Four pillars, one service
Venues don’t need another gear vendor. They need someone accountable for whether the room works tonight — and next Thursday, when a different tech is on shift.
Audio
Hands-on every show, against a written standard rather than whoever’s available.
Video
Screens, capture and imaging tied to how the room actually makes money.
Lighting
Built scene libraries with recall, so a good-looking room doesn’t depend on improvisation.
Network
Installed once, managed remotely. The layer that makes everything else supportable.
The gap we fill
Small and mid-sized rooms are expected to deliver a professional show every night with no technical organization behind them. No production manager. No documented setup — the configuration lives in one person’s head. No bench when the tech calls out.
The City of New Orleans reached the same conclusion in its 2025 Tune-Up assessment, which identified limited in-house production management, inconsistent technical staffing, and missing sound documentation as recurring themes across the venues it studied.
This isn’t a gear problem. Tune-Up already proved venues can buy equipment. It’s an operations problem, and operations is what we sell.
How we prove it
At Café Negril, our reference room, the work follows the same sequence we’d bring to any venue.
Capture a baseline
Every main mix recorded from the first night, before anything changes. No added hardware, no change to how the floor operates.
Train against the written standard
The full tech staff trained on both sound and lighting — and the session itself recorded, so every future hire receives the same training on day one.
Measure the difference
Post-training nights compared against the baseline. The venue hears the change rather than taking our word for it.
What the data makes possible
A venue’s worst night is rarely a broken speaker. It’s the tech who doesn’t show, on the night the room was always going to be full.
Because we already hold technician performance and reliability patterns, each room’s calendar and expected draw, and what’s happening around the venue — nearby events, traffic incidents, weather — we can flag the rooms likely to run short-staffed the week before, rather than at doors. That turns a scramble into a scheduling decision: pre-position the bench, reallocate technicians across the corridor, and tell the venue early.
AI is only worth what the operator aims it at. Ours is pointed at staffing reliability, and every room and city we add sharpens it.
The curriculum already exists
Standards only hold if they’re written down. Ours are.
Why New Orleans is the right place to build this
It’s the hardest version of the problem, in the densest possible geography. Prove it here and the rest gets easier.
Dense
Multiple live-music corridors — Frenchmen, Bourbon, St. Claude, Uptown — packing more rooms into less ground than anywhere in the country.
Networkable
Because rooms run on managed, remotely accessible infrastructure, a venue across town or across the state joins the same operation.
Exportable
Austin, Nashville, Memphis and Chicago have the same rooms with the same gap. The model travels.
Who’s behind it
Chuck Keith
Standards, training and quality
Thirty years as a touring engineer. Established the technical standard the City funded through its Tune-Up program, and runs the Loyola training pipeline that supplies our technician bench.
Maurice Toussaint
Systems, network and operations
Electrical engineer and repeat technology founder, and a working New Orleans musician — these rooms from the stage, the board and the business side.
Talk to us
If you run a room, book one, or work in one, we’d like to hear from you.