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── Chapter · PA Systems

Sound you can feel.

L-Acoustics K1 and K2, d&b GSL and KSL, Meyer LEO and LYON. Line arrays engineered to the room with Soundvision and ArrayCalc modeling, full FOH and monitor splits, system tech who walks the field at line check. 24-hour response.

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What we offer

Four PA categories, one crew that tunes them all.

Flagship line arrays for festival mainstages and arenas, mid-format arrays for theaters and corporate ballrooms, point-source compacts for galleries and pop-ups, and a full sub-bass and monitor inventory paired across the lineup. Every rig ships with a system tech who has flown and tuned the boxes before.

Flagship Line Arrays

L-Acoustics K1, d&b GSL, Meyer LEO. Flown 12 to 18 boxes per side for arena and festival mainstage work. SPL coverage to 200 ft from stage. Cardioid sub arrays in front of stage. Delay towers when the field runs deep.

Mid-Format Arrays

L-Acoustics K2 and Kara II, d&b KSL, Meyer LYON. 8 to 12 boxes per side for theaters, mid-cap concert venues, large ballrooms, and outdoor secondary stages. The sweet spot for 2,000 to 6,000 capacity rooms.

Compact & Point-Source

L-Acoustics Kiva II, A15, X-series, d&b V-Series and Y-Series, Meyer LINA and UPQ. For galleries, fashion shows, small ballrooms, corporate breakouts, and brand activations under 1,500 capacity.

Subs & Monitors

L-Acoustics KS21 and KS28 subs, d&b SL-Series subs, Meyer 900-LFC. Stage monitor wedges (L-Acoustics X12, d&b M4, Meyer MJF-212A) plus full in-ear monitor rigs with Shure PSM1000 or Sennheiser 2000-series IEMs.

Brand Catalog

The PA brands we stock by name and box.

No substitutions on bid day. Tour-touring riders that specify a brand get that brand.

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L-Acoustics — K-Series and Kara

K1 (flagship), K2 (mid-format), Kara II (compact line source), Kiva II (ultra-compact), A15 (variable-curvature). KS21 and KS28 subs in cardioid configurations. Driven by LA-Network amplification with Soundvision prediction software for every fly. We stock enough K-Series in LA to cover two mainstages plus a B-stage simultaneously.

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d&b audiotechnik — GSL, KSL, SL-Series

GSL (flagship line array), KSL (mid-format), V-Series and Y-Series for theaters and corporate, SL-Series subs with cardioid steering. ArrayCalc and ArrayProcessing for every fly. Driven by D80 amplifiers. The d&b box is the tour-rider standard across half the touring acts working out of LA, and we stock it accordingly.

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Meyer Sound — LEO, LYON, LINA

LEO Family flagship arrays, LYON compact array, LINA ultra-compact. 900-LFC and 1100-LFC subs. Galaxy processors and MAPP modeling. Meyer is the science-club choice for venues where coverage uniformity and phase coherence matter — broadcast halls, theaters, immersive installs.

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Monitor & IEM systems

L-Acoustics X12 wedges, d&b M4 and M6, Meyer MJF-212A — the touring monitor standards. Shure PSM1000 wireless IEM rigs with SE846 universal-fit earbuds, Sennheiser 2000-series IEMs for budget-tier riders, and a full custom-mold IEM coordination service when the band brings their own ear molds.

Room Scaling & FOH/Monitor Splits

The rig sized to the seat, not the sales sheet.

PA scope is a function of capacity, room geometry, format, and rider — and we model every show before truck call.

Capacity to box count. Under 1,500 capacity: compact arrays — Kara II, Y8, LINA — 6 to 10 boxes per side, point-source fills under the line. 1,500 to 4,000 capacity: mid-format — K2, KSL, LYON — 8 to 12 per side, more sub, front fills tuned to the first three rows. 4,000 to 10,000 capacity: flagship — K1, GSL, LEO — 12 to 16 per side, cardioid sub arrays, delay rings for deep fields. 10,000+ capacity: flagship plus delay towers and side hangs, paired with a system tech who walks the field with a measurement mic at line check.

FOH and monitor splits. For most shows we run a digital split — a single multitrack split feeds the FOH console and the monitor console over Dante, MADI, or DiGiCo Optocore. Each engineer has independent gain control on their channel of the split. For touring shows that bring their own desks, we provide a passive analog split or a digital split delivered as the rider specifies. Stage box preamps run a digital snake to FOH so cable-length signal loss is zero on shows with long throws.

Coverage modeling and tune-up. Every fly gets a Soundvision (L-Acoustics) or ArrayCalc (d&b) model before truck call. We verify SPL coverage, horizontal and vertical splay, and headroom at every seat. On show day, the system tech walks the room with a measurement mic and an iPad running SMAART, ringing out frequency response and aligning subs and tops. The tune-up is logged and saved with the show file. For touring shows, we hand the file off to the visiting engineer at line check.

Outdoor and weather coordination. Outdoor festival PA needs ground-support towers or certified flown rigs signed for wind load. We bring our own rigger when the venue doesn't supply one. Weather monitoring is on the system tech's call sheet — we pull boxes off the tower if wind hits the certified limit, and we have weather covers on standby for every K-Series and GSL box we ship outdoor.

── How we scope it

Every PA is engineered to its room.

We don't publish a rate card because two rooms with the same capacity rarely need the same PA. What drives the number: capacity and geometry, the touring rider's brand requirement (K1 versus GSL versus LEO is not a substitution), sub count and configuration (cardioid pulls more cabinets), monitor format (wedges versus IEMs versus both), FOH/monitor desk scope, delay towers, 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 — PA, mixers, mics, monitors all live in one inventory so we can quote the whole signal chain end to end.

Send us a brief Full service list
Where We Deploy

Line arrays across greater Los Angeles.

Our LA dispatch covers every working venue from the harbor up through Pasadena — we know the rigging load capacities, the FOH positions, and the power infrastructure venue by venue.

PA system rental in DTLA PA system rental in Hollywood PA system rental in Burbank PA system rental in Beverly Hills PA system rental in Santa Monica PA system rental in Pasadena
Markets We Cover

Same boxes, different rigs.

Same K1 hang, very different show file between a touring concert, a Fortune 500 keynote, a film premiere, and a black-tie wedding.

Concerts & Festivals Corporate Events Film, TV & Premieres Weddings & Private Events
Why AnyDay Live

Three reasons crews book us back.

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Modeled before truck call

Every fly gets a Soundvision or ArrayCalc prediction before the panels leave the shop. Coverage, headroom, and splay verified at every seat before we even load the truck. Full service list.

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System tech walks the room

Measurement mic, SMAART, and the system tech walks every seat at line check. Sub-to-top alignment, room-mode notches, and front-fill tuning logged in the show file. How we work.

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24-hour response

Send venue, capacity, format, and rider. Real bid back inside 24 hours on a business day. Inspired? Let's work together..

FAQ

Six questions we answer every week.

Q1How do you scope a PA system for a room?

We start with venue geometry — width, depth, ceiling height, surface materials, and audience capacity — plus the format (concert, conference, festival outdoor, ballroom). From there we map a line array to the room: how many boxes per side, how much sub, where the front fills go, how the delays land. We model the prediction in Soundvision (L-Acoustics) or ArrayCalc (d&b) before truck call so we know SPL coverage and headroom at every seat. The quote follows the model.

Q2What PA brands and systems do you stock?

L-Acoustics — K1, K2, Kara II, Kiva II, A15, X-series fills, and KS21/KS28 subs. d&b audiotechnik — GSL, KSL, V-Series, Y-Series, and the SL-Series subs. Meyer Sound — LEO, LYON, LINA, and 900-LFC subs. We pick the system by the room and the rider, not by what's in stock. Tour-touring riders that specify a brand get that brand, period.

Q3How do FOH and monitor splits work on your rigs?

For most shows we run a digital split — a single multitrack split feeds the FOH console and the monitor console over Dante, MADI, or DiGiCo's optocore. Each engineer has independent gain control on their side. For touring shows that bring their own desks, we provide a passive analog split or a digital split delivered as the rider specifies. Mic preamps run on stage in a digital snake so the line loss to FOH is zero. The console side is covered on the Audio Mixer page.

Q4Can you cover outdoor festival mainstages?

Yes. Outdoor festival scale is exactly where flagship line arrays earn their cost — L-Acoustics K1 or d&b GSL flown 14-18 boxes per side with cardioid sub arrays in front of stage, plus delay towers at 80 ft and 160 ft if the field is deep. We model SPL coverage to the back of the field in Soundvision or ArrayCalc, get the rigging signed by a certified rigger, and bring our own crew for monitor world, FOH, and the system tech who walks the field at line check.

Q5What about smaller rooms — conferences and corporate?

For ballrooms and conference halls we typically deploy L-Acoustics Kara II or Kiva II, d&b V-Series or Y-Series, or Meyer LINA. Eight to twelve box arrays per side cover 1,500 to 3,000 capacity rooms cleanly with vocal-grade intelligibility — which is what conference work actually demands. We tune for speech clarity first, music second, and we walk every seat with a measurement mic before doors.

Q6How fast can you turn around a quote?

Same business day for any LA-area event with a known venue and date. Send us the venue, capacity, format (concert, festival, conference, corporate), and any rider specifying brand or channel count, and you'll have a real bid back the same day. Full SPL coverage modeling in Soundvision or ArrayCalc takes an extra 24 hours, but a budget range and a top-line system spec lands same-day.

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