What are you actually looking for – rental or a production company?

First, it is necessary to determine whether you need just the rental of equipment or a company responsible for the preparation and execution of the concert. These two are different scopes of service.

Rental can provide:

• system PA,
• mixing consoles,
• microphones,
• lighting,
• elements of the stage,
• multimedia.

If the organizer has its own technical team that can design the system, prepare the patch, analyze the rider, conduct the soundcheck, and run the concert, such a model may be sufficient.

The production company takes on a broader process. It can include:

• analysis of needs,
• system design,
• technical advance,
• preparation of the local rider,
• transport,
• assembly,
• tuning,
• producers,
• stage technicians,
• rehearsals,
• concert execution,
• dismantling.

If the organizer does not have its own production manager, system engineer, and production team, simply delivering the equipment does not solve the problem.

Therefore, before comparing offers, it is worth reading, what comprehensive technical support for the event involves and deciding which scope you actually need. 

How to check experience with similar concerts?

The most valuable experience is in productions similar in scale and character, not just the information that the company "does concerts."

Different competencies are required for:

• a small club concert,
• a large outdoor event,
• a festival with multiple bands,
• a concert requiring quick changeovers,
• event corporate ended with an artist's performance.

It is worth asking not only whether the performer has held concerts, but what kind.

If you are planning an event with several bands, it is important to have experience working with:

• riders,
• advance,
• stage changes,
• line checks,
• FOH and MON systems,
• a large number of wireless microphones,
• crew coordination.

For a large outdoor event, the design of the PA, subwoofers, fills, and delay line, as well as the logistics of setup, are important.

You should not expect an identical event 1:1. It is important that the company can demonstrate that it understands the issues characteristic of a similar scale of production. 

Why is a simple equipment list not enough?

Equipment defines technical capabilities, but does not indicate whether it will be properly selected, placed, configured, and operated.

Two performances using similar systems can yield completely different results.

The quality of execution is influenced by, among other things:

• PA design,
• audience coverage,
• subwoofer placement,
• system tuning,
• gain structure,
• the way monitors are prepared,
• FOH competencies,
• stage organization,
• technical communication.

The mere information "we have a line array of brand X" does not answer the question of whether the company can design it for a specific audience.

Similarly, having a large console does not automatically mean efficient execution if the patch, routing, and show preparation are chaotic.

Therefore, when comparing performers, it is better to ask:

"How will you design the system for this space?"

than:

"What brand of speakers do you have?"

Equipment is a tool. The outcome is determined by the combination of tools, design, and people.

How to assess the audio, lighting, stage, and multimedia setup?

The setup should be evaluated based on the actual needs of the event, not the number of items in stock.

If the concert requires only audio, a large multimedia department does not matter. However, if the production combines a concert, lighting, a LED screen, and streaming, the ability to coordinate several systems becomes important.

In the audio area, it is worth checking if the company can provide:

• a PA system suitable for the venue,
• FOH,
• monitoring,
• microphones,
• RF,
• stage boxes,
• DSP,
• scenic infrastructure.

In lighting, not only the number of fixtures matters, but also:

• design,
• rigging capabilities,
• control,
• execution.

In multimedia, it is necessary to assess:

• a LED screen or projection,
• switching,
• scaling,
• playback,
• signal routing.

This does not mean that one company must own every element. It can use subcontractors. What is more important is whether it can take responsibility for integrating systems into one project.

At an event involving several departments comprehensive technical support for the event can be simpler than independently coordinating several independent suppliers.

Can the company work with artist riders?

The company organizing concerts should be able to analyze the rider and independently identify elements that require agreement. The organizer should not be an intermediary explaining to the technicians what an input list, monitor world, or specific FOH requirement is.

Upon receiving the rider, the company should check, among other things:

• PA,
• FOH,
• MON,
• input list,
• stage plan,
• microphones and DI,
• backline,
• RF,
• power,
• schedule.

If the specified equipment is not available locally, the contractor should be able to propose a technically justified substitute and agree on it during the advance.

A good sign is a situation where, after reading the rider, the company comes back with specific questions, e.g.:

"The rider requires six stereo IEMs. Is the band bringing their own systems, or do we need to provide a complete RF?"

This shows that the document has actually been analyzed.

A detailed workflow describes the material what to do when the band sends a technical rider before the concert.

How to verify the competencies of producers and technicians?

It is worth knowing who will actually be working during the event. The company's brand does not mix the concert and does not prepare the stage – it is done by specific producers and technicians.

Depending on the production, the following may be needed:

• producer FOH,
• monitor engineer,
• system engineer,
• stage tech,
• audio technicians,
• lighting designer,
• multimedia operator,
• stage manager.

Not every concert requires all of these functions as separate positions. In a small production, one person can perform several tasks.

The problem arises when the scope is too large for the available crew.

For example, one producer can easily handle a simple FOH and several monitors. However, if there is an extensive IEM, large RF, quick stage changes, and a complicated rider, separating FOH and MON may be much more reasonable.

When comparing offers, it is good to check not only the number of technicians but also their assignment to specific functions.

How to check the logistical capabilities of the company?

Logistics is part of the technical execution. Even good equipment and crew will not help if the system is not delivered, installed, and started on time.

It is worth checking whether the company considers:

• transport,
• hours load-in,
• access to the venue,
• time for assembly,
• time needed for tuning,
• soundcheck,
• changeovers,
• load-out.

In large productions, the organization of the warehouse is also important.

The system should arrive ready to work:

• racks configured,
• cables organized,
• devices checked,
• patch prepared,
• documentation available.

If the entire setup is assembled only during installation from random elements taken from the warehouse, the risk of delays and errors increases.

When planning, it is also worth asking what happens in the event of a failure of a key component. Not every component needs a double backup, but the contractor should know how to respond to critical failures.

How does the company approach safety and responsibility?

The technical company should treat safety as part of the project, not as the organizer's problem.

This includes, among others:

• construction,
• rigging,
• power,
• cable routes,
• suspending PA,
• securing equipment,
• work during assembly and disassembly.

It is worth checking whether the contractor clearly defines the limits of responsibility.

If the stage is provided by another supplier, it is necessary to know:

• who approves the possibility of suspending the system,
• who is responsible for the construction,
• who establishes the rigging points.

Similarly with power. The audio company should know what it needs, but the infrastructure of the venue may remain the responsibility of another entity.

The most risky situation is one where the scopes overlap without a clear assignment of responsibilities.

Good coordination should lead to a simple conclusion:

for every critical element, it is known who provides it, who installs it, and who is responsible for its configuration.

What should a professional offer include?

The offer should allow understanding of what exactly has been priced and on what assumptions.

It should indicate at least:

• scope of execution,
• main system elements,
• personnel,
• transport,
• assembly,
• execution,
• dismantling,
• working time,
• accepted assumptions.

A list of every XLR cable and individual stand is not always necessary. However, the offer should be detailed enough to allow comparison of two scopes.

If one company prices:

• PA,
• monitors,
• microphones,
• FOH,
• technicians,
• transport and rehearsals,

and another only lists:

“concert sound system – 10,000 PLN”,

the price comparison does not yet indicate whether the scopes are similar.

It is also worth checking what has not been included.

For example:

• stage,
• power,
• backline,
• crew accommodation,
• additional setup day

may be outside the basic offer.

The earlier this is clear, the lower the risk of additional costs later.

How to recognize an underestimated offer?

A suspiciously low price does not have to mean a mistake, but it should prompt a point-by-point comparison of the scopes.

The difference may arise from:

• a different equipment configuration,
• a smaller crew,
• the lack of monitors,
• the lack of transport,
• a shorter working time,
• the lack of system tuning,
• the omission of the soundcheck,
• a different range of lights or stage.

Example: two companies quote a concert. One anticipates separate FOH and MON, several stage technicians, and a day of setup in advance. The other assumes one engineer, setup directly before the event, and no separate monitor world.

Both offers may be logical, but they do not describe the same service..

Underestimation can be suspected especially when the contractor provided a price without asking about:

• the rider,
• the venue,
• the schedule,
• the stage,
• the number of participants.

If they did not gather basic data, it is hard to expect that the offer takes into account the actual scope of work.

What questions to ask before signing a contract?

Before choosing a contractor, it is worth asking a few questions that will quickly show their way of working:

• Do you analyze the band's rider and conduct advance?
• Who will be responsible for FOH, MON, and the PA system?
• How do you select the sound system for the audience?
• What exactly does the offer include?
• Are transport, setup, rehearsals, and teardown included in the price?
• Who is responsible for power and rigging?
• How do you address the lack of equipment required by the rider?
• Do you allow for extra time for tuning and soundcheck?
• Who coordinates the technical aspects during the event?
• What is the procedure in case of a failure?

It's not about quizzing the performer on technical knowledge.

The answers should primarily show whether the company has an organized process.

It's worth noting whether the response is:

“no problem, we’ll handle everything”

or rather:

“we need the current rider and venue plan; after their analysis, we will confirm PA, FOH, monitoring, and schedule”.

The second response may be less impressive from a marketing perspective, but says much more about the way the production is prepared.

Red flags when choosing a contractor

The biggest warning signs appear when the company declares a result without gathering the necessary information to design it.

Concerns should be raised, among others, by:

• estimation without asking about the rider,
• selecting PA solely based on the number of people,
• lack of information about the producers,
• unclear scope of the offer,
• lack of time for soundcheck,
• automatic acceptance of all rider requirements without analysis,
• unauthorized substitution of equipment,
• lack of a person responsible for coordination,
• downplaying rigging or power.

A red flag can also be excessive focusing on brands.

Sentence:

“we have system X, so it will be fine”

does not say whether the system will be properly designed.

Similarly, “we have everything in stock” does not guarantee that the right team composition, installation time, and proper configuration are available.

The best contractor does not need to have the largest stock. However, they should be able to clearly explain how they intend to prepare a specific concert and why they propose that particular technical scope..

Summary

The choice of a company for the technical execution of a concert should be based on competencies, processes, and responsibility, not solely on price or brand of equipment. It is worth checking experience with similar events, ability to work with riders, system design approach, team competencies, logistics, and preparation for installation and rehearsals.

A good offer should allow for a clear understanding of what the organizer is paying for. Significant price differences should be analyzed by comparing scopes, as two items labeled “technical support for the concert” may involve a completely different number of people, equipment, and hours of work.

The best test of a contractor is their way of thinking about the event. The production company should first gather data and design a solution, and only then create a list of equipment.

Frequently asked questions