Sound and lighting are the technical backbone of any live event. A brilliant performance can be ruined by poor sound, and the most carefully planned event can feel flat without effective lighting. Yet many organisers, particularly those new to the industry, are unsure how to work with sound and lighting technicians effectively. The result is miscommunication, compromised production quality, and frustrated professionals on both sides.
This guide helps bridge that gap, covering how to find, brief, and collaborate with sound and lighting technicians to get the best results for your event.
Understanding the roles
Sound and lighting are distinct disciplines, and at larger events they will be handled by different people. Understanding what each role involves helps you communicate more effectively.
Sound engineers
The sound engineer is responsible for the audio experience at your event. At most live events, there are two sound positions: front-of-house (FOH) and monitors. The FOH engineer controls what the audience hears through the main PA system, mixing the relative levels of instruments and voices, applying effects, and ensuring even coverage across the audience area. The monitor engineer controls what the performers hear on stage through monitor speakers or in-ear monitors. At smaller events, one engineer may handle both roles.
Lighting designers and operators
The lighting designer creates the lighting plan for the event, selecting fixtures, designing looks, and programming cues. The lighting operator runs the desk during the event, executing the programmed cues and making real-time adjustments. At smaller events, one person does both. At larger events, there may also be lighting crew responsible for rigging, focusing, and maintaining the fixtures.
Production managers
For events with complex technical requirements, a production manager coordinates all technical departments, including sound, lighting, staging, power, and video. They are the single point of contact between the organiser and the technical team, and their role is to ensure that all technical elements are delivered safely, on time, and within budget. For larger events, hiring a production manager is strongly recommended.
Finding the right technicians
As with all freelance crew, the most reliable way to find good sound and lighting technicians is through personal recommendation. Ask other organisers, venue managers, and production companies who they use. Check references and, if possible, attend an event that the technician is working to see their work firsthand.
Production companies offer a package approach, providing equipment and crew together. This can be simpler for organisers who do not have the expertise to specify equipment themselves. The trade-off is that you are relying on the company to select appropriate kit and capable crew, so choose a company with a track record on events similar to yours.
When assessing a technician, relevant experience is important. Sound engineering for a rock concert is different from a corporate conference, which is different from an outdoor festival. Look for someone who has worked events similar to yours in scale, genre, and setting.
Technical riders and advance information
If your event features artists or performers, they will typically provide a technical rider specifying their sound and lighting requirements. The rider lists the equipment the performer expects to be provided (microphones, monitors, specific desk types, lighting fixtures, etc.), the stage layout and input list, and any specific technical requirements or preferences.
Share riders with your sound and lighting technicians as early as possible. A good technician will review the rider, identify any issues, and work with you to find solutions. Not every rider requirement can be met (some riders are aspirational rather than realistic), but your technician should be able to assess what is essential and what is negotiable.
Advance communication between your technician and the artist's technical team is valuable. A quick email or phone call to discuss the setup, share stage plans, and clarify any ambiguities prevents misunderstandings on the day. Encourage your technician to make this contact well in advance of the event.
On-site working practices
Load-in and setup
Sound and lighting setup takes time. A full festival stage might need a full day or more for load-in, rigging, and testing. A smaller venue show might need a few hours. Discuss timelines with your technicians in advance and build adequate setup time into your event schedule. Rushing the technical setup is one of the most common causes of problems during the event.
Ensure that your venue or site can accommodate the technical requirements. This includes adequate power supply (sound and lighting systems draw significant power), suitable rigging points for lighting and speaker systems, clear access for loading in heavy equipment, and appropriate environmental conditions (protection from rain for outdoor events, temperature management for indoor events).
Sound checks
A sound check allows the engineer to set levels, check all inputs, adjust the PA for the room or space, and allow the performers to hear themselves on stage. Sound checks should be scheduled with enough time before doors open. For a single-act show, 30 to 60 minutes is typical. For a multi-act lineup, a full sound check for the headline act and line checks (a quicker process of confirming each input works) for support acts is standard practice.
During the event
Once the event is running, your sound and lighting technicians are working constantly, even if it does not look like it. Resist the temptation to give real-time feedback on the sound or lighting unless there is a genuine problem. Comments like "can you make it louder" or "can we have more lights" are unhelpful. If you have a concern, discuss it with the technician calmly and specifically, and trust their expertise in finding a solution.
If a member of the public complains about sound levels, relay the concern to the engineer. They can assess whether the levels are appropriate using a sound level meter and adjust if necessary. At outdoor events, noise limits may be imposed by the local authority as part of the licensing conditions, and the engineer will be managing levels to stay within these limits.
Equipment and budget
Sound and lighting equipment varies enormously in quality and cost. The specification should be proportionate to the event. A 200-capacity venue does not need a festival-scale PA system, and a corporate presentation does not need a concert lighting rig. Your technician or production company can advise on the appropriate specification for your event.
Get itemised quotes that break down crew costs, equipment hire, transport, and any additional expenses. Compare quotes on a like-for-like basis, and be wary of quotes that seem significantly cheaper than others, as they may indicate inferior equipment or less experienced crew. The economics of running events means production costs need to be realistic but proportionate.
Building good working relationships
The best working relationships between organisers and technicians are built on mutual respect, clear communication, and trust. Respect their expertise: you have hired them because they know what they are doing. Communicate your vision and expectations clearly, then give them the space to deliver. Pay them fairly and promptly. Acknowledge their contribution, because when an event sounds and looks great, the technical team deserves significant credit.
Good technicians are in high demand, and the best ones are booked months or years in advance for the busiest periods. If you find a sound or lighting technician you work well with, invest in that relationship. Book them early, recommend them to others, and treat them as a valued part of your event team.
