Answers to the questions studio managers and event organisers ask us most often before booking a project.
These answers cover how we work, what we need from you and how a project is arranged. If your question is not here, write to us through the contact page.
We design and equip broadcast studios, install camera control and vision mixing systems, plan and rig lighting, mix live sound and supply crews for festivals, corporate events and live broadcasts. Some clients hire us for one discipline, others for a whole studio or event. We also review workflows for teams who want fewer delays on show days.
Yes. We are based in Taunton, but our crews travel across the South West and further for studio fit-outs and events. Travel time and any overnight stay are agreed in writing before the work is confirmed, so you see them in the quotation rather than as a surprise on the invoice.
In most cases, yes. We start by listing what you have, checking it for compatibility and condition, and only then suggest additions. If an existing camera, desk or speaker suits the job, we keep it in the plan and say so plainly rather than recommending a replacement.
As early as you can, because site visits, lighting plots and crew availability all take time to arrange. For festivals and larger live broadcasts, a few months is comfortable. For a smaller corporate evening, a few weeks can work. Tell us your date and we will say honestly whether it is realistic.
The venue or studio, the date, the type of show, roughly how many people attend and what equipment is already there. A floor plan or photographs help a great deal. If some details are still undecided, send what you have and we will note the open points in the quotation.
You send an enquiry through the contact page. We reply with a written quotation, and once you confirm it in writing, we issue an invoice that you pay by bank transfer. Nothing is bought or paid for on this website. The Prices page sets out the details.
Tell us as soon as you know. Changes to dates or scope are discussed and confirmed in writing. Cancellations and refunds follow our payment and refund policy, which explains what is returned and what covers work or hire already committed. The policy is published on the site.
We do not run formal courses, but our crews are glad to walk your staff through a new system at handover, and workflow reviews often include written show-day procedures your team can keep. The guides on this site also cover common audiovisual routines in plain language.
Most delays on audiovisual projects come from missing information rather than missing equipment. A little preparation on your side lets us plan accurately and keeps the days on site calm. These three areas matter most.
Accurate measurements, photographs and a floor plan save a surprising amount of time. For a studio, we want to know ceiling height, power supply, existing cable routes and the noise from neighbouring rooms. For an outdoor stage, ground conditions, access for vehicles and weather cover matter. If a site visit is needed, we arrange it before quoting, so the plan reflects the real room rather than assumptions.
Lighting cues, camera positions and sound levels all depend on what happens when. A rough running order, even a draft, lets our designers and engineers plan changeovers and decide how many people are needed. For broadcasts, tell us about guests, remote contributors and any recorded inserts. Changes are normal and we expect them, but sharing the latest version early avoids rework.
A studio or system is only useful if your own team can run it. We set aside time at the end of an installation to show operators the controls, labelled signal paths and reset procedures. For events, we agree who makes decisions on the day and how problems are reported. Clear roles mean a fault is fixed in minutes instead of being discussed.
Send your enquiry through the contact page and we will read it carefully, ask for anything missing and reply with a clear next step. A written quotation follows once the details are settled.
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