Grand Ballroom
The big room, hung with chandeliers under a vaulted ceiling. A room this size wants speakers placed for even coverage, not one loud corner, so the layout of the tables and the dance floor decides where the booth goes.

The lawns at Spanish Bay look over the dunes and the Pacific, the ballrooms are indoors, and a bagpiper plays every evening. Company night, wedding or private dinner: I run the sound, the microphone and the timeline, so you don't have to hold any of it.
The Inn at Spanish Bay is a resort hotel inside the Pebble Beach gates, off 17-Mile Drive on the coast south of San Francisco. Monterey pines behind it. A Scottish-style golf links and dunes out front, then the ocean. It's low-rise and relaxed, more California coast than formal hotel, and it's part of Pebble Beach Resorts.
The ceremony sites are outdoors, on lawns and a patio that look over the links and the water, and open coast means wind on the microphone and no wall to hold the sound. Then the reception moves inside, to a ballroom or one of the smaller rooms. It all happens on one property, so nobody drives between the vows and dinner, but the sound has to be ready in two places.
And then there's the piper. Every evening he walks from the first tee to the fire pits outside the lobby. It's a lovely thing to have at your event. It's also a sound I don't want arriving in the middle of your vows, so I find out whether and when he plays that night and build around it.
The big room, hung with chandeliers under a vaulted ceiling. A room this size wants speakers placed for even coverage, not one loud corner, so the layout of the tables and the dance floor decides where the booth goes.
A mid-sized room with a patio beside it. If your party will move between the two, I ask whether the patio can have its own speaker, so the music follows people outside at a talking level while the dance floor inside keeps its energy.
At fairway level, a smaller room with ocean views and a pair of fire pits on its patio. It suits dinner and conversation: a compact setup, music kept low, and a wireless mic for the toasts.
Open lawn with a wide view of the coastline, and the largest ceremony site here. Nothing out there holds the sound in, so the seating plan decides where the speaker goes and how far it has to reach.
Two ceremony sites over the links, dunes and ocean, one a tiled patio and one a groomed lawn. The venue has listed the patio for later in the day only, so I confirm when each site is open before the timeline is set.
Outdoors first, indoors after, and a piper somewhere in between. That holds for a wedding and for a company night.
The ceremony sites here are open lawn and patio over the links, with ocean air and no wall behind your guests. So the ceremony gets its own setup: a speaker close in and aimed at the chairs, a mic chosen for wind, a backup already set up. I arrive early, so the reception setup is in place before the vows.
I ask the venue whether the piper is playing on your date and when, then place the ceremony and cocktail hour so he's a moment your guests enjoy, not a surprise over the vows. The 1st Fairway Patio has been listed for later in the day only, which pushes a ceremony there toward his hour, so I check that first.
In my photos from 2013 the booth sits at the edge of the ballroom's dance floor, a speaker on a stand at each side, close enough to read the dancers. Through dinner the far tables hear every toast and the near ones can still talk. Then the plates clear and I build.
The Inn sits inside the Pebble Beach gates, so vendor entry gets sorted before the day, not at the gate. Then it's the unload and the push to your room, and power out on the lawn or the fairway patio. No outlet out there? The estimate adds a generator. Backup equipment comes with me either way.
The ballroom at Inn at Spanish Bay, set up and ready
Speakers and booth set on the parquet floor, ready for the first dance
At the decks as the reception gets going
Cueing the next moment at an Inn at Spanish Bay wedding
Dance set underway, floor full from the first song
The decks look out over the ballroom floor and chandeliers
Keeping the dance floor going
From the decks: dance floor, tables and chandeliers all in view
Hands up across the ballroom floor at Spanish Bay
At the decks, a few feet from the floor
The first dance, with the whole room watching
Two sites, a gate, a piper and a music cutoff. None of them should be yours to track on the day. Before your event we go through a planning questionnaire and planning calls: the order of things, who speaks, your must-plays and do-not-plays, the exact versions of the songs you love. By the time I arrive, I already know your event inside and out.
Then I'm the MC. Every entrance, toast and announcement comes from me, on a timeline built back from the venue's music cutoff so the dance floor gets its full stretch. I don't assume the Inn's sound rules. I ask its events team.
A ballroom with chandeliers already has its own warm light, so anything I add works with it. Uplighting along the walls sets the color of the room for dinner. Pin spots pick out the cake or the centerpieces. Dance-floor lighting takes over when the dancing starts.
A monogram or pattern projection gives a big floor or wall a focal point. All of it is optional, and you add it in the instant estimate.
Spanish Bay hosts far more than weddings. Corporate meetings and conferences, galas and banquets, rehearsal dinners and private dinners all happen here, and the property has hosted golf groups and festival events too. When a conference ends with a party, I run the awards microphone first and the dance floor after.
For a welcome party, a cocktail hour or a dinner in one of the smaller rooms, a Selector Session fits: a set of my own programming, up to four hours, kept at a level made for conversation. I also play birthdays and milestones, fundraisers, holiday parties and mitzvahs. And The Journey, a live sound bath that flows into a facilitated ecstatic dance, can be its own event or one part of a bigger one.
Every room, from Napa Valley to the coast, is on the rooms list.
Your date, which space you're looking at, and the feeling you want in the room. I'll take it from there.