Entertainment & Arts

Line array design starts with the site, not the catalogue: a tent, an open field and an arena bowl need completely different approaches to low end. We model the deployment, then verify it with measurement once the system is flown.

Stage lighting is programmed in previz before the rig goes up, so the first rehearsal in the room is about the show rather than about finding the cues. Spare fixtures, spare processing and a documented changeover plan travel with the rig.

Rooms built for speech punish careless sound design. We work with tight coverage patterns, discreet microphone choices and a mix that keeps the words in front of the music, however quiet the room is.

Lighting for theatre and comedy is precise rather than loud: defined areas, fast crossfades, a rehearsal-friendly console file and a plan for the moment the performer leaves the mark.

Multiple stages on one site is a coordination job: shared power, shared radio channels, shared curfew and a single production office that everyone can find. We run the technical map for the whole footprint, not just our own stage.

Between stages we manage sound spill, generator distribution and night-time rigging windows. The result is that the second stage can be re-set while the first one is still playing.

Galleries and museums need a different discipline: low glare, controlled colour, no visible cable and absolutely nothing that can be touched by a visitor. We design to the conservation rules of the space as well as to the artist's intent.

Projection onto objects, LED surfaces and timed light pieces are calibrated on site against the room's daylight, then locked and documented so the piece can be re-installed for a later run.