on the patch sheet is the model that shows up on the truck. Here's what lives in our LA dispatch.
SM58 and SM57 for the workhorse dynamic role, Beta 58A and Beta 87A for cleaner condenser handhelds, KSM9 for premium broadcast vocal. On wireless: Axient Digital (AD2 handheld, AD1 bodypack), ULX-D for budget-conscious channel counts, QLX-D for backup and B-stock. We carry Shure Wireless Workbench coordination for every show.
Digital 6000 and EW-DX wireless for production sound and corporate keynotes — pristine signal chain, low latency, Dante-routable receivers. MD 421 and MD 441 on drums and broadcast hosts. MKH-416 shotguns for ENG and event capture. MKE Essential omni lavs for hidden body mic work on talent.
4061 omni lavs are the industry default for a reason — flat frequency response, low handling noise, color-matched cabling. We stock 6061 subminis for hidden placement, 4088 headsets for keynote hands-free, and 4099 clip-ons for upright bass, violin, brass, and acoustic guitar. Skin-tone matching and concealment is done in-shop before truck call.
Lectrosonics SMQv and DCHT for film and TV production sound where Digital Hybrid Wireless is the standard. Neumann KMS 105 for high-end vocal duty — opera, jazz, theater. KM 184 for piano and acoustic capture. We pair Lectro with Sound Devices recorders when production sound is part of the brief.
A keynote, a concert, and a broadcast all rent microphones — but the patch sheet looks nothing alike. Here's how we build each chain.
Conference and corporate keynote. One Axient handheld at the podium (with a wired SM58 backup hot-patched at FOH), DPA 4061 lavs on every panelist, a Shure boundary mic on the conference table if Q&A runs across it. Add an Axient roaming handheld for audience Q&A — usually two, so the runner can hand one off while the other resets. Twelve channels typical, 24 on a multi-track keynote. Coordinated through Shure Wireless Workbench against the venue's UHF landscape.
Concert and music event. SM58 or Beta 58A on the lead vocal — wireless Axient if the artist needs to roam, wired if they're at a stand. SM57s and Sennheiser e604s on the drum kit (kick gets a Shure Beta 91A or AKG D112). DPA 4099 clip-ons on horns and strings, MD 421s on bass cabs and guitar amp grilles. Drum overheads run Neumann KM 184 pairs. Up to 64 channels on a full backline rig, all routed through the FOH and monitor desks our team also rigs.
Broadcast and livestream. Shure SM7B or Sennheiser MD 421 on hosts at a desk, DPA 4061 lavs on talent who move, Schoeps shotguns on a boom for cutaway audio. RF coordination is non-negotiable — broadcast tolerates zero dropouts. We file UHF coordination through Shure WWB, scan the venue on truck day, and provide a dedicated A2 to monitor RF during the entire show window. Output routes to our livestream rig via Dante or analog snake, depending on the encode chain.
Film and production sound. Lectrosonics SMQv body packs on talent under wardrobe, Sennheiser MKH-416 shotguns on the boom, Sound Devices recorders capturing isolated tracks. Production sound is its own world — turnaround, slate sync, timecode, and a sound mixer who has earned the role. We crew accordingly when the brief asks for it.
We don't publish a rate card because two events with the same channel count rarely cost the same. What drives the number: wireless channel count, RF coordination complexity (venue UHF landscape and licensing), antenna distribution, the mic models the format demands (an Axient channel is not a QLX channel), engineer roles, 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 view before you brief us? Browse the full audio stack — speakers, mixers, monitors, and mics all live in one inventory so we can quote the whole signal chain end to end.
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 RF landscape, and the venue power conditions by heart.
Same mics, different patch sheets. Each market below has its own deep-build page with the run-of-show specifics.
We don't outsource frequency scans. Our RF tech walks every venue with Shure Wireless Workbench, files coordination, and stays on the desk during show. Dropouts are not the operator's problem on our shows. Full service list.
Every quote arrives with a labeled patch sheet — mic model, channel, splits, gain assumptions, antenna placement. Your FOH engineer doesn't have to reverse-engineer the rental at load-in. How we work.
Send venue, dates, and a channel count. Real bid back inside 24 hours on a business day. No brochures, no sales calls. Inspired? Let's work together..
We start with the run-of-show — how many speakers, how many channels live at once, how the room is mic'd. From there we map each input to a specific mic (SM58 for a podium, Axient handheld for a roaming host, DPA 4061 lav for a panelist). Then we coordinate RF in the venue's frequency landscape, walk the room for dropouts, and build a labeled patch sheet handed to the FOH engineer. The quote follows the patch sheet, line-itemed.
Shure Axient Digital is our standard for any show where signal integrity matters — corporate keynotes, broadcast, large conferences. We also stock Shure ULX-D and QLX-D for tighter budgets, Sennheiser EW-DX and Digital 6000 for film and TV use, and Lectrosonics for production sound. Every wireless rental ships with RF coordination, frequency-scanned setup, and antenna distribution if the channel count requires it.
Yes. Our standard wireless rig scales to 32 channels in one frequency-coordinated rack, and we've run shows pushing 64 channels with multi-band antenna distribution. RF coordination is included on every wireless rental over four channels — we scan the venue, file UHF coordination through Shure Wireless Workbench or Sennheiser WSM, and bring filtered antennas plus a dedicated RF tech for shows over 16 channels.
Yes. Every microphone rental ships with a setup tech who patches, gains, and rings out before doors. For larger rigs — broadcast, multi-speaker conferences, concerts — we provide a dedicated A2 (mic wrangler) and an RF tech who monitors signal during show. The FOH engineer is part of our standard audio scope. You're not renting a box of mics, you're renting a working signal chain with humans on it.
For panels: DPA 4061 or Sennheiser MKE-1 lavalier on each panelist, plus a Shure SM58 or Axient handheld for audience Q&A. For keynotes with a single speaker: a DPA 4088 headset for hands-free movement, with an Axient handheld backup at the podium. Choke mics on the table only when the room and the format demand it. We tune EQ and gain per voice during sound check, never a one-size preset. See the audio mixer page for the desk-side of that chain.
Same business day for any LA-area event with a known venue and date. Send us the channel count, format (panel, keynote, concert, broadcast), and any RF or rigging constraints, and you'll have a real bid back the same day. Complex multi-stage audio scopes may need an extra 24 hours for a final patch sheet, but a budget range lands same-day.
