Understanding AV industry terminology is essential whether you are an AV technician, an event planner commissioning technical services, or an AV company writing proposals for clients with varying levels of technical knowledge. The language of live event production is specific, and using the right terms in the right contexts communicates competence and prevents expensive misunderstandings. This glossary covers the core vocabulary of audio, video, lighting, staging, rigging, and AV business practice, organized alphabetically within each category.
An electronic device that increases the power of an audio signal to drive loudspeakers; output power is measured in watts and must be matched to the impedance and power handling of the speakers.
The proportional relationship between an image's width and height, expressed as width-to-height (16:9 is standard widescreen, 4:3 is traditional, 21:9 is ultrawide cinematic).
The reduction of signal level in an audio or video system, measured in decibels; used for level matching and signal control.
A secondary output from a mixing console that routes signal to monitors, effects processors, or recording devices independently of the main mix.
An audio cable with three conductors (positive, negative, ground) that cancels common-mode interference, suitable for long cable runs in high-noise environments.
In audio, the range of frequencies a system can reproduce; in video and networking, the data capacity of a signal path measured in hertz or bits per second.
Adjustable metal flaps attached to the front of a stage lighting fixture that flag or shape the beam, preventing light from spilling onto areas outside the intended zone.
The musical instruments and amplifiers provided for performers on stage, including guitar amplifiers, bass rigs, keyboard stands, and drum kits; backline is typically listed separately from PA and lighting in a production rider.
A microphone polar pattern that captures sound primarily from the front while rejecting sound from the rear; the most common pickup pattern for stage and speech microphones due to its natural feedback rejection.
The period between acts, sessions, or presentations during which crew reset the stage, reconfigure equipment, and prepare for the next segment; tight changeover windows are a critical scheduling consideration in live event production.
A software or hardware algorithm that encodes and decodes video data; common codecs include H.264, H.265, and Apple ProRes, with different codecs offering different balances of quality, file size, and processing load.
The warmth or coolness of a light source measured in Kelvin; tungsten sources are approximately 3,200K (warm), daylight is approximately 5,600K (cool), and matching color temperature across sources is essential for consistent-looking video and photography.
An audio dynamics processor that reduces the dynamic range of a signal by attenuating peaks above a set threshold, making the overall level more consistent and protecting speakers from transient overloads.
A microphone type that uses a capacitor element requiring phantom power to operate; condensers are more sensitive and have a wider frequency response than dynamic microphones, making them well-suited for speech, acoustic instruments, and choir applications.
A display placed facing the presenter on stage, showing their presentation slides or a program feed so they can reference content without turning to look at the main screen.
An electronic or passive device that divides an audio signal into separate frequency bands and routes each band to the appropriate speaker driver β lows to subwoofers, mids and highs to full-range cabinets β optimizing system performance.
A specific instruction or trigger point in a show script at which a lighting change, audio playback, video transition, or other production element is executed; cues are numbered and called by the show caller.
A large, curved or flat white or neutral backdrop at the rear of a stage that can be evenly washed with colored light to create seamless background effects; cycloramas are a staple of theatrical and broadcast productions.
The standard daily charge for equipment rental or crew labor in the live events industry, typically applied per calendar day from load-in to load-out.
An equipment flight case that is empty and stored out of the way once its contents have been deployed on stage; managing dead cases is a practical logistics consideration in venue load-in.
A time-based audio effect that repeats a signal after a set interval; in live sound, delay is also used to align speaker systems that are physically distant from the main PA, keeping sound arriving at the listener in time with the source on stage.
22. DI BOX (Direct Injection Box): A device that converts an unbalanced instrument-level signal to a balanced mic-level signal suitable for connecting directly to a mixing console, eliminating hum from ground loops.
An integrated or standalone electronic processor that performs complex audio functions β equalization, crossover, delay, limiting, and routing β in the digital domain; most modern amplifiers and speaker systems include built-in DSP.
An electronic device that controls the intensity of a lighting fixture by varying the voltage or current supplied to it; in modern LED systems, dimming is typically handled via DMX rather than a traditional dimmer rack.
25. DMX (Digital Multiplex): The industry-standard digital protocol used to control stage lighting and other stage automation equipment; one DMX universe supports up to 512 control channels.
A single DMX data stream of 512 individual control channels; large productions with many fixtures require multiple universes, each carried on a separate data line or over a network protocol such as sACN or Art-Net.
The area of the stage closest to the audience, opposite of upstage; the terms derive from raked stage conventions where the front of the stage was literally lower than the back.
A rental arrangement in which equipment is supplied without crew or technical support; the hirer is responsible for operating and managing the equipment, as opposed to a wet hire that includes crew.
A microphone that uses electromagnetic induction to convert sound into an electrical signal; dynamic microphones are robust, require no phantom power, and handle high sound pressure levels well, making them ideal for instrument amplifiers and high-volume stage applications.
A stage lighting fixture with a hard-edged, precisely focusable beam produced by an ellipsoidal reflector and a lens system; ellipsoidals can accept gobos for pattern projection and are widely used for key lighting and logo projection.
An audio processor that adjusts the level of specific frequency bands within a signal; used in live sound to shape tone, correct acoustic problems in a room, and prevent feedback.
A linear sliding control on a mixing console that adjusts the level of a channel or bus; faders allow smooth, tactile level changes during a live mix.
The loud, sustained tone produced when a microphone picks up its own amplified output from a nearby loudspeaker, creating a loop; feedback is controlled through microphone placement, EQ, and system gain structure.
The base set of lighting fixtures placed on the stage floor, typically including front wash fixtures, back lighting, and hazers or foggers for beam visibility.
A counterweight or motorized system above a stage that allows scenery, lighting rigs, and drapes to be raised and lowered rapidly; commonly found in purpose-built theaters and large convention centers.
36. FOH (Front of House): The main mixing position for live audio, located in the audience area facing the stage; the FOH engineer controls the mix that the audience hears.
A manually operated spotlight that tracks a moving performer or speaker, keeping them lit as they move around the stage.
The number of individual video frames captured or displayed per second, expressed in fps (frames per second); common broadcast frame rates are 25fps (PAL) and 29.97fps (NTSC), while cinema uses 24fps and some live event applications use 50 or 60fps.
A type of stage lighting fixture with a textured lens that produces a soft-edged beam; commonly used for wash lighting and cyclorama lighting.
See FOH above; also used more broadly to describe the audience-facing areas of an event venue as distinct from backstage and production areas.
A lighting position or fixture configuration that illuminates the front face of performers on stage from the audience side, typically rigged on front-of-house trusses or balcony positions; essential for camera exposure and presenter visibility.
The amount of amplification applied to a signal at a specific point in the signal chain; setting appropriate gain at each stage prevents noise and distortion.
The discipline of setting appropriate signal levels at each stage of the audio chain so that the signal is strong enough to avoid noise but not so strong as to cause distortion; correct gain staging is fundamental to clean live sound.
A sheet of colored polyester or polycarbonate film placed in front of a lighting fixture to change the color of the output; gels are available in hundreds of colors and are used with conventional fixtures, while LED fixtures produce color without requiring physical gels.
A synchronization technique that locks the timing of one video signal to a reference signal so that multiple video sources switch and mix without visual glitches; essential in multi-camera productions and video switching environments.
A metal or glass cutout inserted into the gate of an ellipsoidal spotlight to project a pattern, shape, or image onto a surface; gobos are used for texture lighting, logo projection, and scenic effects.
A backstage room provided for performers, speakers, and VIPs to wait, prepare, and relax before going on stage; the name is a longstanding theatrical tradition with disputed origins.
A rigging configuration where the lighting or video rig is supported from the floor by stands or truss towers rather than from overhead rigging points; required when ceiling rigging points are unavailable or insufficient.
A seating configuration in which audience chairs are arranged in a semicircle around a central stage or performance area; common for award ceremonies, debates, and intimate presentations.
A fine atmospheric effect created by a hazer machine using water-based or oil-based fluid; thinner than fog, haze makes light beams visible in the air without significantly reducing audience sightlines.
51. HDMI (High-Definition Multimedia Interface): A digital connection standard that carries uncompressed high-definition video and audio over a single cable; commonly used for presentation systems and confidence monitors.
The general auditorium or venue lighting controlled by venue staff, as distinct from production lighting; house lights are typically dimmed or blacked out during a performance and brought up during breaks.
53. IMAG (Image Magnification): The practice of relaying live camera feeds of the stage to large screens in the venue so audience members far from the stage can see close-up views of performers and speakers.
The effective resistance of an audio circuit to alternating current, measured in ohms; speaker impedance must be matched to amplifier output impedance to prevent damage and optimize power transfer.
A personal monitoring system where the performer receives their custom mix through small earphone drivers worn in the ear canal; IEMs provide better isolation and hearing protection than floor wedge monitors.
A broad category of motorized, programmable stage lighting fixtures including moving heads, LED pixel bars, and automated followspots that can change position, color, beam size, and gobo pattern under DMX control; intelligent lighting enables dynamic, programmed light shows not possible with static conventional fixtures.
A two-light setup used in video and photography where the key light is the primary, harder source illuminating the subject and the fill light is a softer secondary source reducing shadows on the opposite side.
A small clip-on microphone attached to a speaker's clothing near the chest or lapel, typically used with a wireless transmitter bodypack for hands-free operation.
A display surface composed of individual LED modules tiled together to create a seamless, scalable video display; used for main stage backdrops, confidence monitors, and exhibition displays.
A speaker configuration consisting of vertically arranged speaker modules whose combined directional characteristics provide even sound coverage over long distances with controlled vertical dispersion.
The process of bringing equipment into a venue, rigging the production, and completing technical installation before the event opens; also refers to the specific day(s) scheduled for this work.
The process of dismantling the production and removing all equipment from the venue after the event concludes; also called strike, proper load-out planning is essential for venue curfew compliance.
The unit of measurement for the total light output of a projector or fixture; higher lumen ratings indicate brighter output, essential when specifying projectors for high-ambient-light environments.
A dedicated audio mix sent to in-ear monitors or stage floor monitors (wedges) so performers and speakers can hear themselves and their fellow performers independently of the main front-of-house mix.
A motorized stage lighting fixture that can pan and tilt under remote control via DMX, capable of changing color, gobos, and beam angle; also called an intelligent fixture or automated light.
66. NDI (Network Device Interface): A royalty-free video-over-IP standard developed by NewTek that allows video signals to be transmitted across a standard Ethernet network; widely used in hybrid event production to route multiple video feeds between computers, switchers, and encoders without dedicated video cabling.
An audio dynamics processor that mutes or attenuates a signal when its level falls below a set threshold, eliminating background noise and bleed between microphones when they are not in active use.
A microphone polar pattern that captures sound equally from all directions; omnidirectional microphones are used in conference systems and boundary microphone installations where ambient pickup from multiple directions is desirable.
A simple, robust stage lighting fixture using a parabolic aluminized reflector (PAR) lamp; par cans produce an oval wash of light and are widely used for stage wash and uplighting due to their low cost and reliability.
A passive terminal board that consolidates cable connections in a permanent or temporary installation, allowing flexible routing of audio, video, or data signals without rewiring.
A DC voltage supplied through balanced audio cables by a mixing console or preamp to power condenser microphones; designated 48V, it is invisible to passive dynamic microphones but required by most condenser designs.
A video compositing technique that displays a secondary video source in a smaller window overlaid on the main full-screen image; commonly used in hybrid events to show a speaker alongside their presentation content simultaneously.
The distance in millimeters between the centers of adjacent LED pixels on an LED display module; smaller pixel pitch produces higher resolution and is required for close-viewing applications.
The system of power cables, distro boxes, socapex multicore cables, and circuit breakers that distributes mains electricity from the venue supply to all production equipment on stage and at FOH; a power distribution plan is a critical safety document for any production.
The senior production professional responsible for overseeing all technical departments of a live event, coordinating crew, managing the production schedule, and ensuring that the show is delivered on time and within budget.
Another term for an ellipsoidal spotlight, used commonly in the UK; a profile produces a hard-edged, precisely shaped beam suitable for gobo projection, key lighting, and precise beam control.
The technique of using a projector to apply video content to irregularly shaped three-dimensional surfaces such as building facades, stage sets, or product displays, creating immersive visual effects.
A remotely controlled camera that can Pan, Tilt, and Zoom under operator or automated control; PTZ cameras are widely used in hybrid and livestream productions where manned camera positions are impractical or cost-prohibitive.
The number of pixels in a video image, expressed as horizontal by vertical (e.g. 1920x1080 for HD, 3840x2160 for 4K); higher resolution displays require more processing power and bandwidth but deliver sharper images, particularly important for close-viewing LED walls.
80. RFP (Request for Proposal): A formal document issued by an event organizer or procurement team that invites AV suppliers to submit technical and commercial proposals for a defined scope of work; RFPs typically specify evaluation criteria and a submission deadline.
A document issued by a performer, speaker, or artist that specifies their technical production requirements, including sound system specification, monitor configuration, backline, staging dimensions, and dressing room provisions.
The process of hanging equipment from venue structures using certified lifting hardware including motors, shackles, truss, and steel wire rope; rigging work must be designed and supervised by a certified rigger.
A video processing device that converts an incoming video signal from one resolution or refresh rate to another; scalers are essential when combining signals from multiple sources with different native resolutions into a single video system.
A written definition of the technical services and equipment included in a production agreement; a precise scope of work prevents disputes about what was and was not included in the contracted price.
85. SDI (Serial Digital Interface): A professional video connection standard that carries uncompressed digital video over coaxial cable; used in broadcast and professional production environments where long cable runs and signal reliability are critical.
The production team member responsible for calling all cues during a live event, communicating with lighting, audio, video, and follow spot operators via intercom to ensure every production element executes on time.
The complete path an audio or video signal travels from source to output, including every device, cable, and connection point; troubleshooting begins by tracing the signal chain.
A live translation service where interpreters in soundproofed booths translate a speaker's words in real time for delegates listening on wireless receiver units; SI systems require dedicated audio infrastructure separate from the main PA.
A pre-production visit to the event venue by the production manager or technical director to assess the space, measure the room, identify power supply locations, note any restrictions, and gather information needed to design the technical production.
A multi-channel audio cable that carries multiple balanced audio signals within a single outer jacket between the stage and the FOH position, reducing cable clutter and simplifying long runs; also called a multicore or loom.
A passive or active device that takes a single audio or video signal and distributes it to multiple outputs; microphone splitters are used to simultaneously feed a signal to both the FOH and monitor consoles.
A technical diagram showing the layout of equipment, instrument positions, and cable runs on a stage or event floor; stage plots are exchanged between performers and production teams during advance production planning.
An even illumination of the entire stage area using wash fixtures; a good stage wash provides consistent, balanced light across all positions on stage, essential for multi-camera coverage and presenter visibility.
A hardware or software device that compresses and packages a live video signal for transmission over the internet to a streaming platform such as YouTube, Vimeo, or a proprietary CDN; encoders convert broadcast-quality video to web-deliverable formats in real time.
A lighting fixture that produces rapid, repeated flashes of high-intensity light; strobes are used for dramatic effect in music events and award shows, and must be used with caution due to photosensitive epilepsy risks.
The process of dismantling all production equipment and clearing the venue after an event concludes; see also LOAD-OUT.
A dedicated speaker designed to reproduce low-frequency audio content (typically below 100Hz); subwoofers extend the bass response of a PA system and are essential for events with music, DJ performances, or cinematic audio.
A communication system built into mixing consoles and intercom systems that allows the engineer or director to speak directly to performers on stage via their monitor mix or IEMs without the communication being heard by the audience.
A run-through of the event program conducted before the audience arrives, during which all technical cues, transitions, and equipment are tested with presenters or performers in their actual positions; tech rehearsals are essential for identifying and resolving problems before the show goes live.
The relationship between the projection distance and the image width produced by a projector; a 1.5:1 throw ratio means the projector must be placed 1.5 meters from the screen for every meter of image width.
Structural aluminum framework used to support lighting, video, and audio equipment overhead; available in square, triangular, and box truss profiles rated for specific load capacities.
Lighting fixtures placed on the floor and aimed upward to wash columns, walls, drapes, or architectural features with color; uplighting is a cost-effective way to add atmosphere and brand color to a venue.
The area of the stage farthest from the audience; performers moving away from the audience are moving upstage.
A contractually enforced deadline by which all sound output and production activity must cease at an event venue, typically driven by local noise ordinances or building regulations; missing a venue curfew can result in significant financial penalties.
A device that allows the operator to select and transition between multiple video sources (cameras, computers, media players) and route them to displays and recording systems; the video equivalent of an audio mixing console.
A specialized device or software that takes a single video signal and maps it across multiple display panels or projectors in a tiled configuration, handling the geometry, bezel correction, and synchronization needed to create a seamless large-format display.
A stage lighting fixture designed to produce a broad, even coverage of light over a large area; wash lights are used for general stage illumination and color blending without defined beams.
The process of selecting and assigning operating frequencies to multiple wireless microphone systems so that they coexist without interference; frequency coordination accounts for local broadcast spectrum, intermodulation products between systems, and regional frequency regulations β critical on productions with more than four simultaneous wireless channels.
A complete system comprising a handheld or lavalier microphone connected to a bodypack or handheld transmitter, a receiver unit, and an antenna distribution system; frequency coordination between multiple wireless systems is essential to prevent interference.
The standard three-pin connector used for balanced audio connections in professional audio equipment; designed for locking connection and high-quality signal transmission over long cable runs.
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