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.