▚ live production — chicago — independent contractor
AV production management for concerts, cabaret, corporate and private events. I run the whole show — advance, load-in, front-of-house mix, lighting, LED video, strike — or I fill the one department you're short.
contracted AV since 2022 · electrical & low-voltage since 2020 · OSHA 30-Hour (expired, renewal planned)
◆ dates quoted within 24 hours
LED battens on ground-supported truss towers, moving heads on the overhead rig, DJ position center — room full.
Four pixel-mapped LED panels behind the stage, beams over an LED dance floor — content and lighting cued together.
Full house from the truss line — overhead wash and movers running to the set.
Beam work across a packed floor — haze, movers, and a wash built for the room.
LED wall built and fed from the control position — playback checked before doors, not during.
PA and subs stacked for a gymnasium show — coverage for a room whose acoustics fight you.
Cabaret room from the front-of-house position — vocal and guitar up, wedge and house PA set for a listening room.
The control position mid-show — hanging LED tube battens and lit totems over a full floor, run off the laptop.
Ground-supported truss towers, uplit and cabled. The build is the half nobody photographs.
From the deck mid-show — host mic live, movers on the truss overhead.
One person owning the whole show — advance, load-in, showtime, strike — so the client talks to one number instead of four vendors.
A run-of-show and input list before the day, a crew that knows the plan, and someone standing in front of the client from before doors through strike.
Live mixing for bands, cabaret, and speakers — PA and monitors set, rung out, and changed over between acts without dead air.
PA and monitor deployment, mic plot and line check, a mix that sits right for the room, and act-to-act changeovers on the clock.
DMX and Art-Net lighting built to the act — looks programmed, cued, and recalled, not a static wash left up all night.
A patched rig, looks built per act or per song, and a board op who can follow the show live.
LED walls built, pixel-mapped, terminated and networked — then fed real-time, audio-reactive content instead of a looping stock file.
Wall build and mapping, data and power terminated and networked, media server running, and visuals that move with the music.
The unglamorous half that decides whether a show happens — distro, cable, and fixture rigging done to spec, dressed, and labeled.
Power distribution planned to the load, cable pulled, routed, terminated and dressed, fixtures and truss rigged safely.
When lighting, video, and audio all ride the same Ethernet, someone has to own the addressing. That is a job, not an afterthought.
Switching and IP plan for the show, Art-Net / sACN universes mapped, and a documented patch you can hand to the next tech.
Most rooms hire three people who blame each other at 8pm. I run all three, which means the light cue lands on the downbeat and nobody is waiting on a patch that was never advanced.
Commercial electrical and low-voltage background since 2020 — distro, terminations, data cabling, addressing. When the wall goes dark mid-set the fix is a job I have already done, not a phone call.
The audio-reactive VJ system used in these shows is mine — I wrote it. Content gets tuned to the act on the night instead of rented as a loop that ignores the music.
the VJ system is documented at /work ↗
References on request.
Technology Manager — contracted
Lead crews on live events and concerts, load-in to showtime to strike. Program and run DMX lighting over Art-Net with QLC+, building and cueing looks to each act. Build and run LED video walls — pixel-mapping plus terminating and networking data and power. Handle band audio, power distribution, and cabling, and wrote the setup and showtime safety SOPs the crew works to.
2022 — present
Independent AV technician — sound & lighting
Front-of-house sound and stage lighting for a rotating lineup of cabaret, vocal, and live-music acts. Mixed on a 24-channel Allen & Heath — PA, vocal mics, and monitor mixes set and rung out per performer. Built and recalled DMX looks to match each act. Often met the performer and learned the set the day of the show, then delivered a clean mix and a lighting look inside a tight pre-show window.
2024 — 2025
Independent contractor
Line-voltage wiring, fixture installs, and LED video-wall builds for commercial clients. Copper and data cabling pulled, routed, labeled, terminated, and dressed to spec. Networked control systems wired and troubleshot under deadline — DMX / RS-485, Art-Net / sACN, IP addressing — in live, time-critical environments.
2020 — present
Before the day: input list, stage plot, power and rigging needs, run of show. Most show-day disasters are advance failures.
Rig, patch, power, network, and address. Line check and a look built per act while there is still time to fix something.
Mix and run the show live, in front of the client. Changes get handled on the spot, between numbers, not after the night.
Out clean, gear accounted for, room back the way it was — plus a straight account of anything that went sideways.
Independent contractor (1099). Booked by the show, the day, or the run — quoted against the scope above, not off a rate card, because a one-act cabaret night and a four-band load-in are not the same job. Chicago and suburbs; travel quoted separately.
Send the show and I'll come back with availability and a quote.