Two-season AV for Sandy sports bars. Sightline-mapped displays, presets that turn a summer matchday room into a winter ski room, patio screens built for high-elevation sun and snow load, and enclosures specified for inversion dust.
A room near the stadium runs two businesses that never meet. In summer it is a soccer room: one match, one crowd, and a patio full on a warm evening. In winter the same room fills at four with people who just came down the canyon in gear, wanting six out-of-market games at once. A system built for one of those crowds fails the other, so matchday ends up thin and the ski crowd ends up watching one game on every screen.
We design Sandy rooms as one system with two personalities. Sightlines get mapped from four zones before any panel is ordered, including the standing overflow that shows up on a matchday. Routing and audio presets genuinely reconfigure the space, so one loud focused feed with outdoor capacity in summer becomes many simultaneous games at comfortable levels in winter. And the equipment gets specified for this valley, where dry air at altitude changes how a rack sheds heat and inversion season loads filters and cooling fans.
From the stadium district in Sandy to Cottonwood Heights and the canyon road, we build rooms that carry a summer matchday and a winter afternoon full of people in ski gear.
Thinner, drier air at this elevation means a rack sheds heat less efficiently, so the AV room needs cooling that holds at or below 75 degrees.
Inversion traps fine dust in the valley, which loads filters and cooling fans fast, so enclosures get sealed and filtered and the service interval is scheduled.
Outdoor mounting and enclosures get specified for accumulated snow and ice rather than an average day, along with the freeze-thaw that follows a storm.
Sun is harsher up here, so outdoor screens run high brightness with an ambient light sensor to lift at midday and dim at night instead of running flat out.
How we work
We do not start with a screen count. We start with what the room has to be in July and what it has to be at four on a February afternoon.
A screen count quoted off a floor plan cannot tell you what a room needs when its two busiest crowds want opposite things. So we start with a consult: what the room should feel like in July and in January, how big it is, what it has to accomplish, and the budget range you are working with. The site walk is part of that consult, and here we like to see the room on a matchday and again on a ski afternoon, because those are two different buildings. Sightlines get measured from the bar-top, the high-tops, the booths with the worst angles, and the standing overflow that only exists when the room is packed. On a matchday that overflow is a primary zone rather than an edge case.
The usual problem is that nobody sees the outcome until it is installed, then wants it changed a season later. You see the design before committing to equipment, including the view from the seats you were worried about. Control gets programmed around the modes you actually live in, so a matchday, a ski afternoon with a dozen games, a rivalry night, and a quiet weekday are presets instead of a manager rebuilding routing by hand. These are not volume shortcuts, they move feeds, audio zones, levels, and signage together. Install, calibration, staff training, and documentation all sit with one team that coordinates with your electrician and low-voltage trades. Before each season we build a runbook with your GM and lock the admin settings.
What we build
A room like this is a handful of systems working as one, and each of them has to do two jobs. Here is what we design, program, and install off your sightline map.
The failure here is a system that sounds fine at half capacity and turns to noise once a matchday crowd is in, which is a coverage and headroom problem rather than a volume one. The opposite failure matters just as much in winter, when a room full of people in ski gear wants to hear a specific game at their own table without the whole building shouting one feed. Perimeter-only speaker runs cause both, leaving the middle uncovered while punishing the edges. So the system runs in zones on a digital signal processor with real headroom, tuned so one focused feed can carry a full house and so several zones can run quietly and independently on the same night. Patio audio is weather-rated and separate, because it runs a different season than the rest of the room.
A television on a wall is not a sports bar. A screen should be a content source placed where people can actually watch it. Indoor displays are commercial grade, sized off the four sightline zones, with resolution driven by how close the nearest seats sit, and placed so a standing matchday crowd is not looking at the back of someone's head. A video wall does double duty here: one large image for a match or a rivalry game, then split into a grid on a winter afternoon when a dozen out-of-market games are running. Outdoors, screens run high brightness with an ambient light sensor for high-elevation glare, in sealed enclosures mounted for snow and ice load, and outdoor work carries a higher budget and a shorter lifecycle.
The part nobody sees is the part that fails at the worst moment. Content moves over an audiovisual network so any source reaches any screen at 4K without lag, with matrix switching so a winter afternoon can hold a different game in every zone while a matchday puts one feed everywhere. Satellite, cable, and streaming sources get consolidated into one serviceable rack instead of a stack of boxes behind the bar, with scheduling built around a calendar that changes with the season. Signage carries what is on where, which is how a ski crowd finds its game without asking a bartender. All of it runs on a dedicated AV network rather than sharing bandwidth with your point of sale or guest Wi-Fi, which is the most common reason a wall freezes during a rush.
Why Sandy sports bars trust us with it
Sandy asks one room to serve two crowds that barely overlap, in a valley that is harder on equipment than most people expect. Here is where our depth shows, and where our scope ends.
Most markets have one calendar. Sandy has two that hardly touch, a summer soccer season with matchday crowds and warm-evening patio business, and a winter afternoon rush coming down out of the canyons. They want different things from one system, since matchday wants a single loud focused feed and outdoor capacity while the ski crowd wants many simultaneous out-of-market games in a comfortable indoor room. Designing for the average of those two gets you a room that is mediocre at both. So the presets are as much the product as the hardware, and the booths get modeled individually, because partitions and adjacent seatbacks make them the worst seats in a room where people at different tables are watching different games.
A big afternoon here can arrive with almost no notice, because a storm in the canyons decides how busy you are going to be. Downtime on one of those days is expensive, and how the system was built decides how fast it comes back. Crunchy Tech started in 2008 as an AV support operation, and learning to fix taught us how to build, which is why our racks are fully enclosed, every cable labeled at both ends, and power separated from audio and data. Most of the cost of a bad AV install is not the install, it is everything that has to happen later because nobody can find anything. Around 47 percent of support tickets close inside an hour and roughly 72 percent within a day, usually without a site visit.
The environment here is specific enough to change equipment choices. At this elevation the air is thinner and drier, so a rack sheds heat less efficiently than the same rack at sea level, which makes cooling in the AV room less optional than owners expect. Keep it at or below 75 degrees, because a rack of amplifiers in a sealed closet cooks itself and collects dust, and we have seen racks look a decade old after a few months. Winter inversion traps fine particulates in the valley, and that dust loads filters and cooling fans faster than in most markets, so enclosures get sealed and filtered and the service interval is real rather than nominal. Outside, high-elevation sun is harsher on panels and mounting has to carry snow and ice load.
What it earns back
A room here can earn twice from one system, or buy the same system twice. That difference shows up in the seats you can sell and in how you scope the spend.
The expensive mistake in a two-season room is buying twice, once for the summer crowd and again when the winter crowd is unhappy. One design that reconfigures on presets serves both, which is where the return actually comes from, since the system earns across twelve months instead of one season. Patio capacity carries the warm half of the year, when matchday crowds and long evenings make outdoor seating worth more than it costs to build. The winter half depends on carrying many games at once well enough that people driving out of the canyon stop here instead of continuing north. In both seasons the same screens run signage that moves menu items rather than sitting dark on a weekday.
Owners usually benchmark AV against retail pricing, and a real system looks expensive next to the sticker price of the screens. The part worth saying plainly is that the rack, the distribution, and the control absorb a serious share of the budget before any screen or speaker is bought. We quote Good, Better, and Best against a single design, zone by zone, so the dining side can be Good while the main viewing area is Best. Good is not a strawman, it is a room watchable from every seat with zoned audio and tablet control that we are happy to stand behind. Better here usually means the patio and enough independent zones to run a winter afternoon properly, which is where the math tends to tip. If the budget does not reach the room you want, we will value engineer it honestly.
By designing one system and two operating modes rather than compromising between them. Matchday wants a single focused feed carried loud through a full house, standing overflow included, plus outdoor capacity for a warm evening. A winter afternoon wants the opposite: a dozen out-of-market games running at once, each zone at a level where a table can actually follow its own game, in a comfortable indoor room full of people still in gear. Those are the same displays and the same speakers, driven differently. So the routing is built so every zone can act independently or all of them can act as one, the audio runs on a digital signal processor with headroom for the loud case and control for the quiet one, and the control layer holds real presets that move feeds, zones, levels, and signage together instead of just changing volume. We build the runbook with your GM before each season, and lock the admin settings so nobody undoes it mid-rush.
It depends on the indoor and outdoor scope, how many independent audio zones you need, the size and resolution of any video wall, and the size of the room. The starting point most owners are not expecting is that the rack, the distribution, and the control take a serious share of the budget before a single screen or speaker gets bought. From there we quote three tiers against one design. Good gets one room watchable from every seat with zoned audio, source distribution, and tablet control. Better usually adds the patio and enough independent zones to run a winter afternoon properly, and in this market that is where the return tips, because it is what lets the same room serve both crowds. Best layers in video walls, signage, and integrated control. We quote per zone, so the dining side can be Good while the main viewing area is Best. Outdoor scope is priced on its own, since it carries a higher budget and a shorter lifecycle. If the budget is short, we will say so and value engineer it.
Enough that we spec differently for this valley. Two things are going on. Thinner, drier air at elevation carries heat away less effectively, so a rack that would be comfortable at sea level runs warmer here, and cooling in the AV room stops being a nice-to-have. Keep that room at or below 75 degrees, because amplifiers and processors in a sealed closet cook themselves and collect dust, and we have opened racks that looked a decade old after a few months. The second is inversion season, when the valley traps fine particulates for days at a time. That dust gets pulled straight into cooling fans and filters, so enclosures get sealed and filtered, fan paths get planned rather than improvised, and the service interval is scheduled instead of nominal. Outside, the sun at this elevation is harder on panels and mounting has to carry snow and ice load, which is part of why outdoor work costs more and lasts less time than indoor.
No. We are a design-build AV integrator. We do not install or operate cameras, we do not shoot or edit video, and we do not run streaming as a service. What we do is build the infrastructure that supports whatever streaming or recording you choose: clean audio feeds to your partner's encoder, documented signal paths so a crew knows exactly where to plug in, and a dedicated network engineered for the uplink. We design the system around how the room actually runs, procure the hardware, install it, calibrate it, train your staff, document all of it, and support it for the life of the system. The content and streaming side belongs to specialists, and our job is to make their job easy.
What We Do Here
Every system is designed, installed, and supported by our own team in Sandy — never subcontracted.
01 / SANDYAV consulting from an audio visual consultant who joins at the architectural phase, designs the technology into the plan and steers the project around your business outcome.
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02 / SANDYCommercial sound system design and installation: multi-zone audio engineered around how your space is used, wired and tuned on site, and supported as a partner.
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Digital Signage Services in Sandyarrow_forwardClient successes drive Crunchy Tech to become better. Below is how our customers feel about us.
Just do it. Spend the money. It’s well worth it. It’s not worth your time, hassle, energy, and stress of trying to make it look right and do it right when there’s somebody who has been doing it for years and has perfected the craft.
Working with Crunchy Tech was a fantastic experience from start to finish. They handled the sale and installation of all our sound and TV equipment at The County Bar in Aviston, IL, and absolutely nailed it. We were on a very tight deadline, and they not only met it—they delivered top-notch quality and service the entire way. Highly professional, responsive, and easy to work with. We couldn't be happier with the results.
Crunchy has done an amazing job on our A/V install. The sound is perfectly balanced throughout our many zones and the entire system is super simple to use.
Just do it. Spend the money. It’s well worth it. It’s not worth your time, hassle, energy, and stress of trying to make it look right and do it right when there’s somebody who has been doing it for years and has perfected the craft.
Working with Crunchy Tech was a fantastic experience from start to finish. They handled the sale and installation of all our sound and TV equipment at The County Bar in Aviston, IL, and absolutely nailed it. We were on a very tight deadline, and they not only met it—they delivered top-notch quality and service the entire way. Highly professional, responsive, and easy to work with. We couldn't be happier with the results.
Crunchy has done an amazing job on our A/V install. The sound is perfectly balanced throughout our many zones and the entire system is super simple to use.
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Read article arrow_forwardTell us about the room: where you sit relative to the stadium and the canyon road, the square footage, the indoor and patio split, which crowd carries more of your year, and what falls apart when the other one shows up. We will start with a consult to understand what you are trying to accomplish, walk the room in the season that matters most, and come back with one engineered recommendation instead of a parts list.
