If you're playing a large venue, then getting the sound sorted is relatively easy. Chances are they'll have a resident engineer or at least the name of someone they've used before who is used to working in that sort of place.
When you're playing somewhere a bit different, say a theatre converted from a row of medieval cottages or an interior design shop, maybe a house concert or admittedly the oldest purpose built music venue in Europe, but one more used to classical music than bouzoukis, Galician bagpipes and hammered dulcimers, then it can be a bit more challenging. That's where I come in. I've looked after live sound for shows in all those places and more besides. I've had the pleasure of working with a diverse range of musicians from established and respected acoustic artists like Teddy Thompson, Charlie Dore, Julian Littman and Joseph Parsons to young up and coming rock acts like Kanadia and Cold Red Light.
If you're putting on a gig in an unusual venue, maybe one that isn't used to the challenges of balancing the sound levels between a mandolin, a quiet voice and the more strident tones of something like an accordion or if you just want some advice on how to improve the sound in your church or village hall give me a call. I'm based in Dolgellau but I can be tempted to travel for the right challenge (I'm regularly to be found mixing the sound for folk artists in the Holywell Music rooms in Oxford, a venue more used to the sounds of Handel than Joni Mitchell).