Journal · Venue Coordination

Where Should the AV Control Position Go in Your Event Room?

SPRK Productions · Published October 7, 2026 · 5 min read

Written by SPRK Productions, a Phoenix event production company working across planning, audio, video, lighting, event capture and post-event content. About SPRK.

We'd choose the AV control position before the seating plan is final. The crew needs somewhere to work where they can hear the room, follow what's happening on stage and reach the equipment they're operating. A leftover table in the corner may fit on the drawing, but it can leave important parts of the show out of view.

For a Phoenix ballroom, conference room or auditorium, start by putting the venue and production lead over the same floor plan. Mark the stage, screens and guest seating, then agree on the control area and the routes connecting it to the rest of the setup.

Let the audio operator hear the audience's room

The audio operator needs to judge the sound guests are hearing. Yamaha's PA setup guide describes the center of the audience as a common ideal mixing location, while noting that the best position depends on the situation. Its example is a band setup, not a rule that every conference desk belongs in the exact center.

For your event, ask production to suggest a location that gives the operator a useful listening position without taking over the guest experience. If the venue has a fixed booth or an awkward available corner, flag it early. The team can work through how they'll check the sound around the room rather than discovering the limitation after doors open.

Don't assume that putting the operator backstage is an equivalent choice. Talk through what they can hear there and how they'll keep track of the room during the program.

Check the stage view from the actual working position

Audio, slides, video and lighting don't always need identical positions. Ask each operator what they need to see, and whether the crew should work together or use separate locations. The plan might be simple, but it should be deliberate.

On a site visit, stand where the desk would go and look toward the presenter, podium and screens. Then think about the view once guests are seated. A clear room before setup doesn't tell you whether a tall centerpiece, a camera platform or people standing in an aisle will block the view.

If there's no direct sightline, ask production how they'll follow the stage and receive cues. A camera feed or communication system may be part of that answer, but confirm the actual arrangement rather than treating it as something every package automatically includes.

Draw the whole working area

There's no useful universal desk size for every event. A meeting with one microphone and a slide deck needs a different conversation from a show with multiple playback systems, cameras and lighting cues.

Ask for a marked footprint showing:

• The equipment tables or consoles and how many people work there.
• Chair space and a way for operators to get in and out.
• Any cases that need to stay with the desk, plus a separate plan for empty-case storage.
• Power locations and the proposed cable route to the stage, screens or venue connections.
• Any drape or barrier, including whether it changes the crew's view.

Then put the nearby guest tables and service routes back onto the drawing. If the control area only fits when its chairs overlap a guest aisle, it isn't a finished layout.

Get the cable route reviewed by the venue

A desk location and its connections are one decision. Ask where cables can run, who supplies power and who approves any crossing or cable protection. Let the venue and production team agree on the route before the room is set.

For a local example, the Phoenix Convention Center's operational policies address cable placement, accessibility and approval for cable ramps. They also require revised approval when an approved floor plan changes. Those are that venue's requirements; ask your own venue for its current process. Don't assume a ramp or a strip of tape makes every crossing acceptable.

Keep the control area out of required exits and circulation space. Have the venue confirm the layout and any required review, rather than choosing an aisle width from a generic article.

Make the tradeoff before setup day

Here's a planning example: the seating drawing uses the rear-center area for another guest table, while production proposes that space for the controls. Before moving the desk to a side corner, compare the listening position, stage view, cable route and total footprint of both options with the venue.

You might revise a table assignment, use a different control arrangement or accept a limitation with a clear plan to manage it. What's useful is making that choice while the drawing is still easy to change.

Once it's agreed, send the same layout to the venue, planner and production lead. Include the setup window in your load-in timeline, and connect the operating plan to the run of show. Check the position again in the built room before guests arrive.

A short FAQ

Does the control desk have to be in the center?

No. It's a useful starting conversation for sound, not a fixed rule for every room. Ask production to explain the proposed position and how they'll check the audience experience.

Can we hide the desk with drape?

Possibly. Agree on the height and placement with the crew so they can still see, work and get in and out. Include the drape in the venue's layout review.

How much space should we reserve?

Use the footprint for your actual equipment and operators. Ask for it before finalizing seating, including chairs, access and connections, rather than reserving a generic table and hoping it works.

Send us the room layout

SPRK's audio and visual production and event consultation and planning can help connect the room layout to the program you're building. Send us the venue, draft seating plan and what you want happening on stage. Let's work through where the crew belongs before you lock the floor plan.

Back to the Journal for more practical event planning guides.