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The industrial district at night from the air, with the warehouse's lit roof in the center
01City
The warehouse roof from lower down, with the loading yard and the lit door in the background
02Roof
The warehouse door at ground level, with the line going in and the lit room at the end of the hallway
03Door
The service hallway with its concrete walls converging toward the room
04Hallway
The room from the back, above the crowd's heads, with the lit stage in the distance
05Room
The crowd's raised arms under the lighting rig, with the raised booth up front
06Rig
The pit in front of the booth, with the truss above and the DJ's hands on the mixer
07Pit
The booth up close, with the DJ backlit in silhouette over the gear
08Booth
The whole room seen from over the DJ's shoulder, with the crowd like a field of lights
09Full house

YOUR WEBSITEfor eventpromoters

A website on your own domain for your production company and your dates, in 8 languages and ranked on Google and in ChatGPT, Perplexity and Gemini, so the crowd finds you when they look for something to do tonight.

I want my website Audit my production companyThe Audit is only available in Spanish for now. If you'd rather talk in your language, message us on WhatsApp or at hola@eltio.net.

From USD 300. See packages

A show is decided long before the doors open.

CAPACITY

0/ 800

Empty room

Break-even: 620 tickets, 78 percent of the room.

YOUR WEBSITE

Every date with its own page, in your name.

From USD 300 and USD 39 a month. See packages

  • Your own domain

    one page per show

    Your company's website and one page per event, with the venue, the time and the link to the ticketing site.

  • 8 languages

    es, en, pt, fr, de, it, zh, ja

    For fans who travel to see their artist and search in their own language.

  • Google and AI

    things to do tonight

    Ranked to show up when someone looks for events in your city, in ChatGPT, Perplexity and Gemini too.

I want my website

PLUS, FOR YOUR INDUSTRY · THE DECISION

Four decisions, almost always made from memory.

Someone knows the artist. Someone saw them sell out in another city. Nobody does the math on how many tickets it takes to break even, and when someone does, it's already signed.

  1. The fee

    It gets closed over the phone and it's locked in. It's the biggest number of the show and the only one you can't bring down later.

  2. The day

    A Thursday in a packed month isn't the same as a Thursday in a quiet one. The competition that week is already announced and nobody looks at it.

  3. The venue

    Capacity sets the ceiling. A big room half full costs more than a small one that's packed.

  4. The price

    It gets set by looking at what the next promoter charged, not at what this show needs to break even.

An empty concert hall seen from the stage, lit only by work lights
The empty room under work lights. This is where everything gets decided.

WHAT YOU CAN ADD TO THE WEBSITE

Extras, built on your own data.

Without this, any automation runs on a date nobody knows how it sold.

  • CRM

    on top of the one you have

    If you already have one, we work with that. If not, we set it up around how things actually run: artist, hold, contract, advancing.

  • Your customer data, organized

    one row per person

    Ticket buyers from past shows, merged by person and not by transaction, which is how they usually come.

  • Your own newsletter

    your list, not the ticketing company's

    Your list to announce a show before the ticketing company does, without paying anyone to reach your own people.

  • Chatbot that answers and qualifies

    any time of day

    Answers the usual questions: set times, minimum age, tables, entrances and how to get there.

A production company's office at night, with the desk covered in papers, the lamp on and the blank wall planner behind it
The production company's office, which is where the show gets put together.

None of this is a platform of ours. It's set up on tools that already exist, it stays in your name with your logins, and your team learns to run it. If you already have something working, we build on that.

THE MATH

How many tickets this show needs to avoid losing money.

It's arithmetic, not an estimate: the artist fee plus fixed costs, divided by what each ticket nets. Move it and watch the threshold shift across the capacity.

6000

What they charge to play.

4000

Venue, sound, production, advertising and security.

25

What's left from each ticket after the ticketing company and taxes.

800

How many people fit.

BREAK-EVEN POINT

400tickets

That's 50 percent of the room. Below that, the show loses money.

Minimum occupancy
50 percent
Margin if the room sells out
400 tickets
Selling seven out of ten
560 tickets, 160 above it

Nobody knows how many you'll sell. How many you need to sell to avoid losing money is a division, and it's the only one of the two questions with an exact answer.

The same math, with currency and a scenario table, is published and free: the break-even calculator.

A front-of-house sound console, with the faders lit by a gooseneck lamp
Four values move the number: artist fee, fixed costs, net per ticket and capacity.

THE MAP

Where those tickets fit, and at what price.

The math says how many. The map says where. Each venue goes in in three dimensions, with the capacity of each section, how it fills up and what you can see from each spot.

Capacity isn't a number. It's sections.

Floor, sides, boxes and back hold different numbers, cost different amounts and sell at different paces. The venue gets loaded once and keeps the capacity of each section, so you can price by zone instead of one price for everything.

3D map of the venue in the tool, with the stage, the floor and the sides, and the capacity of each section marked on top

A room fills from front to back.

The occupancy view shows what's sold section by section, with the break-even line running across the room. You can see right away whether what's left to sell is in the expensive zone or the cheap one, which is the difference between making it and not.

The same 3D map showing occupancy, with the sold spots lit up toward the stage and the break-even line running across the room

And not every spot sees the same thing.

The sightline study shows where you can see the whole stage and where the truss, a delay tower or the console blocks it. It's good for two things: not selling a bad spot as a good one, and deciding where the production should go.

3D sightline study from a tier of seats toward the stage, with a line marking where the truss blocks the view

The map is built from the floor plans and the venue's stated capacity. It doesn't count seats for us: it organizes what the venue already knows about itself.

THE TOOLS

Six tools, and your team runs them.

We don't deliver a service you have to buy again for every show. We deliver the tool and the training to use it, which is what stays when the job is done.

  1. A contract and a calendar sheet on the lid of a road case, lit from the side by a work lamp

    Analyze a show before you sign it

    Artist, market, venue and economics in a single read.

    What observable audience there is in that city, what's competing that week, how packed the month is and which number decides it. Each show is saved exactly as it looked that day, so you can compare it later against what happened.

  2. Four printed show sheets, all alike, lined up side by side on a production table, with a hand resting on the second one

    Compare shows side by side

    Three or four options, with the same criteria.

    When you have to choose between one artist and another, or between two venues, or between two weekends, the comparison is made with the same variables and not from memory.

  3. A phone in hand outside a club entrance at night, with the checkout screen on and the line blurred behind

    The event page

    The whole path through to payment.

    General admission, tables, VIP, FAQ, WhatsApp and tracking. It's built on the ticketing company you already use, not a replacement for it.

  4. An open black road case on the floor of a backstage hallway, with a ring binder, coiled cables and a flashlight inside

    Advancing, prepared

    The same back-and-forth for every show, ready ahead of time.

    The contract and the rider produce the payments, the hotel, the flights, the transfers, the hospitality, the tech and the deadlines. A person approves before anything goes out.

  5. A stack of fabric wristbands and ticket stubs on a dark metal table at a venue entrance

    Your buyer list

    Merged by person, not by transaction.

    People who bought tickets to past shows, deduplicated and with what they went to see. It's what lets you announce a show to your own people before the ticketing company does.

  6. A phone resting on a production company's desk in the early hours, with a conversation open on screen and the dark office behind it

    Chatbot that answers and qualifies

    The usual questions, answered at any hour.

    Set times, minimum age, tables, entrances and how to get there. And whatever it doesn't know, it hands off with the whole conversation attached.

THE PRODUCT

Smart software for production companies and promoters.

The software is already built and running. Both screenshots are from that product, with demo data.

Product screen with five analyzed shows, each with its city, venue, day, status and percentage
The analyzed shows. Each one saved exactly as it looked that day, with its status and the number that decides it.
The public break-even calculator, with fields for capacity, artist fee, fixed costs and net per ticket, and the result in large type
The break-even calculator. It's public and free, and nothing you type leaves your browser.

We don't predict ticket sales, and you should be wary of anyone who promises that. Other tools in the industry do it with verified ticketing data we don't have. Our territory is the economics of the show.

A SCENARIO

A production company with 2 to 4 shows a month in an 800-capacity room

WHAT GOES IN
The artist fee, the cost of the venue, production and advertising, the ticket price and the ticketing company's commission. On the artist's side, what observable audience there is in that city and what else is happening that week.
WHAT COMES OUT
How many tickets it takes to avoid losing money and what percentage of capacity that is. If it's 620 out of 800, the risk is high.
WHAT CHANGES
You sign, renegotiate the fee or pass. With the number on the table, not after.

What we'd measure: show by show, the estimate against what happened. It's the only honest way to get more accurate.

THE ROADMAP

Ninety days, and the one moment that doesn't move.

  1. D-90DecideArtist, day, venue, fee and price. This is where the date is won or lost.
  2. D-75Build the foundationCRM, buyer list, newsletter, your own page.
  3. D-60Do the mathHow many tickets to avoid losing money and what share of capacity that is.
  4. D-45Sign or don'tWith the number on the table: sign, renegotiate or pass.
  5. D-30AnnounceThe show page, the announcement to your own people, the ads.
  6. D-14Prep the showAdvancing: payments, hotel, flights, transfers, tech.
  7. D-3Lock down operationsLists, credentials, door, set times.
  8. D-0DoorsFrom here on, it's just execution.
  9. D+1SettlementThe estimate against what happened, saved for next time.

THE AUDIT

Seven areas, with the industry on top.

The Audit doesn't look at the show: it looks at the production company. A guided 15 to 25 minute questionnaire, free, and the roadmap comes out of that.

  • SALES

    How a show gets decided, and what happens with people who already bought tickets before.

  • OPERATIONS

    Advancing, riders, hotels, flights and everything that repeats for every show.

  • DATA

    Break-even, show closeouts and what gets recorded from each show.

  • MARKETING

    The event page, the ads and where each sale comes from.

  • GUEST SERVICE

    The same questions as always: set times, age, tables, entrances.

  • TEAM

    Which parts of production could get handled without hiring anyone else.

  • SOFTWARE

    Ticketing company, spreadsheets, CRM and what's disconnected from what.

THE METHOD

Four stages, always in this order.

Each one builds on the one before.

  1. 01

    We audit

    We look at the operation area by area. Without this, what comes next is guesswork.

  2. 02

    We optimize

    The process gets sorted out before it's automated. Automating something bad makes it faster, not better.

  3. 03

    We automate

    Only what makes sense for this production company, in the order that works best.

  4. 04

    We train

    The team walks away knowing how to run it. If it depends on us, it's no good.

An empty stage during load-in, with the mic stands in place and the cables taped to the floor
Load-in doesn't skip a step either: nothing gets hung before the truss is up.

D-0

DOORS

Nothing gets decided from here on. You execute what was decided ninety days earlier.

A venue lobby, lit and empty, minutes before the doors open

THE SETTLEMENT

First we measure. Then we decide.

  • Guided questionnaire15 to 25 min
  • Areas measured7 plus your industry
  • Prioritized roadmapnow and later
  • Human reviewbefore delivery
  • Proposal and paymentin writing and online
  • Conclusion with the changesto make

TOTAL

48 h

Free: a 15 to 25 minute questionnaire and a map of your production company, with the order in which it makes sense to tackle each thing.

Audit my production company

Delivered within 24 to 48 business hours.

Whatever implementation costs comes in the roadmap, with the scope of each item next to it. Nothing gets quoted before we measure.

A show's settlement being counted on a metal table after the show, with the form, the calculator and the ticket counter
Settlement is where the number shows up today. It should show up ninety days earlier.

WHAT PEOPLE ASK

What people usually ask.

I know my market better than you do.

Sure. This doesn't replace your judgment: it puts the number next to it before you sign.

Are you going to tell me if I'll sell?

No, and be wary of anyone who promises that. We tell you how much you need to sell to avoid losing money.

Streaming data doesn't tell you anything.

On its own, no. That's why the analysis cross-checks it with the economics of your venue, which is what decides it.

I already use a ticketing company with reports.

Those reports come after the show. This is before you sign.