CH 02 · LIVE AUDIO

Live audio — a decade behind the desk

Ten-plus years of FOH, monitor, and RF work — Rock in Rio, a Latin Grammy nomination, and now Sound Image clients including Apple and Dolby.

STATUS · active audiolive-eventsfohrfdante

Backlit Allen & Heath iLive R72 console in a dark room — four blue, four green, four yellow, and a magenta pad form a glowing color palette.
FIG. 01 · ALLEN & HEATH iLIVE R72 · ENGENHEIRO COELHO · 2016
FOH position during a COVID-era livestream — operator at the console under low house light, broadcast monitors glowing, empty room beyond.
FIG. 02 · COVID LIVESTREAM FOH · ENGENHEIRO COELHO · 2020
Sound Image crew in dark shirts prepping black SOUND IMAGE flight cases and a Shure rig in a FIFA World Cup 2026 hospitality lounge — bar stools, couches, and the tournament graphics on the walls and screens behind them.
FIG. 03 · SOUND IMAGE CREW · FIFA WORLD CUP 2026 · LOAD-IN

I’ve been the engineer behind a console for more than a decade — first in Brazil at festival and tour scale, now in San Francisco on corporate and broadcast work. The gear changes; the job doesn’t. You’re responsible for what the audience hears, and you’re responsible for what the artist hears, and a lot of the time those two answers aren’t the same.

Black-and-white over-the-shoulder of Victor at a digital mixing console with an onboard touchscreen, earphones resting around his neck.
FIG. 04 · ENGINEER AT THE DESK · B&W

Now — Sound Image (Clair Global), San Francisco

Part of the SF Bay Area crew handling high-end corporate audio for clients like Apple and Dolby. Load-in, cabling, rigging, PA tuning, Dante signal flow, and wireless frequency coordination on a Shure Axient / PSM rig. Operating on Yamaha CL5 desks for FOH and monitor.

Avid S6L console at FOH in a banquet hall — round white-clothed guest tables and ceiling string lights, a band on the warm-lit stage beyond the meter bridge.
FIG. 05 · AVID S6L · GALA FOH · SF · 2025
FIFA World Cup 2026 — a covered pitchside broadcast/commentary position in the stadium bowl, empty red seats and the green pitch beyond, tournament boards around the stands.
FIG. 06 · FIFA WORLD CUP 2026 · PITCHSIDE BROADCAST
Over-the-shoulder from front-of-house — a digital console's channel meters glowing in the foreground, a singer on a blue-lit stage beyond a standing audience.
FIG. 07 · FOH POV · STAGE BEYOND
Victor prepping cable at the Sound Image warehouse — coiling power and signal runs at a road case before a show.
FIG. 08 · SOUND IMAGE · CABLE PREP · BAY AREA · 2026
FIG. 09 · CONSOLE / FOH · SP · 2017 · 12s LOOP · MUTED
FIG. 10 · HANDS ON FADERS · 2018 · INLINE FEATURE · 15s · MUTED

Block Inc. conference, Oakland — Clair Global, Oct 2025

City-wide audio infrastructure for a multi-stage corporate event. Fiber optic backbone with decentralized speaker systems across the venue. I was the one engineer on Stage 16 from load-in through show: system setup, rigging, cabling, live operation, plus PA tuning and RF coordination shared across the campus.

Victor in headphones at the Tidal-stage playback console — Pioneer-style decks at front-of-house, the TIDAL banner and event tents behind him.
FIG. 11 · TIDAL STAGE · BLOCK · OAKLAND · 2025
The Tidal stage at the Block event — a line array and subwoofers flanking the deck, a multi-stage venue directory sign behind, rugs and shade tents on the ground.
FIG. 12 · BLOCK · MULTI-STAGE DEPLOY · OAKLAND · 2025

Vocal Livre — A1 and OPS coordinator, 2015 – 2022

Lead audio for an entire band’s touring and broadcast operation across Brazil. Events from 100-person rehearsals up to 25,000-attendee festivals. Technical advance, run-of-show, FOH and monitor — and the unglamorous parts: rider negotiation, freight, crew scheduling, the moment-of-truth phone call to a venue’s house engineer.

FIG. 13 · BRASÍLIA STAGE · POR TODA TERRA TOUR OPENER · 2019 · MUTED
Festival stage deck mid-load-in — flight cases on the boards, line-array hangs in the background, crew moving cabling under house lights.
FIG. 14 · STAGE DECK · LOAD-IN · BR · 2017
Bird's-eye angle of Victor at an Allen & Heath iLive-R72 — both hands working the console at once, a second engineer leaning in.
FIG. 15 · ALLEN & HEATH iLIVE-R72 · SP · 2017
FIG. 16 · WAREHOUSE SESSION · SP · 2017 · INLINE FEATURE · 2:14 · MUTED
Wide rehearsal frame from the front-of-house position — a digital mixing console and a screen running Pro Tools in the foreground, people gathered in a warehouse room beyond, lit by a warm amber wash.
FIG. 17 · REHEARSAL · FOH POSITION · AMBER WASH · 2021

A2 at Rock in Rio, 2017

One month, 80,000 attendees a day, supporting senior techs on RF coordination and stage audio. The kind of show that recalibrates what “big” means.

The illuminated red 'Rock in Rio' arch over the festival gate at night, crowds streaming in beneath it.
FIG. 18 · ROCK IN RIO · MAIN GATE · 2017
Victor backstage in a production trailer at Rock in Rio 2017, the festival's accreditation pass around his neck, gear down the corridor behind him.
FIG. 19 · ROCK IN RIO 2017 · ACCREDITED · BACKSTAGE

The kit I’m fluent on

Macro of a Yamaha PM5D channel strip — bright lime-green LCD scribble strips spell 'Tui / Lucia / Arco / Marce' beside meter ladders, orange-glow rotary encoder rings below.
FIG. 20 · YAMAHA PM5D / SCRIBBLE STRIPS · RIO DE JANEIRO · 2017
FOH POV from behind the engineer — Behringer X32 console under the hands, stage lights blooming past the meter bridge.
FIG. 21 · FOH POV · BEHRINGER X32 · 2020
Close-up of the X32 select buttons — bank of glowing color-coded scribble keys in red, green, blue, and amber, hand resting beside the encoder row.
FIG. 22 · FOH · COLORED SELECT KEYS · X32 · 2020
In-ear monitor drawer — wireless bodypack transmitters in foam slots, each on a yellow tape label with a band member's name, antennas and cables visible.
FIG. 23 · IEM DRAWER · BRIANE / LANNY / MARCEL · 2019
Backstage rack — a stack of Shure wireless receivers with green-lit displays, topped by a multichannel outboard preamp/processor; antenna distribution and patch cabling visible.
FIG. 24 · RACK · SHURE WIRELESS + OUTBOARD PREAMP · 2021
Yamaha DM3 console set up under a white event tent on grass — natural daylight FOH on an outdoor corporate stage.
FIG. 25 · YAMAHA DM3 · OUTDOOR / WHITE TENT · 2024
Church-auditorium center aisle in red carpet, flown line-array speakers on truss towers flanking the stage, rows of folding chairs on either side.
FIG. 26 · AUDITORIUM · LINE ARRAY · BR
The UNASP auditorium before doors — banked red seating, flown line arrays over the room, a grand piano on the stage under a dense ceiling lighting grid.
FIG. 27 · UNASP AUDITORIUM · 5,000+ WEEKLY · LINE ARRAY
Close-up of a Shure ULXP4 wireless receiver rack — green LCDs showing group and channel frequencies, channels labeled on tape (TATAi, LANNY), a microphone capsule in the foreground.
FIG. 28 · SHURE ULXP4 · RF COORDINATION
FIG. 29 · dLIVE R72 · OUTDOOR · BR · 2017 · SPL · 94.4 dB(A)
FIG. 30 · DAW SESSION · MULTITRACK · BR · 2019 · 12s · MUTED
Pro Tools session on screen, broadcast feed picture-in-picture in the corner — multitrack arrange window mid-edit, transport stopped on a downbeat.
FIG. 31 · PRO TOOLS · LIVE BROADCAST PIP · 2020

Mixing the night back together — broadcast feed in the corner, the multitrack on the timeline, every channel where it should have been.

Certifications

Allen & Heath dLive (May 2026) · Dante Level 1, 3rd Edition (Apr 2026) · Shure Axient Digital / PSM · Networking for Audio Professionals.

Wide concert frame — green and red laser beams cutting through the air, orange tribal-pattern backdrop discs glowing like planets, a full choir on risers between two broadcast camera silhouettes.
FIG. 32 · WIDE · CHOIR + LASERS · ENGENHEIRO COELHO · 2015
Meyer Sound Galileo Galaxy loudspeaker-management processor in a road case — meter LEDs above Luminex GigaCore network switches and XLR patch panels, status LEDs glowing in low backstage light.
FIG. 33 · MEYER GALILEO GALAXY · PROCESSOR + NETWORK RACK · BACKSTAGE
FIG. 34 · PRE-SHOW CALIBRATION · PA TUNING · LINE CHECK · MUTED