Wedding sound, light and stream · Bay Area
Sound, lighting, LED and livestream for South Asian weddings — from a one-afternoon ceremony to a five-night run that ends on the dance floor.
Shaadi · Lagna · Pelli · Kalyanam · Biye
Chandni is the wedding side of Lunar Productions — the San Jose crew behind more than two hundred shows, from keynotes for Apple, Amazon and Adobe to cross-country tours. We bring that discipline to the most important weekend your family will plan: rehearsed cues, a backup for every mic that matters, and someone at the desk from the first function to the last song.
And we know the room. A garba floor is a circle, not an audience. A baraat needs sound that moves. The getti melam is meant to drown everything out. Some ceremonies want no music at all. The details change with every family; the standard doesn’t.
Mehndi · Garba & Raas · Sangeet · Jaan
Choose your family’s tradition and how you want to celebrate. Every function, in the order your family will expect — and what we actually bring to each one.
Your tradition
How you want it
Three to five days. The complete run, done properly — every function, elders front and centre, family abroad watching live.
A Gujarati wedding is a run of long nights before it is a ceremony — garba circles that go past midnight, the mameru arriving with music, a jaan that dances all the way to the door — and then the most precise hour of the weekend under the mandap. It needs 360° sound for the raas and a ceremony nobody notices we’re running.
We’re set up for a Gujarati wedding — here’s what we’d walk through together. The full Gujarati page →
3 days before
01 / 10
Also: Mandap Mahurat, Mangal Muhurat, Ganesh Sthapana, Ganesh Matli
A day to a few days before — it starts the wedding
A morning puja at each family’s home: Ganesh sthapana, griha shanti, the mandap blessed. The wedding officially begins here.
Most families need nothing from us here. If you’d like it, a small speaker for devotional music and a mic so the back of the room hears the priest — set up quietly and gone before lunch.
2 days before
02 / 10
Also: Mehendi, Mehandi, Henna night, Mendhi
About two days before
An evening of henna and lagna geet — and, very often, the first garba circle of the week.
Warm, soft light for the henna artists, small speakers for the songs, a hand mic for whoever is leading the lagna geet, and floor space left clear for the warm-up garba that always starts. A livestream for the family overseas.
2 days before
03 / 10
Also: Sanji, Sanjhi, Sangeet Sandhya, Garba night
One to three nights before — and often more than one night
Hundreds of people moving in rings for four hours straight. The most Gujarati night of the weekend.
A garba floor is a circle, not an audience, so it gets 360° coverage instead of a front-facing stage rig: distributed fills so the far edge of the ring hears the same beat as the centre, aligned so nothing smears. Amps and crew built for a four-to-six-hour set. Cables and stands kept clear of the circles, the dandiyas and the lamp at the centre. Lighting designed to read from above, because everyone is always facing a different way. Many families run it across more than one night — we plan for the repeat load-in.
1 day before
04 / 10
Also: Sangeeth, Sangit, Sangeet Sandhya, Sangeet night
Often the same night as the garba, or the night before it
The choreographed night — family performances, speeches, a stage and screens. Many Gujarati families fold it into the garba.
A performance night run like a show. Intro videos cued per family group, a double-sided LED wall for playback, a confidence monitor so the dancers can see their own counts, moving heads for every number — and a line array that handles a live dhol and a DJ in the same room without either one turning to mush.
1 day before
05 / 10
Also: Pithi ceremony, Pithi Chadhavvi, Gujarati haldi, Haldi
The day before, at each family’s home
Turmeric paste, lagna geet, and a family laughing too hard to finish the song.
Weather-rated speakers, wireless everything and nothing on the ground that can’t take turmeric. A playlist or a dhol, and a mic for the moments in between.
1 day before
06 / 10
Also: Mosalu, Mosaalu, Mameru ceremony
Usually the day before
The maternal uncle’s family arrives with gifts — the panetar, the jewellery — often in a small procession of its own, with music.
A battery speaker that can walk with them up the driveway, and a mic for the moment the gifts are presented.
The day
07 / 10
Also: Jan, Varghodo, Var Ghodo, Baraat
The wedding day, just before the ceremony
The arriving family dances its way to the door behind a dhol or a full band — and stops only for the ponkhvu welcome.
Fully mobile sound: a battery PA on a cart and wireless mics on the dhol, loud enough for a procession and inside the venue’s outdoor-sound rules. At the door we cut cleanly to the indoor system, so the ponkhvu gets its own moment instead of competing with the band.
Inside, typically
The day
08 / 10
Leads the weekend
Also: Lagan, Vivah, Hasta Melap, Hast Milap
The wedding day
The mandap, the priest, the four mangal feras. The most precise hour of the weekend.
The mandap is the stage, and nothing of ours should be in its photographs. Lav mics on the priest and the couple, front-fill so the back row hears every word of the four mangal feras, a music bed for the antarpat entrance, and uplighting tuned to the mandap’s own décor. A multi-camera stream with a clean, captioned feed for family watching from India in the middle of their night.
Inside, typically
The day
09 / 10
Also: Vidai, Bidaai, Bidai
After the ceremony, or at the end of the reception
The hardest ten minutes of the weekend, and the quietest.
A music bed chosen in advance and cued the moment the family starts walking — or silence, if that’s what they want. Light that holds on the doorway and the car.
The day
10 / 10
The evening of the ceremony, or a night after
Dinner, speeches, a grand entrance — and a dance floor that turns into one last garba before the night is out.
Show design from the grand entrance on. Lighting cued to your entrance and the first dance, a gobo of your monogram, IMAG screens so the back tables see every speech, and a system that carries the dance floor until the venue says stop.
01 / 10 · Mandap Muhurat
Sangeet · Reception · Walima · After-party
Even the most traditional weekend usually has one loud night. Here’s what that night can look like.
Club-grade low end, and a DJ booth a touring DJ won’t complain about.
Subs sized for the room and the guest count, not the catalogue. A proper booth: two monitors, a clean power run, a mic that cuts through, a flat surface that doesn’t wobble when the floor jumps.
Beams you can actually see.
Moving lights only read as beams through haze. We run a fine water-based hazer, set low, so the room glows without anyone coughing through the speeches.
The venue realityMany hotels, temples and some estates prohibit haze, or will trip their fire system on it. We get the venue’s policy before we promise you beams — and design a show that still looks great if the answer is no.
The grand entrance, the first-dance finish, the drop at midnight.
Cold-spark fountains for the entrance and the first dance, CO2 jets on the drop, confetti for the last song. Cued from the booth, not guessed at.
The venue realityVenues decide what’s allowed, and some need sign-off from the local fire authority. Cold sparks have no flame, but they’re still an effect — we confirm every one in writing before it goes on the run-of-show.
Turn the room itself into the show.
A light-up dance floor, a 360 video booth for the reel everyone will post, and projection on walls or ceiling — your monogram, a skyline, a slow sky of lanterns.
The curfew hits at ten. The party doesn’t have to.
Wireless headphones with two or three channels — the DJ on one, Bollywood on another, something slower on a third. When the venue or the city says the speakers go off, the dance floor keeps going.
The venue realityThis is the answer to an outdoor noise ordinance or a hard venue curfew, and almost nobody pitches it. Ask about it at the first call if your venue has a cut-off.
When the elders head home, the room changes over.
We plan the moment: house lights down, haze up, the uplighting goes from warm to saturated, the subs come in and the DJ changes gear. Ten minutes from dinner room to club, with no one moving a table.
A system that still sounds good at 1am.
Open-bar timing, a late set that’s scheduled rather than improvised, and an operator who is still at the desk — not packing up — when the last song plays.
The venue realityYour venue’s licence and the city’s ordinance set the real end time. We find out what it is, then build up to it.
Gallery
Illustrative photography from Pexels and Unsplash while we add our own weddings — these are not Lunar events, and the families in them aren’t our clients.
What we bring
Every word of the vows to the back row, and a dhol that doesn’t flatten the front. Line arrays for the big nights, invisible fills for the ceremony.
Warm wash for the mehndi, moving heads for the sangeet, your monogram on the dance floor — designed per function, not per venue.
Double-sided walls for performance playback, IMAG so the back tables see every speech, and projection on ceilings and walls when the room deserves it.
Multi-camera, captioned, scheduled for the family twelve and a half hours away — with a replay for whoever sleeps through it.
Staging that works around a mandap, pipe and drape that hides every cable, and a DJ booth that looks like it belongs in the room.
A run-of-show, a show caller and a cue for every entrance — so the grand entrance lands on the beat, not three songs late.
Empty room → lit room
TODOOur own matching pair: the same venue empty, then lit (public/images/own/room-empty.jpg + room-lit.jpg)For everyone who can’t be in the front row
Every family has a grandparent who can’t fly and an uncle who can’t hear. We plan for both.
Personal receivers for elderly relatives — with neck loops for hearing aids that have a telecoil — fed straight from the officiant’s mic. The vows arrive clean, not bounced off the back wall.
Live captions on the livestream for the speeches and announcements, so relatives who are hard of hearing still catch every toast.
A 10am ceremony in Fremont is about 10:30pm in Ahmedabad. We schedule the stream, send the link the day before, keep a replay up for whoever sleeps through it, and test the venue’s connection before anyone gets dressed.
Speakers aimed so the front rows aren’t blasted, sightlines checked from a seated height, and a quiet room on the same feed for anyone who needs a break.
How it works
Tell us the functions, the venues and the guest count. We’ll ask what the planner forgot — curfews, haze policies, where the procession starts — and send a real quote, even for a single afternoon.
We walk every venue: power, rigging points, load-in doors, where the photographers stand. Then a sound and lighting plan for each function, and a run-of-show your coordinator can actually use.
Early, quiet and out of the way — for a dawn muhurat, that means before dawn. Everything is tested before the first relative walks in.
An operator at the desk for every function, a cue for every entrance, a backup for every mic that matters. You don’t think about AV once.
Venues we know
Power, curfews, the freight elevator, the house AV rules — we already know them. Don’t see yours? We’ll walk it with you.
In their words
Get a quote
One afternoon or five nights, one tradition or two. Tell us what you know; leave blank what you don’t.