Planning an event at the Georgia World Congress Center? Atlanta Music Pros can help coordinate audio, video, lighting, entertainment and production requirements, subject to the venue’s policies and vendor requirements. For events at the GWCC we can provide or coordinate exhibit hall and ballroom audio, wireless microphones, general session production, IMAG and multi-camera video, projection and LED, breakout room AV, live streaming, stage lighting, staging and corporate entertainment — working within the facility’s own service requirements and your show’s rules.
The GWCC is among the largest convention facilities in the country, on a Downtown campus it shares with Mercedes-Benz Stadium and Centennial Olympic Park. At that scale, production stops being an equipment question and becomes a logistics question: docks, marshaling, elevators, labor, power orders and a load-in schedule that has to survive contact with three other shows in the building.
It is also a building where the rules matter. Facility service requirements, show organizer rules and the terms in your own license agreement decide what an outside production company can do, and those are worth reading before anyone quotes you equipment.
What a GWCC event needs depends almost entirely on which kind of space you are in — an exhibit hall, a ballroom and a meeting room are three different acoustic and logistical problems.
Speech first.
Seeing the stage and keeping the content.
Content people can read.
Making the stage look intentional.
Someone owning the show.
The half most AV companies do not provide.
The GWCC hosts a wider range of event shapes than any other building in the metro. These are the ones where our scope is relevant.
Exhibitor booth audio, displays, demo microphones and on-floor capture, plus session room production. See trade show AV.
Ballroom or hall general session production with PA, presentation management, IMAG and show calling. See general session production.
Breakout rooms across the building coordinated as one production with one frequency plan. See breakout room AV.
Meeting room audio, displays and microphones for sessions inside a larger program. See corporate meeting AV.
Ballroom galas with program audio, award playback, lighting and an after-party. See awards gala production.
Sessions streamed to remote attendees, with wired connectivity ordered through the facility. See hybrid event production.
Production in a building this size is decided by five things, none of which are on an equipment list.
An exhibit hall is a very large, very reverberant room with a high hard ceiling, and speech in it needs distributed coverage rather than volume. A ballroom behaves like a hotel ballroom. A meeting room behaves like a meeting room. The same guest count in each requires a different audio design, so the space assignment matters before anything else.
Convention facilities typically handle electrical, internet, rigging and sometimes AV through their own service departments, with advance order deadlines and on-site rates that are higher. What is required versus optional for your event is set by the facility and your show, and it is worth getting in writing during scoping rather than at load-in.
Freight in a large convention center moves through a marshaling process with scheduled dock times. That schedule drives labor hours, and labor hours drive the quote. A production with a generous, well-scheduled load-in genuinely costs less than the identical production squeezed into a short window.
Halls are big enough that cable runs become a design consideration in their own right — stage to projector, board position to stage, camera positions to the switcher. It is unglamorous and it is a real line in the plan.
Anything hung requires the facility’s approval and load confirmation, and larger video and lighting builds need power ordered ahead. Venue policies, outside-vendor requirements, power, internet, loading access and production restrictions should be confirmed with the venue during pre-production. Many hotels, arenas and convention facilities maintain in-house AV departments, exclusive service providers, union labor rules, rigging approvals and outside-vendor fees, and those terms decide what any outside company can do in the room.
An illustrative configuration for a one-day corporate program using a ballroom for the main session and four meeting rooms for breakouts. This is a hypothetical illustration of how a production of this shape fits together. It is not a past project, not a quote and not a price.
Get the room assignments before you get AV quotes. Which hall or ballroom you are in changes the audio design more than the guest count does.
This page exists because planners search for AV help by venue. It does not indicate any affiliation, endorsement, partnership, preferred-vendor status or approved-vendor status, and we make no claim to any. the Georgia World Congress Center is named here only to describe the kind of production planning an event in that building involves.
Whether an outside production company can work in a given space, and on what terms, is decided by the venue and by your own contract with it. We will work within those terms, and we will tell you plainly when something you have asked for is not ours to promise.
Atlanta Music Pros is an Atlanta-based company covering Metro Atlanta and North Georgia. We travel to the venue rather than operating suburban offices.
We can provide or coordinate audio, microphones, video, IMAG, projection, LED, breakout AV, streaming, lighting, staging and entertainment for events at the GWCC, subject to the facility’s service requirements, your show organizer’s rules and your license agreement. Those documents determine what an outside production company may supply and install, so they are the first thing to review during scoping.
Requirements at large convention facilities vary by service and by show, and they can differ between an exhibitor, a show organizer and a client licensing a ballroom. Electrical, internet and rigging are commonly handled through facility service departments. Rather than state a rule that may not apply to your event, we would ask you to confirm the current requirements with the facility and your show, and we will scope to whatever they are.
Because an exhibit hall is enormous, hard-surfaced and highly reverberant, with a ceiling that reflects sound rather than absorbing it. Turning up makes intelligibility worse, not better, since you are adding energy to the reflections as well as the direct sound. The answer is distributed coverage — more speakers, closer to the audience, at lower levels — which is a design decision made in advance.
Freight moves through a scheduled dock and marshaling process, so load-in times are assigned rather than chosen. That schedule is the main driver of labor hours in a convention center quote. A production with a well-scheduled window costs less than the same production compressed into a short one, which is why we ask about access early rather than after quoting.
Yes, provided a suitable wired internet connection is ordered through the facility. House or exhibitor wireless is not a reliable basis for a live stream, and dedicated connectivity in a convention facility is a paid order with an advance deadline and a meaningfully higher on-site rate. We will specify what the stream needs so it can be ordered in time rather than discovered on show day.
Yes, and it is the reason planners tend to bring us in for multi-part programs. The same team can run the general session and breakouts during the day, then the reception, dinner and after-party in the evening with a DJ, MC or live band. That removes the vendor handoff at the point in the schedule where the room is most likely to lose energy.
Tell us which hall or ballroom you have been assigned, the dates and the program shape. The room assignment answers more questions than anything else at this venue.