SOUND ENGINEERING

Please scroll down to see select sound engineering work.

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NATASHA, PIERRE & THE GREAT COMET OF 1812

Otterbein Theatre & Dance 2024

Sound Engineer

Photo by: Isaac Ramsey

Director: Melissa Lusher

Music Director: Lori Kay Harvey

Sound Design: Kitty Mader

Lighting Design: TJ Gerckens

Scenic Design: Isaac Ramsey

Costume Design: Max Cotman

Production Stage Manager: Sarah Short

Stage Manager: Dev Singer

Additional Production Information:

Production was housed in a 1000+ seat proscenium style theater.
The musicians in the orchestra used Aviom personal mixers for this production.
Selected cast members also preformed as roving musicians.

Photo by: Chad DiBlasio

KINKY BOOTS

Weathervane Playhouse 2023

Assistant Sound Designer/Sound Engineer

Director: Nikki Mirza

Music Director: Kevin Wines

Sound Design: Casey Palbicki

Lighting Design: Jennifer Sansfacon

Scenic Design: Jonathan Allender-Zivic

Costume Design: Camille Lerner

Stage Manager: Amelia Ringer

Additional Production Information:

This production was put on in a 299 seat, three-quarters thrust theater.
For this summer season, I was the only individual in the sound department. This meant balancing the duties and responsibilities of both the A1 and A2.
The sound designer was completely remote for this production.
The music aspect of this production was done using prerecorded tracks.

Input/Output sheet.

Sound cue sheet.

Photo by: Chad DiBlasio

MILLION DOLLAR QUARTET

Weathervane Playhouse 2023

Assistant Sound Designer/Sound Engineer

Director: Steven Higginbotham

Music Director: Spencer Stern

Sound Design: Casey Palbicki

Lighting Design: Jennifer Sansfacon & Lea Pick

Scenic Design: Jonathan Allender-Zivic

Costume Design: Camille Lerner

Stage Manager: Amelia Ringer

Additional Production Information:

This production was put on in a 299 seat, three-quarters thrust theater.
For this summer season, I was the only individual in the sound department. This meant balancing the duties and responsibilities of both the A1 and A2.
The sound designer was completely remote for this production.
The music aspect of this production was done live by the performers in the show. The directors of this production preferred the sound coming out of instrument amps rather than having it put directly into the sound system, so the amps were mic’d rather than the instruments themselves. The only exception to this was the piano.

Input/Output Sheet.

QLab excerpt.

Photo by: Chad DiBlasio

ELF THE MUSICAL

Weathervane Playhouse 2023

Assistant Sound Designer/Sound Engineer

Director: Jennifer Sansfacon

Music Director: Spencer Stern

Sound Design: Casey Palbicki

Lighting Design: Jonathan Allender-Zivic

Scenic Design: Jennifer Sansfacon

Costume Design: Camille Lerner

Stage Manager: Amelia Ringer

Additional Production Information:

This production was put on in a 299 seat, three-quarters thrust theater.
For this production, I was the only individual in the sound department. This meant balancing the duties and responsibilities of both the A1 and A2.
The sound designer was completely remote for this production.
The music aspect of this production was done using prerecorded tracks.
For this production, I was also responsible for QLab video programming and playback.

Sound cue sheet.

Input/Output sheet.

Photo by: Isaac Ramsey

BRIGHT STAR

Otterbein Theatre & Dance 2023

Assistant Sound Designer/A1

Director: David Caldwell

Music Director: Lori Kay Harvey

Sound Design: Kitty Mader

Lighting Design: TJ Gerckens

Scenic Design: Isaac Ramsey

Costume Design: Anna Grywalski

Stage Manager: Alex Munzke

Additional Production Information:

Entire production moved from 1,000+ seat proscenium theatre to a 245 seat 3/4 thrust black box stage after production work and rehearsals had begun. This was due to a major flood that occurred on our proscenium stage. The show was redesigned and reworked to suit our new performance space. Additional show dates were added to accommodate our subscribed patrons.
The black box theater typically did not need much sound support due to the nature of the space, meaning that there was very little sound equipment in the space to start. This meant that we needed to transport all of the equipment we had in the department from the main theater to the black box and set it up there .
Production was designed to be mixed without using DCAs.

QLab excerpt.

The orchestra was set up directly behind the stage along the back wall of the theater. Additional instruments that cannot be seen in the image above were located along the back wall, behind the set walls.

LEWBERGER

Weathervane Playhouse 2023

Sound Engineer

Additional Production Information:

I was hired on by the venue as the sound engineer for the Newark, Ohio stop of the Lewberger tour.
Performers played various instruments throughout the production. Some musical numbers were performed with live instruments, and others were performed using prerecorded tracks.
Performers brought a lot of their own equipment. I was responsible for setting it up with the venue’s in-house sound system and operating it for the performance.

DREAMS & NIGHTMARES

Columbus Gay Men’s Chorus/Columbus Children’s Theatre

Sound Engineer

Supervisor: Isaac Steinhour

Additional Production Information:

Performance took place in the Studio One theater at the Riffe Center in Columbus, Ohio.
Had to move sound console out of the booth due to performance needs.