Sulphur, LA — 30.23° N / 93.37° W
Concert sound and event audio.
Deep South Productions designs, supplies and operates audio systems for concerts, festivals, tours, corporate general sessions and civic events across the United States and into Canada. We own the inventory, we maintain it in our own shop, and — the part that actually matters — the engineers who design your system are the engineers who show up and run it. Our audio people travel with the gear. That's the product.
Audio is the part of a show an audience notices only when it goes wrong.
Audio is the part of a show an audience notices only when it goes wrong. A vocal that disappears in the third row. A keynote speaker whose lavalier drops out in front of eight hundred people. That's rarely an equipment problem. It's a design and operations problem.
Deep South Productions designs, supplies and operates audio systems for concerts, festivals, tours, corporate general sessions and civic events across the United States and into Canada. We own the inventory, we maintain it in our own shop, and — the part that actually matters — the engineers who design your system are the engineers who show up and run it. Our audio people travel with the gear. That's the product.
System design and prediction
Every system starts on paper before it starts on a truck. We model coverage and level against the venue or site geometry, so we know before load-in where the array hangs, where the coverage falls off, where the delay towers go, and what the audience is going to hear in the last row versus the front barricade.
That modeling does two jobs. It gets consistent coverage across the whole audience, and it keeps sound off the places it isn't wanted — a neighborhood behind a festival field, a second stage four hundred feet away. On outdoor and municipal events we design against the permit: local noise ordinances, curfew, and measured SPL limits at defined points. Tell us the permitted number early and we'll design the system to hold it, rather than turning it down at nine o'clock and hoping.
PA systems
Our flagship PA is d&b audiotechnik SL-series line array, scaled to the room or the field — main and side hangs, subwoofer arrays configured for the coverage pattern the event needs, front fill, and delay positions for deep or wide audiences. Smaller rooms get an appropriately sized system, not a stadium rig turned down.
Consoles and control
DiGiCo is our flagship console platform at front of house and monitors, with optical and networked audio distribution between positions. For festivals we run a shared-console workflow: a house package with per-artist snapshot and session loading, a documented festival patch, and a split that lets visiting engineers walk up to a control surface they already know and be ready inside a changeover.
Monitors, RF and in-ear systems
Touring-grade wireless microphones and in-ear monitor systems, run by engineers who coordinate frequencies rather than guess at them. We plan RF for the site, scan and coordinate on the day, and keep the spectrum clean across bands, comms and the video department. Wedge mixes, in-ear mixes, or a combination, from a dedicated monitor position or from front of house on smaller shows.
Festival patch and multi-artist days
Fast changeovers are their own discipline: a stage plot and input list per act, rolling risers, a labeled patch, line checks that happen while the previous act is still striking, and a stage crew that knows the order. We build the day around the changeover, not around the headliner.
Distributed audio for large sites
Delay towers, secondary stage systems, vendor and midway zones, paging, and emergency messaging that reaches the whole footprint. We design site audio as one system so the zones don't fight each other.
Corporate speech reinforcement and conference audio
General sessions, breakouts, awards dinners, panels and hybrid presentations. Speech intelligibility is the whole job here: correct microphone choice for lecterns, panels and handhelds, wireless coordination across multiple rooms in the same building, clean program audio playback, and a feed to record, stream or broadcast when you need one.
Backline
Deep backline inventory across amplifiers, drums, keys and guitars, so a visiting act's rider can be filled from the same company supplying the PA.
Redundancy
Show-critical audio gets a fallback: redundant console and control paths, spare wireless channels and receivers, redundant distribution and spare amplification. Our trucks carry spares, our warehouse holds more, and a driver can be moving when something fails at four in the afternoon.
The events we do this for
Festivals
main stage PA, delay systems, second and third stage packages, shared festival consoles, site-wide distributed audio and paging.
Touring support
audio packages, engineers and trucking for national touring support, plus rehearsal space to prep and program before the first date.
Corporate general sessions and conferences
speech reinforcement, multi-room wireless coordination, playback and record or stream feeds.
Arena, stadium and casino shows
full production audio, with rigging coordinated to the venue's structural requirements.
Municipal and civic events
outdoor systems designed to permitted noise limits, with announcement and emergency coverage.
Houses of worship and theaters
production audio for services and touring programming.
Equipment packages for other production companies
supported audio packages for producers, promoters and venues, typically bundled with crew. See Equipment Rental.
Where we work
We work nationally across the United States and into Canada, moving our own audio inventory on our own trucks. Sulphur puts Houston, New Orleans, Baton Rouge and the wider Gulf South inside a comfortable drive, and we regularly work Houston, New Orleans, Dallas, Atlanta, Bossier City and Lake Charles.
FAQ
How do I know what size PA my event needs?
It depends on audience size, the shape of the space, indoors or out, and what the program is. Send us the venue or site plan, an expected headcount and the kind of show, and we'll model coverage and come back with a system design rather than a price on a box count.
Do you provide audio engineers or just the equipment?
Both, and we'd rather provide both. Our engineers tour with our gear, so the person designing the system is generally the person operating it. We also supply equipment-only packages to production companies and venues.
Can you handle a festival with multiple bands and different engineers?
Yes. We run a shared-console festival workflow with a documented patch and per-act snapshot loading so visiting engineers can load a session and go. Changeover planning is part of the scope, not an afterthought.
How do you deal with noise ordinances and SPL limits?
We design to them. Give us the permitted limit and the measurement point and we'll model coverage to hold it — array angles, subwoofer configuration and delay placement do most of that work before anyone touches a fader.
What happens if something fails during the show?
Show-critical positions run redundant paths, we carry spares on the truck, and we hold more in our own warehouse with drivers who can move. We also maintain and repair our inventory in-house, so gear goes out checked rather than assumed.
Do you do corporate and conference audio, or only concerts?
Both. A large share of our work is general sessions, awards dinners and multi-room conferences, where intelligibility and reliable wireless matter more than output.
Can you rig the PA in an arena?
We supply the rigging equipment and coordinate the rig. We self-perform limited, safe applications and bring in qualified specialist riggers for larger, high-level or structurally sensitive work. We don't cut corners on that.
Send us
your input list.
Or the site plan, or just the date and the venue. You'll get an audio system designed for your event and a real producer to talk to about it.