Mino Eve

Before the date: I ask for your run-of-show, the room and headcount, your must-plays and your do-not-plays. If your venue has an installed system I will line-check with your AV team in advance rather than discovering problems on the night. On the day: On the day: I arrive in advance for load-in and soundcheck. I bring my own rig unless you have asked me to use the house system. During the set: the set is built for your room, not pulled off a playlist. For corporate events I default to clean edits unless you tell me otherwise, and I manage volume so people can still hear each other during the networking hour. I take direction from your planner or AV lead in real time, and I will hold or move the peak if your program runs long. Requests: send them ahead and I will build them in properly. I will also take them on the night if you want that.
What I need from you: a six-foot table, two dedicated power outlets, and cover if the booth is outdoors.

MINOEVE is a DJ and record producer based in Menlo Park, California - one of the very few on the Bay Area corporate circuit who actually programs K-pop as a native, not a novelty.

She came to DJing through production. Her catalog sits where K-pop meets tech house and hyperpop - driving, clean and modern, written for a floor rather than for headphones - and her sets are built largely from her own material. She does not play from a pre-made playlist. The set is built for the room and the timeline you give her.

THE ARC IS PLANNED, NOT IMPROVISED

Her regular work is the Bay Area corporate circuit: conference after-parties, product launches, sponsor activations, company holiday parties and private events. These rooms have a specific shape. People arrive to talk, not to dance, and forcing the energy early is how an event gets ruined.

So she builds the night against your run-of-show before the date. During the arrival and networking hours the music stays conversational - people should be able to hear each other without raising their voices, and that is a promise, not an afterthought. Then: where dinner service needs the volume down. Where the CEO speaks and the music has to disappear and come back clean. Where the peak lands, and how long it holds before the room is allowed to cool.

Clean edits are the default. If the room needs the energy later, she holds it. If the room is ready early, she takes it.

THE RIG

Three Pioneer CDJ-3000 players and a Pioneer DJM-A9 mixer, brought to the date. This is festival and club booth spec, not a controller and a laptop - the same setup a touring act finds waiting for them in a main-stage booth. It matters for two practical reasons: any AV vendor already knows how to patch it, and the third deck means layering and live edits that a two-channel setup cannot do.

For venues with an installed system she line-checks with the AV team in advance. For dates outside the Bay Area she travels to a rider so the house or a local rental company supplies the same spec.

She also produces original music for events - a walk-on cue, a brand theme, or a full custom edit built from a client's own audio.

She works in English and Korean, which suits Asian-market and cross-cultural tech events in the Bay Area and beyond.

Away from the booth she works as a ghost producer for other artists and uploads a new internet radio mix out of Silicon Valley every week

Rig I bring: three Pioneer CDJ-3000 players and a Pioneer DJM-A9 mixer. This is standard club and festival booth spec, so it interfaces with any house system and any AV vendor already knows it.

Booth footprint: roughly 6 feet wide by 2 feet deep. Two dedicated 120V outlets. I run my own power conditioning.

House systems: if your venue has an installed PA I can plug straight into it. I prefer a balanced XLR or TRS feed from the booth to your system. I will contact your AV lead ahead of the date for a line check rather than sorting it out during load-in.

Load-in and soundcheck: Load-in and soundcheck: I arrive in advance of doors. Custom walk-on music and branded audio cues are available — please ask in advance, as these require additional preparation.
Outside the Bay Area: I travel without the rig and work to a rider, so the venue or a local rental house supplies the same spec. Travel, backline and accommodation are quoted separately from the performance fee.

Music: I read the room and play what works — current hits, throwbacks, disco, funk, 80s and 90s, K-pop, house. I also weave in my own productions where they fit. For corporate events clean edits are the default. Send do-not-play notes with your run-of-show and they will be respected.