Technical event production, Bay Area

Event production that works

Audio, lighting and multi-camera streaming for conferences, fundraisers and corporate events — plus front of house for bands and sound for circus and theater. One quote, one person, load-in to load-out.

Request a quote See the inventory

A typical event day

5 hours before Load in Everything comes off the van and goes where it's going. Vendors briefed, positions set, no hunting for a missing cable at 6pm.
4 hours before Systems up PA tuned to the room and measured. Lighting focused. Cameras framed, video feeds confirmed, stream tested end to end.
2.5 hours before Line check and rehearsal Every input verified against the list. Presentation feeds tested from the actual laptops. Wireless coordinated and lavs fitted. Anyone who wants a run-through gets one.
30 minutes before Doors Walk-in music playing, house levels set, stream live and stable, and I'm at the desk rather than still coiling cable.
Showtime The event The part everyone came for. Recording available if you want it captured.
After Load out Struck, packed and off the premises inside your venue's window.

Experience: Two decades, 200 to 10,000 cap
Equipment: Own rig, partner rigs to festival scale
Quotes: Within 24 hours
Based in: Berkeley, CA

Services

What you can book

Book the whole technical production, or just the part you're missing. Either way you deal with one person from the first quote to load-out.

Corporate & AV

Conferences, panels, awards nights and product launches. Speech that stays intelligible at the back of the room.

Lecterns, lavs and handhelds
Playback and presentation audio
Recording of talks and panels
Live music segments covered too

Streaming & hybrid

End to end — multi-camera switching, presentation feeds, audio and delivery to your platform. Cameras and crew through vendor partners, or bring your own.

Multi-camera switching
Slides fed straight to the stream
ISO recording on every source
Separate room and stream mixes

Front of house

Mixing the room for local shows, festival slots and touring runs. Analog or digital, house desk or mine.

Clubs, halls and festivals
Tour support, fly dates
System tuning and measurement
Multitrack capture on request

Monitors

Wedges or in-ears, mixed by someone who has stood on that side of the stage and knows what the ask means.

Dedicated monitor engineering
IEM systems and wedges
Fast, calm changeovers
Musician-friendly language

Lighting

Design, setup and operation for conferences, parties and stages. Sourced and crewed through my vendor partners, quoted alongside the audio.

Lighting design
Rig setup and strike
Operator available
Partner sourced

Theater & circus

Operating shows for circus, theater and physical performance — following performers rather than a timecode.

Show operation for a run
QLab programming
Tech week support
Design and score available

Corporate & events

For event organizers

Available as lead A1 or supporting A2. Keynotes, product launches, press events, sales meetings, panels and multi-room conferences — you're not buying a mix, you're buying the certainty that the keynote is audible, the stream doesn't drop, and nobody is crawling under a table during the opening remarks.

A conference auditorium set and ready before doors — Set, tested and quiet, before anyone walks in

Audio and video production desk at a corporate event — Audio and video switching, one position

A keynote is not a concert, and mixing it like one is the most common way corporate audio goes wrong. Speech intelligibility first, then media playback that sits under a presenter without startling anyone, walk-on music that lifts a room without shouting, and a feed that translates all of it for the people watching from somewhere else. Different job, different instincts.

The stream is where most conferences quietly fail. Remote attendees get a wide shot where nobody can read the slides, or a slide feed with a disembodied voice over it. I take the presentation feed directly, so slides are sharp rather than filmed off a screen, and put the speaker in picture-in-picture over their own deck. Multi-camera switching covers the panel, the audience and the lectern, and every source is ISO recorded separately — so the edit stays open afterward. Pull a single talk, recut a panel, fix a shot.

What you get

A site visit or a floor plan review before the day
A written equipment list, so you know what's arriving
Setup complete and tested before your first attendee walks in
Spare microphones, spare batteries, spare everything
One point of contact managing the team
Recording and ISO files available as an add-on

Panels & wireless

Shure ULX-D handheld and lavalier systems
12 channels regularly deployed, more available
Enough mics that every panellist gets their own
Coordinated frequencies, no dropouts mid-session
Spare packs, spare capsules, spare batteries

RF & presenters

Frequency coordination before anyone arrives, so twelve channels of wireless behave in a room full of phones and badge scanners.

Frequency planning & coordination
Lav placement and fitting
Antenna management
Spare packs, ready to swap

Intercom & comms

Clear-Com FreeSpeak and Helix. Stage management, the video position and the desk all on the same page, all day.

Wireless intercom deployment
Channel layout planning
Integration with house systems
Cross-department coordination

Typical events

Conferences and multi-day summits
Panel discussions and fireside chats
Product launches and press events
Awards dinners and galas with live music
Hybrid and streamed town halls

Live music

For bands and venues

I spent two years as Production Manager at Ashkenaz, the Berkeley landmark that's been putting on international and Americana music since 1973. That's a room where the band is different every single night, the stage plot arrives an hour before doors, and the show still has to start when it says it will.

That's the experience you're hiring. I read an input list properly, I don't need three explanations of what you want in your wedge, and I've mixed enough genres that nothing on your rider is going to surprise me.

I'm also a working guitarist, pianist and singer. It's the reason I mix the way I do — I know what it sounds like from up there, not just from behind the desk.

Check a date

Theater & circus

Running the show

Sound operation for circus, theater and physical performance — whether I built the design or someone else did.

Current Soiled Dove A1 engineer

2026 Church of Clown, San Francisco Sound design & live triggering

2026 — current Launderland Circus Design, composition & live operation

Running sound for performance is not the same job as mixing a band. The timing belongs to the performer, and when a trick runs long the sound has to go with it. That means watching the stage, not the screen.

I operate shows built by other designers, and I operate shows I've built myself. On Launderland Circus I did both — wrote the score, designed the sound, programmed the QLab file and ran it live. On Soiled Dove I'm the A1 for the run, on a show I didn't design, which is its own discipline: getting inside someone else's cue stack and making their intentions work in the room you're actually in.

A recent one: a three-night puppet show at Church of Clown in San Francisco, built around live-triggered sound — cues fired to the performers rather than to a timecode, because in that room nothing lands the same way twice.

Score it, build it and run it for the season — or just run it. Both work.

Mixing a circus show from the front of house position — Following the performers, not a timecode

A big top rigged for a circus show — Rigged and ready, hours before the audience

Show operation

On the desk for the run. Following performers rather than a timecode, with the judgement to hold or drop a cue when the show changes shape.

QLab programming

Building or rebuilding the cue stack — fades, loops, hotkeys — laid out so it can be handed to a stranger and still run cleanly.

Tech week

The part where it actually gets solved. Levels, coverage, mic plots and the endless small fixes that turn a design into a working show.

Design & score

Original music and sound design through Fool's Gold Studios, if you want the whole thing from one person.

Equipment rental

Hire the gear

Dry hire if you have your own engineer, or fully operated if you'd rather not think about it. Delivery and collection across the Bay Area.

Going over the plan with a client at the console — Going over the day with a client before doors

Scaling up

In-house

WING Rack or XR18, stage boxes, a full mic and DI kit, EVOX column arrays. Dante and SoundGrid where the job calls for it.

Conferences and panels
Receptions and corporate
Acoustic acts and duos
Small bands, up to a few hundred people

Partner PA

Meyer and RCF hybrid rigs, or a Coda line array — either covers a crowd of around 5,000. I run it, or manage the crew that does.

Festivals up to ~5,000
Outdoor and main stages
Large venues and halls
Quoted with the rig itemised

Partner lighting

Lighting design, install and operation through the same network — so the room gets lit and mixed by one team, quoted on one sheet.

Design and plot
Rig, focus and strike
Operator for the run
Quoted with the audio

Partner wireless

Shure ULX-D handheld and lavalier. Twelve channels is routine, with plenty more available when a panel or a musical needs them.

12+ channels, more on request
Handheld and lavalier
Coordinated frequencies
Spare packs and capsules

See the full inventory Consoles, PA, monitors, wireless, lighting, cameras, backline

In house

Console — larger Behringer WING Rack with DL32 and DL8 stage boxes Dry or operated

Console — smaller Behringer XR18 Dry or operated

PA 2 × RCF EVOX J11 — active column arrays with integrated subwoofers, stereo pair Small & corporate

Monitors Powered wedges — 10-inch, 12-inch and 15-inch available Dry or operated

Microphones & DI 29 microphones and 6 DI, regularly deployed for live bands and events By the item

Streaming Dedicated streaming rig — multi-camera switching, presentation capture, picture-in-picture and ISO recording on every source Operated

Cabling CBI analog subsnakes — 6×2 and 8×4 — plus stands, looms and spares With hire

Power powerCON distribution with multiple drops off each line With hire

Through vendor partners

Sourced, crewed and quoted alongside the audio, so you deal with one person and one invoice.

PA at scale Coda line array, or Meyer and RCF hybrid systems Festivals & large

Wireless Shure ULX-D handheld and lavalier — 12+ channels available, more on request Per channel

Lighting Design, rig and operation — fixtures and crew Designed or operated

Cameras Cameras and operators for single or multi-cam shoots With the stream

From Fool's Gold Studios

Backline Hammond A100 and Leslie, Nord Electro 5, DW Collector's kit, 1964 Ampeg B-15N, Mesa and Fender amps Via Fool's Gold

Microphone & DI kit

Vocal

Sennheiser e8355
Telefunken M803
sE Electronics V73
Shure Beta 841
AKG D51

Instrument

Sennheiser e604 — toms4
Sennheiser e906 — cabs2
Shure SM572
Warm Audio WA-192
Beyerdynamic M2011
Shure SM91 — boundary1

Condensers

Lewitt LCT 0404
Lewitt LCT 1402
Warm Audio WA-842
Aston Starlight2
AKG P1201
AKG C414 — via studio1

DI & inline

Klark Teknik CT-1 boosters6
Radial JDI — passive2
Radial J48 — active1
Radial ProD2 — stereo1

One number, whatever the size

Everything above what I own — bigger PA, wireless channels, lighting, cameras and crew — comes through the same partner network, so you get a rig sized to the actual event rather than whatever one supplier happens to own.

Either way you deal with me. Tell me the room, the headcount and what's happening on stage, and I'll come back with a package and the line items shown, so you can see exactly what you're paying for and which parts are hired in.

Get a package quote

Work

Recent events

A sample. References available for any of it.

Venue — past role

Ashkenaz, Berkeley

Two years as Production Manager at the Berkeley landmark — a different band and a different stage plot most nights of the week.

Conference

Responsive Conference

Audio production across three presentation rooms — 12 channels of Shure ULX wireless lavs and handhelds, PA, a full mic and DI package for a seven-piece band, and clean stereo outputs to the video feeds.

Fundraiser

Berkeley House Fund

Day-of audio at Cal Memorial Stadium — six channels of wireless lavs and handhelds, PA, and a recording of the event.

Touring

Con Brio

Front of house across 50+ dates, in rooms from 200-seat clubs up to 10,000-capacity festival stages including BottleRock.

Touring

Rainbow Girls

Front of house and monitors, from 100-seat rooms to festival crowds of 2,000+ including High Sierra.

Streaming

Vivica Hawkins benefit

A benefit at The Independent in San Francisco — around 500 in the room and a live stream reaching many more. I ran the video and pulled the stream audio from the console.

What people say

“Harry is the engineer I trust for my most important work.”

Jonathan Kirchner — bandleader, Con Brio

About

Who's turning up

Harry Gold. Berklee-trained, Berkeley-based, and about two decades into doing this. Alongside the live work I own and run Fool's Gold Studios, a 7.1.4 Dolby Atmos room in North Berkeley, and I teach game audio, sound design and studio recording at Foothill College. I'm an Avid Certified Instructor and have written Pro Tools curriculum for Avid directly.

The short version of why that matters for your event: I've mixed records, I've mixed rooms, and I've taught other people to do both. Very little goes wrong that I haven't already seen go wrong somewhere else — and the difference on the day is usually someone noticing a problem before it becomes one.

These days I take on the whole technical production rather than just the audio — which means one quote, one point of contact, and one person accountable if something goes wrong.

Dante Level 3 and SoundGrid Level 3 certified — the top tier of both. On a multi-room job where the audio runs over a network, that is the part that either works invisibly or ruins the morning.

Fool's Gold Studios Harry Gold Music

Working together

What producers tell me they want

The gear list is further up the page. This is the part that decides whether you book someone twice.

Calm on the day

Things go wrong at events. The useful skill is noticing early and fixing it without the room finding out.

Ready before doors

Advanced, patched, checked and quiet with time to spare. Nothing bleeding into your first session.

Easy with talent

Executives and speakers are often nervous about the mic. Fitting a lav calmly is half the job.

Self-contained

I bring the rig, the spares and the crew. You get one call, one quote, and nobody to chase.

Quote

Request a quote

The aim is simple: presenters feel confident, producers feel supported, and everyone in the room hears every word. Tell me the shape of the event and I can usually price it without a phone call.

Or email directly — harry@harrygoldsound.com
Phone — (510) 847-7048
Based in Berkeley, CA. Working across the Bay Area and traveling for tours.