Services
What I
bring to
the show
Whether you're a band looking for an engineer or a production company crewing a show — this is what I cover, on its own or as a package.
01 / Service
Front of House Audio
When you go to a concert, theatre show, or live event, what you're hearing out in the audience is the result of Front of House (FOH) audio. It's the system and mixing that delivers clear, powerful, and balanced sound to the crowd — from the smallest vocal detail to the biggest impact moment. FOH is where your audience experiences the show, so getting it right isn't optional — it's essential.
As a FOH audio engineer, my role is to take everything happening on stage, whether it be vocals, instruments, playback or anything else, and blend it into a cohesive, high-quality sound that suits the venue and enhances the performance.
That means not only having strong technical knowledge, but also the ability to read a room, adapt on the fly, and support the artist's intent while keeping the audience engaged.
Whether it's a band on a festival stage or a theatre production, great FOH audio brings clarity, emotion, and energy to the experience. Poor sound, on the other hand, can kill the vibe — no matter how good the performers are.
Let's make your next show sound as good as it should.
- Band, festival and theatre mixing
- Analogue and digital consoles
- Show files, snapshots and scene-based mixing
- Plugin racks and outboard processing
- Line check, soundcheck and show call
02 / Service
Monitor Engineering
Monitors are the mix the audience never hears — and the one the performance depends on. If the band can't hear themselves properly, everything downstream suffers: timing drifts, pitch wanders, and the energy on stage drops.
I mix wedges and in-ears with an ear on what each performer actually needs, not just what's on the input list. That means a clean line check, sensible gain structure, ringing out the stage where it's needed, and staying responsive through the set as the room fills and the show changes.
Clear communication is half the job. I'd rather sort a problem in a look and a hand signal than have anyone lose focus mid-song.
- Wedge and in-ear mixing
- Stage line check and gain structure
- Ringing out and feedback control
- Per-performer mix builds
- Calm, readable stage communication
03 / Service
System Design & Tuning
A PA that's badly deployed can't be mixed out of trouble. System work is about getting even coverage into every seat, keeping the stage and the neighbours happy, and making sure the rig behaves the way the design predicted.
That starts on the program day: building the array model, exporting to the control software, naming groups sensibly and having everything ready before the truck arrives. On site it continues with deployment, alignment, and measurement — verifying the prediction rather than assuming it.
The goal is simple: the same show, wherever you're standing.
- Array modelling and prediction
- Deployment and rigging plans
- Time alignment and system tuning
- Measurement and verification
- Group and control-software prep
04 / Service
Production Management
Production management is the planning that makes show day boring in the best possible way. Advancing the show properly, resolving the rider against what the venue actually has, booking the right suppliers and building a schedule that people can hit.
I've worked across every scale of show, which means I know where the pressure points usually are — load-in access, power, crew calls, changeovers — and how to design them out before they become a problem on the day.
You get one clear point of contact, and a plan everyone can work to.
- Technical advancing and rider resolution
- Supplier and vendor coordination
- Crew calls and scheduling
- Load-in, changeover and load-out planning
- On-site production running
05 / Service
Tour Management
Touring runs on logistics. Travel, accommodation, day sheets, budgets, settlements and the hundred small decisions that keep a run of shows moving — all handled so the artist can stay focused on the performance.
Having mixed the shows as well as managed them, I know what the technical side needs from the schedule, and what the schedule can realistically ask of the crew.
- Routing, travel and accommodation
- Day sheets and advance packs
- Budget tracking and settlements
- Crew and supplier liaison
- On-the-road problem solving
Let's make your next show sound as good as it should.
Tell me about the room, the act and the date — I'll come back with a plan and a price.