What to know before you start.

It depends on the room far more than the gear list — a small chapel and a competition gym need very different things. We walk the space, listen to how you actually use it, and give you a written scope and a single quote for the whole project — one number you can take to a board or council. If that's more than this year's budget allows, we'll phase the work so the first phase still works on its own.

Scope drives it — a single room is a very different job from a whole building, and new construction runs on the general contractor's schedule. In practice, scheduling matters more than duration: school work gets planned around summer break, worship installs around your service schedule. You'll get dates in writing and early notice if anything moves.

No. We build and support the network your AV runs on, so you don't need existing infrastructure or in-house IT staff. If you do have an IT team, we coordinate with them and hand over documentation for everything we touch.

Yes, if it's still doing its job. We're not trying to pull out working gear to sell you a matched set — we'll design around what works, and tell you plainly which pieces are worth keeping and which are holding the system back.

That's a design requirement, not an afterthought. Controls get built around whoever actually operates the room — one-touch presets for a volunteer on Sunday, deeper access for the people who need it. We train your people before handoff and leave documentation behind, so the next person isn't starting from scratch.

No. You own the hardware, the programming, and the documentation outright — no annual license, no cloud account that has to stay current for your system to keep working. Service is there when you want it, but nothing stops working if you don't call us.

Almost always frequency coordination, not the microphones. Wireless mics share crowded radio spectrum with TV stations, nearby venues, and each other, and the channels can't simply be spaced evenly — evenly spaced frequencies combine to create interference that lands right on top of your other channels. We scan the actual radio environment in your building, coordinate every microphone and earpiece onto frequencies that don't collide, and place the antennas so the receivers can actually hear the transmitters. If your system was set up by picking channels off the box, that is usually what you're hearing.

It might not be. The FCC sold off the 600 MHz band and finished clearing it in 2020, which made a lot of perfectly good wireless equipment illegal to operate — and plenty of it is still in weekly use in churches and schools, because nothing announced it. We can tell you which band your gear runs in, whether it's still legal, and what it would take to move it.

Usually coverage, not volume. Speakers throw sound in a specific pattern, and if they're aimed at the middle of the room the back rows get reflections off the walls and ceiling instead of sound straight from the speaker. That reads as muddy rather than quiet, which is why turning it up doesn't fix it — it just makes the front rows louder. The fix is placement and aim, and sometimes a second set of speakers timed to the main ones so the sound arrives together.

Because people absorb sound. A room full of bodies and coats is acoustically a different room than the empty one you tested in, and it soaks up the high frequencies that carry speech clarity — right when you need them most. We tune for the room the way it actually gets used, and set presets so it isn't a guessing game between an empty Tuesday and a packed Sunday.

That's what the documentation is for. You get drawings, labeled connections, and the settings written down, so the next person inherits a system they can understand instead of a mystery. The presets stay simple enough to hand over, and we're reachable when someone new needs a walkthrough.