Auberge du Soleil
I set one system on the terrace, another inside, and ask the inn when music ends.

Ballrooms, barns, vineyards, a museum and a nightclub: venues around the Bay Area and beyond where I've been the DJ and MC for company events, weddings and private parties. Each one has its own page: how I set it up, what I ask the venue ahead of time, and my own photos from events there.
A ballroom high above the street means planning the elevator ride for my gear. A ranch on Tomales Bay has no cell signal. A lawn on the lake needs me to bring my own power. None of that is a problem when I know it ahead of time. All of it is a problem when somebody finds out at four in the afternoon.
So I wrote down what I know about the rooms I've played. Where the sound goes, where the power comes from, what to ask the venue, when the music has to end.
If you're planning an event at one of them, its page shows you what I already have covered, so you don't have to hold all of it yourself. No planner? That's fine. This is the part I handle.
Every photo is from one of my own events at that place.
I set one system on the terrace, another inside, and ask the inn when music ends.
I run ceremony sound under the big tree and the dance floor in the old barn.
I bring sound to whichever part of the grounds you use, so nobody misses a word.
Hardwood, big windows and hotel guests upstairs: I tune the room for all three.
I run three spaces here as one event: the Vista, the piazza and the Barrel Room.
Kunde runs uphill. I plan the music around that: the way up, the power, the cutoff.
I plan the sound for the oak, the lawn and the Stone Building as one evening.
I run two sound setups here: one at the willow pond, one in the old timber barn.
I walk the garden first, so the ceremony and the dinner each get their own sound.
I light the trusses, keep tape off the wood floor and plan to the city's cutoff.
I've set ceremony sound under the redwoods here and run the night from the stage.
I set up twice here: ceremony sound on the bluff, then the full rig in the yurt.
No cell signal on the ranch, so every song I play there comes with me offline.
The rooms open late in the day here, so I arrive early and build in a set order.
I plan the sound around the glass, and the night back from the venue's end time.
I plan the sound for a long room on the 15th floor, high above California Street.
Here I plan the elevator ride for my gear before I plan the first song.
Under the stained glass dome I keep the sound low, close and clear.
I've set up beside the fireplace here, with the bay in the windows.
The booth is the focal point, so I plan the night from there outward.
A room of glass and brick in the middle of campus, and I tune the sound to it.
Amplified sound outdoors gets the first 90 minutes, so I plan the move inside.
I light the two-story ballroom and run the music and the mic from one spot.
The hall comes with no sound gear, so I bring all of it and run the night.
I bring my own power to the lakefront, then run the night on the lawn.
A bagpiper plays here every evening, so I time anything outdoors around him.
I plan a sound setup for each stop: the church, the town square, the dance floor.
One day, one property. I run the sound and the timing in every space.
On the bluff lawn I plan for ocean wind first, then build the night indoors.
No page for these yet. Ask me about any of them on a call.
These are the rooms where I have my own photos to show you. I play all over Sonoma, Napa, Marin, San Francisco and the wider Bay Area, and I travel for destination events.
A room that's new to me gets the same preparation as one I know. You fill out a planning questionnaire, we talk through the day and the music, and I ask the venue what I ask every venue: how I load in, where the power is, and when the music has to end. Then I arrive early and bring backup equipment.
The instant estimate asks about your event, your date and where it is, and gives you a price in a couple of minutes. Or book a short call and we'll talk it through.