AV hire and full event production overlap, but they are not the same service. AV hire gives you the sound systems, microphones, screens, lighting and other audiovisual equipment your event requires, with delivery, installation and technicians added where agreed. Full event production goes further by planning how AV, staging, lighting, content, crew and live cues work together, then managing that technical delivery through rehearsal and the live event.

At Audio Visual Hire London, we provide both. The choice usually comes down to complexity and responsibility rather than event size.

If you already have control of the running order and know what technical systems are required, AV hire may be enough. If you need one team to design, coordinate, and operate those systems as part of the wider event, full event production is likely the better fit.

What is the difference between AV hire and full event production?

The main difference is the scope of responsibility. AV hire supplies the audiovisual systems your event needs within an agreed technical scope. Full event production designs, coordinates, and operates the technical event as one connected whole, from planning through to the live show.

Area	AV hire	Full event production
Equipment	AV systems supplied	AV specified within the complete production
Technical design	Limited or agreed technical scope	Integrated production design
Staging and set	May be arranged separately	Coordinated with AV and show design
Crew	Technicians where agreed	Production manager plus specialist crew as required
Content	Usually supplied by the organiser	Formats, playback and live cues coordinated
Rehearsal	Scope-dependent	Planned where the event requires it
Live cues	May remain with the organiser	Managed within the running order
Venue liaison	Focused on agreed AV requirements	Wider technical requirements coordinated with the venue
Contingency	Based on the equipment and hire scope	Considered across the technical production

Supplier scopes vary, so the quotation should always make clear exactly what is included.

Well, it is also important not to assume that AV hire means equipment-only rental. According to the AVIXA research, professional AV technicians are responsible for setting up, operating and maintaining audiovisual systems, which is why AV hire can include skilled technical support without becoming a full production-management service.

What does AV hire actually include?

AV hire covers the audiovisual equipment your event needs, with installation and technical operation included where agreed.

Depending on the brief, that can include:

• Microphones
• PA and sound systems
• Screens and projectors
• LED video walls
• Presentation equipment
• Lighting
• Cameras
• Streaming equipment
• Delivery and installation
• AV technicians

Dry hire means equipment supplied without operators. That can work well when an organiser, venue or production agency already has an experienced technical team.

Corporate AV hire can also include technicians who deliver, install and operate the systems booked for the event. 

AV hire is often the right option for a straightforward meeting, seminar or presentation where the staging is already arranged, the content is final and only a small number of live cues are required.

The common thread is that someone on your side already owns the technical plan. Our audio visual hire service in London is designed for exactly this type of requirement.

What does a full-service event production company actually do?

A full-service event production company takes responsibility for how the technical and creative elements work together before and during the event.

When our production team takes on a brief, the journey can move through:

Brief → venue review → technical design → equipment specification → staging, screen and lighting integration → crew planning → production schedule → content and cue preparation → technical rehearsal → live operation → de-rig

Each stage affects the next.

The venue review helps shape the technical design. The design determines the equipment requirements. That specification influences the crew plan and production schedule. Rehearsal then gives the production team an opportunity to test content, cues and transitions before the audience arrives.

You are therefore not simply buying more equipment.

You are buying coordination and responsibility across the technical production.

At Audio Visual Hire London, that can bring sound, lighting, staging, screens, playback, cameras and technical crew into one production plan rather than leaving each discipline to be managed separately. Our current London production service similarly brings those elements together as part of a wider technical event-production scope.

What does full event production add beyond AV hire?

Responsibility more than equipment.

AV hire can put microphones, screens, cameras and lighting in the room. Full production answers the questions around them:

• Where should each technical element go?
• Who coordinates them?
• When does each cue happen?
• Who manages the speakers?
• Who updates the presentation content on the day?
• Who calls the winner sting?
• What happens when the running order changes?
• Who coordinates with the venue’s technical team?
• Who owns the technical production schedule?

That distinction matters once several systems need to react to the same moment.

A presenter may finish speaking, a nominee film needs to start, the lighting state changes, the winner graphic appears, walk-up music begins, and cameras follow the winner towards the stage.

The equipment can all be working correctly individually, and the system can still fail if nobody owns the transition.

The difference between AV hire and full event production is often less about how much equipment is in the room and more about who is responsible for making every technical element work together at the right moment.

Do you need AV hire or full production for an awards night?

For a straightforward internal awards presentation, AV hire may be sufficient. For an awards night with multiple presenters, nominee films, walk-up music, lighting states, cameras and tightly timed winner announcements, full event production usually provides the stronger level of coordination.

Consider two versions of the brief.

When AV hire could be sufficient

An internal company awards evening for around 80 to 100 guests might have:

• One presenter.
• One presentation deck.
• Two microphones.
• A venue-provided screen and stage.
• Limited lighting changes.
• No live cameras.
• An organiser is already controlling the running order.

AV hire with technicians could be sufficient for that brief.

When the event moves into full production

Now consider an awards night involving:

• Multiple presenters
• A branded stage
• An LED wall
• Nominee films
• Winner graphics and stings
• Walk-up music
• IMAG cameras
• Multiple lighting cues
• Live entertainment
• Stage management
• A detailed running order
• A technical rehearsal

That volume of interconnected cues has to be designed, rehearsed and called by someone.

Audience count is not the deciding factor. Cue density and responsibility are.

When is AV hire enough?

AV hire works well when the technical requirements are clear, and responsibility for the event already has a clear home.

That may be the case when:

• The event format is simple.
• Few live cues are required.
• The venue or organiser already has technical leadership.
• Presentation content is final.
• Staging has already been arranged.
• There is little coordination between technical disciplines.

AV hire is not the lesser option in those circumstances.

It is the correct service for the right brief, and adding production management to an event that does not require it creates unnecessary scope.

When should you consider full event production?

Full production becomes more useful as the number of connected technical and show elements increases.

Consider it when your event has:

• Several technical disciplines are working together.
• A detailed running order.
• Multiple speakers or performers.
• Time-sensitive presentation or video cues.
• Lighting changes throughout the event.
• IMAG cameras.
• Live streaming.
• Stage or scenic design that needs to integrate with screens and lighting.
• Formal rehearsals.
• Complex venue access or installation requirements.
• There is a need for one production team to own the technical delivery.

Again, complexity matters more than prestige.

A relatively small product launch with a tightly choreographed reveal may require more production management than a much larger corporate meeting with one speaker and a single presentation deck.

Does full event production replace the event organiser?

No. Full event production and full event management are different responsibilities.

The organiser may still manage:

• Guest management
• Catering
• Event objectives
• Agenda ownership
• Venue relationship
• Speaker and stakeholder communication
• Wider logistics

The production team focuses on the technical delivery, including:

• AV
• Staging
• Technical design
• Production crew
• Presentation playback
• Show cues
• Rehearsals
• Live technical operation

The two roles work together, and the exact split changes according to the brief.

That is why responsibilities should be agreed upon during planning. Calling a service “full production” should not leave the organiser assuming catering, delegate management or other event-management functions are automatically included.

AV hire vs full production: which should you choose?

Choose AV hire when you know what technical systems you need and already have the people and processes required to manage the event. Consider full event production when you want one production team to design, coordinate and operate the technical event from planning through live delivery.

If you are unsure, the most useful question is not:

“How much equipment does our event need?”

It is:

“Who is responsible for making all of these technical elements work together?”

If your answer is the organiser, venue or an existing production team, AV hire may be enough.

If you want that responsibility to sit with one technical partner, you are moving towards full event production.

Once you have established that production support is required, our guide to choosing an event production company can help with the next stage of the decision.

Two services, one question of responsibility

AV hire and full event production are not competing good and better options. They solve different levels of responsibility.

AV hire is appropriate when you already control the production plan and need the equipment and agreed technical support delivered properly. Full event production becomes valuable when multiple technical and show elements must be designed, coordinated, rehearsed, and operated together.

At Audio Visual Hire London, we provide both AV hire and full event production in London. If you share the venue, event format, and running order with our team, we can determine how much technical support the brief actually requires and build the scope around that, rather than adding production services the event doesn’t need.

FAQs

Is full event production more expensive than AV hire?

Full event production usually covers a wider scope than AV hire alone because planning, technical design, production management, additional crew and live show operation may sit alongside the equipment. Headline prices are therefore not always directly comparable. Two quotations may have very different totals because they include different levels of responsibility. Compare what each quotation actually includes against the needs of your event.

Can I hire AV equipment and technicians without booking full event production?

Yes. AV hire can include delivery, installation, and technicians operating the equipment during your event without requiring a full production-management service. That arrangement works well when you already have the running order and simply need reliable AV systems with experienced operators. Professional AV technicians commonly set up and operate equipment such as microphones, projectors, displays, sound systems and lighting.

How early should I involve an event production company?

Bring the production team in early enough to review the venue, access, stage plan, content and technical requirements before major decisions become difficult to change. Production input is particularly useful while the room layout, staging, screen positions and running order can still be shaped. There is no universal lead time because the right point depends on the venue, event format and technical complexity.

A six-person panel does not automatically need six microphones.

There may also be a moderator. Audience questions may need two roaming handhelds. A speaker may join remotely. The opening presenter may use a lectern. And if all the stage microphones are wireless, the audio team also needs enough compatible RF channels to operate them reliably.

So the useful question is not simply:

How many people are sitting on the panel?

It is:

How many speaking positions need to work, how will people move between them, and which microphones must be live at the same time?

For many professional conferences, providing a dedicated microphone for every panellist and the moderator gives the audio engineer the most control and avoids microphones being passed around during a fast conversation.

But it is a starting point, not a universal formula.

What is the basic microphone count for a panel discussion?

Start by counting every person who needs to speak on stage, including the moderator. Then add any separate audience Q&A, lectern or other speaking positions.

A simple calculation might look like this:

Panellists + moderator + audience Q&A + other speaking positions = working microphone requirement

For example:

Panel format	Possible starting point
3 panellists + moderator	4-stage microphones
4 panellists + moderator	5-stage microphones
6 panellists + moderator	7 stage microphones
6 panellists + moderator + Q&A	7 stage microphones + 1–2 audience microphones
Panel + lectern introduction	Panel microphones + 1 lectern/presenter microphone
Hybrid panel	In-room microphones + remote audio input

These are planning examples rather than fixed specifications.

Your audio supplier should confirm the final microphone and channel count after reviewing the running order, room, PA design and other wireless equipment in use.

Why does a six-person panel sometimes need eight or nine microphones?

Because microphone planning should include every speaking function around the panel, not only the people labelled as panellists.

Imagine a London conference with:

• Six panellists
• One moderator
• Audience Q&A
• One opening presenter

A practical input plan might therefore include:

6 panellist microphones
+ 1 moderator microphone
+ 2 Q&A handheld microphones
+ 1 presenter or lectern microphone

That creates ten possible microphone inputs before considering backup equipment.

Not every microphone must necessarily operate simultaneously, but the production team still needs to plan how each part of the session will work.

This is where the running order becomes much more useful than the delegate count.

Should every panellist have their own microphone?

For a professional discussion where speakers respond freely to one another, a dedicated microphone for each panellist is often the most practical approach.

It allows the audio engineer to control each voice independently.

That matters because people:

• Speak at different volumes
• Sit at different distances from the microphones
• Interrupt each other
• Turn their heads while speaking
• Laugh or respond between questions
• May contribute unexpectedly

With dedicated inputs, the operator can manage those differences without asking speakers to pass equipment around.

Shure’s guidance on conference systems supports the use of multiple microphone formats for panels and meeting environments, including handheld, bodypack, boundary and gooseneck options.

The best format still depends on the room and how the session is being run.

Can panellists share microphones?

Yes, microphones can be shared, but doing so changes the flow of the discussion and should be a deliberate production decision rather than an automatic cost-saving measure.

Sharing may work for:

• Informal discussions
• Very structured question-and-answer formats
• Small panels
• Sessions where speakers contribute one at a time
• Events where microphone channels are intentionally limited

It becomes less suitable when:

• Panellists frequently respond to one another
• People interrupt naturally
• The moderator moves quickly between speakers
• The panel is recorded
• The event is streamed
• Accurate captions or transcriptions are important

Consider a five-person panel discussing a controversial issue in the industry.

If two people respond quickly to one another while a handheld microphone is still being passed across the stage, the audience may not hear the beginning of either answer clearly.

The equipment has started dictating the conversation.

That is usually the wrong way round.

Practitioner insight: optimise for conversation flow, not microphone quantity

A microphone plan should allow the panel to behave naturally.

Reducing six microphones to three may look efficient on the equipment list, but it can make the session more difficult to moderate and mix.

The relevant question is:

Can everyone contribute when the discussion requires it, without creating avoidable audio gaps?

Do you count the moderator separately?

Yes. The moderator normally needs their own microphone because they are an active participant in the session rather than simply someone who introduces it.

The moderator may need to:

• Introduce panellists
• Ask questions
• Interrupt or redirect discussion
• Manage timings
• Introduce audience Q&A
• Speak while a panellist is still finishing
• Move around the stage

Sharing a panellist’s microphone with the moderator can therefore make the session awkward.

If the moderator moves between the stage and audience, microphone choice becomes especially important.

A wireless handheld may give them flexibility. In other formats, a lapel or headset plus separate audience microphones may work better.

How many microphones do you need for audience Q&A?

Audience Q&A usually needs at least one dedicated method for getting questions into the PA, recording and stream, with two roaming microphones often useful in larger rooms.

There are several workable approaches.

One roaming handheld

Suitable where:

• The audience is relatively small
• Q&A is short
• One microphone runner can reach questioners quickly

Two roaming handhelds

Useful where:

• The room is wider
• There are several seating blocks
• Q&A is a substantial part of the programme
• The moderator wants the next question ready quickly

While one attendee is asking a question, the second runner can move towards the next.

Fixed aisle microphones

These can work where delegates are comfortable leaving their seats and the room layout provides sensible locations.

Shure’s professional audio guidance identifies bringing a microphone to the audience member or providing a fixed microphone position as practical ways of handling questions during panel discussions.

Common mistake: assuming the room microphones will pick up audience questions

A person asking a question from row 12 should not be expected to “just speak loudly”.

The question may need to reach:

• The room PA
• Panellists
• Recording
• Remote viewers
• Captions
• A remote speaker

Give the audience Q&A its own audio plan.

Which microphone type is best for panellists?

There is no single best panel microphone. Choose the format based on movement, furniture, room acoustics, speaker behaviour, camera requirements, and production workflow.

Three common options are:

Microphone type	Useful when	Main consideration
Lavalier/lapel	Panellists need hands-free and minimal visible equipment	Placement, clothing noise and gain before feedback need attention
Handheld	Speakers can hold the microphone consistently	Requires good microphone technique
Table/gooseneck	Formal seated panels or conference-table formats	Requires suitable furniture and positioning
Headset	Strong, consistent close-miking is important	More visible and requires individual fitting

Lavalier microphones

A lavalier, often called a lapel microphone, is a small microphone attached to the speaker’s clothing.

It keeps both hands free and looks good on many corporate panels.

However, placement matters. Jackets, necklaces, scarves and other clothing can affect the microphone, so allow time before the session to fit and test each presenter.

Wireless handheld microphones

Handhelds can provide strong speech pickup when they are held correctly.

They are particularly useful for:

• Audience Q&A
• Moderators who move around
• Short guest contributions
• Speaker changes where fitting bodypacks would be impractical

The limitation is human behaviour.

Someone who holds the microphone at chest height, rather than close to their mouth, will produce a different result than someone using it properly.

Table and gooseneck microphones

These can suit formal panel tables, boardroom-style events and discussions where speakers remain in fixed positions.

Shure’s current conference systems support handheld, bodypack, boundary and gooseneck microphone formats specifically for changing meeting and panel arrangements.

The choice should follow the format rather than fashion.

Does a remote panellist need another microphone?

A remote panellist does not normally add a physical microphone on the London stage, but they do add another audio source that must be managed correctly.

Their audio may enter through:

• Microsoft Teams
• Zoom
• Another conferencing platform
• A dedicated remote contribution system

The production team must then consider:

• What the remote speaker hears
• What the room hears
• What the stream hears
• Echo control
• Return audio
• Remote questions
• Backup communications

For a hybrid event, the audio engineer may therefore be managing seven physical stage microphones plus an eighth remote input.

Audio Visual Hire London’s verified hybrid streaming service includes remote participation alongside wider conference production capabilities. The company’s core service pages also confirm that live microphones and on-site engineering are part of its conference AV work.

Does recording or streaming change the microphone count?

It may not change the number of people speaking, but it increases the importance of giving each important source a clean, controllable audio path.

In the room, a quiet comment may sometimes be partially understood by people sitting near the speaker.

That does not mean it will work in a recording.

Remote viewers cannot compensate by turning towards the panellist or using visual cues from the room.

Dedicated microphone channels also give the production team greater control over:

• Recorded levels
• Streaming mix
• Individual speakers
• Remote contributors
• Captions
• Post-production

Shure’s production guidance notes that individually controlled microphones can be particularly useful when speech needs to be recorded separately, rather than simply combining every open microphone into one uncontrolled mix.

Why not leave every microphone open throughout the panel?

Because every open microphone also captures some room sound, and several simultaneously open microphones can make the mix harder to control.

The solution is not to remove microphones from panellists who need them.

It is to manage the inputs properly.

An audio engineer may:

• Open the relevant microphone as a person speaks
• Reduce unused channels
• Apply suitable processing
• Use automatic mixing where appropriate
• Manage panel levels throughout the session

This is one reason microphone count and audio operation should be considered together.

Seven microphones on stage are seven sources that need to form one intelligible audience mix.

What is RF coordination, and why does microphone count matter?

RF coordination is the process of planning wireless frequencies so multiple radio microphone systems can operate together without avoidable interference.

This becomes increasingly important as the number of wireless channels grows.

Shure explains that wireless systems operating simultaneously require separate compatible frequencies and that the available channel count depends on the equipment and RF environment. Its Wireless Workbench platform is specifically designed to scan the spectrum and coordinate multiple wireless devices.

That is why there is no responsible universal statement such as:

“Every venue can safely run 12 wireless microphones.”

The answer depends on factors including:

• Wireless system
• Frequency range
• Other microphones onsite
• Nearby rooms
• Other wireless equipment
• Available spectrum
• Licensing
• Local RF conditions

Shure also points out that wireless systems operating in nearby rooms can affect the frequency plan even when those systems are not physically inside your event room.

London-specific consideration: do not plan wireless channels in isolation

A hotel or conference centre may have several events operating simultaneously.

Your seven panel microphones may therefore be only part of the building’s wireless inventory.

Ask the AV team whether any other wireless systems need to be considered when planning frequencies.

Audio Visual Hire London states that the microphones used for its conference work are RF-scanned before doors, and its verified conference equipment includes Shure ULX-D digital wireless systems.

Do wireless microphones need a licence in the UK?

Some wireless microphone frequencies are licence-exempt, while others require an appropriate Ofcom licence, so the technical team must ensure the system operates lawfully within the spectrum being used.

Ofcom currently identifies three broad routes for wireless microphones and monitors:

• Licence-exempt spectrum
• UK wireless microphone licensed frequencies
• Coordinated frequencies licensed for a particular location

Ofcom’s PMSE guidance explains that licences and frequency coordination are used to manage spectrum and reduce interference between users. Its detailed technical information was updated in February 2026.

For an event planner, this is not an invitation to choose frequencies yourself.

Ask the AV supplier:

Who is responsible for RF planning and any required PMSE licensing?

That is the commercially useful question.

Should you include a backup microphone?

A spare is sensible where losing a microphone would materially disrupt the session, but backup planning does not necessarily mean duplicating every microphone on stage.

The appropriate contingency depends on the event.

Options may include:

• Spare handheld microphone
• Spare transmitter
• Spare lavalier capsule
• Fresh batteries or charged packs
• Alternative wired microphone
• Spare coordinated wireless channel

Imagine that the CEO is one of five panellists.

Their bodypack develops a fault two minutes before the session begins.

The fastest recovery may be handing them a prepared wireless handheld while the original system is checked.

That is more useful than having spare equipment stored somewhere backstage without a defined recovery plan.

What happens when panellists change between sessions?

Changing speakers can reduce or increase the equipment requirement depending on whether microphones can be safely and practically reassigned between sessions.

Suppose the programme contains:

Panel 1: five panellists + moderator
Panel 2: six different panellists + moderator
Turnaround: five minutes

You could theoretically reuse bodypack transmitters.

Operationally, however, the production team would need to:

• Remove microphones
• Refit them to new speakers
• Check placement
• Confirm batteries
• Check levels
• Complete the transition within five minutes

That may be unrealistic.

A longer turnaround could make reuse straightforward.

Again, the running order determines the equipment plan.

A practical microphone-counting framework

Build the microphone requirement from the event format rather than choosing a number first.

Use this sequence:

1. Count stage speakers

Include:

• Panellists
• Moderator
• Host
• Lectern speaker where separate

2. Decide who needs a dedicated microphone

Consider whether sharing would interrupt the discussion.

3. Add audience Q&A

Determine whether you need:

• One roaming microphone
• Two roaming microphones
• Fixed audience positions

4. Add remote contributors

These may not require physical microphones, but they do require audio channels and monitoring.

5. Review speaker changes

Can microphones be reassigned between sessions without compromising the programme?

6. Decide on contingency

Identify what happens if a working microphone or transmitter fails.

7. Confirm RF capacity

The audio team should coordinate the complete wireless inventory for the venue and event.

Example: six-person panel

Requirement	Channels/inputs to consider
Six panellists	6
Moderator	1
Audience Q&A	2
Remote panellist	1 audio input
Lectern introduction	1
Backup	Planned separately
Total live audio sources potentially planned	11

This does not mean every six-person panel needs 11 microphones.

It demonstrates why “six people equals six mics” can produce an incomplete brief.

What information should you give your AV supplier?

Send the panel format and running order before requesting the microphone quantity.

Your brief should include:

• Number of panellists
• Moderator
• Seating arrangement
• Whether people move around
• Audience Q&A
• Session duration
• Panel changes
• Remote contributors
• Recording
• Streaming
• Lectern presentations
• Venue
• Room
• Other wireless systems, if known

For a conference with multiple sessions, Audio Visual Hire London’s verified conference AV hire service covers PA and microphone design, presenter planning and onsite engineering. The company’s audio equipment hire page also lists wireless handheld, lapel, and headset microphones among its available equipment.

Common mistake: ordering microphones before finalising the panel format

Do not order “six radio mics” simply because the current speaker list contains six names.

Before confirming the quantity, ask:

• Is the moderator included?
• Is there Q&A?
• Is anyone remote?
• Does somebody introduce the panel from a lectern?
• Do panellists change later?
• Will the session be streamed?
• Is it recorded?
• How much changeover time is available?

These questions frequently reveal the real microphone requirement.

The most useful AV brief is therefore not:

Six-person panel. Six lapel microphones required.

It is:

Six panellists plus moderator, seated throughout. Twenty-minute audience Q&A afterwards. Two panellists change for the next session. One remote contributor joins via Teams. The session is recorded and streamed.

Now the audio team can design the system.

FAQs

How many microphones do I need for a five-person panel?

A five-person panel will often start with five dedicated microphones, plus one for the moderator if the moderator is not included in that count. Audience Q&A may require one or two additional handhelds. The final requirement depends on microphone type, programme flow, recording, streaming and whether microphones are shared or reassigned.

Does the moderator need a separate microphone?

Usually, yes. The moderator asks questions, manages transitions and may need to speak while panellists are responding. A dedicated microphone gives the audio operator independent control and avoids the need to pass equipment between the moderator and speakers.

Is one microphone per panellist better than sharing?

For fast, conversational panels, individual microphones normally make discussion easier because speakers can respond without waiting for equipment to be passed around. Sharing can still work for highly structured or informal sessions. The right choice depends on programme style, budget, production requirements and how frequently panellists interact.

Are lapel microphones good for panel discussions?

Lapel microphones can work very well because they leave speakers’ hands free and remain visually discreet. However, they require proper fitting, clothing considerations, and an audio setup. Handheld, headset or table microphones may be more suitable for some rooms and panel formats.

How many audience Q&A microphones do I need?

One roaming handheld may be enough for a smaller audience or a short Q&A. Two can improve the pace in larger rooms because the second microphone runner can move towards the next question while somebody is speaking. Room layout and session length should determine the final number.

Do wireless microphones need frequency coordination?

Yes, when multiple wireless systems are operating together, compatible frequencies need to be planned. The requirements depend on the equipment, local RF environment and other wireless systems nearby. In the UK, the production team should also ensure that any required Ofcom PMSE licensing is in place.

Conclusion

The right number of microphones for a panel discussion is not determined by the number of chairs on stage.

Start with every person who needs to speak.

Then account for:

Moderator → audience Q&A → remote contributors → lectern speakers → panel changes → recording → streaming → backup → RF coordination.

For a simple four-person discussion, the answer may genuinely be four or five microphones.

For a six-person hybrid panel with a moderator, audience questions and an opening presentation, the audio plan can involve considerably more inputs.

The aim is not to maximise the number of microphones.

It is to give every required speaker a reliable route into the room, recording or stream without forcing the equipment to dictate how the conversation works.

If you are planning a panel discussion in London, send Audio Visual Hire London the venue, running order, number of panellists, moderator and Q&A format so the microphone and PA requirements can be specified around the actual session.

The ballroom may look perfect on the floor plan.

Then the AV team arrives and discovers that the LED screen cannot travel through the service route, the technical desk blocks a fire exit, or the loading slot ends before the equipment is fully inside.

That is exactly what an AV site visit is designed to prevent.

A technical site visit is not simply a chance to look at the event room. It is where the planner, venue and production team test the event plan against the physical building.

For a London event, the useful route is often:

Loading bay → service lift → room access → stage → power → internet → rigging → screens → sound → FOH → rehearsal → get-out.

HSE guidance recommends carrying out a preliminary venue assessment once the event concept is understood, including consideration of access, infrastructure, structures and the people who will work in the space.

Here is what event planners should check.

What is an AV site visit?

An AV site visit is a technical walkthrough of the venue used to verify whether the planned sound, video, lighting, staging and production setup will work in the actual space.

The production team may review room dimensions, access, power, rigging, internet, sightlines and operational timings.

The aim is to replace assumptions with confirmed information.

For a small meeting in a familiar room, a remote survey and accurate venue documentation may sometimes provide enough information.

For a larger conference, awards show, hybrid production or complex installation, physically walking the venue can reveal constraints that are difficult to identify from photographs and floor plans alone.

Audio Visual Hire London states that its venue planning includes surveys, CAD drawings, get-in scheduling and venue liaison, while its conference workflow includes a venue walkthrough during pre-production.

When should you conduct an AV site visit?

Conduct the site visit early enough so that anything discovered can change the production plan without requiring a last-minute redesign.

Ideally, the main event format should already be reasonably clear.

The team should know the approximate

• Audience size and room layout
• Stage requirements
• Screen or display approach
• Speaker and panel format
• Streaming or recording requirements
• Event timings
• Production scale

The specification does not need to be final.

In fact, one purpose of the visit is to determine what should be changed before it becomes final.

A site visit completed after every technical decision has already been approved is less useful because the team may be reluctant or unable to alter the design.

1. Check the room dimensions against the proposed layout

Start by confirming that the physical room matches the information used to design the event.

Do not rely solely on published capacity.

Check the usable area once you account for:

• Stage
• Screens
• Loudspeakers
• Lighting
• Camera positions
• FOH technical desk
• Delegate seating
• Catering
• Registration
• Accessibility routes
• Emergency routes

A room advertised for several hundred guests may technically hold that number in one seating configuration, but your production footprint may reduce the usable space.

HSE advises organisers to consider the capacity needed for the audience, staff and contractors, as well as circulation and emergency arrangements.

Check the latest floor plan

Ask the venue whether the drawing you have is up to date.

Then compare it with the physical room.

Columns, low ceilings, built-in bars, doors, fixed furniture and architectural features can all affect the technical layout.

The site visit should either validate the existing plan or produce information for a revised one.

2. Walk the complete loading route

Do not inspect only the event room. Walk the route for every flight case, screen component and piece of staging from the vehicle to its final position.

This is one of the most useful checks for London events.

Start outside the building.

Confirm:

• Where production vehicles arrive
• Where they wait
• Where equipment is unloaded
• How far must the equipment be pushed
• Whether security controls access
• Which entrance contractors use
• Whether another event shares the loading area

Then physically follow the route into the room.

Practitioner insight: measure the route, not only the stage

A planned LED wall may fit perfectly on the stage.

That does not help if the largest transport case cannot fit through a door or into the service lift.

The narrowest point between the truck and the stage can be more important than the dimensions of the ballroom itself.

This is the type of operational detail a generic event floor plan often misses.

3. Check service lifts, doors and internal access

Confirm that the equipment can move through every lift, doorway, corridor and turn between loading and setup.

Where dimensions could become restrictive, record them.

Useful measurements include:

• Lift-door width and height
• Internal lift dimensions
• Maximum permitted lift load
• Door widths
• Corridor widths
• Low ceiling points
• Tight corners
• Steps or changes in level

Also ask whether the service lift is shared with catering, housekeeping or other suppliers.

A lift may physically accommodate the equipment but still cause delays if several departments need it during the same get-in.

Audio Visual Hire London’s own London venue guide illustrates how much this can vary between buildings, referring to service-lift constraints at some venues and building security and lift procedures at corporate locations.

4. Confirm the real setup window

The available build time should be confirmed with the venue rather than inferred from the event start time.

Ask:

When can the first production vehicle arrive?

Then establish when:

• Loading begins
• The room becomes available
• Staging can start
• Rigging can start
• AV equipment can enter
• Sound checks can begin
• Speakers can rehearse
• Catering needs access
• Doors open

Several departments may need the same room during the final hours before the event.

If staging is still being built, catering is dressing tables, and the AV team is trying to focus lights simultaneously, the nominal six-hour setup window may contain considerably less useful technical time.

Work backwards from doors open

Do not think:

We have access at 08:00.

Think:

The room must be technically ready by 15:30 for a 16:00 rehearsal and 17:00 doors.

Then work backwards through testing, installation and loading.

5. Check the venue power information

The site visit should establish what power is available and where it is available, but electrical distribution should be designed and handled by competent technical personnel.

The organiser does not need to calculate or build a temporary electrical system.

The AV team does need accurate information about:

• Available supplies
• Supply locations
• Venue restrictions
• Existing equipment shares those supplies
• Stage and FOH positions
• Cable routing
• Isolation requirements, where applicable

HSE states that temporary event electrical installations and equipment should be properly selected, installed and maintained. Its planning guidance specifically highlights layout, power requirements, mains access and safe cable routing.

This becomes increasingly important where an event includes large video systems, extensive lighting, staging or multiple technical departments.

6. Test the internet where the event depends on it

If streaming, video conferencing, remote presenters or cloud-based workflows are critical, verify the event connection rather than relying on “the venue has Wi-Fi”.

The relevant question is not simply whether internet access exists.

The production team may need to understand the following:

• Wired connectivity
• Connection location
• Dedicated versus shared service
• Available upload performance
• Network restrictions
• Firewall requirements
• Login procedures
• Static IP requirements, where relevant
• Backup connectivity options

Test from the position where the streaming or production equipment will actually operate.

A speed test from the venue lobby says little about the connection available at FOH inside the event room.

For a production involving remote participants, these checks should form part of the wider hybrid streaming plan rather than being left until show day. 

7. Confirm rigging possibilities before designing around them

Never assume equipment can be suspended simply because the room has a high ceiling or visible structural points.

Rigging depends on venue approval, structural capacity, permitted positions, loads, working methods and competent personnel.

During the visit, establish:

• Whether rigging is permitted
• Who provides the primary rigging points
• Where approved points exist
• Permitted loads
• Required drawings
• Approval deadlines
• Access equipment requirements
• Who must perform the work
• Whether ground-supported alternatives should be considered

HSE guidance on work at height states that the work should be properly planned, appropriately supervised and carried out by competent people using suitable equipment.

London venue rules can differ materially

Do not apply one venue’s rigging process to another.

For example, ExCeL London’s current published guidance requires detailed plans and load information for rigging and reserves the right to reject proposals exceeding structural limitations. Its documentation also specifies venue approval and competent rigging procedures.

That is one venue’s documented process, not a rule for every venue in London.

Always obtain the requirements for the venue you are actually using.

8. Check screen positions and audience sightlines

A screen position is only suitable if the intended audience can see the important content clearly.

Stand in different parts of the room.

Check:

• Rear seats
• Side seats
• Seats close to the stage
• Seats behind columns
• Positions around cabaret tables
• Balcony or raised areas where relevant

Think about what will actually appear on screen.

A presentation containing financial tables, schedules or detailed diagrams may require more usable image size than slides built around large photography and short headlines.

Look for physical obstructions

Possible issues include:

• Columns
• Chandeliers
• Low ceilings
• Lighting truss
• PA positions
• Cameras
• Stage scenery
• Decorative structures

Audience headcount alone cannot determine the display design.

Viewing distance, room width, content and sightlines need to be considered together.

9. Listen to the room before planning the sound system

Sound planning should respond to the room’s acoustics, shape and programme rather than being based only on the number of delegates.

Walk the space and consider:

• Long or wide room geometry
• High ceilings
• Hard reflective surfaces
• Glass
• Curtains
• Dividing walls
• Balconies
• Adjoining spaces
• Background noise
• Venue sound restrictions

A long room may need a different coverage strategy from a compact room with the same attendance.

Similarly, a conference dominated by speeches requires particularly good intelligibility, while an awards dinner featuring walk-up music or live entertainment introduces different requirements.

Ask where loudspeakers can be positioned without compromising screens, sightlines, audience movement or venue restrictions.

10. Choose the FOH technical position before seating is finalised

FOH should be planned as an operational position, not squeezed into whatever space remains after the seating plan is approved.

‘FOH’ means ‘front of house’, the technical control position from which audio, video and lighting may be operated during the event.

The right location depends on the production.

For example, the sound engineer may need to hear approximately what the audience hears, while video and show-control operators need reliable sight of the stage and presentation output.

Check:

• View of the stage
• Audio monitoring
• Space for control equipment
• Power
• Network connectivity
• Cable access
• Security
• Audience circulation
• Working space behind the desk

For complex conference AV production, the technical desk should be incorporated into the scaled room plan rather than treated as an afterthought.

11. Plan cable routes before the room fills with people

Cable routes must work for both the equipment and the people using the venue.

Identify how connections will run between:

• Stage
• Screens
• Loudspeakers
• Cameras
• FOH
• Streaming position
• Backstage
• Power sources

Then compare those routes with:

• Doors
• Fire exits
• Delegate walkways
• Catering routes
• Accessible routes
• Staff circulation

HSE electrical guidance specifically recommends routing cables to minimise trip hazards and mechanical damage.

Do not leave cable routing until equipment is already on the floor.

By that point, the easiest technical route may conflict with the audience plan.

12. Confirm rehearsal, show-day and get-out timings

The site visit should finish by confirming how the production will operate over time, not just where equipment will be placed.

Ask the venue and production team to align on:

Get-in → Build → Test → Rehearsal → Doors → Live event → De-rig → Load-out

Check specifically:

• When presenters can enter the room
• When microphones can be sound-checked
• When presentation files can be tested
• When lighting can be focused
• Whether remote contributors can rehearse
• When doors must open
• When the event must finish
• When the de-rig may start
• When vehicles can return
• When the venue must be completely clear

HSE makes it clear that event safety management applies during setup and breakdown, as well as while the event is live, with coordination required among the people working on site.

That operational window should therefore be agreed upon before the final production schedule is issued.

What should you photograph during an AV site visit?

Photograph anything the technical team may need to remember when they are designing the event away from the venue.

Useful records include the loading entrance, service lift, access route, room from several angles, ceiling, stage area, power locations, potential screen positions, FOH position and cable routes.

Include something that provides scale where useful.

Avoid relying on photographs alone for critical dimensions. Record measurements separately and identify what each measurement refers to.

It is also useful to photograph venue labels or reference numbers on power, data or access points so the technical team can discuss the correct location later.

What documents should you collect from the venue?

Collect the latest technical information before leaving so the AV company can convert observations into a workable production plan.

Depending on the event, this may include the current floor plan, technical specification, supplier guidance, access instructions, rigging information and relevant venue contacts.

For complex builds, also establish what documents the venue expects from suppliers.

HSE advises clear liaison where control of a venue is shared between organisers and venue management. Responsibilities and safety-related information should be understood rather than assumed.

At ExCeL London, for example, current organiser guidance identifies the need for documentation, including scaled floor plans, risk assessments, and additional information for complex structures and rigging.

Again, requirements should be checked directly with your chosen venue.

Common mistake: inspecting the room but not the building

A site visit fails if everybody spends 45 minutes discussing the stage and five minutes checking how the production reaches it.

Consider a hypothetical 300-person London conference.

The proposed design includes:

• Large central video display
• Stage
• Seven-person panel
• Audience Q&A
• Camera coverage
• Hybrid stream

The ballroom itself accommodates the design comfortably.

During the site visit, however, the team discovers that the equipment route includes a smaller service lift, a tight internal turn and a loading window shared with catering.

The technical design may still work.

But the build sequence, equipment packaging, crew call and delivery schedule may need to change.

Finding that four weeks before the event is the planning phase.

Finding it during load-in is a problem.

AV site visit decision checklist

Do not approve the final technical design until the site visit has answered the questions that could change equipment, labour, timing or cost.

Check	Question to answer	Why it matters
Room	Does the planned layout physically fit?	Determines usable production space
Loading bay	Where and when can vehicles unload?	Affects logistics and crew timing
Internal route	Can all equipment reach the room?	Prevents access problems
Setup time	Is there enough usable build time?	Affects crew and production schedule
Power	Is a suitable supply available where needed?	Influences technical design
Internet	Is the required connection available and tested?	Critical for hybrid/streamed events
Rigging	What may be flown, and who approves it?	Affects lighting, audio and screens
Sightlines	Can delegates see the content?	Determines display placement
Sound	What does the room geometry/acoustic environment require?	Influences PA design
FOH	Where will operators work?	Affects show control
Cables	Can routes be installed safely?	Affects layout and circulation
Rehearsal/get-out	Are operating times confirmed?	Determines the crew and venue schedule

If several answers remain “TBC”, the technical specification probably still contains assumptions.

Do you need the AV supplier at the venue site visit?

For technically significant events, involving the AV supplier is usually valuable because they can evaluate production implications while the venue team is present.

An experienced technical representative can ask questions about:

• Access
• Rigging
• Power
• Existing AV
• Internet
• FOH
• Screen placement
• Audio coverage
• Build timings

This reduces the risk of the planner becoming a messenger between two technical teams.

Audio Visual Hire London states that it has worked across more than 200 London venues and offers site visits for venues it does not already know, alongside venue liaison and technical planning.

For a more complex event, this may sit within a broader full event production process covering venue surveys, CAD, logistics, crew, rehearsals and live operation.

What should happen immediately after the site visit?

Convert what was learned on-site into an updated plan while the information is still current.

The production team should update relevant working documents, which may include:

Floor plan → technical design → equipment schedule → crew schedule → get-in plan → rehearsal schedule → get-out plan

Any unresolved question should have an owner.

For example:

Venue: Confirm approved rigging locations.
AV supplier: revise screen position.
Planner: provide final panel numbers.
IT team: confirm dedicated internet service.

A site visit is only valuable if the decisions made during it reach the people building the event.

FAQs

What should I check during an AV venue site visit?

Check the room dimensions, loading access, service lifts, internal equipment route, available setup time, power, internet, rigging restrictions, sightlines, sound considerations, FOH position, cable routes and rehearsal and de-rig windows. Also confirm which AV equipment or technical infrastructure the venue already provides.

How long does an AV site visit take?

There is no universal duration. A single straightforward meeting room can be assessed much faster than a multi-room conference, awards production or hybrid event. Allow enough time to inspect both the event space and the complete operational route, including loading, lifts, backstage areas and technical positions.

Do I need a site visit if the venue provides a floor plan?

Not always, but a floor plan does not reveal every operational detail. It may not show loading arrangements, service-lift constraints, temporary obstructions, cable routes, acoustic conditions or how different suppliers share access. For complex events, a physical walkthrough can validate information that drawings alone cannot provide.

Who should attend an AV site visit?

Useful attendees may include the event planner, venue event manager and a representative from the AV or production company. More complex events may also require specialists responsible for staging, rigging, streaming, lighting or other technical disciplines. The right group depends on the scope of production.

Should the internet be tested during a venue walkthrough?

Yes, when the event depends on streaming, remote speakers, video conferencing or other network-critical systems. Test the relevant connection from the position where the technical equipment will operate, and clarify whether the service is dedicated or shared. Discuss resilience requirements with the production team rather than assuming standard guest Wi-Fi is suitable.

What should I ask a London venue about AV access?

Ask where production vehicles unload, whether booking is required, which contractor entrance and service lift are used, when the event room becomes available and when equipment must be removed. Also, confirm the security procedures and whether the loading facilities are shared. Exact arrangements vary by venue, so obtain them directly from the venue team.

Conclusion

A useful AV site visit answers more than the following:

Where should the stage go?

It establishes whether the production can physically enter the venue, whether the technical design works in the room, how equipment will be powered and connected, where the crew will operate and whether there is enough time to build, test, rehearse and remove everything properly.

For London events, pay particular attention to the route between the loading point and the event room.

Check the building, not only the ballroom.

That single principle can expose access, timing and production issues while there is still time to solve them.

If your London venue is already booked, share the venue, room, event date, audience size and current running order with Audio Visual Hire London to discuss whether a technical site visit is needed before the AV design is finalised.

Two AV companies receive the same event brief.

One quotes £8,000.

Another quote is £11,500.

It is tempting to conclude that the first supplier is cheaper. But what if the £8,000 proposal covers equipment and setup only, while the other includes show technicians, rehearsal, transport, de-rig, backup systems and technical management?

You are no longer comparing £8,000 with £11,500.

You are comparing two different scopes.

That is the central rule when reviewing AV hire quotes in London: make the scope comparable before comparing the price.

AV proposals can be structured in very different ways. Equipment may be itemised individually, bundled into packages or included within a production fee. Crew may be charged separately. Setup and de-rig hours may be estimated differently. Venue charges, overtime and specialist services may sit outside the headline figure.

The following 12 checks will help you understand what you are actually buying before choosing an AV supplier.

Why can AV hire quotes for the same event be so different?

AV quotes can vary substantially because suppliers may make different assumptions about equipment, labour, event complexity, access, rehearsal, contingency and technical responsibility.

A quotation is not simply a price list. It is a priced interpretation of your event brief.

One supplier may assume:

• Four hours for setup
• One technician onsite
• No rehearsal
• Venue internet supplied separately
• Basic presentation playback
• Immediate access for de-rig

Another may allow:

• Eight hours for setup
• Dedicated audio, video and lighting operators
• A full technical rehearsal
• Backup playback
• Venue liaison
• Overnight de-rig

Both may describe their offer as “conference AV”.

The details underneath that description are what matter.

AVIXA’s guidance on AV needs assessment makes a similar underlying point: technical planning should start by understanding the actual requirements of the space, users and objectives rather than selecting technology for its own sake.

Start by putting every AV quote into the same comparison format

Before evaluating price, create one comparison sheet and transfer each supplier’s scope into the same categories.

Do not try to compare PDFs line by line. Different suppliers package services differently.

Use a structure such as this:

Scope area	Supplier A	Supplier B	Supplier C
Equipment	Included	Included	Included
Setup crew	?	Included	Included
Show crew	Extra	Included	Included
Rehearsal	Not stated	3 hours	2 hours
Transport	Included	Included	Extra
De-rig	Extra	Included	Included
Backup systems	Not stated	Included	Limited
Project management	Not stated	Included	Included
Venue charges	Excluded	Excluded	Excluded
Overtime	£?	£?	£?
Streaming	Not included	Optional	Included
Total	£X	£X	£X

The question marks are important.

They show where you need clarification before making a decision.

Practitioner insight: the least detailed quote can look the cheapest.

A short quote is not automatically a bad quote.

But a low total becomes difficult to assess if you cannot see the assumptions behind it.

A quote that explicitly includes eight crew hours, rehearsal and de-rig may initially appear more expensive than one that simply says “technician included”.

Ask what “included” actually means.

The more precisely you can establish who, what, when and for how long, the easier the comparison becomes.

1. Are all quotes pricing the same event scope?

First, confirm that every supplier is responding to the same version of your event brief.

Check:

• Event date
• Venue
• Room or rooms
• Audience size
• Seating format
• Running order
• Speaker numbers
• Event timings
• Breakout spaces
• Recording requirements
• Streaming requirements
• Set up and de-rig windows

This sounds obvious, but event details change quickly.

You may have told Supplier A about the original four-person panel, while Supplier B received the revised version with seven panellists and audience Q&A.

The second proposal may therefore include more wireless microphones, more audio channels and additional crew time.

Compare the date or version of the brief used by each supplier.

If necessary, send the final brief to everyone and request a revised quote before making the commercial comparison.

2. Does the equipment specification achieve the same result?

Do not compare equipment by quantity alone. Check what each system is expected to achieve in the room.

Two proposals might both include the following:

• PA system
• Four microphones
• Two screens
• Projector
• Lighting

That does not mean the systems are equivalent.

For sound, consider:

• Coverage across the room
• Microphone type
• Number of simultaneous wireless channels
• Mixing requirements
• Playback inputs
• Panel and Q&A requirements
• Recording or streaming feeds

For video, compare:

• Display dimensions
• Projection versus LED
• Projector output
• Screen positions
• Confidence monitors
• Video switching
• Presentation playback
• Camera feeds
• Backup signal paths

The supplier should be able to explain why the specification suits the room and programme.

If you are still assessing the technical approach, reviewing the supplier’s available AV equipment hire options can also help you understand whether the proposal is equipment-only or part of a wider production setup.

Do not compare model numbers without context

A more expensive projector, loudspeaker or microphone is not automatically the better choice.

Likewise, the cheapest piece of equipment is not necessarily inadequate.

Ask:

Why has this equipment been specified for our venue and programme?

A useful answer should relate back to matters such as coverage, viewing distance, ambient light, content, room dimensions or programme complexity.

3. How many crew members are included, and what are their roles?

Crew structure can explain a large difference between two AV quotes, so compare responsibilities and headcount as well.

Depending on the event, roles may include:

• Lead technician
• Audio engineer
• Video technician
• Lighting operator
• Playback operator
• Camera operator
• Streaming technician
• Stage manager
• Show caller
• Production manager
• Riggers

A simple presentation may not need to represent each discipline separately.

A complex conference, awards show or hybrid event may.

Ask each supplier:

1. How many people are included?
2. What does each person do?
3. When does each crew member arrive?
4. Are they onsite for the full event?
5. Who is responsible for live technical decisions?

Audio Visual Hire London’s verified conference AV hire service, for example, scales engineering support to the show rather than treating technician numbers as a fixed requirement.

That is the type of detail you need to clarify with every supplier.

Check also: Difference between AV hire and full event production

4. How many setup hours are actually included?

Setup time should be compared explicitly because a quote based on an unrealistic get-in window may become more expensive later.

Ask what time the crew plans to:

• Arrive
• Unload
• Build
• Rig
• Cable
• Power up
• Test
• Complete sound checks
• Test presentations
• Hand the room over

Then compare those assumptions against the venue’s confirmed access window.

London logistics can make this particularly important.

A supplier may need to work around:

• Loading-bay bookings
• Goods-lift access
• Security check-in
• Restricted parking
• Shared service corridors
• Venue turnaround schedules
• Limited overnight access

Do not assume that four quoted setup hours and eight quoted setup hours represent the same plan.

HSE’s venue guidance recommends considering site access, infrastructure and the needs of the workforce when assessing a venue.

5. Is technical rehearsal time included?

Rehearsal should appear clearly in the scope whenever the programme is complex enough to need it.

A rehearsal may include:

• Speaker microphone checks
• Presentation testing
• Video playback
• Walk-on cues
• Lighting cues
• Panel transitions
• Remote presenter checks
• Camera framing
• Streaming tests
• Awards stings
• Show calling

Do not confuse equipment testing with a technical rehearsal.

Equipment testing asks:

Does the system work?

A rehearsal asks:

Does the event work through this system?

Those are different questions.

Example

Imagine a 300-delegate conference with:

• CEO keynote
• Three videos
• Six-person panel
• Audience Q&A
• Remote speaker
• Closing presentation

Supplier A includes two hours of rehearsal.

Supplier B assumes presenters arrive 30 minutes before the doors.

Even with an identical equipment package, the two proposals do not carry the same operational risk.

6. Does the quote include de-rig and get-out?

Confirm whether equipment removal, crew and vehicle collection after the event are included in the quoted total.

De-rig is not simply “packing up”.

Depending on the production, it can involve:

• Power-down
• Equipment removal
• Cable recovery
• Screen dismantling
• Lighting de-rig
• Stage breakdown
• Rigging operations
• Flight-case loading
• Venue handover
• Vehicle loading

HSE notes that safety management remains important during breakdown and load-out, when higher-risk work may still be taking place despite fewer people being on site.

Ask whether the quote assumes:

• Immediate de-rig after the show
• Overnight working
• Next-morning collection
• A fixed venue clear time

A late-night London get-out can have very different labour and transport requirements from next-day access.

7. Are delivery and transport included?

Check whether transport covers the full logistics requirement rather than assuming “delivery” means everything.

Clarify:

• Delivery to venue
• Collection
• Number of vehicles
• Additional trips
• Parking
• Loading charges
• Congestion-related costs, where applicable
• Waiting time
• Overnight vehicle requirements
• Equipment transfer between multiple rooms or venues

A supplier with a lower equipment price may charge logistics separately.

Another may include the complete transport requirement.

HSE guidance on loading areas also highlights the importance of suitable space and safe movement around loading and unloading operations, reinforcing why venue logistics should be planned rather than treated as an incidental delivery task.

London-specific check: ask who has confirmed the load-in

For a central London venue, ask:

Has the loading arrangement been confirmed with the venue, or is the quote based on an assumption?

That question can uncover significant differences between proposals.

8. What backup and redundancy are included?

Compare what happens when something fails, not only what is required when everything works normally.

Relevant contingency measures may include:

• Spare microphones
• Backup presentation laptop
• Duplicate playback files
• Alternative signal path
• Spare cabling
• Backup streaming connection
• Additional power contingency
• Replacement equipment onsite or nearby

Not every item needs a duplicate.

Redundancy should be proportionate to the risk and importance of the event.

A small internal meeting and a live investor AGM do not require the same level of contingency planning.

For hybrid events, redundancy may be especially important because the technical system serves both the room and the remote audience. Audio Visual Hire London’s hybrid streaming service, for example, includes venue connectivity testing and failover checks as part of its documented process.

Ask other suppliers what equivalent contingency is included in their scope.

9. Which venue costs sit outside the AV quote?

Venue-related charges are often separate from the AV supplier’s price, so identify them before comparing your real event cost.

Possible venue-controlled costs can include:

• Rigging
• Power
• Internet
• Loading
• Parking
• Security
• Additional venue technicians
• Furniture removal
• Overnight access
• Storage
• Cleaning
• Room extensions

Do not assume these charges apply at every London venue.

Ask the venue and supplier to clarify responsibilities for your specific event.

This is especially important when an external AV company must connect to the venue’s infrastructure.

HSE guidance states that where responsibility for a venue is shared, respective responsibilities and liaison arrangements should be clearly defined.

10. What happens if the schedule runs into overtime?

Always establish overtime rules before choosing a supplier, particularly when access or event timings may change.

Ask:

• What hours does the quote cover?
• When does overtime begin?
• Is it calculated per technician?
• Is there a minimum overtime period?
• Does overtime apply during delayed load-in?
• What happens if the event finishes late?
• What happens if venue access is delayed?
• Are overnight hours priced differently?
• Are travel or accommodation affected?

This is not about assuming the event will overrun.

It is about understanding the commercial consequences if it does.

Common mistake: comparing planned totals but ignoring overtime exposure

Suppose:

Supplier A

• Lower initial crew cost
• Tight setup window
• Over time after the quoted call

Supplier B

• Higher initial crew cost
• More realistic setup allocation
• Rehearsal already included

Supplier A may still be the better choice.

But you cannot know that until you understand both the base price and the exposure to additional hours.

11. Is content and presentation management included?

Check who is responsible for receiving, testing, organising and playing the content during the event.

This can be easily overlooked because the quote may simply say “video playback”.

Clarify responsibility for:

• PowerPoint files
• Keynote files
• Videos
• Walk-in loops
• Sponsor graphics
• Holding slides
• Award stings
• Music
• Presenter notes
• Last-minute file changes
• Multiple laptops
• Remote presentation feeds

Ask whether content is tested before the event.

Also ask who operates playback live.

For a simple presentation, this may require relatively little support.

For a conference with dozens of speakers and frequent media cues, content management can become a significant part of the production role.

12. What is excluded, optional or still subject to confirmation?

The exclusions section can be more important than the equipment list because it shows where additional costs or responsibilities may still appear.

Look for phrases such as:

• Not included
• By client
• By venue
• Optional
• TBC
• Subject to survey
• Subject to availability
• Additional cost
• To be confirmed
• Third-party cost

Then turn every unclear item into a question.

For example:

“Venue internet excluded.”

Ask:

Who orders it, what specifications are required, and what happens if the venue charges separately?

Or:

“Rigging subject to venue approval.”

Ask:

Has rigging been included in the total, or will it be quoted after the site visit?

This does not mean exclusions are a problem.

A transparent exclusion is useful.

The problem is an assumption you discover after choosing the supplier.

Compare technical management, not just equipment and crew

For complex events, establish who owns coordination from the first planning meeting through to de-rig.

Technical management can include:

• Supplier coordination
• Venue liaison
• Site visits
• Technical drawings
• Crew calls
• Running-order review
• Speaker planning
• Risk assessments
• Method statements
• Show calling
• Technical rehearsals
• Post-event reporting

AVIXA project-management guidance specifically treats scope, assumptions, constraints, risk and change management as distinct parts of AV project planning.

That matters because two companies can supply similar equipment while taking very different levels of responsibility for the event.

For more complex corporate productions, compare an equipment-focused quote with the actual responsibilities included in a full event production service.

They are not necessarily the same purchase.

A practical AV quote comparison scorecard

Use a weighted scorecard once you have normalised the scopes. Price should remain important, but it should not hide gaps in delivery.

Area	Questions to answer	Suggested importance
Scope match	Does it meet the same brief?	Essential
Equipment	Is the specification appropriate?	High
Crew	Are roles and hours clear?	High
Setup	Is the get-in realistic?	High
Rehearsal	Is sufficient time included?	High
De-rig	Is get-out fully covered?	Medium/High
Logistics	Are transport and access clear?	Medium/High
Redundancy	What happens if something fails?	High for critical events
Technical management	Who owns coordination?	High for complex events
Venue costs	What sits outside the quote?	High
Overtime	What could create extra labour costs?	Medium
Exclusions	What remains unpriced?	Essential
Total cost	What is the like-for-like total?	Essential

Do not blindly assign a numerical score if one requirement is critical.

For example, a supplier that cannot support your required hybrid stream should not win simply because it scores well on price and logistics.

Use the scorecard to make differences visible, then apply judgement.

What should you ask an AV company before accepting a quote?

Before approving the proposal, ask the supplier to confirm the assumptions that could materially change the price or delivery.

A useful final check is:

1. Is this based on the latest running order?
2. What equipment is included?
3. Which crew roles are included?
4. What hours are included for setup?
5. Is rehearsal included?
6. Is the show operation included?
7. Is de-rig included?
8. Is transport included?
9. What redundancy is planned?
10. Which venue charges are excluded?
11. When does overtime apply?
12. What is still provisional or subject to survey?

If you cannot answer those questions from the quote itself, ask before signing.

Common mistake: asking suppliers to “match the cheapest quote”

Do not ask one supplier to match another supplier’s total until you know whether their scopes match.

If Supplier B is £2,000 more expensive because it includes:

• Additional engineer
• Full rehearsal
• Backup playback
• De-rig
• Transport

Asking it to “match Supplier A” may simply result in the removal of those items.

You have reduced the price by reducing the scope.

A better question is:

“Supplier A is lower. Can you explain which parts of your scope account for the difference?”

That gives the supplier an opportunity to identify genuine differences.

You can then decide whether those differences matter.

Which AV quote offers the best value?

The best-value AV quote is generally the proposal that meets the required technical scope, makes its assumptions clear and gives you an understandable total cost for the event you are actually planning.

That is not always the cheapest quote.

It is not always the most expensive either.

A higher quote may contain unnecessary equipment.

A lower quote may be perfectly appropriate for a simple event.

The purpose of comparison is not to justify spending more.

It is to establish:

What are we getting?

Who is responsible for it?

What is missing?

What could change the final cost?

Once those four questions are clear, price becomes much easier to evaluate.

FAQs

Should I always choose the cheapest AV hire quote?

No. First, check whether the cheapest proposal covers the same scope. It may exclude show technicians, rehearsals, transport, de-rigging, venue costs, or backup equipment. Equally, a higher quote may include elements your event does not require. Compare like-for-like scope first, then decide which proposal offers the most appropriate value.

Why are AV quotes from different companies so different?

Suppliers may specify different equipment, crew numbers, setup hours and levels of technical support. They may also make different assumptions about venue access, rehearsals, transport and contingency. Ask each supplier to confirm its scope and exclusions before assuming that the price difference represents a simple difference in margin.

Should an AV quote include technicians?

That depends on the service and complexity of the event. Dry equipment hire may not require onsite technicians, while conferences, awards, hybrid events and productions with multiple cues often need technical operators. Check exactly which crew roles are included, their working hours and whether they remain onsite during the live event.

What costs are often excluded from an AV quote?

Possible exclusions include venue internet, rigging, power, parking, security, overtime, accommodation, additional rehearsal, content creation and late scope changes. These are not universally excluded, so read the individual proposal carefully and ask who is responsible for each item.

How can I compare AV quotes when suppliers use different formats?

Create one comparison sheet with consistent categories for equipment, crew, setup, rehearsal, show operation, de-rig, transport, redundancy, project management, venue costs, overtime and exclusions. Transfer each quote into that structure. Any blank or unclear field becomes a question for the supplier.

What information should I give suppliers so their AV quotes are comparable?

Send each supplier the same event brief, including the venue, room, date, audience, floor plan, timings, running order, speakers, presentation content and any recording or streaming requirements. Using the same brief reduces the chance that suppliers price different versions of the event.

Conclusion

Comparing AV hire quotes in London is not about finding the smallest figure at the bottom of the page.

It is about finding out what sits above it.

Normalise the scope first. Check the equipment, crew, setup, rehearsal, de-rig, transport, contingency, venue costs, overtime, content management and exclusions.

Then compare the total.

That process may confirm that the lowest quote really is the best option. It may also reveal that another proposal costs more because it covers work that the cheaper quote leaves unpriced.

Either way, you are making the decision from the actual scope rather than the headline number.

If you already have an event date, venue and brief, you can send the requirements to Audio Visual Hire London for an itemised proposal and use the same comparison framework when reviewing your options.

“We need AV for a 250-person conference. Please send a quote.”

It sounds like a reasonable enquiry. From a production standpoint, though, it leaves most of the important questions unanswered.

Are those 250 people seated theatre-style or around tables? Is there one keynote speaker or a six-person panel? Will delegates ask questions? Does the presentation contain detailed spreadsheets or mostly large images? Is somebody joining remotely? Can the AV team access the room the evening before, or do they have two hours in the morning?

Each answer can change the equipment, crew, setup time and therefore the quote.

A useful AV brief does not need to specify every microphone, loudspeaker or screen. It needs to explain the event clearly enough for the AV company to make those technical decisions with fewer assumptions.

Here is what to include.

What is an AV brief?

An AV brief is the information an audiovisual company uses to understand the event, design the technical setup and prepare its quote.

It can be a formal document, an email, a spreadsheet or information submitted through an enquiry form. What matters is whether it gives the supplier enough context to understand what is happening in the room.

For a straightforward meeting, the brief may only take a few paragraphs.

For a multi-room conference, hybrid AGM or awards show, it may include floor plans, a detailed running order, speaker information, venue documentation and content requirements.

The objective is not to prove that you understand AV terminology. It is to make the event easier to understand.

Practitioner insight: brief the outcome before the equipment

One of the easiest mistakes is sending an equipment shopping list too early.

For example:

• 4 microphones
• 2 screens
• 1 PA system
• Stage lighting

That tells the supplier what you think you need, but not what the system has to achieve.

Compare it with:

250 delegates were seated theatre-style. One keynote speaker, followed by a moderator and a five-person panel. Audience Q&A after the panel. Presentations include PowerPoint, embedded video and several detailed charts. All seats need a clear view of the slides.

The second version gives an experienced AV team enough information to question, refine and design the specification.

What should you include in an AV brief?

A useful AV brief should cover the event purpose, venue, timings, audience, room format, programme, speakers, content and any requirements for recording, streaming or technical support.

The following checklist gives an AV supplier the strongest starting point.

Brief item	What to provide	Why does it affect the quote
Event overview	Event type and objective	Helps define the level and style of production
Date and timings	Event hours, access, rehearsal and de-rig	Determines equipment and crew time
Venue	Venue, room and contact	Reveals infrastructure and logistical constraints
Audience	Expected attendance and layout	Influences coverage, sightlines and room design
Running order	Sessions, panels, videos, Q&A and breaks	Shows how the technical system will actually be used
Speakers	Presenters, panellists, host and remote contributors	Influences microphone and monitoring requirements
Content	Slides, videos, music, demonstrations and playback	Affects display, audio and switching requirements
Online audience	Streaming, recording or remote presenters	Adds broadcast and connectivity requirements
Existing AV	Venue equipment or incumbent systems	Helps prevent duplication or compatibility issues
Budget	Working range where available	Helps the supplier recommend an appropriate solution

1. Explain what the event is trying to achieve

Start with the event itself, not the kit.

Tell the AV company whether you are organising a conference, leadership meeting, AGM, product launch, awards dinner or another type of corporate event.

Then explain what needs to happen.

For example:

Annual sales conference for 300 employees. The main objective is to present the new commercial strategy, run two panel sessions and finish with audience questions.

That short description tells the supplier far more than “conference AV required”.

Event format matters because a keynote, panel discussion, product reveal and awards presentation create different production demands even when the audience size is identical.

2. Give the exact date and event timings

The AV company needs both the live-event schedule and the time available to build and remove the system.

Include:

• Event date
• Delegate arrival or doors-open time
• Programme start and finish
• Rehearsal time
• AV access or get-in time
• Venue clear time
• De-rig or get-out window

A conference starting at 09:00 does not necessarily mean the crew can arrive at 07:00 and make everything work.

A large screen, stage, lighting system, multiple wireless microphones and presentation control may require considerably more build and testing time.

The AV company therefore needs to work backwards from when the room must be ready, not simply from when the first presentation starts.

3. Share the venue and room details

The venue often changes the technical recommendation as much as the audience size does.

Send to the supplier:

• Venue name
• Exact room or event space
• Venue contact
• Room dimensions where available
• Ceiling height where relevant
• Seating layout
• Floor plan
• Loading information
• Access hours
• Known rigging or power restrictions
• Details of existing in-house AV

HSE guidance on venue and site design recommends understanding the event, audience, access and infrastructure when assessing a venue or site.

Those considerations are equally useful when an external AV team is planning its work.

Why this matters more in London

London venues can vary dramatically.

A purpose-built conference space may have straightforward loading and technical infrastructure. A hotel ballroom, historic building, private members’ club or corporate office may have different access routes, goods lifts, ceiling restrictions or delivery procedures.

Do not assume the supplier can “sort access on the day”.

Confirm the venue’s loading arrangements early and pass them on.

Do you need to send a floor plan to an AV company?

Yes, if one is available. A floor plan can answer technical questions that guest numbers cannot.

It helps the supplier assess:

• Stage position
• Screen positions
• Audience sightlines
• Speaker coverage
• Front-of-house technical desk location
• Camera positions
• Cable routes
• Breakout-room requirements
• Available working space

FOH, or front of house, is the technical control position from which operators may manage sound, video and lighting during the event.

If you do not have a floor plan, ask the venue for its latest event-space drawing rather than sketching dimensions from memory.

For more complex conference requirements, a supplier providing conference AV hire may also develop a scaled technical layout during the design process.

4. Describe the audience and room layout

Audience numbers are useful, but they should never be the only basis for specifying AV.

Tell the supplier:

• Expected attendance
• Minimum and maximum numbers, if not final
• Seating format
• Whether people are seated or standing
• Whether there are tables
• Whether there are breakout rooms
• Whether delegates move between spaces
• Any known accessibility requirements

A 200-person theatre-style conference may have very different sightlines from a 200-person cabaret layout.

The content matters too.

Detailed financial tables need to remain legible at the back of the room. Large photographs and simple keynote slides place less pressure on screen size at the same viewing distance.

5. Send the running order, even if it is still a draft

A draft running order is one of the most useful documents you can give an AV supplier.

A running order, sometimes called a run of show, sets out what happens and when.

For example:

Time	Session	Technical requirement
09:00	Welcome	Walk-on music, host microphone, title slide
09:10	CEO keynote	Presentation, lapel microphone, confidence monitor
09:45	Video	Full-screen playback with audio
10:00	Panel	Moderator plus five panellists
10:35	Audience Q&A	Roving microphones
11:00	Break	Holding slide and background music

Now the AV team can see the event as a sequence rather than a static equipment list.

They can understand how microphones change hands, when videos need to run, what must appear on screen and where transitions need technical cues.

Do not wait until the running order is final. Send the current version and label it clearly with a date or version number.

6. Explain who will be speaking

Speaker information affects microphones, stage layout, monitoring and show flow.

Provide the expected number of:

• Keynote speakers
• Hosts or MCs
• Panellists
• Moderators
• Audience Q&A contributors
• Performers where relevant
• Remote speakers

You do not necessarily have to decide whether every presenter needs a lapel, handheld or headset microphone yourself.

Describe what the people will be doing.

For example:

The host moves around the stage. The keynote presents from centre stage. Six panellists remain seated. Audience questions will come from the floor.

That gives the audio team much better information for microphone planning.

Realistic example: the six-person panel

Imagine a conference with a moderator and six panellists.

Writing “six microphones” into the brief may already be wrong. There are seven people on stage before you even consider audience Q&A, a spare microphone or a remote guest.

The running order also determines whether everybody needs a microphone simultaneously or whether equipment changes between sessions.

This is why describing the programme is usually more useful than choosing the microphone count yourself.

7. Explain what will appear on the screens

An AV supplier needs to understand the content, not just whether you want “a screen”.

Tell them whether you will use:

• PowerPoint or Keynote
• Videos
• Detailed charts or spreadsheets
• Live demonstrations
• Multiple laptops
• Sponsor slides
• Camera feeds
• Remote presenters
• Countdown timers
• Presenter notes
• Holding graphics

Content affects the appropriate display size, aspect ratio, playback system and video switching.

If presenters need to see their slides without turning towards the main audience screen, confidence monitors may also be appropriate.

Audio Visual Hire London’s AV equipment hire range includes presentation playback, video switching, confidence monitors, cameras, projection and LED systems, showing how several different technical elements can sit behind what the organiser simply experiences as “the presentation screen”.

8. State whether the event is being recorded, streamed or joined remotely

Hybrid and recording requirements should be included in the first brief, as they can significantly affect the technical architecture.

Mention:

• Remote presenters
• Remote audience
• Streaming platform
• Recording requirements
• Camera coverage
• Online Q&A
• Captions
• Presentation feeds
• Any private viewing requirements

A room designed only for an in-person audience is not automatically ready for broadcast.

The sound mix that works through the room PA, for example, may not be the same mix needed for viewers online.

If remote participation is part of the programme, this should be scoped as part of the event’s hybrid streaming requirements rather than added shortly before doors open.

9. Tell the supplier what the venue already provides

Clarify which AV equipment, infrastructure and services already exist at the venue before asking an external supplier to price the event.

Useful questions for the venue include:

• Is any AV included?
• Is the use of in-house equipment mandatory?
• Can external AV suppliers work onsite?
• What power is available?
• What rigging options are approved?
• What internet connection is available?
• Are there supplier access procedures?
• Are there sound restrictions?
• When can production teams load in?
• When must the room be cleared?

Do not assume an external system and venue equipment will automatically integrate.

The supplier needs to know what they are connecting to before the event.

10. Include your budget if you have one

A realistic budget range helps the AV company design an appropriate solution rather than guessing how ambitious the specification should be.

It does not mean the supplier should simply spend the whole amount.

It provides commercial context.

For example, there may be several technically workable display approaches. Knowing the available budget lets the supplier explain the trade-offs and recommend where spending is most useful.

If the budget has not been confirmed, say so.

Also provide:

• Quote deadline
• Procurement requirements
• Purchase-order process
• Required supplier documentation
• Any approval milestones

These details are especially useful for corporate procurement and agency work.

What affects the accuracy of an AV quote?

An AV quote becomes more accurate as assumptions are replaced by confirmed event information.

The largest scope changes often come from:

1. Venue and access
2. Equipment specification
3. Crew requirements
4. Build and de-rig hours
5. Rehearsal time
6. Number of event spaces
7. Streaming or recording
8. Rigging or staging requirements
9. Programme complexity
10. Late-night or overnight working

HSE’s guidance on managing an event specifically highlights coordination during build-up, load-in, breakdown and load-out, not only while the public is present.

That is an important commercial point too. Crew and technical resources are required while the event is being built and removed, not just during the hours delegates are in the room.

Power requirements can also affect planning. HSE’s event electrical-safety guidance identifies layout, power requirements and access to mains supplies as considerations when planning temporary electrical installations.

An organiser does not need to design the electrical system. They do need to provide the technical team with accurate venue information so competent people can plan accordingly.

Common mistake: briefing AV from the guest count alone

Guest count is a starting point, not a technical specification.

Two 300-person events can require very different systems.

Event A is a single keynote with simple presentation slides.

Event B includes live video, five panellists, audience questions, remote presenters, multiple cameras and an online audience.

The headcount is identical.

The production scope is not.

Instead of sending:

300 guests. Need sound and screens.

Send:

300 guests, theatre-style. One keynote, two panel sessions, audience Q&A and one remote presenter. Presentations contain video and detailed charts. The event will also be recorded.

That one paragraph can remove several major assumptions from the quote.

Common mistake: waiting for every detail before contacting the AV supplier

Your brief does not need to be final before you start the conversation.

A good supplier should be able to distinguish between:

• Confirmed information
• Working assumptions
• Decisions still required

If the venue is confirmed but the speaker list is not, send what you know.

If the running order is still changing, send the latest draft.

If you are deciding between a projector and an LED, describe the room and content rather than making the choice prematurely.

For more complex productions, involving the technical team early can also help align scenic design, lighting, sound, screens, crew, and venue logistics throughout the full event production process.

A simple AV brief template you can copy

Use this as a starting point when requesting a quote.

Event overview

Event name:
Event type:
Purpose/objective:
Expected audience:

Venue

Venue:
Room:
Venue contact:
Floor plan attached: Yes / No

Date and timings

Event date:
AV access from:
Rehearsal:
Doors open:
Programme starts:
Programme finishes:
De-rig complete by:

Programme

Keynote speakers:
Panel sessions:
Audience Q&A:
Awards/performances:
Breakout rooms:
Remote speakers:

Content

Presentation slides:
Video playback:
Music/audio playback:
Live demonstrations:
Camera feeds:

Broadcast

Live streaming: Yes / No
Recording: Yes / No
Remote audience: Yes / No
Captions: Yes / No / To discuss

Venue information

Existing AV:
Loading/access restrictions:
Power information:
Internet information:
Rigging restrictions:
Other venue requirements:

Commercial information

Working budget:
Quote required by:
Purchase-order requirements:
Other approvals:

Attach the floor plan and latest running order where possible.

What should you send first if you do not have a full brief?

If time is short, send the venue, room, date, audience size, event format and current running order first.

Those details let the supplier start asking useful questions.

A floor plan should be followed as soon as you can obtain one.

You can then refine the number of speakers, content, streaming, stage design, and other requirements during the technical discussion.

The fastest route to an accurate quote is rarely a longer equipment wish list. It is usually better to have information about the room and what has to happen inside it.

FAQs

What information does an AV company need for a quote?

An AV company normally needs the event date, venue, room, audience size, timings, programme format and information about speakers, presentations, playback, streaming and recording. Access hours and a floor plan are also valuable because they affect setup, crew and technical design. More complex events may require a site visit or further technical discussion before the final specification is confirmed.

Do I need a floor plan when requesting an AV quote?

A floor plan is strongly recommended if available. It helps the AV supplier evaluate stage position, display sightlines, technical desk location, loudspeaker coverage, camera positions, and cable routes. For simple meetings, it may not be essential at first enquiry, but for conferences and more complex productions, it can significantly reduce assumptions.

Should I send my running order to the AV company?

Yes. Send the latest version even if it is still a draft. The running order shows how many speakers, panels, videos, Q&A sessions and transitions the technical team must support. Label the document with a date or version number so everybody knows which programme is current.

Should I tell an AV company which equipment I want?

You can mention equipment preferences and describe the event requirements. If you want an LED wall, for example, explain the room, audience, content, and the reason for preferring an LED wall. This allows the supplier to confirm whether the proposed equipment is technically and commercially appropriate rather than simply pricing a shopping list.

Can an AV company quote before the venue is confirmed?

A supplier may be able to provide an initial scope or budget estimate, but the venue can materially affect the final design. Room dimensions, sightlines, access, power, rigging, internet and setup times can all change equipment and crew requirements. Confirm the venue before treating the AV specification as final.

What makes an AV quote more accurate?

Accurate venue information, a realistic running order, confirmed audience numbers, clear speaker requirements and known setup times make the biggest difference. Recording, streaming, staging, rehearsal and access requirements should also be stated early. The aim is to reduce assumptions before equipment and labour are priced.

Conclusion

A strong AV brief does not need to read like a technical specification.

It needs to tell the supplier what the event is, where it happens, who is involved, what the audience needs to see and hear, how the programme runs and how much time is available to build it.

Start with the event outcome. Add the venue, floor plan, running order, speaker details and content. Then let the technical team turn that information into the appropriate sound, video, lighting and crew specification.

If your event details are still developing, that is fine. Mark what is confirmed and what is still to be decided.

Planning an event in London? You can send Audio Visual Hire London your event details, including the room, date, audience and current programme, to discuss the technical requirements and obtain an itemised quote.