Start with the scenario, not with the equipment list

First, you need to know what will actually happen on the stage. Only then can you determine the number of microphones, channels, mixes, speaker sets, or necessary wireless systems.

A good technical scenario should include:

• the number of hosts,
• the number of speakers,
• panel discussions,
• Q&A sessions,
• presentations and video materials,
• musical performances,
• DJ entrances,
• award presentations,
• connections with remote guests,
• streaming or recording.

This is important because a system designed solely for speeches may prove insufficient if a band or DJ appears in the evening. On the other hand, an elaborate concert PA is not always the optimal solution for a room where the main task is clear speech.

The audio setup for a corporate event should match the entire scenario, not just the first part of the event. 

How does the room layout affect the audio system?

The audience layout affects the selection and placement of speakers more than the actual number of participants. Two rooms for 400 people may require completely different configurations if one is wide and shallow, while the other is narrow and very long.

The following are important:

• length and width of the room,
• height of the room,
• stage setup,
• table arrangement,
• VIP sections,
• balconies and mezzanines,
• pillars,
• location of FOH,
• distance from the first to the last listener.

In a long room, there may be a need to use delayed systems. In a wide space, the challenge may be covering the extreme sectors.

One should not forget about acoustics. Hard walls, glass surfaces, and long reverberation can make increasing the level not improve clarity, but increase the amount of reflected sound.

This topic is discussed in more detail in the article How to choose the sound system for a conference so that the speech is well understood?

How to ensure good speech intelligibility?

Speech intelligibility depends not only on the quality of the microphone. The entire signal path, room acoustics, speaker placement, and the distance of the microphone from the mouth matter.

The system should provide the highest possible ratio of direct sound to reflected sound. If the speakers send a lot of energy into the walls and the ceiling, the speech may become less intelligible despite a high SPL.

The gain before feedback is also very important, which is the maximum usable level of the system before feedback occurs.

Its value is influenced by, among others:

• the distance of the microphone from the mouth,
• the directional characteristics of the microphone,
• the position of the speakers,
• the number of open microphones,
• the acoustics of the room,
• the way the mix is conducted.

A speaker talking into a headset microphone placed just a few centimeters from the mouth usually gives the technician more options than a poorly positioned lavalier microphone placed much lower.

What microphones to choose for hosts and speakers?

The choice of microphone should depend on the role of the person on stage, the way they move, and the needs of the camera production.

Handheld microphones

Handheld is a simple and predictable solution if the person can hold the microphone correctly.

It provides good control over the ratio of useful signal to ambient sound, as the capsule can be very close to the mouth.

Its limitation is the necessity of holding the microphone in your hand. This can be uncomfortable for the presenter who uses a remote, note cards, or gestures freely.

Handheld works well for:

• presenters,
• Q&A,
• short speeches,
• awarding prizes,
• situations requiring quick handoff of the microphone to another person.

Headset

A headset microphone or earset keeps the capsule at a constant distance from the mouth.

This keeps the level relatively stable even when the speaker turns their head, walks around the stage, or gestures.

This solution is particularly good for:

• keynote speakers,
• presenters,
• trainers,
• people moving around a large stage.

Its drawback may be the visibility of the microphone on the face, although at large events this is usually an acceptable compromise for signal stability.

Lavalier

A lavalier microphone is discreet and does not occupy the hands.

However, it is further from the mouth than a headset, so it picks up more ambient sound, reverberation, and other sources on stage.

Its performance also depends on clothing, mounting position, and the direction in which the speaker turns their head.

Lavalier works well for calm presentations and productions where aesthetics in front of the camera are important. However, it is not always the best solution in acoustically challenging rooms.

How to amplify a panel discussion?

A panel discussion is more difficult than a single presentation because several microphones are working at the same time. Each open channel increases the amount of collected noise, echo, and sound from the PA system.

For panels, you can use:

• lavalier microphones,
• handhelds,
• gooseneck microphones,
• discussion systems.

The best choice depends on how the conversation is conducted, the number of participants, and the appearance of the stage.

With a larger number of active microphones, an automixer can be helpful, managing the gain of multiple channels. However, it does not replace the sound engineer and does not solve problems arising from improper PA setup or poor acoustics.

The role of the moderator is also important. A well-conducted panel, where participants do not speak simultaneously for several seconds, is much easier to manage.

How to combine speeches, presentations, videos, and music?

A corporate event usually uses several types of audio sources, which go into one PA system.

The console can receive:

• speakers' microphones,
• presentation laptop,
• video playback,
• jingles,
• background music,
• video materials,
• signals from the video conferencing system,
• DJ,
• band.

It is crucial to determine who and when is responsible for their activation.

The sound from the presentation or video should be checked in advance for levels, number of channels, and routing methods. It is advisable to avoid situations where the video material is played for the first time only during the event.

In more complex productions, signals can be split into several independent mixes: one for PA, another for streaming, and yet another for recording.

What changes with a band or DJ performance?

A musical performance significantly increases the system's requirements. PA, which easily handles speeches, may not have sufficient dynamics and bandwidth for a concert.

The band may require:

• more headroom,
• subwoofers,
• stage monitors or IEM,
• many microphones and DI boxes,
• a greater number of channels,
• a separate monitor console,
• stage boxes,
• an additional engineer.

A DJ usually requires fewer inputs, but may have higher requirements for levels and low-end sections.

Therefore, the musical part should be known to the technical team before selecting the PA.

How to plan sound for streaming or recording?

The mix intended for the room should not be automatically treated as a ready mix for streaming.

The audience hears part of the sound directly from the room. The online viewer hears only what goes into the broadcast mix.

For example, a loudly speaking presenter may be well audible in the room even at a low level in the PA, but in the stream, their microphone must be properly set.

Similarly, during a concert, the drums can naturally be very loud in a small room. FOH does not need to amplify it much, while the streaming mix needs a full signal from the microphones.

Therefore, for the broadcast, it is worth preparing a separate mix or at least a separate matrix with the ability to independently adjust levels.

The diagram of such a system may look like this:

stage → console → PA

stage → console → streaming mix → encoder

stage → console → recording

Redundancy – what should a professional solution have?

Redundancy means preparing the system so that a single failure does not have to stop the entire event.

This does not mean the necessity to duplicate every device.

In practice, it is worth preparing backups of particularly critical elements, e.g.:

• backup wireless microphone,
• additional batteries,
• backup cables,
• backup playback laptop,
• a copy of the console show file,
• an alternative way to play important audio material.

For large events, the scope of redundancy may also include the network, power supply, consoles, or key infrastructure devices.

The most important thing is to determine in advance: what will happen, if a specific element stops working during the most important point of the program?

Technical rehearsal before the event

The technical rehearsal should take place before allowing the audience in and should cover all the key scenarios of the event.

It's not just about checking if the "microphone works".

You should verify:

• all microphones,
• the order of their use,
• presentations,
• videos,
• music,
• playback,
• connections with remote participants,
• routing to PA,
• routing to streaming,
• stage monitors,
• technical communication.

If possible, it's good to also conduct a rehearsal with the host and key speakers. This allows you to check the way of speaking, putting on microphones, and moving around the stage.

The most risky elements of the scenario should be rehearsed in advance, not just live.

How to prepare a brief for the sound company?

A good brief should allow the technical company to understand the entire event without guessing.

It's worth conveying:

• the date and location,
• the number of participants,
• the layout of the room,
• the dimensions and position of the stage,
• the schedule of the event,
• the number of speakers,
• the number of panelists,
• the number of microphones,
• the method of conducting Q&A,
• video materials and presentations,
• information about the band or DJ,
• requirements for streaming or recording,
• available setup and rehearsal hours.

The earlier a detailed scenario is available, the easier it is to design the system without adding equipment at the last minute.

The detailed checklist is included in the article What information is needed by the sound company to prepare a quote?

For events combining speech, multimedia, music, and streaming, it is worth designing the sound system for the corporate event as part of the entire technical system, rather than as an independent list of speakers and microphones.

Summary

Planning the sound system for a corporate event should start with the scenario and the layout of the room. Only on this basis can one determine the PA system, the number of microphones, needed channels, routing, and the scope of additional infrastructure.

The most important task during speeches is high speech intelligibility and appropriate gain before feedback. A performance by a band or DJ increases the requirements for dynamics, subwoofers, and monitoring. Streaming, on the other hand, may require a separate mix, as the sound intended for the room does not always work well online.

A good brief, technical rehearsal, and prepared backup of critical elements reduce the risk of problems during the event. These elements often matter more than the number of devices.

Frequently Asked Questions