How we work, what you need to prepare, how quotations and payment run, and what to expect on the day of a broadcast.
These are the questions we hear most often before a job begins. If yours is not here, the contact page is the quickest way to reach us.
Yes. The method is the same whatever the size: understand the programme, check the space, agree the work in writing and rehearse. A small studio often needs fewer days and less equipment, which shows in the quotation. We will tell you plainly if a simpler setup would serve you better.
In most cases, yes. We start by listing what you have and what condition it is in, then say what can stay and what is worth replacing. We do not push new equipment where existing kit does the job. Where something is a risk on air, we say so and explain why.
You send an enquiry through the contact page and we reply with a written quotation or confirmation naming the work, what it includes and what could change it. After the work we send an invoice, paid by bank transfer. Nothing is paid on this website.
The quotation lists the assumptions it rests on, such as the number of cameras, days on site and the state of existing cabling. If the scope changes, for example extra positions or an added rehearsal day, we agree it with you in writing before doing the additional work.
Yes. Our live show production support places a technical crew on site for concerts, festivals and staged events. We agree responsibilities with your producers beforehand, attend the rehearsal and stay through the broadcast so faults can be handled quietly.
As early as the date is known. Site reviews, rehearsals and any acoustic or lighting work need time, and a short timetable limits what can be done properly. If your date is close, tell us and we will say honestly what is achievable.
Cancellations and changes follow our payment and refund policy, which sets out what applies at each stage. Tell us as soon as plans change and we will confirm the effect in writing. Early notice usually keeps any cost to a minimum.
Yes. You receive a written record of the setup, including signal maps, settings and any open points. For audits, the report is an ordered list of what to fix. This lets your own staff run and maintain the system without calling us for every change.
Phone us with a few details of your programme and venue. We will ask a handful of questions and explain how a written quotation would follow.
Call us directly
01452 380417Most problems on air are decided well before the programme starts. Three habits make the difference, and they shape how we plan every job, large or small.
A rehearsal that only proves things work in good conditions tells you little. We ask crews to practise the awkward moments: a dropped camera feed, a lost microphone, a late guest. When the team has handled these once, they handle them quietly on air. We note what happened and adjust the plan before the real broadcast.
Every signal should be traceable from source to output on paper. A clear signal map means a fault can be found in minutes by anyone on the crew, not only by the person who built it. We label cables and leave the map with your team. It also makes later changes safer to carry out.
Operators, presenters and technical staff should hear the same plan together. A short briefing covering shot order, cues, talkback and who decides when something goes wrong prevents most confusion. We run it before rehearsal and again before doors open. People work better when they know who to ask.
Write to us: hello@starvoix.net
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