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About
I am a semi professional in the field of lighting and sound technical roles. I have worked with a variety of different company's providing a reliable service. Currently I am in collage at BOA Stage and Screen Academy progressing my skills to new levels, as well as working on different musicals and shows.
Work
My Portfolio
Grease
In this production I was working as Sound No. 2, so I had plenty of jobs and practical experience. I was responsible for keeping all of the microphones in use for almost two weeks so that they would perform well during rehearsals as well as when the musical was running. I was required to check often, repair faults when they happened, and keep all the equipment in working order at the due time.
Much of what I did also involved the fitting of headsets onto performers. This was technical work but involved people skills as I had to be quick but precise and also be in a position to keep the performers calm and confident due to some of the mic's not working as they should and it was knocking some of the performers confidence. I had often to repair and readjust headsets on the spot, especially during quick turnarounds, and this increased my skills on keeping calm and active in stressful situations.
One of the more tricky aspects of the production was dealing with technical faults caused by the costumes on the stage. These at times clashed with the signal from the antenna's of the radios and caused dropouts or interference. I immediately identified the causes of the faults and instigated practical solutions to lessen the impact, whether that was the repositioning of packs or making small adjustments in the costume to give the antenna's a direct path to the paddles. The troubleshooting aspect of the role was demanding and enjoyfull in that I had to think on my feet and act fast in order to keep the mics working despite the problems we had.
Much of what I did also involved the fitting of headsets onto performers. This was technical work but involved people skills as I had to be quick but precise and also be in a position to keep the performers calm and confident due to some of the mic's not working as they should and it was knocking some of the performers confidence. I had often to repair and readjust headsets on the spot, especially during quick turnarounds, and this increased my skills on keeping calm and active in stressful situations.
One of the more tricky aspects of the production was dealing with technical faults caused by the costumes on the stage. These at times clashed with the signal from the antenna's of the radios and caused dropouts or interference. I immediately identified the causes of the faults and instigated practical solutions to lessen the impact, whether that was the repositioning of packs or making small adjustments in the costume to give the antenna's a direct path to the paddles. The troubleshooting aspect of the role was demanding and enjoyfull in that I had to think on my feet and act fast in order to keep the mics working despite the problems we had.
Sweeny Todd
This was one of the earliest large productions I was part of, and this was part of the fundamental experience in acquiring the required skill in effectively blending audio in a musical. Unlike smaller musicals I was accustomed to working on, this was one that was more demanding in terms of precision, focus, and technical expertise, more so with the added challenge of working with numerous performers at the same time, numerous cues, and live instruments.
It was also a superb production to learn on, as the orchestra was presented in the pit. This provided me with priceless experience in mixing orchestral material with vocal turns, so that the singers should always be audible at all times without sacrificing the vitality and depth of the live musicians. Working with a full orchestra taught me much about dynamics, build-ups, and the necessity of subtle changes in order to gain a professional, finished product throughout the event.
In addition to the technical aspects, I also believed that my intellectual working capabilities—in the sense of problem-solving, multitasking, and pressure-based decision-making—increased dramatically throughout this program. Through so many factors occurring at the same time, I was able to learn how to think quickly and take action decisively while also thinking ahead of what may become a problem.
Furthermore, I saw significant development in my interrelation ability. Close collaboration with the orchestra, performers, and creative team called for efficient communication, patience, and working as part of the team.
It was also a superb production to learn on, as the orchestra was presented in the pit. This provided me with priceless experience in mixing orchestral material with vocal turns, so that the singers should always be audible at all times without sacrificing the vitality and depth of the live musicians. Working with a full orchestra taught me much about dynamics, build-ups, and the necessity of subtle changes in order to gain a professional, finished product throughout the event.
In addition to the technical aspects, I also believed that my intellectual working capabilities—in the sense of problem-solving, multitasking, and pressure-based decision-making—increased dramatically throughout this program. Through so many factors occurring at the same time, I was able to learn how to think quickly and take action decisively while also thinking ahead of what may become a problem.
Furthermore, I saw significant development in my interrelation ability. Close collaboration with the orchestra, performers, and creative team called for efficient communication, patience, and working as part of the team.
Midsummers Night Dream
This was quite the opposite of what you would usually find with a Shakespeare production, as the play was reinterpreted in the context of the modern day Glastonbury festival and included the use of a live rock band during the performance. Being something so outside the norm, I immediately had to adjust my expectations and techniques. Entering the project, I was imagining something more humble and slow moving in terms of the show, the type that would inevitably call only for a subtle style of sound design in comparison with the intensity of the dance festival and live band. The joining of the text of Shakespeare with that live rock band, created a very different dynamic to the play.
During the performance I needed to make sure the live band was quite enough during certain parts so the live band would not overwhelm the other. A great deal of active listening and fast adapting during shows was required, as live music often can be variable. I also had to coordinate with both the band and the directors closely in order to achieve the proper balance of sound per the scenes where both were required, educating me in the necessity of effective communication and cooperation among the creative team.
This production allowed me the opportunity to enhance my experience with live music mixing, specifically with managing the requirements of a theatrical rock band. It forced me to think beyond the box, plus my quick decision making, and build further on the versatility required in order to work across the diferent types of productions.
During the performance I needed to make sure the live band was quite enough during certain parts so the live band would not overwhelm the other. A great deal of active listening and fast adapting during shows was required, as live music often can be variable. I also had to coordinate with both the band and the directors closely in order to achieve the proper balance of sound per the scenes where both were required, educating me in the necessity of effective communication and cooperation among the creative team.
This production allowed me the opportunity to enhance my experience with live music mixing, specifically with managing the requirements of a theatrical rock band. It forced me to think beyond the box, plus my quick decision making, and build further on the versatility required in order to work across the diferent types of productions.
The Welkin
I worked on the Welkin as my first play in college at BOA SAS. I think this was a transformational project as I was introduced to a full cycle of creating the atmosphere of a show, from early concept discussions all the way to tech, dress and performance.
One area of focus was creating custom sound effects; I developed references and context, gathered raw material through sourcing, then designed layers of effects using editing, EQ, dynamic processing fit the tone of the scene. I was helped in designing ambiences, transitions and spot effects to support the story without getting in the way, and I created a usable file structure and naming convention so cues could be quickly located and modified throughout the rehearsal process.
I also improved my programming development in QLab. I organized the workspace, created cue stacks that had groups, auto-follows, pre-/post-waits, and fade times, setup safe "GO" behaviour for reliability. I routed playback to the desk, balanced levels scene by scene, plus I documented a back-up file so we could recover from any changes made late in the process. This hands-on programming development allowed me to have a stronger understanding of how to move design ideas into a reliable, repeatable, show-ready system.
Collaboration was a major component of this production. I, along with the lighting team and other sound designers preparing shows the next day, worked to build a universal showfile for the mixing desk so multiple productions could run back-to-back with very little changeover. We standarised patching and created reusable scene templates, and I showed the entire set up and shared my knowledge so so everyone could step in with confidence.
One area of focus was creating custom sound effects; I developed references and context, gathered raw material through sourcing, then designed layers of effects using editing, EQ, dynamic processing fit the tone of the scene. I was helped in designing ambiences, transitions and spot effects to support the story without getting in the way, and I created a usable file structure and naming convention so cues could be quickly located and modified throughout the rehearsal process.
I also improved my programming development in QLab. I organized the workspace, created cue stacks that had groups, auto-follows, pre-/post-waits, and fade times, setup safe "GO" behaviour for reliability. I routed playback to the desk, balanced levels scene by scene, plus I documented a back-up file so we could recover from any changes made late in the process. This hands-on programming development allowed me to have a stronger understanding of how to move design ideas into a reliable, repeatable, show-ready system.
Collaboration was a major component of this production. I, along with the lighting team and other sound designers preparing shows the next day, worked to build a universal showfile for the mixing desk so multiple productions could run back-to-back with very little changeover. We standarised patching and created reusable scene templates, and I showed the entire set up and shared my knowledge so so everyone could step in with confidence.
9 to 5
In this youth project I was responsible for the teaching of sound designing using a Soundcraft SI Performer desk for this youth project musical. My role was technical and educational because I was working with a group of 8 people, most being new to the role of live sound operators. I was guiding them through a series of basic operations of sound design and operation, enabling then to apply those skills to when the mixed the show.
The project has been a great opportunity for me to further develop and grow my leadership skills showing me leading a group requires organisation and patience. I needed to consider planning opportunities for meetings, taking complex and large numbers of ideas and breaking them down into steps and ensuring everyone was engaged in the process and feeling supported. To be honest I enjoyed seeing the development of the team from not knowing much to taking control of the show.
I also developed communication skills as part of this project experience. I had to adapt my explanations of methods and ideas, depending on participants' levels of understanding and how well I delivered. This required sometimes changing technical instructions and using more user friendly descriptions for people who did not quite get it, when dealing with more confident participants, I often provided more detail. It was only because I was able to be adaptive in my willingness to communicate that I could support the needs of all of the people, and ensure they would be able to keep pace and be involved.
The project has been a great opportunity for me to further develop and grow my leadership skills showing me leading a group requires organisation and patience. I needed to consider planning opportunities for meetings, taking complex and large numbers of ideas and breaking them down into steps and ensuring everyone was engaged in the process and feeling supported. To be honest I enjoyed seeing the development of the team from not knowing much to taking control of the show.
I also developed communication skills as part of this project experience. I had to adapt my explanations of methods and ideas, depending on participants' levels of understanding and how well I delivered. This required sometimes changing technical instructions and using more user friendly descriptions for people who did not quite get it, when dealing with more confident participants, I often provided more detail. It was only because I was able to be adaptive in my willingness to communicate that I could support the needs of all of the people, and ensure they would be able to keep pace and be involved.
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